An Annotated Listing of Mozart's Smaller , Sacred Choral Works

by David Rayl

s we approach the 200th Editions anniversary of the death of , Obviously, no two editions of the choral conductors are same work are identical; some are beginning to consider carefully edited according to scholarly Aprograms which will suitably criteria while others are poorly edited commemorate the death of this most and misrepresent the original score. amazing of composers. There will Carus-Verlag, whose publications are undoubtably be many performances of available through Mark Foster, has his and the C minor Mass, begun to publish editions of much of as well as the better-mown works Mozart's choral music. Their excellent from his tenure in Salzburg, such as editions are generally the best the "Coronation" Mass and the available, being based on the Neue Solemn Vespers of a Confessor. But Mozart Ausgabe. Each contains an there are many smaller choral works excellent forward with information which are unjustly neglected and about the origin of the work, the which deserve more frequent manuscript sources used in its performance. Most of these are not so English.) This list includes a variety of preparation, a translation of the text, difficult as to restrict their genres: six offertories (K. 34, and some ideas about appropriate performance to college! university K. 117/66a, K. 72/74f, K. 222/205b, performance practice. The problem choirs; they are eminently accessible to K. 260/248a, K. 277/272a), three with these editions is that not all the a great many high school and church Regina coeli settings (K. 108174d, performing materials are available for choirs. I myself have performed more K. 127, K. 276/321b), two every work. For example, one work than a dozen of these works with independent Kyrie settings (K. 33, might be available with a piano-vocal choirs of all types in a wide variety of K. 3411368a), one Gradual (K. 273), score and choral parts (without piano liturgical and concert settings, and one incomplete vesper setting (K. 193), reduction) but not with a full score, have found them very satisfying both one psalm setting (K. 85173s), one while another work might be to performers and listeners. Marian litany (K. 109174e), one Te available with a full score and choral What follows is an annotated listing Deum setting (K. 141166b), one parts but no piano-vocal score. of 20 of these smaller sacred works antiphon (K. 86/73v), and three works Because new materials in this series with details regarding vocal and which fall into the general category of are appearing every month, my advice instrumental requirements, their motet (K. 20, K. 47, K. 618). I have is to contact Mark Foster to see location in the Neue Mozart Ausgabe excluded all the more or less complete precisely what is available. Edwin F. (NMA), available performing editions, Mass settings, the two complete vesper Kalmus & Co., whose publications are __.f!anll'd~aI!:groximate duration. I have setting5-(K-321,~39},,--.Jtwhll:ie ____~nUloJjw~aLYY:.i::lllailable--±hmugaBelwin Mills,, ___ chosen to annotate only those pieces of remaining three litany settings (K. 125, also publishes many of these works at Latin church music for unaccom­ K. 195/186d, K. 243), and various very affordable prices. Their editions, panied chorus or chorus and orchestra settings of Italian and German texts however, are less authoritative and in (sometimes consisting of only basso (canons, nottumi, Masonic music, some instances, quite problematic. continuo) which have performance cantatas, etc.). Only complete works Because their full scores are reprints of times of less than 15 minutes. (The have been annotated; with one the old Breitkopf & Hiirtel edition of ,one exception is K. 20, which is in exception, separately published Mozart works, the vocal parts are Rayl is Associate Professor of Music and movements from these 20 works have written in movable C clefs. Also, the Director of Choral Activities at the been omitted. instrumental articulations in these University of Missouri'in Columbia, , Before beginning this list, however, editions are greatly over-edited and Missouri: He is also founder