Carus-Verlag Sheet Music

Hosanna to the Son of David opens Telemann's cantata cycle "Musicalisches Lob Gottes in der Gemeine des Herrn" as a cantata for the 1st Advent. The year is based on poems by the Hamburg Jacobi chief p...

The Frankfurt Whitsun cantata from 1717 presents the choir and the four soloists with rewarding tasks and features a virtuoso recorder player in the opening chorus and in two of the three arias.

The Trauer-Actus is probably the earliest work of the Grimma Telemann cantata complex. Its textual and musical structure suggests that the work was composed during Telemann's time as a pupil in Hildes...

Vivaldi's employment at the "Ospedale della Pietà", one of the four orphanages in Venice where young girls received intensive musical training, prompted him to compose sacred works.

The double-choir psalm setting Dixit Dominus (Ps 109) is one of the most important works by the church composer Vivaldi. Here he draws on the old Venetian tradition of polychoral music, whose composit...

Psalm 147 "Lauda Jerusalem" has an important place in the church year, among other things in vespers on Marian feasts. Antonio Vivaldi's only setting of this Vespers Psalm has some peculiarities: the...

By repeating the complete text, the through-composed motet is divided into two parts, preceded by an instrumental prelude and followed by a coda ("Alleluia").

Since the two verifiable autographs of the Offertorium Misericordias Domini have been lost, Robert Münster has for the first time used the copies he has found from the Munich court music for this new...

In this work, one finds Mozart's Salzburg role models with regard to church music. The contrast between solo and tutti and the short imitative sections are reminiscent of Leopold Mozart, Eberlin and M...

Wolfgang Amadeus Mozart's "Regina coeli" is the first of his three settings of the Marian antiphon for Vespers at Easter.

The autograph was initially lost after the Second World War, but was found again in 1964 and forms the basis for this new critical edition by Christine Martin. Compared to other sources, articulation...

In contrast to the two "Regina coeli" settings K. 74 and 127, which are scored for solo soprano and choir, Mozart uses the solo quartet in K. 276, which, similar to the Salzburg masses, often only dia...

Of the vespers and vesper psalms that Mozart wrote for Salzburg Cathedral, the vesper parts "Dixit et Magnificat" are the earliest. Like the later complete vespers, they belong to the ecclesiastical a...

Mozart's "Sancta Maria" is one of those liturgical chants that are based on the time of the church year or the respective feast of the saints. It was probably sung on a feast of the Virgin Mary follow...

This Litany of the Virgin Mary is the first and simplest of the four litanies that Mozart composed in Salzburg in 1771-76. Due to the simple scoring - the trombone choir which joins the church trio on...

The litany consists of six movements, which are divided into nine differently characterized sections. It is clearly based on the sacramental litanies of his Salzburg predecessors and contemporaries.

contains: Dixit Dominus (Ps 109) in C Confitebor (Ps 110) in e Beatus vir (Ps 111) in B Laudate pueri (Ps 112) in F Laudate Dominum (Ps 116) in A Magnificat in C

It was during Mozart's last years at Salzburg, 1779 and 1780, that he composed the two sets of Vespers, KV 321 and KV 339. The music ot these Vespers gives no indication of Mozart's many grounds for a...

Franz von Suppè did not write his "Requiem" as a generally human or pantheistic lament for the dead, but as a consciously Christian-Catholic work of confession. The fact that Suppè succeeded in compos...

Cherubini's Requiem in C minor for mixed choir (without vocal soloists) and orchestra, which is presented here in a critically correct new edition, is one of the most important contributions to the ge...

Cherubini's "Messe solennelle in G" was originally composed for a planned coronation ceremony in 1819. However, the celebrations did not take place. The mass disappeared into oblivion and was only red...

Unlike in the well-known settings of the "Seven Words" by Schütz or Haydn, Franck comments on the sayings of the crucified Jesus in his opulently scored composition with passages from the Old and New...

The Tantum ergo in A major, WAB 43, is one of Bruckner’s student pieces, preceding the later Tantum ergo settings, WAB 41/1–4. The parallel sixths and the ending evoke memories of late Viennese Classi...

Elijah is regarded as a milestone in Mendelssohns compositional output and as a high point in the oratorio literature of the 19th century. Mendelssohn composed his second great oratorio just a year be...