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Lord my God, my heart and soul were sore distressed Cantata for the 3rd Sunday after Trinity and for all occasions from 0,00 €

Wed, 27 May 2026 23:20:28 +0200

The cantata Ich hatte viel Bekümmernis BWV 21 has enjoyed lasting popularity since its publication, but it still presents some puzzles. The score no longer survives (although performance materials in various keys and scorings do), and anyone who wants to be confident in the coloraturas from the opening and final choruses should practice a lot – here is the moment to use the app's "slow mode".

Simply practice. Anytime. Everywhere.
Whether at home on your tablet or PC or on the road on your smartphone: with carus music, the Choir Coach, you always have your choral works with you to practice! With the carus music choir app, you can listen to your score together with a first-class recording on any device and easily practice your own choir part with a coach. With carus music, your concert preparation is easy, efficient and fun to master!

In this edition, the relevant part is highlighted by the sung voice instead of piano.

Performers: Gaechinger Cantorey – Núria Rial (Soprano) – Wiebke Lehmkuhl (Alto) – Benedikt Kristjánsson (Tenore) – Matthias Wickhler (Basso) – Hans-Christoph Rademann

The Mount of Olives Oratorio from 0,00 €

Thu, 04 Jun 2026 11:03:25 +0200

In his Passion oratorio Christus am Ölberge [The Mount of Olives], Beethoven succeeded firstly in building on an 18th century tradition, but also in putting his own personal stamp on the nascent genre of German-language oratorio. In his composition he looked towards contemporary opera. Christus am Ölberge is therefore characterized less by religious devotion and much more by the dramatic realization of a specific situation in the Passion story in deeply-felt musical scenes.

Experience of singing Bach’s Passions only helps with this work to a limited extent: instead of chorales, here there are choruses of warriors and youths who interact in a dramatic scene; later there is a chorus of angels who rejoice, and as well as this, the text is new – let’s turn to the music, there is a lot to get to grips with!

Performers: Maria Venuti (soprano), Keith Lewis (tenore), Michel Brodard (basso) – Gaechinger Cantorey Stuttgart, Bach-Collegium Stuttgart – Helmuth Rilling

Hymn to the Sun from 0,00 €

Thu, 04 Jun 2026 19:10:02 +0200

Together with Debussy, Ravel, and Dukas, Lili Boulanger was one of the most important representatives of impressionism. Despite her short life of just 24 years, she developed a distinctive personal style, and composed a huge variety of works including songs, piano music, operatic scenes, and choral music, all with great inventiveness. In the Hymne au soleil (Hymn to the sun) the sun is acclaimed in an ecstatic stratifications of chords. The resulting melodic sequences and the changing meters are in a class of their own. To pull off this evocation of blazing light in performance requires confidence in the notes and an alert mind.

Performers: Orpheus Vokalensemble – Anne Bierwirth (Alto) – Antonii Baryshevskyi (Piano) – Michael Alber

Mass in E minor 2nd version 1882 from 0,00 €

Fri, 15 May 2026 09:02:03 +0200

Bruckner completed his solemn Mass in E minor in 1866, but extensively revised the score in the years 1876-1882. Among his masses, this work (specifically composed for outdoor performance) is unusual in terms of its instrumentation: Bruckner dispenses with the typical string and organ accompaniment in favor of a wind ensemble. There are no sections for solo voice; instead, the choir shines throughout. The eight-part harmonies can prove a particular performance challenge. The Kyrie, with its dissonant half-tone clusters, will be best enjoyed by the choir (and audience!) when everyone has learnt their parts and can give their full attention to the conductor

Performers: KammerChor Saarbrücken, Bläser der Kammerphilharmonie Mannheim – Georg Grün

Mass in F minor from 0,00 €

Sun, 07 Jun 2026 20:37:31 +0200

Bruckner’s great Mass in F minor is one of his most important works – and indeed a highpoint of 19th-century choral music. Here the composer uniquely succeeds in illuminating through music this central act of worship.

The mass is quite demanding. Indeed, the premiere originally scheduled for November 1868 had to be canceled because some musicians found the work too difficult. This is a welcome challenge for experienced choirs and singers who don’t mind a few extra rehearsals.

