Kyrie elesion II. Gloria 2.
Gloria in excelsis Deo 3. Laudamus te 4. Gratias agimus tibi 5. Domine Deus 6. Qui tollis peccata mundi 7. Quoniam tu solus 8. Jesu Christe 9. Cum sancto spiritu III. Credo Credo in unum Deum incomplete Et incarnatus est incomplete IV. Sanctus Sanctus Dominus Hosanna in excelsis V. Benedictus Kalmus OM Parts Scores with links to Amazon Scores Mozart, Wolfgang Amadeus Classical style Classical Masses Religious works For 4 voices, mixed chorus, orchestra For voices and chorus with orchestra Scores featuring the voice Scores featuring the soprano voice Scores featuring the tenor voice Scores featuring the bass voice Scores featuring mixed chorus Scores featuring the orchestra Latin language Works first published in Works first published in the 19th century Pages with commercial recordings Pages with commercial recordings Naxos collection Pages with commercial recordings BnF collection Pages with parts for purchase Pages with accompaniments for purchase C minor.
Masses ; Religious works ; For 4 voices, mixed chorus, orchestra ; For voices and chorus with orchestra ; Scores featuring the voice ; Scores featuring the soprano voice ; Scores featuring the tenor voice ; Scores featuring the bass voice ; Scores featuring mixed chorus ; Scores featuring the orchestra ; Latin language.
Contents 1 Performances 1. The slight premium charged for the classical series persisted throughout the LP era and was enhanced from with a de luxe opera series, a move copied by EMI with its Angel label but ten- inch LPs were discontinued in , having been dropped in the US ten years earlier. After initial resistance to a two-speed solution to the problem of finding a suitable format for shorter works, Decca marketed seven-inch 45rpm singles from and EPs extended play from But the advent of LPs in the same price range around 50pp from such labels as Saga and MfP killed off the classical seven-inch disc in the mids.
Decca started recording in stereo in , the first discs appearing in both the UK and the US in To avoid confusing purchasers, mono and stereo versions were initially given quite distinct catalogue numbers, but parallel numbering was adopted in September and the mono alternative terminated in In April Decca responded to its competitors with a bargain-priced stereo label Ace of Diamonds, with Stereo Treasury Series following in the US two years later and from it sought to reinvigorate its older recordings with fake stereo transfers on the Eclipse label.
Recording technology had moved on from the two tracks required for stereo to multi-track tape machines that allowed studio re-balancing and re-mixing of separate components of the music. This led in to the Phase Four label, whose ventures into symphonic repertory sold despite some critical disapproval well enough to be copied by EMI with its Columbia Studio Two series from An increasing demand for complete sets of works was met most spectacularly by a Haydn project running from that encompassed the symphonies the first cycle by a major record company and still one of the few to be completed , the string quartets and the piano music.
The practice of pricing sets by simply multiplying the label price by the number of discs survived until , when the BB bargain box prefix was introduced. Five years later all sets were individually priced with the same D number series used for all labels. Acquisition by Polygram in linked the company to the Philips and Deutsche Grammophon labels and meant the loss of its West Hampstead studios and substantial parts of its archives as it moved from Decca House to less spacious office premises.
As LP and cassette issues lapsed, the. Medium- price CDs, initially labelled Ovation, appeared in , to be followed by Weekend Classics and a succession of attempts to re-market the back catalogue with the nostalgic appeal of such labels as The Classic Sound, Legends, The Originals and Heritage Masters. From there were a few sporadic SACD issues, which met with limited market interest.see url
The general crisis in the industry around the turn of the century put a stop to such enterprise. Symphonic and chamber music sessions dried up too, other than as occasional vehicles for a handful of pianists and violinists. In the 78rpm era, Decca probably often noted the date when paperwork from a session reached the office. Wherever possible sessions have been dated from the evidence of those who were there - artists, producers or engineers.
Hence a recording listed as, for example -Jly , was made not later than, but perhaps considerably earlier than, the date given. When recordings were made directly on to wax, matrix numbers were usually allocated during the session and consequently they are quite reliable for dating recordings and tracing unpublished sides. Take numbers also draw attention to sides that were re-made. Once wax was replaced by tape, delays in editing prior to the allotment of numbers could disrupt the chronological sequence and some recordings, marked for issue on LP only, were not given 78rpm numbers at all.
From late in , when it was clear that 78s were obsolete, numbers were allocated to individual titles, movements, or even complete sides, irrespective of duration. These band numbers continued with the same prefixes and number series, but their allocation was then too remote from the session to date it accurately. The 78rpm matrix numbers began at 1, prefixed by MA for twelve-inch sides or by MB for ten-inch. Ten-inch matrices made there for the Rex label since had used the numbers F; Decca continued the series but changed the prefix to R or DR for sides intended for its own label, adding AR for twelve-inch sides.
