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Carus · Excellence in Choral Music 

Recommendations for concert programs

www.carus-verlag.com 

Carus · Excellence in Choral Music 

Carus · The Expert for choral music 

Carus was founded in 1972 with the aim of publishing editions of sacred choral music drawn from previously unpublished 

works, works out of print or works in older editions which did not conform to the standards of modern editorial practice. In 

pursuing its goal of continually expanding the repertoire available to choirs, Carus has become a leading publisher of sacred 

music worldwide. 

Carus · Up to date Urtext edition 

– Urtext founded upon the latest musicological developments: including the latest musicological research and newly 

discovered sources, 

– full scores with forewords, critical reports and/or remarks concerning the edition and suggestions for performance practice, 

– easily playable vocal scores, 

– performance material for all works, with cue notes and practical page turns, choral scores, orchestral parts and figured bass 

realizations for all works, 

– the excellent quality of Carus music engraving 

Carus · High quality editions 

Carus editions adhere to the highest scholarly standards. They include informative forewords in English, German and French 

and they are also distinguished by the excellent quality of their music engraving, as well as by their attractive presentation. 

The “Stuttgarter Ausgaben” of works by Bach, Mozart, Schubert and Mendelssohn are recognized worldwide as leading 

Urtext editions of sacred repertoire. 

In the production of the editions we place great importance on a high-quality format, starting with the choice of paper via 

the precise printing to a stable, durable binding. 

This catalog presents an overview of the most important Carus Urtext editions of central European choral repertoire from the 

17th–19th centuries. To view our complete catalog please visit www.carus-verlag.com or ask for our Complete catalog 2010. 

Content 

Bach, Johann Sebastian: Christmas Oratorio BWV 248 4 

– St. John Passion BWV 245 3 

Beethoven, Ludwig van: Mass in C major op. 86 11 

– Missa solemnis op. 123 11 

Brahms, Johannes: Ein deutsches Requiem op. 45 15 

Buxtehude, Dieterich: Membra Jesu nostri BuxWV 75 5 

– The last Judgement BuxWv Anh. 3 5 

Cherubini, Luigi: Requiem in c minor 13 

Dvorák, Antonín: Mass in D op. 86 15 

Fauré, Gabriel: Requiem op. 48 16 

Handel, George Frideric: Messiah HWV 56 6 

– Ode for St. Cecilia’s Day HWV 76 6 

Haydn, Joseph: Missa in Angustiis (Lord Nelson Mass) 8 

Mendelssohn Bartholdy, Felix: Christus op. 97 12 

– Elijah op. 70 12 

– St. Paul op. 36 12 

Mozart, Wolfgang Amadeus: Missa in C minor 9 

– Requiem K. 626 9 

Puccini, Giacomo: Messa di Gloria SC 6 16 

Rossino, Gioachino: Petite Messe solennelle 14 

Saint-Saëns, Camille: Oratorio de Noël op. 12 13 

Schubert, Franz: Mass in A flat major D 678 10 

Vivaldi, Antonio: Gloria RV 589 7 

Carus-Verlag Stuttgart 

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D-70771 Leinfelden-Echterdingen 

Telefon +49 (0)711-797 330-0 

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e-mail: sales@carus-verlag.com 


Abbreviantions, symbols 

� = 20% / Price valid fm 20 cpy. / fm 50 cpy. 5% / fm 100 cpy 10% 

discount / 20% surcharge for less than 20 cpy 

( ) = Instruments in parentheses indicate alternative scoring 

Les instruments notés entre parenthèses désignent les autres 

distributions possibles 

[ ] = Instruments in brackets indicate ad libitum scoring 

Les instruments notés entre crochets désignent les distributions 

ad libitum 

Armo harmonium 

Bc basso continuo · basse continue 

Cb contrabasso · contrebasse 

Clt clarinet · clarinette 

Cor horn · cor 

Ctr clarino · clarine 

Fg bassoon · basson 

Fl flute · flûte traversière 

Ob oboe · hautbois 

Org organ · orgue 

Pfte pianoforte · piano 

Pic piccolo 

Tast keyboard instrument · instrument à clavier 

Tb tuba 

Timp timpani · timbales 

Tr trumpet · trompette 

Trb trombone 

Va viola · alto 

Vc violoncello · violoncelle 

Vl violin · violon 

All additional abbreviations will be found in our complete catalog or at 

www.carus-verlag.com/help.html 

Prices are subject to change. Errors excepted. 