Simply practice. Anytime. Everywhere.

Whether at home on your tablet or PC or on the road on your smartphone: with carus music, the Choir Coach, you always have your choral works with you to practice! With the carus music choir app, you can listen to your score together with a first-class recording on any device and easily practice your own choir part with a coach. With carus music, your concert preparation is easy, efficient and fun to master!

Performers: Maria Stader (Soprano), Claudia Hellmann (Alto), Ernst Haefliger (Tenore), Kim Borg (Basso) – Chor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks – Eugen Jochum

Te Deum from 0,00 €

Sat, 06 Jun 2026 15:26:54 +0200

Despite the considerable challenges it presents, Bruckner’s Te Deum is one of the most popular and frequently-performed choral-symphonic works in the entire repertoire. But the music, littered as it is with accidentals changes, causes even the most experienced choral singers some stress. Here carus music can help singers to scale the heights of this choral work.

Performers: Uta Spreckelsen (soprano), Heidrun Ankersen (alto), Adalbert Kraus (tenore), Kurt Moll (basso) – Chor des Musikvereins, Bielefeld, Philharmonia Hungarica – Martin Stephani

Mass in D major Organ version from 0,00 €

Sat, 06 Jun 2026 23:51:11 +0200

Dvorák composed his Mass in D as a commissioned work for the consecration of a chapel. So the first version was simply for chorus, soloists and organ – an orchestra probably would not have fitted into the space. The full attention is therefore on the vocal parts, another reason to learn the Mass thoroughly so that the lyrical-meditative mood Dvorák intended can be created.

Performers: Motettenchor Stuttgart – Günter Graulich

Requiem. Version for symphony orchestra from 0,00 €

Fri, 05 Jun 2026 22:37:27 +0200

Gabriel Fauré’s Requiem is the key work among the sacred compositions by the French master. Already during the composer’s lifetime, it proved very successful with the audiences, and this success remains undiminished all over the world to this day. In contrast to more “theatrically” conceived settings, it was Fauré’s intention to evoke a peaceful and conciliatory mood with his work. Even though the choral parts are very suitable for most choir singers due to their melodic accessibility, many passages are harmonically extremely sophisticated and require careful preparation in rehearsal.

Simply practice. Anytime. Everywhere.
Whether at home on your tablet or PC or on the road on your smartphone: with carus music, the Choir Coach, you always have your choral works with you to practice! With the carus music choir app, you can listen to your score together with a first-class recording on any device and easily practice your own choir part with a coach. With carus music, your concert preparation is easy, efficient and fun to master!

Performers: Flemish Radio Choir, Brussels Philharmonic Soloists – Hervé Niquet

Little Organ Mass from 0,00 €

Sun, 31 May 2026 23:05:16 +0200

In the Gloria and Credo of his “Little Organ Mass”, Haydn takes the principle of the Missa brevis to the extreme: the entire text is distributed simultaneously among the four voices so that the long text in the Gloria is treated in 19 measures. Accordingly, one has to be rhythmically autonomous as a chorister. Rhythmic certainty on the part of each individual is also necessary for the fugal treatment of the voices in the Sanctus, with its unusual 6/8 meter. It is good that one can practice these movements slowly, using the app.

Performers: Barbara Hendricks (soprano) – Rundfunkchor Leipzig, Staatskapelle Dresden – Sir Neville Marriner

Nelson Mass from 0,00 €

Fri, 29 May 2026 19:01:44 +0200

When Haydn wrote the Nelson Mass ("Missa in Angustiis") in less than eight weeks in 1798, he had written no masses in the preceding 14 years, but instead, had composed numerous symphonies and chamber music works. In the Nelson Mass, which was written in the same period as The Creation and The Seasons, a great deal is on offer musically, as might be expected: powerful choral sections alternate with virtuosic solo parts. So performances are always thrilling for audience and musicians alike, and always an experience.

