Par MOZART WOLFGANG AMADEUS. Tonalité : C-Dur - Blumenthaler, Volker (Arr. ) - KV 262/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2

Par MOZART WOLFGANG AMADEUS. Tonalité : C-Dur - Blumenthaler, Volker (Arr. ) - KV 262/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2

Par MOZART WOLFGANG AMADEUS. Tonalité : C-Dur - Blumenthaler, Volker (Arr. ) - KV 262/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2

Par MOZART WOLFGANG AMADEUS. Tonalité : C-Dur - Blumenthaler, Volker (Arr. ) - KV 262/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2

Par MOZART WOLFGANG AMADEUS. Tonalité : C-Dur - Blumenthaler, Volker (Arr. ) - KV 262/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2

Missa aulica. Par BRIXI FRANTISEK XAVER. Brixi came from a widespread family of Bohemian musicians which included composers whose works were well known among rural communities. The present edition of this short mass [known as the “Missa aulica”], which is published here for the first time, is a typical example of this type of music: scored for a small ensemble, which makes only modest demands of t…

Missa aulica. Par BRIXI FRANTISEK XAVER. Brixi came from a widespread family of Bohemian musicians which included composers whose works were well known among rural communities. The present edition of this short mass [known as the “Missa aulica”], which is published here for the first time, is a typical example of this type of music: scored for a small ensemble, which makes only modest demands of t…

Missa aulica. Par BRIXI FRANTISEK XAVER. Brixi came from a widespread family of Bohemian musicians which included composers whose works were well known among rural communities. The present edition of this short mass (known as the “Missa aulica”), which is published here for the first time, is a typical example of this type of music: scored for a small ensemble, which makes only modest demands of t…

Par BRIXI FRANTISEK XAVER. Missa Aulica/ Répertoire / Solistes SATB, Choeur SATB, 2 Clarines, Timbales,

Cherubini owes his fame as a church composer primarily to the 'Requiem in C minor? of 1817. It was held in extraordinarily high esteem by such composers as Beethoven and Schumann and served as a model for early 19th-century Requiem settings. Dispensing entirely with solo voices, it captivates with its rigorous formal concentration and its restrained use of musical resources in both choir and orche…

Cherubini owes his fame as a church composer primarily to the 'Requiem in C minor? of 1817. It was held in extraordinarily high esteem by such composers as Beethoven and Schumann and served as a model for early 19th-century Requiem settings. Dispensing entirely with solo voices, it captivates with its rigorous formal concentration and its restrained use of musical resources in both choir and orche…

Cherubini owes his fame as a church composer primarily to the 'Requiem in C minor? of 1817. It was held in extraordinarily high esteem by such composers as Beethoven and Schumann and served as a model for early 19th-century Requiem settings. Dispensing entirely with solo voices, it captivates with its rigorous formal concentration and its restrained use of musical resources in both choir and orche…

Cherubini owes his fame as a church composer primarily to the 'Requiem in C minor? of 1817. It was held in extraordinarily high esteem by such composers as Beethoven and Schumann and served as a model for early 19th-century Requiem settings. Dispensing entirely with solo voices, it captivates with its rigorous formal concentration and its restrained use of musical resources in both choir and orche…

Cherubini owes his fame as a church composer primarily to the 'Requiem in C minor? of 1817. It was held in extraordinarily high esteem by such composers as Beethoven and Schumann and served as a model for early 19th-century Requiem settings. Dispensing entirely with solo voices, it captivates with its rigorous formal concentration and its restrained use of musical resources in both choir and orche…