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Mozart, Wolfgang Amadeus. (1756–1791). Kantate. Heiliger siehgnädig hern. &c.... in Partitur. No 1 [Litanie de venerabili altarie sacramento, Anh. K. 125]. Leipzig: Breitkopf & Hartel. [1807]. First printing. FIRST EDITION OF THE FULL SCORE with adapted text. Upright folio. Engraved throughout. [PN] 405. 26 pp. Scattered foxing, handling stains, generally very good. Bound in brown paper boards with handwritten title to front, dated 1807. Köchel[6] p. 748 and 772 (Anh. B KV 125 Nr. 1, 6, 7, 8); RISM M/MM 4109; Kat. Hoboken 12 Nr. 625.
"In March [1772] he wrote a substantial work for the church, doubtless for use at Easter, a setting of the Litanie de venerabili altarie sacramento. The first of his two Eucharist litanies, K. 125 in B flat, this has long been recognized as modelled on his father's setting in D Major of 1762...The points of similarity and departure reflect the younger man's greater originality and superior command of structure....The litany's relatively larger scale and the size of the forces used (oboes, horns, clarino trumpets, strings including violas) suggest performance in the cathedral." (Stanley Sadie, "Mozart: The Early Years," p. 266-267)
"In March [1772] he wrote a substantial work for the church, doubtless for use at Easter, a setting of the Litanie de venerabili altarie sacramento. The first of his two Eucharist litanies, K. 125 in B flat, this has long been recognized as modelled on his father's setting in D Major of 1762...The points of similarity and departure reflect the younger man's greater originality and superior command of structure....The litany's relatively larger scale and the size of the forces used (oboes, horns, clarino trumpets, strings including violas) suggest performance in the cathedral." (Stanley Sadie, "Mozart: The Early Years," p. 266-267)
Mozart, Wolfgang Amadeus. (1756–1791). Kantate. Heiliger siehgnädig hern. &c.... in Partitur. No 1 [Litanie de venerabili altarie sacramento, Anh. K. 125]. Leipzig: Breitkopf & Hartel. [1807]. First printing. FIRST EDITION OF THE FULL SCORE with adapted text. Upright folio. Engraved throughout. [PN] 405. 26 pp. Scattered foxing, handling stains, generally very good. Bound in brown paper boards with handwritten title to front, dated 1807. Köchel[6] p. 748 and 772 (Anh. B KV 125 Nr. 1, 6, 7, 8); RISM M/MM 4109; Kat. Hoboken 12 Nr. 625.
"In March [1772] he wrote a substantial work for the church, doubtless for use at Easter, a setting of the Litanie de venerabili altarie sacramento. The first of his two Eucharist litanies, K. 125 in B flat, this has long been recognized as modelled on his father's setting in D Major of 1762...The points of similarity and departure reflect the younger man's greater originality and superior command of structure....The litany's relatively larger scale and the size of the forces used (oboes, horns, clarino trumpets, strings including violas) suggest performance in the cathedral." (Stanley Sadie, "Mozart: The Early Years," p. 266-267)
"In March [1772] he wrote a substantial work for the church, doubtless for use at Easter, a setting of the Litanie de venerabili altarie sacramento. The first of his two Eucharist litanies, K. 125 in B flat, this has long been recognized as modelled on his father's setting in D Major of 1762...The points of similarity and departure reflect the younger man's greater originality and superior command of structure....The litany's relatively larger scale and the size of the forces used (oboes, horns, clarino trumpets, strings including violas) suggest performance in the cathedral." (Stanley Sadie, "Mozart: The Early Years," p. 266-267)