SKU: CA.4060791
Key: C major. Latin.
One of his later works, Haydnâs Missa in tempore belli, composed in 1796, is also referred to as the âPaukenmesseâ (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 recordingCoach: each part is accompanied by the piano, with the original recording sounding in the backgroundCoach in slow mode: the tempo of the coach slows down to 70% of the original version â through this reduction passages can be learned more effectively.Performers: Ann Hoyt (soprano), Kirsten Sollek (alto), Daniel Neer (tenore), Richard Lippold (basso) â Trinity Church Choir, Rebel Baroque Orchestra â J. Owen Burdick. Score available separately - see item CA.4060700.
SKU: CA.2709244
ISBN 9790007303358. Key: D minor. Latin.
In the 19th and early 20th centuries, transcriptions of large (choral) symphonic works for two pianos were extremely popular, as they enabled a large audience to get to know classical compositions in an age before recorded music. In many cases, world-famous pieces were first performed in such a version â?? including Brucknerâ??s Te Deum. The Stuttgart composer, pianist and experienced piano-duo performer Sebastian Bartmann was commissioned by the Landesakademie für die musizierende Jugend in Baden-Württemberg Ochsenhausen to newly arrange Brucknerâ??s Te Deum and the Mass in D minor for soloists, choir, and two pianos. A timpani part (ad libitum) provides additional color. The arrangements are based on the original Carus editions. The vocal scores and choral scores of the original version can also be used.While Brucknerâ??s symphonic approach becomes evident for the first time in the Mass in D minor from 1864, the work does not place the same high demands on the performers as the two later masses. This arrangement for soloists, choir and 2 pianos has an air of transparency, rather like a work of chamber music.. Score available separately - see item CA.2709200.
SKU: CA.2709246
ISBN 9790007310868. Key: D minor. Latin.
In the 19th and early 20th centuries, transcriptions of large (choral) symphonic works for two pianos were extremely popular, as they enabled a large audience to get to know classical compositions in an age before recorded music. In many cases, world-famous pieces were first performed in such a version ââ¬â including Brucknerââ¬â¢s Te Deum. The Stuttgart composer, pianist and experienced piano-duo performer Sebastian Bartmann was commissioned by the Landesakademie für die musizierende Jugend in Baden-Württemberg Ochsenhausen to newly arrange Brucknerââ¬â¢s Te Deum and the Mass in D minor for soloists, choir, and two pianos. A timpani part (ad libitum) provides additional color. The arrangements are based on the original Carus editions. The vocal scores and choral scores of the original version can also be used.While Brucknerââ¬â¢s symphonic approach becomes evident for the first time in the Mass in D minor from 1864, the work does not place the same high demands on the performers as the two later masses. This arrangement for soloists, choir and 2 pianos has an air of transparency, rather like a work of chamber music.. Score and parts available separately - see item CA.2709200.
SKU: CA.2719044
ISBN 9790007303327. Latin.
In the 19th and early 20th centuries, transcriptions of large (choral) symphonic works for two pianos were extremely popular: They enabled a large audience to get to know classical compositions in an age before recorded music. In many cases, world-famous works were first performed in such a version ââ¬â including Brucknerââ¬â¢s Te Deum. Unfortunately, only a few bars of this transcription have survived.The Stuttgart composer, pianist and experienced piano-duo performer Sebastian Bartmann was commissioned by the Landesakademie für die musizierende Jugend in Baden-Württemberg Ochsenhausen to newly arrange Brucknerââ¬â¢s Te Deum and the Mass in D minor for soloists, choir and two pianos. A timpani part (ad libitum) provides additional color. The arrangements are based on the original Carus editions. The vocal scores and choral scores of the original version can also be used.Today the Te Deum is Brucknerââ¬â¢s most frequently performed vocal work. The greatest challenges for any choir are the high register and the enormous orchestration of this extremely effective piece: The singers are often required to declaim against a large orchestra performing forte fortissimo! This problem is resolved in the arrangement for two pianos; moreover, the scaling back of the sonic forces helps reveal compositional structures that otherwise can all too easily get lost in the intoxicating orchestral sound.. Score available separately - see item CA.2719000.