and Director I feel it is important to briefly discuss sometimes bear little resemblance to of the Quad City Mozart Festival in performing editions and considerations what actually appears in the Davenport, Iowa. of instrumentation. manuscripts. In addition, there are April 1991 I Page 11 often discrepancies between the full ascertain the quality of the scholarship instances, the sound is just too loud score, the piano-vocal score, and the involved or even the sources utilized in and thick, and I do not advise their instrumental parts. (See, for example, preparing the edition. use, except perhaps in a rather large, Te Deum, K. 141, below.) Arista acoustically dry hall with a large Music Company has also published a Instrumentation chorus and orchestra. It should be pointed out that generally, these colla All of Mozart's works include a parte trombone parts do not appear in figured line and are intended to the autograph scores, but are to be There are many S1naller be performed with a basso continuo choral works which are group that includes a keyboard instrument and at least one melodic unjustly neglected and bass instrument. In the annotations which deserve more below, I have indicated the basso All of Mozart's works foequent=peiformanee.~M()st===c~on~~fn3.o ~~'::W=Wtrith_:bcts" _with?~=_===:=include a figured bass line spec! ymg we ms umen reqU1reu. and are intended to be of these are not so difficult Organ is the preferred keyboard as to restrict their instrument, although performance peiformed with a basso with harpsichord would not be continuo group that includes p erfiormance onl y to inappropriate. Performance with a college/university chairs; modern piahcnsle.ss deSirable. The a keyboard-instrumentand~ they are eminently basso continuo group should always at least one melodic bass include at least one cello and one bass, instrument. accessible to a great many and possibly a bassoon if the choir is high school and church large. choirs. It was the tradition in Salzburg to reinforce the alto, , and bass vocal lines with trombones, and many found in the sets of performance parts of Mozart's choral works call for which date from the period. They number of these works, but, since trombones ad libitum. While thus "represent no more and no less neither their editions nor those by eighteenth-century trombones fulfilled than one of numerous possibilities Kalmus provide even rudimentary this function admirably, their modern current at that time from the editorial notes, it is impossible to counterparts do not. In most centuries-old tradition of doubling vocal parts by instruments."l

Annotations

Compositions are listed in MOZART 'chronological order according to the latest revision of the Kochel catalog ANTHEM BOOK using the following format: Title, original Kochel number (revised Kochel number); vocal performing forces; instrumental performing forces; location within the Neue Mozart 12 of the master's smaller church Ausgabe (series, group of works, pieces collected for practical use in volume where applicable, page); worship services. approximate duration; publishers and performing materials available. I have Volume 1 97UCMG5230 $3.00 listed the best available edition first Three Unaccompanied Pieces and with other editions following in Five Pieces with Keyboard alphabetical order. Problems with Cello Part 97UCMG5231 1.75 specific editions are discussed within the annotation. Unless indicated, all materials are available for purchase. Volume 2 97UCMG5275 The following abbreviations are used: 2.50 pf-voc sc (piano-vocal score with all Four Pieces for Mixed Voices, Strings, and Organ vocal parts and piano reduction), full String Parts 97UCMG5277 5.00 sc (full score), pts (instrumental parts), chor sc (the definition of a Available from your local {j choral score varies: some publishers music dealer or from (Dn~llDla® use this term to mean a piano-vocal score, others use it to describe a score Toll Free: ~ PUBLISHING HOUSE with only the choral parts. When 3558 SOUTH JEFFERSONr AVENUE 1-800-325-3040 SAINT LOUIS, MISSOURI 63118·3968 more specific information is known, I have indicated it within the annotation) .

