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Mozart: 17 Kirchensonaten für Orgel solo

There are seventeen one-movement instrumental compositions known to have been composed by Mozart designated as either “Church sonatas” or “Epistle sonatas. Moreover, these consist partly of simple trios for two violins and bass, partly of generous, concertante movements with obbligato organ. In the later pieces, such as K. 263, 278, and 319, two oboes, two horns, two trumpets, and timpani are added. The organ part in theses works ranges from simple continuo playing to virtuoso solo tasks. The pieces were to be played between the Gloria and the Credo, following the reading of the epistle. The charming miniatures were a specialty of Salzburg, although only Mozart could affordthe luxury of composing his own pieces. From his predecessors and colleagues in Salzburg, such as Eberlin, Adlgasser or Michael Haydn, namely, no works of this type have been preserved. The Hungarian organist and composer Zsigmond Szathmáry arranged the pieces for organ solo and recorded them within the context of the Stuttgart Mozart Edition. Zsigmond Szathmáry presents a recording of little known music by Mozart with a colorful new sound.

Three Suites for violoncello solo : Op. 131c

The rediscovery of the original manuscripts of Max Reger's works for violin, viola, and cello op. 131a-d represents a minor sensation. These late works for solo strings dating from 1914 and 1915, the last of which was only published posthumously, were only known from the first printed editions until now, and a scholarly-critical edition based on all the sources has long been desirable. The new edition from the Max-Reger-Institut now fills this gap.

Three Suites for viola solo : Op. 131d

The rediscovery of the original manuscripts of Max Reger's works for violin, viola, and cello op. 131a-d represents a minor sensation. These late works for solo strings dating from 1914 and 1915, the last of which was only published posthumously, were only known from the first printed editions until now, and a scholarly-critical edition based on all the sources has long been desirable. The new edition from the Max-Reger-Institut now fills this gap.

Neue Choralmusik für Blockflöte solo

Six Preludes and Fugues for violin solo : op. 131a

Verklärte Nacht : Metamorphosen Bernius

Two very different programmatic works: Schoenberg’s romantic Verklärte Nacht op. 4 [1899, version for string orchestra 1943] and Metamorphoses for 23 solo strings [1945] by Richard Strauss, which reflects his sorrow at the destruction of the Second World War.

Göttlichs Kind. Advents- und Weihnachtsmusik : Johannsen

“With singers like Susanne Rydén or Sebastian Noack, the solo parts are in excellent hands. The Solistenensemble Stimmkunst and Ensemble 94 provide the meditative, quiet yet sparkling choral and instrumental accompaniment under the direction of Kay Johannsen, who founded both of these ensembles.”

Ein feste Burg. Vokal- und Instrumentalmusik : Speck

“... a really fine ensemble, and it’s well-led by Holger Speck, who keeps tempos flowing smoothly and articulation clear and crisp. All of the solo singers are expert, the choir is marvelous ... What else needs to be said, except ‘More Telemann!’” Classic Today [10/10]

Perlmuttfalter. Contemporary Choral Music

For the composer Frank Schwemmer [born 1961] the voice, be it solo or in a choir, is his instrument. This becomes very clear not only in his settings of great literary and Biblical texts but also in his lovingly ironic folk song arrangements that have been recorded here as well.

Buxtehude: Membra Jesu nostri [Rademann]

For Passion in 1680 Dieterich Buxtehude composed his greatest ortatorio-like work, the cantata cycle "Membra Jesu nostri". He dedicated it to his friend Gustav Düben, the Swedish Court Composer. Basically, the seven individual cantatas followed thestructural scheme of an “ instrumental introduction choral movement based on a biblical text vocal solo [aria] based on a sacred text of the Middle Ages and a repetition of the opening choral movement.” Within this scheme the feet, knees,hands, side, chest, heart and face of the crucified Christ are treated allegorically. Under the direction of Hans-Christoph Rademann the solo ensemble and the Dresdner Kammerchor have achieved amost impressive rendering of this work, which isentirely indebted to the gesture and expression of the text. The CD is rounded off by world premiere performances of two chorale cantatas by this composer from Lübeck, the 300th anniversary of whose death is being commemorated this year.

Lobgesang Op. 52 - Hymn of Praise : Symphonie-Kantate B-Dur Nr. 2 - Kritischer Bericht - Critical Commentary

Mendelssohn describes to his friend Klingemann the 1840 work as "a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged; the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’; one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices."

Mozart: 17 Kirchensonaten

There are seventeen one-movement instrumental compositions known to have been composed by Mozart designated as either “Church sonatas” or “Epistle sonatas“. These consist partly of simple trios for two violins and bass, partly of generous, concertante movements with obbligato organ. The organ part ranges from simple continuo playing to virtuoso solo tasks. The charming miniatures were a specialty of Salzburg, although only Mozart could afford the luxury of composing his own pieces.

Lobgesang. Symphonie-Kantate Op 52. : Kirchenwerke X

Mendelssohn describes to his friend Klingemann the 1840 work as "a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged; the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’; one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices."

Buxtehude: Solokantaten

During the Buxtehude commemorative year 2007 Carus is concentrating on his vocal works, which have been neglected for so long. This series begins with the production of three CDs featuring a selection of his solo cantatas for soprano, some of which are world premiere recordings. Under the direction of Wolfgang Katschner, Barbara Christian Steude and the Lautten Compagney have produced a convincing plea which should do more to place the vocal compositions of Buxtehude in a fairer light.

