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Bärenreiter


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1.
Wolfgang Amadeus Mozart: Concerto for Bassoon in B-flat (K.191) (K.186e) (Urtext).~ Part (Piano)
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Concerto for Bassoon in B-flat (K.191) (K.186e) (Urtext).

2.
Wolfgang Amadeus Mozart: Concerto for Violin No.4 in D (K.218) (Urtext).~ Part (Piano)
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Concerto for Violin No.4 in D (K.218) (Urtext).
vn, pf
Piano reduction
(New edition with Ca...

3.
Wolfgang Amadeus Mozart: Concerto for Horn No.2 in E-flat (K.417) (Urtext).~ Part (Piano)
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Concerto for Horn No.2 in E-flat (K.417) (Urtext).
0, 2, 0, 0 - 2, 0, 0, 0, str, solo hn
Piano...

4.
Wolfgang Amadeus Mozart: Concerto for Piano No.23 in A (K.488) (Urtext).~ Part (Orchestra)
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Concerto for Piano No.23 in A (K.488) (Urtext).
1, 0, 2, 2 - 2, 0, 0, 0, str, solo pf
Piano (2...

5.
J. Haydn: The Creation Hob.XXI:2 (Cembalo)~ Part (Choral, Orchestra)
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The oratorio “The Creation” represents not only a crucial point in Joseph Haydn‘s compositional output, but at the same time, marks the beginning of a new chapter in the history of the oratorio.

6.
W. A. Mozart: Tantum Ergo In B-flat K.142 (Violin II)~ Part (Choral)

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Attributed to Mozart but possibly composed by Johann Zach and adapted by Mozart, the Tantum Ergo K.142 is scored for Soprano solo, mixed choir (SATB), 2 Trumpets, Strings and Basso continuo.


7.
W. A. Mozart: Tantum Ergo In B-flat K.142 (Viola)~ Part (Choral)

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Attributed to Mozart but possibly composed by Johann Zach and adapted by Mozart, the Tantum Ergo K.142 is scored for Soprano solo, mixed choir (SATB), 2 Trumpets, Strings and Basso continuo.


8.
W. A. Mozart: Tantum Ergo In B-flat K.142 (Cello/Bass)~ Part (Choral)

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Attributed to Mozart but possibly composed by Johann Zach and adapted by Mozart, the Tantum Ergo K.142 is scored for Soprano solo, mixed choir (SATB), 2 Trumpets, Strings and Basso continuo.


9.
W. A. Mozart: Tantum Ergo in B-flat K.142 (Trumpet I/II)~ Part (Choral)

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Attributed to Mozart but possibly composed by Johann Zach and adapted by Mozart, the Tantum Ergo K.142 is scored for Soprano solo, mixed choir (SATB), 2 Trumpets, Strings and Basso continuo.


10.
W. A. Mozart: Tantum Ergo in B-flat K.142 (Organ)~ Part (Organ)

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Attributed to Mozart but possibly composed by Johann Zach and adapted by Mozart, the Tantum Ergo K.142 is scored for Soprano solo, mixed choir (SATB), 2 Trumpets, Strings and Basso continuo.


11.
W. A. Mozart: Tantum Ergo in B-flat K.142 (Violin I)~ Part (Choral)

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Attributed to Mozart but possibly composed by Johann Zach and adapted by Mozart, the Tantum Ergo K.142 is scored for Soprano solo, mixed choir (SATB), 2 Trumpets, Strings and Basso continuo.


12.
W. A. Mozart: Church Sonatas Vol 5 In C, K.263 (Cello/Bass)~ Part (Cello, Double Bass)

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Composed between 1772 and 1780, Mozart's 17 Church or "Epistle" Sonatas are short, single-movement pieces intended to be played during a celebration of the Mass.

13.
L. Cherubini: Requiem In C Minor - Missa Pro Defunctis (Double Bass)~ Part (Double Bass)

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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.

14.
L. Cherubini: Requiem In C Minor - Missa Pro Defunctis (Viola I)~ Part (Viola)

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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.

15.
L. Cherubini: Requiem In C Minor - Missa Pro Defunctis (Viola II)~ Part (Viola)

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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.

16.
L. Cherubini: Requiem In C Minor - Missa Pro Defunctis (Cello)~ Part (Cello)

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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.

17.
L. Cherubini: Requiem In C Minor - Missa Pro Defunctis (Wind Set)~ Part (Wind Instruments)
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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.

18.
L. Cherubini: Requiem In C Minor - Missa Pro Defunctis (Violin I)~ Part (Violin)

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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.

19.
L. Cherubini: Requiem In C Minor - Missa Pro Defunctis (Violin II)~ Part (Violin)

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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.

20.
J. S. Bach: Cantata No. 10: Meine Seel Erhebt Den Herren - BWV 10 (Cello/Bass)~ Part (Double Bass)

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With his cantata Meine Seel Erhebt Den Herren which Bach composed for the Visitation of Mary (2 July), he created a Magnificat setting of a different kind: The German text source is a combination of biblical text and a free interpretation, the basis being the Marian hymn of praise from the Gospel according to Luke.


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Showing Results 1-20 of 744
Page 1 of 38