Performers: Letizia Scherrer (soprano), Roxana Constantinescu (alto), Maximilian Schmitt (tenore), Michael Nagy (basso) – Gächinger Kantorei Stuttgart, Bach-Collegium Stuttgart – Helmuth Rilling

Missa in B flat Theresienmesse from 0,00 €

Thu, 02 Apr 2026 21:45:29 +0200

Haydn's Missa in B flat major has gone down in music history as the Theresienmesse, even though the reason for this designation is unclear. In order to give fullest justice to this beautiful work and to be able to offer the widest possible range of expression in the interpretation, it is essential to practice each individual voice well. The efforts are rewarded: the choristers experience the sheer joy of making music, making a lasting impact on the listener.

Performers: Simona Šaturová (soprano), Roxana Constantinescu (alto), Corby Welch (tenore), Yorck Felix Speer (basso) – Oregon Bach Festival Chorus, Oregon Bach Festival Orchestra – Helmuth Rilling

Mass in time of war from 0,00 €

Sat, 06 Jun 2026 22:33:29 +0200

One of his later works, Haydn’s Missa in tempore belli, composed in 1796, is also referred to as the Paukenmesse (“Kettledrum Mass”) through the use of timpani in the Agnus Dei. For the Vienna premiere, Haydn added flutes, clarinets and horns to the score, so that in terms of sound the soloists and the chorus have to hold their own against a truly large orchestral apparatus. In this case, practicing with the app is of course recommended for a good vocal presence.

Performers: Ann Hoyt (soprano), Kirsten Sollek (alto), Daniel Neer (tenore), Richard Lippold (basso) – Trinity Church Choir, Rebel Baroque Orchestra – J. Owen Burdick

The Creation from 0,00 €

Fri, 05 Jun 2026 14:18:08 +0200

Haydn's magnificent Creation marks something akin to the "birth" of the great German oratorio, in view of the fact that this work – which is popular all over the world –stands as a landmark between the great oratorios of Händel and Mendelssohn. The composition of the Creation was particularly associated with the music of Händel since Haydn, on his two trips to England in the first half of the 1790s, had been profoundly impressed by monumental performances in Westminster Abbey. The choral parts are not particularly difficult; however, in order to most effectively attain the effortlessness and vivaciousness of Haydn's music, each part should be perfectly rehearsed.

Performers: Julia Kleiter (soprano), Maximilian Schmitt (tenore), Johannes Weisser (basso) – RIAS-Kammerchor, Freiburger Barockorchester – René Jacobs

Mass in C major Sparrow Mass from 0,00 €

Wed, 03 Jun 2026 21:48:30 +0200

In the "Sanctus" of Mozart's "Mass in C major", the sparrows twitter from the eaves in the violin part. And yet, despite its traditional aspects, this mass has several pitfalls for the choir in the "Kyrie" and the "Gloria": In the "Kyrie", the "eleison" is embellished with jubilant sixteenth-note chains that merge into a modulation – at this point it is good to be able to hear the course of this melody slowly with the app. In the "Gloria", the extensive "Qui tollis" is striking: the chromaticism quickly becomes clear when hearing the music in its entirety with the app.

Simply practice. Anytime. Everywhere.

Performers: Angela Maria Blasi (soprano), Elisabeth von Magnus (alto), Uwe Heilmann (tenore), Franz-Josef Selig (basso) – Arnold Schoenberg Chor, Concentus musicus Wien – Nikolaus Harnoncourt

Missa brevis in B flat major from 0,00 €

Sat, 06 Jun 2026 18:11:01 +0200

The Missa Brevis in B flat major K. 275 is characterized by a prevailing cheerful, buoyant mood, which Alfred Einstein attested to be "a refinemenet of inconspicuous polyphony and, above all, chromatic movement and boldness". The carus music app proves to be very helpful for practicing the dialog-like, meshed solo and tutti passages and for the chromatic, in part tricky movements of the voices the Coach provides orientation.

