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Mozart, Wolfgang Amadeus: Litaniae de venerabili altaris Sacramento

score

Edited by Federhofer, Hellmut / Federhofer-Königs, Renate
存款: Voice, choir and orchestraVoice, choir and orchestra
器乐创作: SSolo/ASolo/TSolo/BSolo/Mixed choir-SATB/Orch
系列: Bärenreiter Urtext
时期: Classic
语言: English, German
难度: 3
时长: 0:35
Weight: 0.44 kg
出版者: Bärenreiter
刊物代码: BA4763
其他出版代码: BA04763
ISMN: 9790006455836
Besides the Masses, the Requiem and the Vespers, Mozart's lengthier church-music works also include four Litanies, all composed in Salzburg. After his first Italian journey (13 December 1769 to 28 March 1771), Mozart returned to his post as archiepiscopal 'Konzertmeister'. Undoubtedly inspired by what he had just experienced, he wrote the Litaniae Lauretanae (Loretian Litany) K.109 (74e ), his first work in this genre, which is dated May 1771. The Sacramental Litany K.125 was completed in March 1772, between Mozart's second Italian journey (13 August to 15 December 1771) and his third (24 October 1772 to 13 March 1773). During a longer stay in Salzburg in 1774, between his travels to Vienna and Munich, Mozart composed the second Loretian Litany K.195 (186d), which was followed by the second Litaniae de venerabili altaris Sacramento K.243 in March 1776. This latter work represents Mozart's final and most extensive contribution to the Litany genre.
The form of the Litany was found alr eady in early Christian times. Like its name suggests, it is a prayer of supplication, with a steady repetition of acclamations, however, with regard to its manner of performance, it is also a kind of responsory prayer. While the Loretian Litany is an eloquent expression of Marian devotion, the Sacramental Litany is a testimony of praise and veneration of the Eucharist and a recognition of its salvational effect.
100 Years of Bärenreiter

In the autumn of 1923, a young man produced the first music editions of his newly founded publishing house in his parents’ living room. He named his company Bärenreiter. In the spring of 1924 when Karl Vötterle came of age, he was able to register it with the German Publishers and Booksellers Association. At first, he mainly put out folk song collections, church as well as organ music including early music by Leonhard Lechner and Heinrich Schütz, at the time primarily known in specialist circles.

During the last months of the Second World War, the publishing house in Kassel was destroyed and once more a fresh beginning had to be made. With the start of the extensive German music encyclopaedia MGG – "Musik in Geschichte und Gegenwart" – as well as numerous series of scholarly-critical complete editions such as the “New Mozart Edition” and the “New Bach Edition”, the visionary founder of the publisher created the basis for the further development of Bärenreiter. The musicological editions increasingly aroused interest abroad, and Bärenreiter found itself on an expansion course.

When Karl Votterle died in 1975, his daughter Barbara took over the helm, supported by her husband Leonhard Scheuch. Under their leadership, the catalogue grew significantly and the brand BÄRENREITER URTEXT was established. Finally, in 2003, their son Clemens Scheuch joined the publisher which today he is managing together with his parents. Thus Bärenreiter has remained a family business to this day and has become a company of international standing in the world of classical music.

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