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.2729303

ISBN 9790007171797. Text language: Latin.

Antonin Dvorak's impressive Stabat Mater for soloists, chorus and orchestra is probably the best-known of the composer's sacred works. Some painful experiences - in 1875 his first daughter died, and in 1877 he lost two other children in quick succession - may have led to Dvorak's preoccupation with the suffering of the Mother of God, who stands weeping beneath the cross of her son. The music enters into the different moods of the liturgical texts with great sensitivity. Nine movements in slow to moderate tempi serve as a kind of Passion meditation, before the ecstasy of a vision of the resurrection wins the upper hand at the end of the tenth movement. With our newly-published arrangement for chamber orchestra (flute, oboe, clarinet, horn, bassoon, timpani, and strings), smaller choirs now have the opportunity of performing this work without the choir being drowned out by a large-scale symphony orchestra. The symphonic character of the work is nevertheless preserved. This scoring offers an optimal balance between transparency and orchestral sound. All vocal parts (soloists and chorus) are identical with the original version. Vocal score and choral score can be used also together with the original version, which is in preparation.

SKU: CA.4007250

ISBN 9790007240059. German/English.

Psalm texts inspired Mendelssohn throughout his composing career. In 1837 Robert Schumann judged Mendelssohn's setting of Psalm 42 as the highest level that he has achieved as a composer of church music, indeed the highest level that modern church music has ever reached. With this arrangement of Mendelssohn's cantata Wie der Hirsch schreit (As the hart longs) smaller choirs and choirs with more limited resources of space or finance can now perform this popular work. The original symphonic wind and brass forces have been reduced from 15 to 5 wind and brass forces. All the vocal parts (soloists and chorus) are identical with the original version, so that the vocal scores and chorus scores of that version can be used. Can be performed by smaller choirs with smaller instrumental forces Usable with the vocal scores and choral scores from the original version. Complete performance material available on loan. carus plus: the work is also available in carus music, the choir app, and the practice CD series Carus Choir Coach. Score available separately - see item CA.4007200.

SKU: CA.3115107

ISBN 9790007092474. Key: G major. Language: German/English. Text: Lehms, Georg Christian. Text: Georg Christian Lehms.

Bach's cantata BWV 151, whose wonderfully heartfelt opening aria has been rightly numbered among Bach's most inspired ideas (Alfred Durr), was composed for the 3rd day of Christmas 1725. Flute and oboe d'amore lend pastoral coloring to the chamber music sound picture. The oboe d'amore was not originally included in Bach's score; after completing the score he added the part to the orchestra for the first performance. In a later performance about 1728-1731 Bach replaced the flute by a solo violin, adding various performing instructions and ornaments, of which a flautist can make use in his originally rather modest part. This new edition by Klaus Hofmann replaces the 1962 publication by Diethard Hellmann. Score available separately - see item CA.3115100.

SKU: CA.3115149

ISBN 9790007049430. Key: G major. Language: German/English. Text: Lehms, Georg Christian. Text: Georg Christian Lehms.

Bach's cantata BWV 151, whose wonderfully heartfelt opening aria has been rightly numbered among Bach's most inspired ideas (Alfred Durr), was composed for the 3rd day of Christmas 1725. Flute and oboe d'amore lend pastoral coloring to the chamber music sound picture. The oboe d'amore was not originally included in Bach's score; after completing the score he added the part to the orchestra for the first performance. In a later performance about 1728-1731 Bach replaced the flute by a solo violin, adding various performing instructions and ornaments, of which a flautist can make use in his originally rather modest part. This new edition by Klaus Hofmann replaces the 1962 publication by Diethard Hellmann. Score and part available separately - see item CA.3115100.

SKU: CA.3115111

ISBN 9790007049386. Key: G major. Language: German/English. Text: Lehms, Georg Christian. Text: Georg Christian Lehms.

Bach's cantata BWV 151, whose wonderfully heartfelt opening aria has been rightly numbered among Bach's most inspired ideas (Alfred Durr), was composed for the 3rd day of Christmas 1725. Flute and oboe d'amore lend pastoral coloring to the chamber music sound picture. The oboe d'amore was not originally included in Bach's score; after completing the score he added the part to the orchestra for the first performance. In a later performance about 1728-1731 Bach replaced the flute by a solo violin, adding various performing instructions and ornaments, of which a flautist can make use in his originally rather modest part. This new edition by Klaus Hofmann replaces the 1962 publication by Diethard Hellmann. Score and part available separately - see item CA.3115100.

SKU: CA.3115105

ISBN 9790007049379. Key: G major. Language: German/English. Text: Lehms, Georg Christian. Text: Georg Christian Lehms.

Bach's cantata BWV 151, whose wonderfully heartfelt opening aria has been rightly numbered among Bach's most inspired ideas (Alfred Durr), was composed for the 3rd day of Christmas 1725. Flute and oboe d'amore lend pastoral coloring to the chamber music sound picture. The oboe d'amore was not originally included in Bach's score; after completing the score he added the part to the orchestra for the first performance. In a later performance about 1728-1731 Bach replaced the flute by a solo violin, adding various performing instructions and ornaments, of which a flautist can make use in his originally rather modest part. This new edition by Klaus Hofmann replaces the 1962 publication by Diethard Hellmann. Score available separately - see item CA.3115100.

SKU: CA.3116412

ISBN 9790007209032. Text language: German/English.

This six-movement cantata was performed for the first time on 26 August 1725 in Leipzig. The text was written by Bach's Weimar cantata poet Salomon Franck and had been published earlier in 1715 in his collection Evangelisches Andachts-Opffer. Here, Bach bases his work around the form of the Weimar cantatas which take their texts from Franck's printed collection (BWV 132, 152, 161-163, 165): movements 1-5 are performed by vocal soloists, whilst only the final chorus is given to the chorus. The key concepts of the text are Barmherzigkeit [compassion], Erbarmen [mercy] and wahre Christenliebe [true Christian love]; the chamber music arrangement of the cantata corresponds with this. The two arias for tenor and alto, and the duet for soprano and bass do not contain da capo sections, but repeat the entire text in a condensed form. The instruments do not contrast as a rule, but are treated as a string group (movements 1, 4), duetting (movement 3), and as full unison (movement 5). What is remarkable in all three movements is the thematic linking of the instrumental ritornello parts with the vocal parts through which Bach achieves a kind of unity of form. Score and part available separately - see item CA.3116400.

SKU: CA.3116411

ISBN 9790007209025. Text language: German/English.

This six-movement cantata was performed for the first time on 26 August 1725 in Leipzig. The text was written by Bach's Weimar cantata poet Salomon Franck and had been published earlier in 1715 in his collection Evangelisches Andachts-Opffer. Here, Bach bases his work around the form of the Weimar cantatas which take their texts from Franck's printed collection (BWV 132, 152, 161-163, 165): movements 1-5 are performed by vocal soloists, whilst only the final chorus is given to the chorus. The key concepts of the text are Barmherzigkeit [compassion], Erbarmen [mercy] and wahre Christenliebe [true Christian love]; the chamber music arrangement of the cantata corresponds with this. The two arias for tenor and alto, and the duet for soprano and bass do not contain da capo sections, but repeat the entire text in a condensed form. The instruments do not contrast as a rule, but are treated as a string group (movements 1, 4), duetting (movement 3), and as full unison (movement 5). What is remarkable in all three movements is the thematic linking of the instrumental ritornello parts with the vocal parts through which Bach achieves a kind of unity of form. Score and part available separately - see item CA.3116400.