Performers: Agnès Mellon (soprano), Elisabeth Graf (alto), Oly Pfaff (tenore), Franz-Josef Selig (basso) – Kölner Kammerchor, Collegium Cartusianum – Peter Neumann

Missa brevis in G major from 0,00 €

Wed, 03 Jun 2026 17:19:07 +0200

In the Missa Brevis in G major K. 140 the buoyant folk-inspired melody with a voice leading containing many parallel thirds and sixths approaches the genre of the pastoral mass. The movements are characterized by songlike themes. The voices move in an apparent carefree manner – but the jumping melodic lines are not so easy to sing. The model offered by the carus music app helps to achieve this lightness and in addition, when practicing singers can hear the cheerful alternation between solo and tutti passages.

Performers: Agnès Mellon (soprano), Elisabeth Graf (alto), Oly Pfaff (tenore), Franz-Josef Selig (basso) – Kölner Kammerchor, Collegium Cartusianum – Peter Neumann

Requiem (Süßmayr version) from 0,00 €

Sun, 07 Jun 2026 22:05:01 +0200

The composition of the Requiem is surrounded by anecdotes and legends. Mozart’s student Franz Xaver Süßmayr completed the unfinished work after Mozart’s death. But in musical terms, the work offers far more than mere anecdotes: Mozart’s choral writing, at the height of his art, presents singers with harmonically challenging passages and thrilling fugues. If you master this, there’s great enjoyment to be had from singing the work, despite its subject matter ...

Performers: Vasiljka Jezovsek (soprano), Claudia Schubert (alto), Marcus Ullmann (tenore), Michael Volle (basso) – Kammerchor Stuttgart, Barockorchester Stuttgart – Frieder Bernius

Evensong from: Drei geistliche Gesänge from 0,00 €

Wed, 03 Jun 2026 09:33:35 +0200

The core of the extensive and wide-ranging body of choral music composed by Rheinberger is found in the music which he worte for use in Catholic services. Perhaps the best-known sacred composition of Rheinberger is his six-part motet "Bleib bei uns" op. 69,3, the so-called "Abendlied", which had its origins in a student piece. Right at the beginning the shift from F major to A minor and the imploring melodic line provide examples of the subtle compositional skills of the young composer.

Performers: Kammerchor Stuttgart – Frieder Bernius

Stabat Mater from 0,00 €

Thu, 21 May 2026 12:06:55 +0200

The Stabat mater occupies a special place in Rossini’s output: it was written over a ten-year period in two phases of composition (1831–41). In this work Rossini uses the typical musical means of chromaticism and sighing motifs to express the pain of Mary’s suffering on Jesus’s crucifixion. The choral highpoint of the composition is the spirited concluding fugato in which the mourning, lamenting introductory music of the opening movement is woven in, in richly varied fashion. But the greatest challenge for the choral singers lies in doing justice to the different styles of the movements – from the sacred to the operatic.

Please note: bars 22-28, 69-86 and 99-105 of the last movement “In sempiterna saecula” are not included in carus music.

Performers: Maria Stader (soprano), Marianna Radev (alto), Ernst Haefliger (tenore), Kim Borg (basso) - RIAS-Kammerchor, RIAS-Knabenchor, Berliner Mädchenchor, Chor der St. Hedwigs-Kathedrale, RIAS-Symphonie-Orchester, Ferenc Fricsay

Peace on Earth from 0,00 €

Thu, 05 Feb 2026 08:37:32 +0100

Friede auf Erden op. 13 is regarded as Arnold Schoenberg’s last tonal composition and is one of the few choral works of the Second Viennese School. On the same day that he completed his op. 13, Schoenberg made the first sketches for his 2nd String Quartet, a key work in atonal music. Although Schoenberg later orchestrated Friede auf Erden, he intended the piece to be performed unaccompanied.

Due to insufficient rehearsals, the planned premiere in 1908 was canceled at short notice. Franz Schreker took on the next attempt in 1911 and requested a string orchestra accompaniment from Schoenberg to support the choir, particularly with the intonation. Nowadays, Friede auf Erden is usually performed a cappella by powerful chamber choirs. With carus music, the demanding voice leading in the context of the multi-layered sound can be practiced excellently - so that nothing stands in the way of rehearsals and a successful performance.

Performers: Kammerchor Stuttgart – Frieder Bernius