Carus Sheet Music Downloads

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...

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...

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...

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...

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...

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...

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...

The psalm setting "Credidi, propter quod locutus sum" RV 605 is a curiosity among Antonio Vivaldi’s sacred vocal works, as it is an arrangement of an arrangement. The basis for this contrafactum was t...

The psalm setting "Credidi, propter quod locutus sum" RV 605 is a curiosity among Antonio Vivaldi’s sacred vocal works, as it is an arrangement of an arrangement. The basis for this contrafactum was t...

The psalm setting "Credidi, propter quod locutus sum" RV 605 is a curiosity among Antonio Vivaldi's sacred vocal works, as it is an arrangement of an arrangement. The basis for this contrafactum was t...

The psalm setting "Credidi, propter quod locutus sum" RV 605 is a curiosity among Antonio Vivaldi’s sacred vocal works, as it is an arrangement of an arrangement. The basis for this contrafactum was t...

The psalm setting "Credidi, propter quod locutus sum" RV 605 is a curiosity among Antonio Vivaldi’s sacred vocal works, as it is an arrangement of an arrangement. The basis for this contrafactum was t...

The psalm setting "Credidi, propter quod locutus sum" RV 605 is a curiosity among Antonio Vivaldi’s sacred vocal works, as it is an arrangement of an arrangement. The basis for this contrafactum was t...

The psalm setting "Credidi, propter quod locutus sum" RV 605 is a curiosity among Antonio Vivaldi’s sacred vocal works, as it is an arrangement of an arrangement. The basis for this contrafactum was t...

The psalm setting "Credidi, propter quod locutus sum" RV 605 is a curiosity among Antonio Vivaldi’s sacred vocal works, as it is an arrangement of an arrangement. The basis for this contrafactum was t...

Pfingstsequenz - In diesem Werk findet man die Salzburger Vorbilder Mozarts im Hinblick auf die Kirchenmusik. Der Kontrast zwischen Solo und Tutti und die kurzen imitatorischen Abschnitte verweisen au...

Wolfgang Amadeus Mozarts Offertorium 'Benedictus sit Deus' entstand wahrscheinlich während eines längeren Aufenthalts in Wien zur Einweihung der dortigen Waisenhauskirche am Rennweg, die am 7. Dezembe...

Coro SATB, 2 Ctr, 2 Tr, Timp, 2 Vl, Bc, [3 Trb]

Marienantiphon - Im Gegensatz zu den beiden 'Regina coeli'-Vertonungen KV 74 und 127, die mit Solosopran und Chor besetzt sind, verwendet Mozart in KV 276 das Solistenquartett, das ähnlich wie in den...

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

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

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

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

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

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