SKU: TM.14116SC

Choeur in D, Recit (Vous aimez le danger) in F, Rondeau (Ah que j'aime les militaires) in A. See ALF0244 Grand Duchess of Gerolstein for version with Recit in Db and Rondeau in F.

SKU: CA.9700312

ISBN 9790007238766. Language: Latin.

Following his death, Pergolesi's last larger composition, the Stabat Mater of 1736, immediately became one of the most popular sacred works of the late baroque-early classical era. Numerous publications made this icon of Italian sacred music known throughout Europe. It was arranged by, among others, J. S. Bach (Tilge, Hochster, meine Sunden, BWV 1083), J. A. Hiller and Abbe Vogler. The most popular arrangement was the one made around 1800 for the Vienna Court Kapelle, in which Antonio Salieri, Franz Xaver Sussmayr and I. X. Ritter von Seyfried added woodwind instruments and obbligato trombones to the string accompaniment. In addition the 2-part texture of the upper voices in the original was arranged for 4 parts with obbligato soli. It was only in this opulent, sonorous version, which Otto Nicolai and three composer colleagues offered to 19th century Viennese music lovers. The piece is of medium difficulty. In the Viennese version it is a rarity that offers an enrichment to the repertoire for choirs wishing to discover something new. Score and part available separately - see item CA.9700300.

SKU: CA.9700349

ISBN 9790007238797. Language: Latin.

Following his death, Pergolesi's last larger composition, the Stabat Mater of 1736, immediately became one of the most popular sacred works of the late baroque-early classical era. Numerous publications made this icon of Italian sacred music known throughout Europe. It was arranged by, among others, J. S. Bach (Tilge, Hochster, meine Sunden, BWV 1083), J. A. Hiller and Abbe Vogler. The most popular arrangement was the one made around 1800 for the Vienna Court Kapelle, in which Antonio Salieri, Franz Xaver Sussmayr and I. X. Ritter von Seyfried added woodwind instruments and obbligato trombones to the string accompaniment. In addition the 2-part texture of the upper voices in the original was arranged for 4 parts with obbligato soli. It was only in this opulent, sonorous version, which Otto Nicolai and three composer colleagues offered to 19th century Viennese music lovers. The piece is of medium difficulty. In the Viennese version it is a rarity that offers an enrichment to the repertoire for choirs wishing to discover something new. Score and part available separately - see item CA.9700300.

SKU: CA.9700311

ISBN 9790007238759. Language: Latin.

Following his death, Pergolesi's last larger composition, the Stabat Mater of 1736, immediately became one of the most popular sacred works of the late baroque-early classical era. Numerous publications made this icon of Italian sacred music known throughout Europe. It was arranged by, among others, J. S. Bach (Tilge, Hochster, meine Sunden, BWV 1083), J. A. Hiller and Abbe Vogler. The most popular arrangement was the one made around 1800 for the Vienna Court Kapelle, in which Antonio Salieri, Franz Xaver Sussmayr and I. X. Ritter von Seyfried added woodwind instruments and obbligato trombones to the string accompaniment. In addition the 2-part texture of the upper voices in the original was arranged for 4 parts with obbligato soli. It was only in this opulent, sonorous version, which Otto Nicolai and three composer colleagues offered to 19th century Viennese music lovers. The piece is of medium difficulty. In the Viennese version it is a rarity that offers an enrichment to the repertoire for choirs wishing to discover something new. Score and part available separately - see item CA.9700300.

SKU: CA.9700305

ISBN 9790007131777. Language: Latin.

Following his death, Pergolesi's last larger composition, the Stabat Mater of 1736, immediately became one of the most popular sacred works of the late baroque-early classical era. Numerous publications made this icon of Italian sacred music known throughout Europe. It was arranged by, among others, J. S. Bach (Tilge, Hochster, meine Sunden, BWV 1083), J. A. Hiller and Abbe Vogler. The most popular arrangement was the one made around 1800 for the Vienna Court Kapelle, in which Antonio Salieri, Franz Xaver Sussmayr and I. X. Ritter von Seyfried added woodwind instruments and obbligato trombones to the string accompaniment. In addition the 2-part texture of the upper voices in the original was arranged for 4 parts with obbligato soli. It was only in this opulent, sonorous version, which Otto Nicolai and three composer colleagues offered to 19th century Viennese music lovers. The piece is of medium difficulty. In the Viennese version it is a rarity that offers an enrichment to the repertoire for choirs wishing to discover something new. Score available separately - see item CA.9700300.

