Vespers 1610 Soli, choeur mixte et accompagnement Carus Verlag
Vespers 1610. Composed by Claudio Monteverdi (1567-1643). Edited by Uwe W...(+)
Vespers 1610.
Composed by Claudio
Monteverdi (1567-1643).
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition.
Feasts of the Blessed
Virgin Mary, Hymns in
praise of the Virgin
Mary. Full score
(clothbound edition). No.
206. 192 pages. Duration
90 minutes. Published by
Carus Verlag
(CA.2780101).
Nouvelle Aventures Soli, choeur mixte et accompagnement [Conducteur] Peters
By Gyorgy Ligeti. For soprano (coloratura), alto, baritone soli, 1000 1000 percu...(+)
By Gyorgy Ligeti. For
soprano (coloratura),
alto, baritone soli, 1000
1000 percussion,
piano/celesta, cembalo,
violoncello, contrabass.
Musical-dramatic Action
in 14 Parts for 3
Singers,3
Mimes,Dancers,Extras and
7 Instrumentalists (Can
also be performed as a
concert piece)(Ger).
Published by C.F. Peters.
Cantata
for the 20th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Frauke Heinze.
Arranged by Masaaki
Suzuki. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Complete orchestral
parts. Sacred vocal
music, Cantatas, Whitsun,
Mourning, death. Set of
Orchestra Parts. Composed
1716. BWV 162. Duration
18 minutes. Carus Verlag
#CV 31.162/19. Published
by Carus Verlag
(CA.3116219).
ISBN
9790007172244. Language:
German/English.
Scripture: Matthew
22:1-14.
The
cantata for the 20th
Sunday after Trinity. Ah!
I see now, as I to the
wedding bidden, BWV 162
was first performed on 25
October 1716 in the
Castle church at Weimar.
During the first year in
his position as
Thomaskantor, Bach made a
revival performance of
the cantata on 10 October
1723. For this Leipzig
version he added an
additional obbligato
voice in the first
movement and in the final
chorale he added a Corno
da tirarsi, which played
colla-parte with the
soprano. However, we do
not know what this
mysterious instrument
looked like. For
performances today we
recommend using a trumpet
or a slide trumpet. The
cantata begins not with
an introductory chorus,
but rather with a
sonorous bass aria with a
string accompaniment and
obbligato trumpet. The
following movements,
movement 2 through 5, are
also performed by vocal
soloists. The third
movement, a soprano aria,
presents a peculiarity:
the obbligato wind parts
were not contained in the
original version of this
cantata. Our edition
offers a reconstruction
for the flute, made by
the famous Bach
interpreter and expert,
Masaaki Suzuki. Score and
parts available
separately - see item
CA.3116200.
Cantata for the 20th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Frauke Heinze. Arranged
by Masaaki Suzuki. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Basso
continuo. Sacred vocal
music, Cantatas, Whitsun,
Mourning, death. Single
Part, basso continuo.
Composed 1716. BWV 162.
12 pages. Duration 18
minutes. Carus Verlag #CV
31.162/14. Published by
Carus Verlag
(CA.3116214).
ISBN
9790007208936. Text
language:
German/English.
The
cantata for the 20th
Sunday after Trinity. Ah!
I see now, as I to the
wedding bidden, BWV 162
was first performed on 25
October 1716 in the
Castle church at Weimar.
During the first year in
his position as
Thomaskantor, Bach made a
revival performance of
the cantata on 10 October
1723. For this Leipzig
version he added an
additional obbligato
voice in the first
movement and in the final
chorale he added a Corno
da tirarsi, which played
colla-parte with the
soprano. However, we do
not know what this
mysterious instrument
looked like. For
performances today we
recommend using a trumpet
or a slide trumpet. The
cantata begins not with
an introductory chorus,
but rather with a
sonorous bass aria with a
string accompaniment and
obbligato trumpet. The
following movements,
movement 2 through 5, are
also performed by vocal
soloists. The third
movement, a soprano aria,
presents a peculiarity:
the obbligato wind parts
were not contained in the
original version of this
cantata. Our edition
offers a reconstruction
for the flute, made by
the famous Bach
interpreter and expert,
Masaaki Suzuki. Score and
part available separately
- see item
CA.3116200.