Despite the replacement of wax masters by tape in May , this series continued in use until the final 78rpm releases in , by which time it had reached DR CD MarOct In March an agreement with Polydor provided access to a substantial catalogue of German artists and a year later the company virtually abandoned classical recording to concentrate on dance bands.
War broke the link with Polydor, leaving Decca with a respectable catalogue of chamber music, but little symphonic repertoire. Meanwhile every opportunity was taken to impress visiting continental orchestras with ffrr sessions and it was evident that the company intended to transfer much of its symphonic work to Paris, Amsterdam, Geneva and Vienna as soon as practicable. London was left with cycles of Vaughan Williams and Sibelius symphonies in the early s. Work for American record companies notably Mercury and Everest helped the LSO to raise its standards and convince Decca, by around , that the finest symphony orchestra available with the arguable exception of the VPO could be regularly heard at the Royal Festival Hall, a few minutes walk away from 9, Albert Embankment, where the company had opened Decca House as its new headquarters in Solti recorded with the LPO from and the National Philharmonic was booked regularly from Outside London, Argo recorded regularly in Cambridge and Oxford.
Decca engaged the Welsh National Opera from and the Bournemouth Symphony from , but otherwise made little use of regional British orchestras. By the time they raised their performing standards to an acceptable level, Chandos, Hyperion and Naxos had largely replaced the old majors in the market for orchestral sessions. One hundred and seventy different venues were used, eighty-eight in the London area and eighty-two elsewhere in Britain, but only one in ten those in bold hosted thirty or more entries, whilst seventy were only visited once.
Decca recorded there once the following year, then after the closure of their own West Hampstead Studios returned for a wide variety of music from and once more in The building was sold for conversion into a private residence in Though regularly used by Chandos and other labels, it was visited on just three occasions from Since it has housed a public library.
The building, acquired by the local council in and let as retail premises, was disused by The building was demolished in during the redevelopment of Wembley Stadium. Two recordings were made there, in and , but the orchestra moved out in and the building became the El-Shaddai International Christian Centre four years later. Argo licensed a couple of keyboard recordings made there by Riverside Recordings in the early s, before the premises were turned into an Arts Centre in Various schemes for refurbishment and alternative use came to nothing and the derelict hall was demolished in It was used on ten occasions from , but became a bingo hall in They were the probable venue for six BBC recordings from It was a favourite venue for the Academy of St.
Martin in the Fields and latterly for BBC piano recitals.
Great Mass in C minor, K. - Wikipedia
Six organ recordings were made from on an instrument Rushworth and Dreaper, that was moved to Holy Trinity, Brompton, in It was demolished in and luxury apartments now occupy the site. Normally used for pop music, they were sold and renamed Jam Studios in the s. They were used for most sessions from but, following the adoption of ffrr, were deemed unsuitable for symphonic repertoire, even after rebuilding to provide a larger studio which opened in December With the sale of Decca to Polygram they closed in , being converted to rehearsal studios for English National Opera and renamed Lilian Baylis House.
The studios closed in and were demolished the following year.
Home from to the Bournemouth Sinfonietta, recorded by Argo in , it was demolished in With particularly good acoustics for chamber and piano recordings, it was used on fifteen occasions from They closed the following year and the premises were later used for dance classes. The college choir was recorded in Ely Cathedral in London orchestras were sent regularly to Cambridge though rarely to Oxford to partner college choirs in their own chapels.
Barbirolli Hall, ST. An Argo recording by his pupils was probably made in the school hall. By the premises were being used for yoga classes. It staged a live video recording, but closed in and was derelict by It subsequently became Northfleet Technology College. The Mass in C Minor in the second half succeeded the beautiful Vesperae solennes de confessore written in and often referred to simply as The Vespers in the first. In performance tonight it was often frustrating, the particularly Austrian personality of lithe, festive brass and moments of strength in the string section failing to keep the momentum of the six movements going.
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Heads mostly buried in their scores, they were instantly forgettable. Luckily, the Mass in C Minor restored the balance in favour of moments of quality after the earlier blandness. The genius of Mozart is perhaps evident in the fact that what he did write remains outstanding in its own right. There are momentary echos of several other of his works sometimes even Handellian vocal solo writing in this piece and frequent opportunities for a chorus to indulge in richly textured sequences such as that which opens the Credo. Here and in the opening Kyrie, Les Elements were impressive, injecting bite in their sound.
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