Page 12 I CHORAL JOURNAL God is our Refuge, K. 20; SATB Veni Sancte Spiritus, K. 47; SATB chorus; NMA III:9,2; 1 min.; soli, SATB chorus, 2 ob, 2 hn, 2 tpt, $... Alexander Broude, Inc., Chantry timp, 2 vln, vIa, be; NMA 1:3,12; 4 ~ Music Press, Moseler (published with min.; Arista (pf-voc sc, full sc, pts), ...c: Kyrie, K. 33). Kalmus (pf-voc sc, full sc, pts). ~ This is the first vocal work in the This is a very exciting, but not ,- Kochel catalog. It was composed in particularly difficult piece. Although it LL..c 1765 while Mozart and his family . was composed in 1768, I find the --0 were in London. Although most of the concluding" Alleluia" section as E handwriting is Leopold's, who, always thrilling as any of the late Salzburg the proud father, presented the church music (i.e., "Coronation" § manuscript to the British Museum as Mass, Solemn Vespers, etc.) U an example of his son's work, the Throughout the work, the active piece is believed to be primarily the orchestral texture adds brilliance to C/) music of the nine-year-old Mozart. It the homophonic, syllabic choral !:::, is composed in the stile antico, and writing. Solo lines are short and not ~ O'l \0 pairs in concert quite nicely with difficult. Its text .makes it most ~ ,5 ~ Quaerite primum regnum Dei. Both appropriate for Pentecost Sunday or ~ 12 i?) ~ works are short, and the pitches and Confirmation. Perhaps the only 0 ~ ~ =~ rhythms are comparatively easy. drawback to performing it is the !S1 ~ ~·S However, the vocal control required considerable size of the orchestra. I E ~ 6 0 ~ for an artistic performance is not to be strongly caution against using the 12 ~I ,.c:.- underestimated. Its English text makes Kalmus piano/vocal score. The four E ~ vv ...... '-1-1 this an excellent piece with which to vocal parts are compressed onto two :::: c'CS ::: ~ ~ introduce unaccompanied contra- staves, and the text is not typeset but "+-. (J) -Uo CQ ii puntal singing to your church choir. in manuscript, making reading more (,J O'l . K 33 SATB h 2 1 of a chore than it needs to be. If you 'Ci) ~ \0 = § Kyne, .; c orus; v n, need to purchase an inexpensive C/) VI <:::> «S ~ vIa, be; not included in the NMA; in edition, Arista's is a better choice. On ..52 0 C\J i> 0 the "old" Mozart Werke it can be the other hand, the Kalmus (,J 0.. ~ t:>'l:P found in series III, volume 1, page 2; instrumental parts are adequate and .Mozart family. It also bears some This interesting little work, a setting published by Mark Foster. This resemblance to Joseph Haydn's early of Psalm 50, was composed near the edition also includes a singable English setting which dates from 1764. All end of July or the beginning of August translation. Don't be deceived by the three are-cast in the typical formal in 1770 while Mozart was in Bologna simple appearance of this piece.A---- design of Te Deum settings of this studying counterpoint with Padre beautifully shaped performance of it period: an opening allegro, a short Martini. It is written in the revered requires considerable vocal control. adagio beginning with the text "Te stile antico and, like Quaerite primum ergo quaesumus," a return to the regnum (see below), was most likely Regina coeli, K. 108 (74d); S solo, allegro at "Aeterna fac cum Sanctis intended as a contrapuntal study for SATB chorus; 2 fl, 2 ob, 2 hn, 2 tpt, tuis," and a concluding double fugue Martini. Since the figured bass merely timp, 2 vln, 2 vIa, bc; NMA 1:3,74; at "In te, Domine, speravi." Among doubles the vocal bass, a cappella 15 min.; Carus (chor sc, full sc, pts), the available editions, Walton's, pedormance is possible (as is Breitkopf (chor sc, full sc, pts). edited by Mason Martens, is good, but performance with a traditional basso Composed in May 1771 (at the unfortunately, the orchestral material continuo group or organ alone). The same time as K. 109), this is the first is available only on rental. A Carns alto part, which never goes above B, of Mozart's three Regina coeli settings. edition exists, but I have not examined seems intended for males (counter- It is a four-movement work requiring it. I would strongly caution against ). Consequently, this is a work a skilled soprano soloist. The choral writing is fairly easy throughout, and, in my opinion, not very interesting, with the chorus playing a significant role in only the first and last The Sixth Annual movements. The second movement is for soprano solo with occasional Whitworth College interjections by the chorus. The third movement, by far the best music in the