Hymn of Praise. Carus Choir Coach - Alto : MWV A 18 - Symphony cantata

Mendelssohn describes to his friend Klingemann the 1840 work as "a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged: the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’: one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices." This work is now available in carus music, the choir app!

Hymn of Praise. Carus Choir Coach - Bass : MWV A 18 - Symphony cantata

Mendelssohn describes to his friend Klingemann the 1840 work as "a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged: the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’: one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices." This work is now available in carus music, the choir app!

Hymn of Praise. Carus Choir Coach - Soprano : MWV A 18 - Symphony cantata

Mendelssohn describes to his friend Klingemann the 1840 work as "a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged: the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’: one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices." This work is now available in carus music, the choir app!

Hymn of Praise. Carus Choir Coach - Tenor : MWV A 18 - Symphony cantata

Mendelssohn describes to his friend Klingemann the 1840 work as "a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged: the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’: one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices." This work is now available in carus music, the choir app!

Rheinberger: Ave Maria [Musica Sacra X]

Today Rheinberger is known primarily as a composer of motets for several voices and for masses for mixed choir. On the other hand, the fact that he also composed a whole series of solo works or choral works for women's voices is today much less well known, although he wrote such works throughout his entire creative life and a good number of these are among his most popular and commercially successful compositions. Volume 10 of the Rheinberger CD series is dedicated to this interesting, long neglected genre in Rheinberger's sacred oeuvre.

Kleine geistliche Konzerte, Teil 1 : Complete recordings, Vol 7

Under the general direction of Hans-Christoph Rademann Carus will realize the first recording of the complete works of Heinrich Schutz by 2017. With a total of 22 CDs and countless concerts the first German composer of European statue will be given a tangible monument. The Kleine geistliche Konzerte, Part 1 is volume 7 of the series and the first of the CDs within the complete recording that present solo concertos by Schutz. With Dorothee Mields, Ulrike Hofbauer and the other soloists the best singers for this early baroque repertoire are performing together on this disc.

Marc-Antoine Charpentier: Noël. Weihnachtskantaten

Marc-Antoine Carpentier is not only the composer of the Eurovision theme tune [„Te Deum Prelude“], through his oratorios, motets and cantatats he also made important contributions to French baroque sacred music. Some of his Christmas pieces are recorded on this CD. As in Charpentier’s many Histoires sacrées, the music is in the oratorio style, with recitatives sung by the Evangelist and direct utterances by biblical characters. The singers of the solistenensemble stimmkunst take both the solo and the choral parts. This CD also includes a number of charming Noëls, Christmas songs for a small instrumental ensemble.

La Grandezza della Musica Imperiale : Composizioni per orchestra

Johann Josef Fux, who was highly respected and the longtime Music Director of the Viennese Imperial Court, is gradually being rediscovered. This recording presents little-known works from Fux's instrumental opus. The focus of this recording are the stylized baroque dances: movements of the suite in which all the virtuoso possibilities of solo and tutti playing in the manner of Italian gusto are relished and explored. An especial charm lies in the pictorial-programmatic works, as in the bird call imitations in the Ouverture in d Minor, or the serenade-like concerto entitled "gentleness and bitterness of the night" music full of surprises and contrasts.

Four Quartets op. 92

Brahms always had a fine feeling for lyrical quality. His cycle “Vier Quartette” (“Four Quartets”) op. 92 for voices and piano, setting four poems by Goethe, Daumer, Allmers, and Hebbel, demonstrates his musical skills in a particularly moving way. The cycle is about the romantic night atmosphere, about melancholy reflections on autumn, and secret noctural amorous adventures. The Urtext edition from Carus comprises a conductor’s score in large format and a choral score, both underlaid with singing text in German and English, and the piano accompaniment. The cycle can be performed by solo voices and piano, or by four-part mixed choir and piano.

Wie schön, hier zu verträumen : Lieder und Romanzen für Frauenchor und Solistenquartett

Today Heinrich von Herzogenberg [1843?1900] is known primarily as a composer of sacred works. With the present recording a somewhat different aspect of his multi-faceted, yet still to be discovered compositional interests is made clear: he is a truly romantic composer of secular choral music, who traces sensitively the poetic meaning of his texts and is versatile in handling the scoring for voices. In addition, the delicate piano accompaniment shows his great experience in the genre of lieder with piano. The first volume of secular choral music presents the composer as an inspired creator of lieder and romances for women?s choir and solo quartet.

Miserere In C Minor

It was not only the musicians of the 16th and 17th centuries who – for liturgical reasons – regularly presented settings of the penitential psalm 50 (51). Even in later times, composers occasionally cultivated this tradition, for example, the "Bückeburger" Johann Christoph Friedrich Bach with his 12-movement composition dated around 1770 which was only discovered in 1975. Bach’s Miserere, held almost exclusively in flat keys, consists of a balanced alternation of choral and solo sections. One common stylistic feature of all the sections is, in particular, the lavishly used "empfindsam" suspensions and small ornamental notes. As an example of the pre-Classical era, thecomposition is well suited for programmes featuring fast and penance compositions from several epochs.