The C Minor Mass KV 427 by Wolfgang Amadeus Mozart is a fascinating work. But to speak of “the” Mass is inaccurate, for basically it is no more than a musical torso, with many puzzles and problems, yet full of magnificent music. We look into the intriguing history of its composition and transmission.
carus music, the choir app, offers valuable support for choir singers. Mirjam James and Elizabeth Robinson love to prepare a performance of Bach’s B minor Mass with this practice aid.
The Mass in B flat major by Hummel impresses our student trainee Renita Steinwand greatly, it sounds extremely majestic, and every time she hears it it really gets under her skin. It is simply overwhelming. Listening to the Mass is a really worthwhile experience, and even better to be singing or playing in it yourself one day!
When conductor Jan Schumacher heard a recording of Beethoven’s Missa solemnis for the first time, he was stunned: and even ten years later he still had not overcome his awe and fear of the work. You can read why Schumacher’s enthusiasm for the work since then knows no bounds …
Music, Italy, wine … anyone who loves all these things shouldn’t miss Puccini’s Messa a 4 voci con orchestra (Messa di Gloria). Puccini was occasionally criticized for composing “simply”, yet it is often forgotten how long he struggled with subject matter. Despite this the Messa di Gloria is a work which any choral director is grateful for.
Amongst Rheinberger’s 14 mass settings, the Mass in E flat major op. 109 (Cantus Missae) composed in 1878 undoubtedly holds a special position. This mass must, in the opinion of Tristan Meister, count as one of the most important church music compositions of the Romantic period and is worthy of a place in the repertoire of every ambitious choir.
Amongst Rheinberger’s 14 mass settings, the Mass in E flat major op. 109 (Cantus Missae) composed in 1878 undoubtedly holds a special position. This mass must, in the opinion of Tristan Meister, count as one of the most important church music compositions of the Romantic period and is worthy of a place in the repertoire of every ambitious choir.
When Carus-Verlag asked Daniel Ivo de Oliveira to realize the basso continuo part of Mozart’s Mass in c minor K. 427, as completed and edited by Frieder Bernius and Uwe Wolf, he was brought into contact with a style of music that was new to him. After listening to the piece several times he was fascinated once again by Mozart’s exquisite music…