piece, is a beautiful plaintive Choral Festival Adagio un poco andante. August 11-14, 1991 Litaniae lauretanae, K. 109 (74e); SA TB soli, SATB chorus; 2 vln, bc; Spokane, Washington NMA I:2/i,3; 15 min.; G. Schirmer (pf-voc sc), Lawson-Gould (pf-voc sc, Featuring full sc, pts). This youthful setting of the Charlene Archibecque traditional Marian litany is, in my opinion, one of the gems of Mozart's San Jose State University smaller choral works. I have and conducted this piece several times and remain very fond of it. Although rather straightforward harmonically Randi Von Ellefson and of an unpretentious character, it is a most attractive work and is Whitworth College particularly effective with and well­ suited to younger voices. The solos, Non-credit, undergraduate or graduate credit available. typical of Mozart's early church music, are not virtuosic and could be sung by good high school soloists or a For details, call (509) 466-3291. small ensemble of three singers per part. The piano "accompaniment" of the Lawson-Gould edition is not an Page 14 I CHORAL JOURNAL orchestral reduction, but a realized using the C. Schirmer orchestra parts difficulties. It is also of a general continuo part. This is most helpful to as they are in manuscript, provide no enough nature to be appropriate in have since the Kalmus performing continuo realization, and are very churches of all denominations: materials do not include one. poorly edited. "Misericordias Domini cantabo in aeternum." (I will sing forever of the Inter natos mulierum, K. 72 (741:); Misericordias Domini, K. 222 (205b); Lord's mercy.) The work was SATB chorus; 3 tbn (ad lib), 2 vln, bc; SATB soli (or chorus); 2 vln, vIa, bc; originally scored for four solo voices NMA 1:3,104; 5 min.; Biirenreiter NMA 1:3, 182; 7 min.; Biirenreiter (singers from the Munich Opera (chor sc, full sc, pts), Breitkopf (chor (chor sc, full sc, pts), Arista (pf-voc House), but can also be effectively sc, full sc, pts rental only), Kalmus sc), Elkan-Vogel (chor sc), Mark performed with choir instead. The (chor sc, full sc, pts). Foster (chor sc, full sc, pts), Kalmus Mark Foster edition, edited by Harold This setting of the offertory for the (chor sc, full sc, pts). Decker, is very usable but contains a Feast of St. John the Baptist was This is an overlooked masterpiece in number of perplexing editorial composed in Salzburg in June, 1771. Mozart's output and deserves frequent problems. Decker claims that the Because of Mozart's increased use of performance. It was composed in late work was originally scored for 2 ob, counterpoint following his trip to Italy 1774 or early 1775 while Mozart was 2 hn, 2 vln, vIa, and bc, but the in 1770, the choral writing is a bit in Munich overseeing the production NMA shows no evidence of these oboe more difficult than in some earlier of La finta giardiniera. Its rather and horn parts; nor does it even hint works. Nevertheless, this is a very elaborate, learned contrapuntal style, at their existence. To further accessible piece. It should be noted, which borrows a theme by Eberlin, complicate matters, Mark Foster also however, that its text, which makes it unlike Mozart's other choral makes available a version which specifically mentions John the Baptist, music from this period, and fore­ eliminates the oboes and horns, but it narrowly limits its use by church shadows the austere magnificence of also eliminates the violas. Decker choirs. the opening movement of the justifies this by the statement that "the Requiem. Because of the complex viola and wind parts can easily be Regina coeli, K. 127; S solo, SATB counterpoint, it is among the most omitted as they double the voices. In chorus; 2 fl, 2 ob, 2 hn, 2 vln, bc; difficult of these smaller works. fact, there is evidence that Mozart NMA 1:3,120; 15 min.; Carus (chor Interestingly, Mozart later sent the performed it this way."3 Decker does sc, full sc, pts); Breitkopf (pf-voc sc, work to Martini for his approval. not, however, describe or elaborate on chor sc for purchase; full sc, pts rental One aspect of the work that might this "evidence," or reveal the sources only). encourage its performance is that the upon which he based his edition. This setting, composed in May text is concise and presents no Another drawback of this edition is 1772, is similar to K. 108 - both works being laid out in an almost identical scheme. The choral writing is a bit more complex and much more interesting musically, and the vocal writing is more demanding than in the earlier setting.