Les livraisons ne peuvent être promises que sous les réserves d’usage. 

Compiled in December 2010 

Carus 99.058 

Cover: Kammerchor Stuttgart, Hofkapelle Stuttgart, Frieder Bernius 

Schwäbisch Gmünd 2007

Johann Sebastian Bach (1685–1750 

St. John Passion / Johannespassion BWV 245 (text in English and German) 

Urtext / traditional version & version IV (1749)* 

Soli T (Evangelist), B (Jesus), SATB, Coro SATB, 2 Fl, 2 Ob, Vga, 2 Vl, Va, Bc / 120 min 

First critical Urtext edition of version IV (1749)*, ed. by Peter Wollny, in conjunction 

with the Bach-Archiv, Leipzig, 2004 

The St. John Passion ranks among the great vocal works from Bach’s Leipzig years. In 

contrast to his other large-scale choral works, however, Bach never gave this work a 

definitive final form. Rather, for every performance he made numerous changes. All 

previous editions of the St. John Passion have combined readings from various layers of 

sources. The wish often expressed by conductors to perform an authentic version is 

made possible for the first time with the present edition in this fourth and final version 

which was performed under Bach’s direction in 1749. At the same time, with the aid of 

the appendix it is possible to perform the work in the traditional “mixed version.” 

St. John Passion BWV 245 

© by Carus-Verlag, Stuttgart – Carus 31.245 

Johann Sebastian Bach 

(1685–1750) 

Traditional version / version IV (1749) *(the unfinished revision [1739] as appendix) 

31.245 full score 80.00 € | 31.245/03 vocal score 12.00 € | 31.245/07 study score 19.90 € | 31.245/09 set of 5 harmony parts 49.50 € 

31.245/11–14 4 strings a 9.90 € | 31.245/49 organ 39.80 € 

Johann Sebastian Bach 3 

Version I (1724) & Version II (1725) are also available. For more details see our Complete Catalog or the Carus Online Catalog. 

postcard Carus 40.398/10 

www.carus-verlag.com


4 Johann Sebastian Bach 

Christmas Oratorio BWV 248 (text in English and German). Urtext 

Soli SATB, Coro SATB, 2 Fl, 2 Ob (Obda), 2 Eh, 3 Tr, Timp, 2 Cor, 2 Vl, Va, Bc 

(ed. K. Hofmann) 

With the new edition of the Christmas Oratorio in the framework of the Stuttgart Bach 

Editions, Carus presents a scholarly edition for performance. The bases for this publication 

are Bach’s autograph score and the original parts. The conductor’s score contains in 

an appendix a concise Critical Report which gives information about the sources and 

their readings, and, when necessary these are discussed in more detail, especially in 

questions of articulation, how it varies from previous editions, and how it provides new, 

differing solutions. The fine, linen-bound volume is supplemented by a study score, 

choral score, vocal score and the orchestral parts. In the orchestral parts the coordination 

between Sprechgesang and the instrumental accompaniment in the recitatives is 

made easier through the addition of a vocal staff above the instrumental part; cue notes 

showing the end of the recitative are printed in those parts which rest during a secco 

recitative, thus assuring their entrance in the following movement. 