Cantata
for the 13th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Frieder Rempp.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Basso
continuo. Sacred vocal
music, Cantatas, Whitsun.
Single Part, basso
continuo. Composed 1725.
BWV 164. 12 pages.
Duration 17 minutes.
Carus Verlag #CV
31.164/14. Published by
Carus Verlag
(CA.3116414).
ISBN
9790007209056. Text
language:
German/English.
Thi
s 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.
Cantata
for the 13th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Frieder Rempp.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 2.
Sacred vocal music,
Cantatas, Whitsun. Single
Part, Violin 2. Composed
1725. BWV 164. 8 pages.
Duration 17 minutes.
Carus Verlag #CV
31.164/12. Published by
Carus Verlag
(CA.3116412).
ISBN
9790007209032. Text
language:
German/English.
Thi
s 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.
Cantata
for the 13th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Frieder Rempp.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Viola. Sacred
vocal music, Cantatas,
Whitsun. Single Part,
Viola. Composed 1725. BWV
164. 4 pages. Duration 17
minutes. Carus Verlag #CV
31.164/13. Published by
Carus Verlag
(CA.3116413).
ISBN
9790007209049. Text
language:
German/English.
Thi
s 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.
Cantata
for the 13th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Frieder Rempp.
Arranged by Paul Horn.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 1.
Sacred vocal music,
Cantatas, Whitsun. Single
Part, Violin 1. Composed
1725. BWV 164. 8 pages.
Duration 17 minutes.
Carus Verlag #CV
31.164/11. Published by
Carus Verlag
(CA.3116411).
ISBN
9790007209025. Text
language:
German/English.
Thi
s 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.
Mass in G major Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Vocal Score] - Facile Carus Verlag
By Franz Schubert (1797-1828). Edited by Bernhard Paul. For Soli STB, SATB Choir...(+)
By Franz Schubert
(1797-1828). Edited by
Bernhard Paul. For Soli
STB, SATB Choir, [2
Trumpets, Timpani], 2
Violins, Viola,
Cello/Contrabass, Organ.
This edition: Paperbound.
G-Dur (G major).
Stuttgart Urtext
editions. Score available
separately - see item
CA.4067500. Masses,
Latin. Level 3. Vocal
score. Language: Latin. D
167. 36 pages. Duration
25 min. Published by
Carus Verlag
Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc - Gr...(+)
Soli SAATBB, Coro SATB
(auch SSAATB), 2 Bfl, 2
Ob, 2 Tr, Timp, 2 Vl, Va,
Bc - Grade 3
SKU:
CA.1025000
Composed
by Henry Purcell. Edited
by Julia Rosemeyer. Carus
digital: Extra digital
products. Full Score.
Composed 1692. Z 328.
Duration 55 minutes.
Carus Verlag #1025000.
Published by Carus Verlag
(CA.1025000).
ISBN
9790007251826. Key: D
major.
English.
â??Hail!
bright Cecilia, hail to
thee. Great patroness of
us and harmony!â? â??
this exclamation opens
the final chorus of Henry
Purcellâ??s eponymous
Ode to St. Cecilia from
1692. A paean to the
power of music, the work
is one of the undoubted
masterpieces of English
choral odes of that time.
A resolution of
the Musical Society of
London in 1683 launched
the great tradition of
annual celebrations for
St. Ceciliaâ??s Day
(November 22), featuring
a church service followed
by performances of
specially composed music.
Over the years, Purcell
wrote several odes for
the occasion, of which
this example from 1692 is
one of the most popular.
Four decades later,
Handel would also
contribute to the
celebrations with his
Alexanderâ??s Feast, HWV
75 (Carus 55.075), and
his Ode for St.
Ceciliaâ??s Day, HWV 76
(Carus
55.076).Purcellâ
??s magnificent music,
which features a huge
range of tonal color and
form, offers delightful
parts for a variety of
solo, ensemble, and
choral settings. With its
richly expressive
palette, the Ode to St.
Cecilia is an extremely
rewarding work by the
â??Orpheus
Britannicusâ?, as
Purcell was admiringly
called by
contemporaries.-
Festive, rousing ode to
music- Highlight of
the choral ode genre in
the 17th century
St. Matthew Passion Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Set de Parties séparées] Carus Verlag
Composed by Johann Sebastian Bach (1685-1750). Edited by Klaus Hofmann. This edi...(+)
Composed by Johann
Sebastian Bach
(1685-1750). Edited by
Klaus Hofmann. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Matthauspassion.