Dixit et Magnificat, K. 193; SATB soli, SA TB chorus; 2 tpt, timp, 3 tbn (ad lib), 2 vln, bc; NMA 1:2/ii,l; 10 min.; Carus (chor sc, full sc, pts) , Arista (pf-voc sc), C. Schirmer (pf-voc sc for purchase; pts rental only). , The style of this incomplete vesper setting, composed for Salzburg in F E s L s 1774, is similar to that of Mozart's Make 1991 the year you participate in one of On Stage Festivals' two complete Vesper settings, K. 321 premier events. A total musical experience! and K. 329, which are much better UNIVERSAL STUDIOS (Los Angeles) SEATTLE ORLANDO (Univerol Studios Florido) known and more frequently April 18-21 April 25-28 May 2-5 point makes these two movements moderately difficult, though within May 9-12 May 16-19 the reach of a good high school or We invite you to be a part of the ultimate musical experience at an ON STAGE FESTIVAL in 1991. church choir. Solos are very brief and Adjudicotion Stoff undemanding. I would advise against April Arabian Bill Brawley Dwight Jordan Mark-Anthony Lord Susan Moninger TImothy Shew Henry W. Smiley Stephen Zegree PAR.ACLETE Preview Call now for more information New Here's PR.ESS . Releases . 1/800/223-4367 Your ON STAGE FESTIVALS A Division 01 Heritage Festivals 302 West 5400 South, Suite 108 P.O. Box 571187 nckel ••• Salt Lake City, Utah 84157-9924

April 1991 I Page 15 that the choral scores are published of 12 singers each, and the other using 1777. The solo parts are not without a piano reduction; this can be two solo quartets. Either practice technically difficult and could be a bit disconcerting to the singers. works splendidly. The two violin parts readily sung by good high school This piece apparently enjoyed an do not appear in the original singers or by a small group of three interesting peformance history during manuscript, but were apparently singers per part. Like K. 273, discussed Mozart's lifetime. It must have been added by Mozart at a later date. above, it is a competent and attractive reasonably popular as late as the early Therefore, performance with basso work, but somewhat low on my list of 1790s because it was performed in continuo alone is also "authentic," and recommended Mozart works. September 1791 in connection with makes the work even more accessible. the coronation of Leopold II as King One of the difficulties encountered in Sancta Maria, mater Dei, K. 273; of Bohemia. Interestingly, it was none performing this piece is the Latin text SATB chorus; 2 vln, vIa, bc; NMA 1:3, other than , which contains many difficult and 234; 4 min.; Carus (chor sc, full sc, traditionally regarded as Mozart's unfamiliar words. Even experienced pts), Arista (chor sc, full sc, pts), nemesis, who selected and conducted choral singers will have to struggle a Annie Bank (separate chor sc by voice tlle"'Cnurch~rnusic=fbr=the~varioos:====bit~with=it;=eonductorsinterested=in part~full~sc~ts),BToude~BTothers= liturgies associated with the this work should be aware that the (chor sc, full sc, pts), Kalmus (chor sc, coronation.4 Hanssler choral score qoes not contain full sc, pts), Peters (chor sc). a piano reduction. Although it is The manuscript of this simple, Venite populi, K. 260 (248a); 2 SA TB expensive, it might be better to predominantly syllabic work is dated choruses;3-tbn{ad lib); 2 vln-(ad--lib); purchase full scores for the chorus~- September 9, 17-7'1; Like-most-of------­ bc; NMA 1:3, 199; 6 min.; Hanssler Mozart's Salzburg church music, it is (chor sc, full sc, pts). Alma Dei creatoris, K. 277 (272a); a charming, unpretentious work. Composed in Salzburg in 1776, this SAT soli, SATB chorus; 3 tbn (ad lib), Unfortunately, I can find little else