SKU: CA.2706045
ISBN 9790007241018. Language: Latin.
Among the sacred works by Saint-Saens there are just two settings of the mass: the Messe de Requiem op. 54 from his middle period (1878), and the Mass op. 4 dating from 1856. This was first performed on 21 April 1857. As an alternative to the original version with large orchestra and Grand Orgue, Carus-Verlag is now publishing the version for organ made by Saint-Saens's contemporary Leon Roques. It contains the original part for grand orgue as well as an organ arrangement of the orchestral writing in score notation, but also provides for the possibility of a performance with just one instrument. The vocal parts (for soloists and choir) are identical with the edition of the original version, so that the vocal score and chorus score of that version can be used. Score available separately - see item CA.2706000.
SKU: CA.2719046
ISBN 9790007310875. Latin.
In the 19th and early 20th centuries, transcriptions of large (choral) symphonic works for two pianos were extremely popular: They enabled a large audience to get to know classical compositions in an age before recorded music. In many cases, world-famous works were first performed in such a version â?? including Brucknerâ??s Te Deum. Unfortunately, only a few bars of this transcription have survived.The Stuttgart composer, pianist and experienced piano-duo performer Sebastian Bartmann was commissioned by the Landesakademie für die musizierende Jugend in Baden-Württemberg Ochsenhausen to newly arrange Brucknerâ??s Te Deum and the Mass in D minor for soloists, choir and two pianos. A timpani part (ad libitum) provides additional color. The arrangements are based on the original Carus editions. The vocal scores and choral scores of the original version can also be used.Today the Te Deum is Brucknerâ??s most frequently performed vocal work. The greatest challenges for any choir are the high register and the enormous orchestration of this extremely effective piece: The singers are often required to declaim against a large orchestra performing forte fortissimo! This problem is resolved in the arrangement for two pianos; moreover, the scaling back of the sonic forces helps reveal compositional structures that otherwise can all too easily get lost in the intoxicating orchestral sound.. Score and parts available separately - see item CA.2719000.
SKU: CA.2732111
ISBN M-007-25435-3. Latin.
The best-known setting of the Requiem Mass before Mozart's unfinished work is by the celebrated opera composer Niccolo Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli's time as Kapellmeister at the court of the Wurttemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in the solo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli's composition, the Appendix contains settings by another composer from his circle, Nicola Sala. * The best-known setting of the Requiem Mass before Mozart * First critical edition * Effective choral movements with numerous suspended dissonances and solo/tutti alternation * Scored for small instrumental forces of strings and organ.
SKU: CA.4068700
ISBN 9790007239701. Key: C minor. Latin.
A mass setting by Robert Schumann? This is still likely to cause surprise among audiences â?? after all, Schumann is not generally viewed as a sacred composer. Indeed, his little-known late work, the Missa sacra, Op. 147, is a discovery not just for listeners but often for the performers themselves. The mass combines an acute fascination with sacred liturgy typical of Schumannâ??s time with the pragmatism of its intended use by a local choral society. The composer employs his considerable skills to create a captivating and varied score that is almost ethereal in the Kyrie, leading to passages of an intimate and lyrical piano that alternate with fortissimo for words of praise, while always displaying the utmost sensitivity and a delight in dissonance. The composer declared his setting to be â??fashioned with great loveâ?. The demanding orchestral mass can be realized with limited means. The solo parts can be filled from the choir. The work, which the composer himself did not have published, is here reissued on the basis of Schumannâ??s partial autograph score. Carus has also produced an arrangement of the work for choir and organ, enabling performances without orchestra in smaller venues (Carus 40.687/45).
