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Harold Gleason and Warren Becker, Music in the Middle Ages and Renaissance (Music Literature Outlines Series I). Bloomington, Indiana. Frangipani Press, 1986. ISBN 0-89917-034-X; Lewis Lockwood, "Mass" The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1-56159-174-2
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The Hoboken catalogue had also placed the masses in presumed chronological order, but further research has undermined that sequence. [1] No. 1 in G major: 'Missa rorate coeli desuper' (H. 22/3) (c.1750) No. 2 in F major: 'Missa brevis' (H. 22/1) (1750)
In the context of Mozart's masses brevis (short) applies primarily to the duration, i.e. the whole mass ceremony took no longer than three quarters of an hour. Instrumentation for such a missa brevis would usually be limited to violins, continuo (which included the organ), and trombones doubling the choral parts of alto, tenor and bass.
The volumes of the masses maintain the order of works in the previously published volumes (with the Collected Works Vol. 10 corresponding to the first book of Masses, and so on.) Some of the pieces in the last three volumes, 30–32, are considered spurious or doubtful.
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Many of the contemporary artists who authored the folk music that was used in American Catholic Liturgy choose F.E.L. to be their publisher, as did Ray Repp, who pioneered contemporary Catholic liturgical music and authored the "First Mass for Young Americans", a suite of folk-style musical pieces designed for the Catholic liturgy. Repp gave an ...
Alleluia! Alleluia! Sing a New Song to the Lord; Alleluia! Sing to Jesus; Alma Redemptoris Mater; Angels We Have Heard on High; Anima Christi (Soul of my Saviour) Asperges me; As a Deer; As I Kneel Before You (also known as Maria Parkinson's Ave Maria) At That First Eucharist; At the Lamb's High Feast We Sing; At the Name of Jesus; Attende ...