Carus Piano Reductions: The Professional Choice for Vocal Scores

Soli SATB, Coro SATB, 2 Cor, Vne, Org

Anton Bruckners 'Te Deum' - ein Höhepunkt im Schaffen des Komponisten und eines der bedeutendsten Werke der geistlichen Chorliteratur des 19. Jahrhunderts - wird hier in einer modernen wissenschaftlic...

Anton Bruckners 'Te Deum' - ein Höhepunkt im Schaffen des Komponisten und eines der bedeutendsten Werke der geistlichen Chorliteratur des 19. Jahrhunderts - wird hier in einer modernen wissenschaftlic...

A center of the cultivation of polyphonic offertory settings and the multi-movement offertory concerto, which developed into one of the main genres of Catholic church music in southern Germany, was Sa...

Besetzung: Solo Bar (Hiskia), B (Jesaja), Bar (Obermundschenk, der Stellvertreter des Großkönigs Sanherib), S (Bote Jesajas), S (Magd), T (Erzähler), Coro S(S)A(A)T(T)B(B), Fl, Sopran-Sax/Alt-Sax (1 S...

Soli TB, Coro SATB, 2 Fl, 2 Ob, 2 Fg, 2 Cor, 2 Tr, Timp, 2 Vl, Va, Bc

In addition to the Christmas Oratorio BWV 248, another representative work was composed for the festive season of the church year in 1734/35: the Ascension Oratorio BWV 11 ("Praise God in his riches")...

The opening movement of Bach's choral cantata on Luther's "Aus tiefer Not schrei ich zu dir" BWV 38 for the 21st Sunday after Trinity in 1724 belongs to a group of cantatas whose opening chorus is not...

As part of his third Leipzig cantata cycle, Bach performed the Ascension cantata "Gott fähret auf mit Jauchzen" on May 30, 1726. Its text is included in the collection "Sonn- und Fest-Tags-Andachten ü...

The cantata BWV 44 from Bach's first Leipzig cantata cycle, the earlier of two compositions of the same name, was probably first performed on Sunday Exaudi in May 1724. The text deals with the themes...

The opening chorus of the cantata "Schauet doch und sehet" BWV 46 is one of those movements by Bach that is primarily known in its later guise: its first part became the "Qui tollis" of the Mass in B...

The cantata "Wer sich selbst erhöhet, der soll erniedriget werden" BWV 47 for the 17th Sunday after Trinity belongs to a whole series of cantatas with obbligato organ, most of which were composed in t...

The cantata for the 19th Sunday after Trinity belongs to Bach's first Leipzig cantata cycle and was performed for the first time on October 3, 1723. The text by an unknown poet is based on the Sunday...

Reconstruction of the presumed original version by Reinhold Kubik

The cantata Ich freue mich in dir was performed for the first time in Bach's second year in office, on Christmas Day 1724, and is part of the so-called choral cantata cycle. At the heart of the compos...

Version in A major (version in G major under Carus 31.182/50). The cantata Himmelskönig, sei willkommen (BWV 182) occupies a special place in Johann Sebastian Bach's life story. Active as an organist...

reconstructed version (2001) This edition is a revised edition of the St. Mark Passion of 1723, published in 1964 by Diethard Hellmann and reconstructed according to parody models, with a new preface...

Volume IV, 1 of the C.P.E. Bach Complete Edition, published by the Packard Humanities Institute "...at all times, in and outside the church, solely for the praise of God, and indeed without offense f...

Of the three oratorios that Carl Philipp Emanuel Bach composed as music director in Hamburg, The Resurrection and Ascension of Jesus, with its magnificent trumpet and timpani sounds and grateful chora...

Carl Philipp Emanuel Bach composed his Latin Sanctus in E flat in the years 1768-1778, when he was music director at the churches in Hamburg. The short and solemn work for choir and orchestra was inte...

Third version, premiered in Leipzig around 1747. First version available under 35.304/00. The St. Mark Passion, which was probably composed in the first decade of the 18th century by an unknown compo...

Homilius' oratorio passions are among the last compositions of this type from the 18th century. The role of the choir in the oratorio passions is largely limited to the chorales and folk choruses; onl...

Er war ohne Widerrede unser größter Kirchenkomponist, so schrieb der Lexikograph E. L. Gerber wenige Jahre nach Homilius’ Tod 1785. Als langjähriger Kreuzkantor hatte der Bach-Schüler Homilius aufgrun...

After the Passion cantata "Ein Lämmlein geht und trägt die Schuld" from 1775, the Christmas Oratorio is the second major vocal work by Homilius to be published in print during his lifetime. With an un...

Gottfried August Homilius was one of the last composers of the 18th century who, in addition to the then more popular Passion oratorio on fully composed texts, continued to compose passions using the...