Carus offers 3 options: 

Part I–VI: 

31.248/50 full score (Ln) 88.00 € | 31.248/53 vocal score 13.80 € | 31.248/55 choral score � 7.80 € / 31.248/07 study score 20.50 € 

31.248/59 set of 12 harmony parts 72.00 € | 31.248/61–64 4 strings a 9.80 € | 31.248/69 organ 39.50 € 

Part I–III (1st through 3rd days of Christmas): 

31.248 full score 51.00 € | 31.248/03 vocal score 7.80 € | 31.248/05 choral score � 5.40 € | 31.248/09 set of 10 harmony parts 39.00 € 


Part IV–VI (New Year to Epiphany): 

31.248/50 full score 88.00 € | 31.248/73 vocal score 7.80 € | 31.248/75 choral score � 5.40 € | 31.248/79 set of 8 harmony parts 39.00 € 


Further works by Bach 

Cantatas 

150 Bach cantatas are available in Carus editions with complete performance 

material for sale. More information in our Complete Catalog or in the Online 

Catalog. 

Motets 

Complete motets without Bc. Critical new edition (text in German) (ed. U. Wolf) 

31.224/10 single copy 14.80 € | > 20 copies � 13.50 € 

Separate editions (text in English and German) 

(in BWV order) 

– 225 Singet dem Herrn ein neues Lied | 31.225 

– 226 Der Geist hilft unser Schwachheit auf | 31.226 

– 227 Jesu, meine Freude | 31.227 

– 228 Fürchte dich nicht | 31.228 

– 229 Komm, Jesu, komm | 31.229 

– 230 Lobet den Herrn, alle Heiden | 31.230 

– 231 Sei Lob und Preis mit Ehren. Choralchor | 31.231 

– Ich lasse dich nicht, du segnest mich denn Anh. 159 | 35.003 

– Jauchzet dem Herrn, alle Welt Anh. 160 TVWV 8:10, BWV Anh. 160 + 231 

35.002 

Latin church music 

– 232Missa in b minor in preparation 

– 233 Missa in F | 31.233 

– 234 Missa in A | 31.234 

– 235 Missa in G minor | 31.235 

– 236 Missa in G BWV | 31.236 

Passions and oratorios 

– 244 St. Matthew Passion in preparation 

– 247 St. Mark Passion BWV 247 (reconstruction: Hellmann / Glöckner) (G) | 31.247 

– 249 Easter Oratorio BWV 249 (text in English and German) | 31.249

Dieterich Buxtehude (ca. 1637–1707) 

Membra Jesu nostri BuxWV 75 (text in Latin). Urtext 

Coro SSATB, 2 Vl, Vne, 5 Vga, Bc (ed. Th. Schlage) 

63 min 

For Passion in 1680 Dieterich Buxtehude composed his largest work in the style of an oratorio, 

the cantata cycle Membra Jesu nostri and he dedicated it to his friend, the Swedish 

Court Music Director, Gustav Düben. The feet, knees, hands, side, chest, heart and face of 

the crucified Christ are interpreted allegorically.in each of the seven separate cantatas which, 

in principle, follow the scheme – instrumental introduction – choral movement with biblical 

texts – vocal soli (aria) with a sacred text from the Middle Ages – repetition of the choral 

movement. the feet, knees, hands, side, chest, heart and face of the crucified Christ are 

interpreted allegorically. 

Recorded by Dresdner Kammerchor, Hans-Christoph Rademann (Carus 83.234) 

36.013 full score 34.90 € | 36.013/03 vocal score 18.50 € | 36.013/05 choral score � 3.50 € 

36.013/09 5 Vga 9.90 € | 36.013/11–14 4 strings a 4.90 € 

Burkhard Kinzler: Sechs Intermedien zu Buxtehudes Membra Jesu nostri 

(2 Vl, Tenorgambe, VC, Vne, Theorbe, Orgelpositiv) | 36.013/50 

Dieterich Buxtehude 5 

The interludes are composed transitions which can be performed between the seven movements of Buxtedhude's cantata 

Membra Jesu nostri, thus resulting in the cantata sequence designed as a large, connected musical-dramatic whole. 

ascribed to Buxtehude: 

Das jüngste Gericht / The last Judgement 

Wacht! Euch zum Streit gefasset macht BuxWV Anh. 3 (text in German) 

