SKU: CA.3104209

ISBN 9790007205836. Language: German/English.

Instead of an opening chorus Cantata BWV 42 begins with a magnificent Sinfonia in the style of the Brandenburg Concertos. It is possible that Bach took this movement from a concerto which he had composed earlier. The first aria, for alto with obbligato oboe and bassoon, could be derived from the middle movement of this concerto. The heroic bass aria, a statement of the certainty of faith, forms a weighty counterpart to the opening movement. Score and parts available separately - see item CA.3104200.

SKU: CA.3104213

ISBN 9790007205867. Language: German/English.

Instead of an opening chorus Cantata BWV 42 begins with a magnificent Sinfonia in the style of the Brandenburg Concertos. It is possible that Bach took this movement from a concerto which he had composed earlier. The first aria, for alto with obbligato oboe and bassoon, could be derived from the middle movement of this concerto. The heroic bass aria, a statement of the certainty of faith, forms a weighty counterpart to the opening movement. Score and part available separately - see item CA.3104200.

SKU: CA.3104211

ISBN 9790007205843. Language: German/English.

Instead of an opening chorus Cantata BWV 42 begins with a magnificent Sinfonia in the style of the Brandenburg Concertos. It is possible that Bach took this movement from a concerto which he had composed earlier. The first aria, for alto with obbligato oboe and bassoon, could be derived from the middle movement of this concerto. The heroic bass aria, a statement of the certainty of faith, forms a weighty counterpart to the opening movement. Score and part available separately - see item CA.3104200.

SKU: CA.3104207

ISBN 9790007142711. Text language: German/English.

Instead of an opening chorus Cantata BWV 42 begins with a magnificent Sinfonia in the style of the Brandenburg Concertos. It is possible that Bach took this movement from a concerto which he had composed earlier. The first aria, for alto with obbligato oboe and bassoon, could be derived from the middle movement of this concerto. The heroic bass aria, a statement of the certainty of faith, forms a weighty counterpart to the opening movement. Score available separately - see item CA.3104200.

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.4068719

ISBN 9790007311384. Key: C minor. Latin.

A mass setting by Robert Schumann? This is still likely to cause surprise among audiences – 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 Schumann’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 “fashioned with great love”.
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 Schumann’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).

. Score and parts available separately - see item CA.4068700.

SKU: CA.4068706

ISBN 9790007239725. Key: C minor. Latin.

A mass setting by Robert Schumann? This is still likely to cause surprise among audiences – 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 Schumann’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 “fashioned with great love”.
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 Schumann’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).

. Score available separately - see item CA.4068700.

SKU: BA.BA04025-01

ISBN 9790006443222. 33 x 26 cm inches. Text Language: English.

Handelâ??s â??Semeleâ?, which premiered in February 1744, is based on an adapted version of William Congreveâ??s opera libretto titled â??The Story of Semeleâ?, originally published in 1706. However, neither Handel nor his librettist referred to â??Semeleâ? as an opera or an oratorio, which, according to the understanding at the time, would have required a biblical and/or Christian subject matter. Contemporary audiences also disagreed on the genre. The problematic classification as an oratorio has persisted into the present day, likely due to the edition labeled as such by Chrysander. The â??Halle Handel Editionâ? (HHA) distances itself from this classification and, considering the available sources, refrains from assigning a genre label.

Congreve deviates from the mythological source multiple times in order to create tensions among the characters. The desired marriage between Semele and Athamas, whom she does not love, is an addition by Congreve to provoke the envy of her sister Ino, who desires Athamas herself. Therefore, Ino sees her own advantage in Semeleâ??s abduction by Jupiter. While Jupiterâ??s wife Juno decides to destroy Semele out of jealousy for his relationship with her, Jupiter brings Ino to his palace to console Semele. The vengeful Juno takes advantage of Inoâ??s presence and transforms into her likeness, persuading Semele to carry out a plan that later proves fatal. In the end, Ino emerges as the winner, as she is able to convince their father, Cadmus, to marry her to Athamas. The appearance of Apollo in the final scene to announce that Semeleâ??s immortal son Bacchus was saved from her ashes provides little consolation. However, this twist allows the drama to conclude with exuberant joy and a magnificent final chorus after the tragic scenes in the third act, culminating in the death of the protagonist.

Handelâ??s autograph score shows significant deviations from and numerous revisions of the original version premiered. All surviving early versions, the musical movements deleted before the premiere, and the version of the December 1744, are given in the appendix to the HHA.

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.5165203

ISBN 9790007294243. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozartâ??s Requiem. â??Another one?â? you might ask, since this publication is only the latest in a long line reaching back to the traditional SüÃ?mayr version. Yet such is the enormous power of Mozartâ??s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Armanâ??s additions to Mozartâ??s great original show the requisite care and respect while incorporating many new insights.

Armanâ??s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozartâ??s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrumentâ??s unique sound is given an opportunity to shine. Armanâ??s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather â?? in the spirit of Mozart â?? on creating a sense of drama and illuminating the theme in all its possible facets. Mozartâ??s fragment ends with the Hostias, and so does Armanâ??s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Sü�mayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.

Armanâ??s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike â?? and celebrated as offering a scholarly, entirely fresh perspective on Mozartâ??s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.