SKU: CA.4068703
ISBN 9790007239718. Key: C minor. Latin.
A mass setting by Robert Schumann? This is still likely to cause surprise among audiences ââ¬â after all, Schumann is not generally viewed as a sacred composer. Indeed, his little-known late work, the Missa sacra, Op. 147, is a discovery not just for listeners but often for the performers themselves. The mass combines an acute fascination with sacred liturgy typical of Schumannââ¬â¢s time with the pragmatism of its intended use by a local choral society. The composer employs his considerable skills to create a captivating and varied score that is almost ethereal in the Kyrie, leading to passages of an intimate and lyrical piano that alternate with fortissimo for words of praise, while always displaying the utmost sensitivity and a delight in dissonance. The composer declared his setting to be ââ¬Åfashioned with great loveââ¬Â. The demanding orchestral mass can be realized with limited means. The solo parts can be filled from the choir. The work, which the composer himself did not have published, is here reissued on the basis of Schumannââ¬â¢s partial autograph score. Carus has also produced an arrangement of the work for choir and organ, enabling performances without orchestra in smaller venues (Carus 40.687/45).
SKU: CA.3124849
ISBN 9790007088484. Language: German/English.
With the edition of the Christmas Oratorio within the framework of the Stuttgart Bach Editions, Carus presents a scholarly edition for practical performance. The basis for this publication are Bach's autograph score and the original parts. The conducting score contains an appendix with a concise Critical Report which provides information about the sources and their readings; when necessary, the latter are discussed in more detail, especially with regard to how the editor arrived at solutions for questions of articulation which differ from those found in previous editions. The representative, clothbound volume is supplemented by a study score as well as a choral score, a vocal score and complete orchestral material. In the orchestral material short excerpts containing the conclusions of the secco recitatives are rendered with cue notes in separate vocal systems printed above the score where the instrumentalists pause, thus enabling them make their entrances in the movements which follow these recitatives. This work is also available in carus music, the choir app! Score and part available separately - see item CA.3124800.
SKU: CA.2770205
ISBN 9790007161668. Key: C major. Language: Latin. Text: Langton, Stephen. Text: Stephan Langton.
Antonio Caldara, with about 3,400 works to his credit, ranks among the most prolific composers of the Baroque era and of music history in general. From 1716 Caldara was employed as the Vice-Music Director at the Court of Vienna, where he quickly developed into the primary and favorite composer of the musically knowledgeable Emperor Karl VI. Caldara's festive setting of the sequence for Whitsun, Veni Sancte Spiritus, which may have been composed around 1725, is now made available for the first time in print. The catchy and compact piece is suited for concert performance and is also excellently suited for the liturgical context of Whitsun: during the Mass, for example, as entrance or exit music or as music for the offertory. Through similar scoring requirements Caldara's setting of the sequence can also be used with many compositions of the Ordinary without any additional effort. For most church choirs the tutti sections with Caldara's favored homophonic, yet effective vocal writing represent a grateful task. Score available separately - see item CA.2770200.
SKU: CA.3124809
ISBN 9790007211462. Language: German/English.
With the edition of the Christmas Oratorio within the framework of the Stuttgart Bach Editions, Carus presents a scholarly edition for practical performance. The basis for this publication are Bach's autograph score and the original parts. The conducting score contains an appendix with a concise Critical Report which provides information about the sources and their readings; when necessary, the latter are discussed in more detail, especially with regard to how the editor arrived at solutions for questions of articulation which differ from those found in previous editions. The representative, clothbound volume is supplemented by a study score as well as a choral score, a vocal score and complete orchestral material. In the orchestral material short excerpts containing the conclusions of the secco recitatives are rendered with cue notes in separate vocal systems printed above the score where the instrumentalists pause, thus enabling them make their entrances in the movements which follow these recitatives. This work is also available in carus music, the choir app! Score and parts available separately - see item CA.3124800.
SKU: CA.3107349
Key: G minor / c minor. Language: German/English.
