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Mozart: Secular Canons
Adagio in F major, K410
Alleluja, four voice canon in C Major, K553
Auf das Wohl aller Freunde, K508
Bona nox, K561
Canon for 2 violins, viola and bass, KAnh191
Ave Maria in F major (Canon), K554
Canonical Study, Kdeest 'Sinkt die Nacht'
Canons (8) for 2 or 3 voices, K508a
Caro bell'idol mio, K562
Difficile lectu, K559
Dona nobis pacem, KAnh109d
Essen, trinken, K234
G'rechtelt's enk, K556
Gehn wir im Prater, K558
Heil dem Tag, dem die Nacht erlag, K347
Heiterkeit und leichtes Blut, K507
Horch, ihr susses Lied, K562a
Kyrie in G, K89
Lacrimoso son io, K555
Lebet wohl, K228
Leck mich im Arsch, K231
Leck mir den Arsch, K233
Canon "Lieber Freistadtler, lieber Gaulimauli', K232
Nascoso e il mio sol, K557
O du eselhafter Martin, K560b
Riddle Canons (5), Op. 89a
Selig, selig alle, K230
Sie ist dahin, K229
V'amo di core, K348
That Wolfgang Amadeus Mozart was not the angelic Wunderkind living in his musical heaven of divine inspiration is proven by his secular canons, which he wrote as a personal pastime entertainment. And what entertained him is soon clear from the texts he set to music, in which his sexual and anal fixation becomes evident.
This is the other side of the genius, essential in order to get the complete picture of Mozart the man and musician.
Not all canons bear titles like “Leck mich im Arsch”: some others are extremely witty and inventive musical jokes.
Expertly sung and performed by the Chamber Choir of Europe, conducted by Nicol Matt.
(also available to download from $10.00)
Usually despatched in 4 - 5 working days. (Available now to download.)
Mozart: Complete Sacred Music
Missa in C major K66, Dominicusmesse
Vesperae solennes de Dominica, K321
Mass in C major, K317 'Coronation Mass'
Vesperae solennes de confessore in C, K339
Mass in C minor, K427 'Great'
Missa Brevis in G major K49
Missa Brevis in D minor K65
Missa Brevis in D major K194
Missa Brevis in C major, K220 'Spatzenmesse'
Missa Solemnis in C minor K139 'Waisenhausmesse'
Exsultate, jubilate, K165
Missa Brevis in G major K140
Missa Brevis in F major K192
Missa Longa in C major K262
Mass in C major, K257 'Credo-Messe'
Litaniae de venerabili altaris sacramento, K243
Mass in C major, K167 'Trinity'
Mass in C major, K258 'Spaurmesse'
Kyrie in G, K89
Misericordias Domini - Offertory, K222
Missa Brevis in C major K259, Orgelsolo Messe
Grabmusik KV 42
Veni Sancte Spiritus, K47
Scande coeli limina, K34
Regina coeli in B flat, K127
Miserere in A minor, K85
Quaerite primum regnum Dei KV 86 (73v)
Tantum ergo, K142
Ave verum corpus, K618
Venite populi, K 260
Regina coeli in C, K108
Sancta Maria, mater Dei, K273
Sub tuum praesidium, K198
Tantum ergo, K197
Litaniae Lauretane, K109
Benedictus sit Deus, K117
Inter natos mulierum - Offertory, K72
Alma Dei creatoris, K277
Ergo interest... Quaere superna, K143
Te Deum laudamus, K141
Missa Solemnis in C major, K337
Litaniae de venerabili altaris Sacramento, K125
Regina coeli K276
Kyrie in D minor, K341
Dixit and Magnificat, K. 193
Missa Brevis in B flat major K275
Litaniae Lauretanae, K195
Requiem in D minor, K626
Sopranos: Angela Maria Blasi, Barbara Bonney Zsuzsanna Dénes, Krisztina Laki, Sylvia McNair, Charlotte Margiono, Eva Mei, Joan Rodgers, Christine Schäfer & Rachel Yakar
Contraltos: Ingeborg Danz, Elisabeth von Magnus, Jadwiga Rappé, Dorothea Röschmann, Ortrun Wenkel
Tenors: Kurt Azesberger, Kurt Equiluz, Uwe Heilmann, Herbert Lippert, Christoph Prégardien, Josef Protschka, Deon van der Walt
Basses: Gilles Cachemaille, Håkan Hagegård, Thomas Hampson, Robert Holl, Alastair Miles, László Polgár, Franz-Josef Selig, Oliver Widmer
Concentus Musicus Wien, Arnold Schoenberg Chor, Choralschola der Wiener Hofburgkapelle & Konzertvereinigung Wiener Staatsopernchor, Nikolaus Harnoncourt
“This is an exceptional labour of love.. The overall sound is remarkably unified and the balance superb… A notable achievement.” Gramophone Magazine, August 1999 (on the Complete Sacred Works)
“As ever, Harnoncourt is admirably served by his orchestra and his chorus, firm and homogeneous… Among the soloists, Barbara Bonney and Dorothea Röschmann both give pleasure with their fresh, pure tone and
refined sense of phrase…” Gramophone Magazine, May 1999 (on Masses 5, 7 & 11)
“Harnoncourt discovers many unfamiliar treasures… Harnoncourt clearly loves every bit of this music… The performances are characteristic of his pioneering work with Concentus Musicus” The Guardian, June 1999 (on the Complete Sacred Works)
Usually despatched in 3 - 4 working days.