Passions, Lent and
Passiontide. Complete
orchestral parts. BWV
244. Duration 175
minutes. Published by
Carus Verlag
(CA.3124419).
Composed
by Georg Philipp
Telemann. Edited by Klaus
Hofmann. This edition:
urtext. 2x 39.115/21
flute 1, 2x 39.115/22
flute 2, 1x 39.115/23
oboe 1, 1x 39.115/24 oboe
2. Stuttgart Urtext
Edition: Telemann-Archiv.
Harmony parts. Sacred
vocal music, Cantatas,
Christmas. Set of
Orchestra Parts. TVWV
1:1452. 16 pages.
Duration 22 minutes.
Carus Verlag #CV
39.115/09. Published by
Carus Verlag
(CA.3911509).
ISBN
9790007215590. Language:
German.
Uns ist ein
Kind geboren is one of
Telemann's most beautiful
Christmas cantatas, which
features an opening duet
for two sopranos based on
Polish-Moravian folklore,
as well as two
substantial choral
movements. The two horns
allotted to the second
choral movement to the
text Ehre sei Gott in der
Hohe can be replaced by
two flutes. This is
supported by a source
from the Telemann
tradition in Frankfurt,
in which these parts are
present. Score and parts
available separately -
see item CA.3911500.
(Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc) - ...(+)
(Soli SAATBB, Coro SATB
(auch SSAATB), 2 Bfl, 2
Ob, 2 Tr, Timp, 2 Vl, Va,
Bc) - Grade 3
SKU:
CA.1025014
Composed
by Henry Purcell. Edited
by Julia Rosemeyer.
Single Part, basso
continuo. Composed 1692.
Z 328. Duration 55
minutes. Carus Verlag
#1025014. Published by
Carus Verlag
(CA.1025014).
ISBN
9790007329792. Key: D
major.
English.
�Hail
! bright Cecilia, hail to
thee. Great patroness of
us and harmony!�
� this exclamation
opens the final chorus of
Henry Purcell�s
eponymous Ode to St.
Cecilia from 1692. A
paean to the power of
music, the work is one of
the undoubted
masterpieces of English
choral odes of that time.
A resolution of
the Musical Society of
London in 1683 launched
the great tradition of
annual celebrations for
St. Cecilia�s Day
(November 22), featuring
a church service followed
by performances of
specially composed music.
Over the years, Purcell
wrote several odes for
the occasion, of which
this example from 1692 is
one of the most popular.
Four decades later,
Handel would also
contribute to the
celebrations with his
Alexander�s Feast,
HWV 75 (Carus 55.075),
and his Ode for St.
Cecilia�s Day, HWV
76 (Carus
55.076).
Purcellï
¿½s magnificent music,
which features a huge
range of tonal color and
form, offers delightful
parts for a variety of
solo, ensemble, and
choral settings. With its
richly expressive
palette, the Ode to St.
Cecilia is an extremely
rewarding work by the
�Orpheus
Britannicus�, as
Purcell was admiringly
called by
contemporaries.
-
Festive, rousing ode to
music - Highlight of
the choral ode genre in
the 17th century .
Score and part available
separately - see item
CA.1025000.
Composed by Antonia Bembo (1643-1715). Edited by Conrad Misch. Soli, Choir and I...(+)
Composed by Antonia Bembo
(1643-1715). Edited by
Conrad Misch. Soli, Choir
and Instruments (Piano,
Organ, Orchestra). First
edition. Choral. Score
and parts. Published by
Furore Verlag
(FV.FUE-6710).
In
Nativitate Domini in
nocte. Composed by
Jakub Jan Ryba. Edited by
Karlheinz Ostermann.
Arranged by Paul Horn. 1x
40.683/21 bassoon, 1x
40.683/31 clarino. Missa
Pastoralis In C
Zugl.Orgelstimme. Sacred
vocal music, Masses,
Latin. Set of Orchestra
Parts. Composed 1808. 8
pages. Duration 16
minutes. Carus Verlag #CV
40.683/09. Published by
Carus Verlag
(CA.4068309).