In 1724, Bach composed the cantata Herr, wie du willt, so schicks mit mir [Lord, as you will, do unto me] BWV 73 for the third Epiphany Sunday. Like in some other cantatas from the first annual cycle, the opening movement contains a part for corno which would in fact have been unplayable on an instrument of that era - probably also a reason why Bach allocated this part to the organ in a repeat performance (both variants can be performed using the Carus edition). The unusual choral movement, interrupted by recitatives, is based quite substantially on a short four-note motive which is introduced by the horn; at the end of the chorus, the choir sings it to the words Herr, wie du willt [Lord, as you will] - an avowal which also quite substantially characterizes other movements of the cantata. Score and part available separately - see item CA.3107300.
SKU: CA.3124802
ISBN 9790007170837. Text language: German/English.
With the edition of the Christmas Oratorio within the framework of the Stuttgart Bach Editions, Carus presents a scholarly edition for practical performance. The basis for this publication are Bach's autograph score and the original parts. The conducting score contains an appendix with a concise Critical Report which provides information about the sources and their readings; when necessary, the latter are discussed in more detail, especially with regard to how the editor arrived at solutions for questions of articulation which differ from those found in previous editions. The representative, clothbound volume is supplemented by a study score as well as a choral score, a vocal score and complete orchestral material. In the orchestral material short excerpts containing the conclusions of the secco recitatives are rendered with cue notes in separate vocal systems printed above the score where the instrumentalists pause, thus enabling them make their entrances in the movements which follow these recitatives. This work is also available in carus music, the choir app! Score available separately - see item CA.3124800.
SKU: CA.3124804
ISBN 9790007170820. Text language: German/English.
SKU: CA.3107609
ISBN 9790007044930. Key: C major / a minor. Language: German/English.
The cantata Die Himmel erzahlen die Ehre Gottes (The heavens are telling of God in glory) BWV 76 by Johann Sebastian Bach was written for the 2nd Sunday after Trinity, which fell on 6 June 1723 in the year it was first performed. This ambitious two-part work was the second cantata which Bach wrote after taking up the position of Kantor of St. Thomas's in Leipzig. Bach's aim was evidently to demonstrate a particularly wide range of musical forms in both the arias and the recitatives in this cantata. The opening chorus is based on verses 2 and 4 of Psalm 19, with verse 4 structured as a choral fugue. Both parts of the cantata end with a chorale movement with different verses from the Lutheran hymn Es woll uns Gott genadig sein. The text refers loosely to the epistle reading from the 1st letter of St John, but deals more with general thoughts about the temptations of the Christian which can be overcome through love. Bach also performed the first part of the cantata later with minor revisions, but evidently no alterations to the text, on Reformation Day in Leipzig. Score and parts available separately - see item CA.3107600.
SKU: CA.3107605
ISBN 9790007044916. Key: C major / a minor. Language: German/English.
The cantata Die Himmel erzahlen die Ehre Gottes (The heavens are telling of God in glory) BWV 76 by Johann Sebastian Bach was written for the 2nd Sunday after Trinity, which fell on 6 June 1723 in the year it was first performed. This ambitious two-part work was the second cantata which Bach wrote after taking up the position of Kantor of St. Thomas's in Leipzig. Bach's aim was evidently to demonstrate a particularly wide range of musical forms in both the arias and the recitatives in this cantata. The opening chorus is based on verses 2 and 4 of Psalm 19, with verse 4 structured as a choral fugue. Both parts of the cantata end with a chorale movement with different verses from the Lutheran hymn Es woll uns Gott genadig sein. The text refers loosely to the epistle reading from the 1st letter of St John, but deals more with general thoughts about the temptations of the Christian which can be overcome through love. Bach also performed the first part of the cantata later with minor revisions, but evidently no alterations to the text, on Reformation Day in Leipzig. Score available separately - see item CA.3107600.
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