SKU: CA.4066050

ISBN 9790007294533. Key: E flat major. Latin.

Schubertâ??s Mass in E-flat major is the last of his six settings of the Ordinarium Missae (Mass ordinary) and also his most important work in this genre. The mass is full of color and drama, infused with the spirit of confession. For many choirs, it is on the wish list of those works they would like to sing someday. But what happens if you donâ??t have enough singers, money is tight, and your venue is on the small side? Here the experienced arranger and orchestral musician Joachim Linckelmann has a great solution. His version for soloists, choir and chamber orchestra requires only 7 winds rather than the original 13. The string parts, while identical to the original, can now also be scaled back. The vocal parts (soloists and chorus) are completely untouched by the arrangement, so that the vocal scores and choral scores of the Carus Urtext edition can also be used for performanceâ?¢,A large-scale work now arranged for smaller choirs â?¢,13 winds of the original version reduced to 7 instrumentsâ?¢,Vocal scores and choral scores of the original version can still be usedâ?¢,carus plus: The work (original version) is available in the app carus music, the Choir Coach, as well as in our Carus Choir Coach series (audio only).. Score available separately - see item CA.4066000.

SKU: CA.4060791

Key: C major. Latin.

One of his later works, Haydn’s Missa in tempore belli, composed in 1796, is also referred to as the “Paukenmesse” (Kettledrum Mass) through the use of timpani in the Agnus Dei. For the Vienna premiere, Haydn added flutes, clarinets and horns to the score, so that in terms of sound the soloists and the chorus have to hold their own against a truly large orchestral apparatus. In this case, practicing with the Carus Choir Coach is of course recommended for a good vocal presence.

The Carus Choir Coach offers choir singers the unique opportunity to study and learn their own, individual choral parts within the context of the sound of the entire choir and orchestra. For every vocal range a download containing each choir part is available. The Carus Choir Coach is based on recorded interpretations by renowned artists who have performed the work from carefully prepared Carus Urtext editions. Each choir part is presented in three different versions:

Original recording
Coach: each part is accompanied by the piano, with the original recording sounding in the background
Coach in slow mode: the tempo of the coach slows down to 70% of the original version – through this reduction passages can be learned more effectively.
Performers: Ann Hoyt (soprano), Kirsten Sollek (alto), Daniel Neer (tenore), Richard Lippold (basso) – Trinity Church Choir, Rebel Baroque Orchestra – J. Owen Burdick. Score available separately - see item CA.4060700.

SKU: CA.4012991

ISBN 9790007171834. Language: German.

Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach's St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn's lifetime St. Paul was one of his most popular works, which received numerous performances throughout Europe. Robert Schuman praised the inextinguishable color of the instrumentation and the brilliant play with all the forms of composition. He described it as a jewel of the present.. Score available separately - see item CA.4012900.

SKU: CA.4012905

ISBN 9790007186524. Text language: German/English.

Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach's St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn's lifetime St. Paul was one of his most popular works, which received numerous performances throughout Europe. Robert Schuman praised the inextinguishable color of the instrumentation and the brilliant play with all the forms of composition. He described it as a jewel of the present.. Score available separately - see item CA.4012900.

SKU: CA.4012901

ISBN 9790007103866. Language: German/English.

Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach's St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn's lifetime St. Paul was one of his most popular works, which received numerous performances throughout Europe. Robert Schuman praised the inextinguishable color of the instrumentation and the brilliant play with all the forms of composition. He described it as a jewel of the present.. Score available separately - see item CA.4012900.

SKU: AP.36-A249391

ISBN 9781932419481. UPC: 659359518904. English.

The CANTATA No. 4: CHRIST LAG IN TODES BANDEN, BWV 4, is one of the earliest church cantatas by J.S. Bach (1685-1750). Bach wrote it for an application to a job opportunity at a Lutheran church in Mulhausen. It is the first of his cantatas to construct its textual and melodic material on a chorale. His first cantata for Easter Sunday, it was later revised in Leipzig in 1724 and 1725 with additional instrumental parts in order to harness the rich musical resources available to the composer. The original version has not survived. The piano reduction for this vocal score was completed by Gustav Schreck, and the edition was edited by John Ebenezer West.

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