ISBN
9790007220273. Key: C
major. Language:
Latin.
The Missa
pastoralis in C,
published here for the
first time, dates from
about 1808. It belongs to
a cycle of sacred pieces,
a ,,Cursus
sacro-harmonicus, which
Ryba planned as
Ordinarium and Proprium
settings for all the
Sundays and feast days of
the church year. The
Missa pastoralis in C is
a pastoral Mass for the
matutinal service at
Christmas. As in the
Missa Pastoralis in B
flat, in this Mass Ryba
makes use of concertante
instruments: trumpet and
a bassoon, an instrument
seldom employed
solistically in a Mass,
but which gives this work
a unique character. Score
and parts available
separately - see item
CA.4068300.
Cantata
for St. Michael.
Composed by Johann
Sebastian Bach. Edited by
Uwe Wolf. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Organ. Sacred vocal
music, Cantatas. Single
Part, Organ. Composed
1724. BWV 130. 16 pages.
Duration 14 minutes.
Carus Verlag #CV
31.130/49. Published by
Carus Verlag
(CA.3113049).
ISBN
9790007207885. Language:
German/English.
As
in all cantatas for St.
Michael the chorale
cantata Lord God, we
praise thee all of us BWV
130 from 1724 is a
magnificent composition.
Not only in the opening
chorus and the final
chorale do the three
trumpets and timpani play
a role, but the first
aria In hell the serpent,
hot with hate is even
accompanied solely by
trumpets, timpani and
continuo. The second
aria, Thou, of cherubim
the master, brings an
unexpected contrast in
which, besides the tenor
and continuo, on a solo
flute is heard. The
original set of parts
were separated from each
other in the 19th century
and today are scattered
throughout the world. For
the first time, some of
the parts were taken into
consideration in
preparing this edition.
Score and part available
separately - see item
CA.3113000.
Funeral
ode. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Trauerode.
Cantatas. Single Part,
basso continuo. Composed
1727. BWV 198. 20 pages.
Duration 35 minutes.
Carus Verlag #CV
31.198/16. Published by
Carus Verlag
(CA.3119816).
ISBN
9790007210649. Text
language:
German/English.
Com
posed in 1727 for a
eulogy and funeral
oration for Electress
Christiane Eberhardine in
the Leipzig University
church, the music for the
funeral ode is well-known
today above all through
reconstructions of Bach's
St Mark Passion, in which
large parts of this
cantata were probably
re-used, but of which
only the text survives.
With the funeral ode we
have one of Bach's
strongest and most
fascinating vocal
compositions. Although
Gottsched's text is
associated with a
particular occasion, it
is distinguished in its
literary quality from
many secular cantatas and
it is entirely
appropriate to perform
this impressive cantata
in concerts. Score and
part available separately
- see item
CA.3119800.
Viennese version.
Composed by Giovanni
Battista Pergolesi.
Edited by Martin
Haselbock. Arranged by
Ignaz Xaver Ritter von
Seyfried, Joseph Leopold
Eybler, and Otto Nicolai.
Stabat Mater (Satb
Arr.Salieri) Spira.
Sacred vocal music, Lent
and Passiontide, Feasts
of the Blessed Virgin
Mary, Hymns in praise of
the Virgin Mary. Single
Part, Viola. Composed
1736/1800/1843. 16 pages.
Duration 35 minutes.
Carus Verlag #CV
97.003/13. Published by
Carus Verlag
(CA.9700313).
ISBN
9790007238773. 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.
16th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn. 1x
31.008/21 flute, 1x
31.008/22 oboe 1, 1x
31.008/23 oboe 2, 1x
31.008/31 horn, 1x
31.008/32 cornett. German
title: Liebster Gott,
wenn werd ich sterben 5.
Sacred vocal music,
Cantatas, Special days,
Mourning, death. Set of
Orchestra Parts. Composed
1724. BWV 8. 28 pages.
Duration 23 minutes.
Carus Verlag #CV
31.008/09. Published by
Carus Verlag
(CA.3100809).
ISBN
9790007041953. Key: E
major. Language:
German/English. Text:
Neumann, Caspar. Text:
Caspar
Neumann.