to is an absolute gem among Mozart's 2 vln, bc; NMA 1:3,223; 5 min.; recommend it when one has the early works. The effect of the two Carus (chor sc, full sc, pts), Arista (pf­ option to perform other works that choruses, especially if they are voc sc, full sc, pts), Annie Bank are so much more interesting. separated spatially, is thrilling. In (separate chor sc by voice part, full sc, performing this work, there are a pts), Kalmus (chor sc, full sc, pts), Regina coeli, K. 276 (321b); SATB number of performance options Peters (pf-voc sc). soli, SATB chorus; 2 ob, 2 tpt, timp, available. I have been involved with This offertory for feasts of the 2 vln, bc; NMA 1:3, 243; 7 min.; two performances, one utilizing a Blessed Virgin Mary was composed in Carus (chor sc, full sc, pts), Arista (pf­ 24-voice choir divided into two choirs Salzburg in the summer or fall of voc sc, pts), Annie Bank (separate chor sc by voice part, full sc, pts), Breitkopf (pf-voc sc, chor sc, full sc, pts), Kalmus (chor sc, full sc, pts), G. Schirmer (pf-voc sc for purchase; full sc, pts rental only). This is the most popular and best­ TilE \INIVERSITY OFTE:\,\S AT SAN ,\NTONIO known of Mozart's three settings of "Exl:ellenL'L' in Perfol11ulI1l:e, Educalion, and Technology" this text. It was composed in Salzburg, most likely in 1779, and is typical of his late Salzburg choral music. The choral writing is moderately difficult, being predominantly homophonic with Marjorie Powell Zachry occasional points of imitation. Unlike the other two settings, there are no Scholarship Program extended sections for soloist(s). Rather, (Awards up 10 fuilluilion and fees) Mozart utilizes the frequent alternation of solo quartet with the tutti chorus. I like this work very Marjorie Powell Zachry much, and have found that singers of all ages, including high school Graduate Assistantship Program students, enjoy singing it. (Stipends up 10 $6,0(0)

Choral Conducling & Music Educalion Kyrie, K. 341 (368a); SATB chorus, 2 with Dr. .Iohn Silalllicn fl, 2 ob, 2 cl, 2 bsn, 4 hn, 2 tpt, timp, Direclor of Choral Aclivili," 2 vln, vIa, bc; not included in the For further information and to apply: NMA; in the "old" Mozart Werke it can be found in series III, volume I, Dr, Alexander E, Sido!'owil'/, Di!'t','lo!' • Division of Musil: • Colkg,' of Fint' Ans and HUI1l:1I1ilit's' TIll' Ilni\'l'!'sily ofT,'s", page 31; 6 min.; Barenreiter (chor sc, al San Anlonio • San .. \nlonio, Tcs"s 7K2-1'1-()(]-IS • til' call full sc for purchase; pts on rental), (512) 6'11--I3S-I, Breitkopf (chor sc, full sc, pts rental only), G. Schirmer (pf-voc sc for purchase; full sc, pts rental only). Page 16 I CHORAL JOURNAL This is one of the most important of Notes Landon. H. C. Robbins and Mitchell, Donald, Mozart's later church works, and is I Mozart, Venite populi, ed. Hofmann, n. p. ed. The Mozart Companion. London: 2 New Grove Dictionary, s.v. "Mozart, Rockliff Publishing Corporation, 1956. distinguished from all his previous Wolfgang Amadeus." Landon, H. C. Robbins. 1791: Mozart's Last sacred choral music by its expressive a Mozart, Misericordias Domini, ed. Decker, Year. New York: Schirmer Books, 1988. chromaticism. Its intense, passionate n.p. Mozart, Wolfgang Amadeus. Misericordias mood is unequalled in his output, • Landon, Mozart's Last Year, 104. Domini. Edited by Harold A. Decker. 5 Ibid., 49-50. Champaign, Illinois: Mark Foster Music except by certain sections of the Company, 1972. Requiem. Unfortunately, the size of References Rosenthal, Karl August. "The Salzburg Church the orchestra makes this piece Music of Mozart and his Predecessors," The somewhat inaccessible and perhaps Blom, Eric. Mozart. New York: Farrar, Straus Mmical Quarterly 27 (1941) 433. accounts for its infrequent & Cudahy, Inc., 1935. Sadie, Stanley, ed. The New Grove Dictionary Einstein, Alfred. Mozart: His Character, His of Music and Musicians, 20 vols. London: performance. If I were programming Work. New York: Oxford University Press. Macmillan Publishers, 1980. it, I might group it with some arias Keys, Ivor. Mozart: His Mmic in his Life. New and choruses from Idomeneo, which is York: Holmes and Meier Publishers, Inc., scored for an identical orchestra. Most 1980. scholars believe that it was composed in Munich in 1780-81 while Mozart was there supervising a production of Idomeneo, but H. C. Robbins Landon The University of Minnesota School of Music has a differing theory. In April, 1791 announces an intensive week exploring music for chorus covering Mozart applied for and was appointed the church year. Two graduate credits offered. as adjunct to Leopold Hofmann, Kapellmeister of St. Stephen's Cathedral, who was quite elderly and rather ill. Mozart thought that Hofmann was on his deathbed and SACRED CHORAL that he himself would soon be appointed Kapellmeister. He therefore began a large-scale Missa solemnis in D minor to celebrate this anticipated REPERTOIRE new position. Landon speculates that Mozart had completed the Kyrie ------...... ------when Hofmann recovered, leading July 8-13, 1991 Mozart to abandon the project.5 at the University of Minnesota, Minneapolis campus Ave verum corpus, K. 618; SATB With Philip Brunelle, outstanding nationally-known chorus; 2 vln, vIa, be; NMA 1:3,261; conductor, innovative musician, music director, andfounder of the 4 min.; Carus (chor sc, pts), Arista Plymouth Music Series of Minnesota, author of the monthly column (pf-voc sc, full sc, pts), Barenreiter (chor sc), Annie Bank (chor sc, full sc, on choral repertoire for The American Organist, Organist-Choir­ pts), Belwin Mills (chor sc), Breitkopf master at Plymouth Congregational Church, Minneapolis, Minne­ (chor sc, full sc, pts), Broude Brothers sota, and past chairman of the National Endowmentfor the Arts (pf-voc sc, full sc, pts), Chantry Music Choral panel. Press (chor sc), Kalmus (chor sc, full This workshop will include sacred choral literature from all sc, pts), Novello (chor sc), E. C. periods of music, covering the church year from Advent to Pentecost, Schirmer (chor sc for purchase; pts as well as festive occasions such as Thanksgiving. rental only), G. Schirmer (chor sc), Schott (chor sc), Weinberger (chor sc, Additional sessions will include: full sc, pts). Jean Ashworth Bartle - Music for Children Robert Page - The Masses of Wolfgang Amadeus Mozart This well-known motet, composed in Sigrid Johnson - Choral Warmups and Music for Treble Choir the fall of 1791 for Anton Stoll, Dominick Argento and Libby Larsen - Meet the Composers ----,.choirmaster at-Bm:lerr,needs"I""lO...------I-----an-d-T-h-e-i-r-C-h-o""r-a-1-M-u-s-ic---"------'--'--'---.-..-:---'----I--- introduction or description. It justly deserves the many performances it Participants will discover a great deal of unfamiliar old and new receives. C] music of outstanding quality. Music will be provided by various publishers and locallihraries. For more information or to register, call Professional Develop­ ment and Conference Services, 221 Nolte Center, 315 Pillsbury Drive S.E., Minneapolis, MN 55455, (612)625-5813. MUSIC MANUSCRIPT PAPER - Many formats at highly competitive prices. Brochure UNIVERSITY OF MINNESOTA from Dept. 8., P.O. Box 7351, N. Augusta, SC 29841 The University of Minnesota is an equal opportunity educator and employer.

April 1991 I Page 17 ':,;'