Urtext / Soli SSSATB, Coro SSATB, 2 Vl, 2 Va, Bc, [2 Trb] / 137 min 

ed. Ton Koopman 

This composition, ascribed to Buxtehude, has come down to us without a title page 

in a set of parts, which were copied for Stockholm in the 1680s. All genres of compo- 


sition at that time are represented in this work: the then modern aria, richly decorated 

chorales, and free adaptation of biblical passages. If Wacht! Euch zum Streit 

gefasset macht was composed by Buxtehude, this work belongs in the context of the Lübeck Abendmusiken. The libretti of 

some of the oratorios composed by Buxtehude for those occasions have survived, but the music has been lost. This work may 

be the only extant oratorio which demonstrates its composer’s versatility in a field akin to opera. 

36.019 full score 59.80 € | 36.019/03 vocal score 24.95 € | 36.019/05 choral score � 6.80 € | 36.019/09 2 Trb 2.80 € | 36.019/11–15 5 strings a 9.40 € 

36.019/49 organ 39.50 € 

Tip for your Buxtehude concert: 

– Missa brevis 

(36.020, 8 min) 

– Nun danket alle Gott 

(36.016, 12 min) 

More than 30 cantatas by Buxtehude are available for sale from Carus 

with the complete performance material. See our Complete Catalog or the 

Carus Online Catalog. 

� separate catalog with all works by Dieterich Buxtehude available 



6 George Frideric Handel 


George Frideric Handel (1685–1759) 

Messiah HWV 56 (text in English and German). Urtext 

Soli SATB, Coro S(S)ATB, 2 Ob, 2 Fg, 2 Tr, Timp, 2 Vl, Va, Bc / 150 min 

(ed. Ton Koopman & Jan Siemons) 

George Frideric Handel is considered England’s first and foremost composer of oratorios. 

Above all, the Messiah is regarded as the epitome of sacred music and in 

German-speaking countries it is also one of the most often performed works in the 

genre. The version of the Messiah which is most often performed today is a combination 

of various versions. Consequently, the present critical edition by Ton Koopman 

contains all of the surviving alternative versions of the solo movements. These 

are printed consecutively instead of being banished to an appendix. A concordance 

makes it possible to assign these movements to those various performances of the 

work conducted by Handel between the Dublin premiere in 1742 and the London 

concerts which took place up to 1759. The score is printed in English and German. 

In accordance with the wishes voiced by many choral conductors and singers, the 

vocal score will be available in separate English and German versions. 

– The traditional, most well-known version is available in the vocal score 

– The complete movement variants, contained in the score and parts, and are available in a separate vocal score (soloists) 

– Improved readability through two separate vocal scores (in English or German) 

– Suggestions for embellishment, based on the most recent findings of performance practice and recommended by Ton Koopman 

– Vocal scores available for choirs at a reasonable price 

Recorded by Kammerchor Stuttgart, Barockorchester Stuttgart and renowned soloist, Frieder Bernius (Carus 83.219) 

55.056 full score 98.80 € | 55.056/01 full score (Ln) 128.00 € | 55.056/03 vocal score (E) for soloists 16.50 € | 55.056/04 vocal score (E) for the choir 13.90 € 

55.056/07 study score 20.50 € | 55.056/09 set of 6 harmony parts 38.70 € | 55.056/11–14 4 strings a 9.95 € | 55.056/24 Choristfagott 8.60 € 

55.056/49 organ 27.50 € 

Ode for St. Cecilia’s Day HWV 76 (text in English). Urtext 

Soli ST, Coro SATB, Fl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc 

50 min 

During the late 17th century each year English musicians celebrated on 13 November the 

feast of St. Cecilia, the patron saint of music, with special concerts and church services. 

With his Ode for St. Cecilia’s Day Handel rejuvenated the tradition of this festival on St. 

Cecilia’s Day in 1732. This so-called “little” St. Cecilia Ode is a musically joyful glorification 

of the power of music: two festive choruses frame five charming arias in each of 

which a solo instrument is used for contrasting effect in the baroque manner. Handel allows 

the soloists a wealth of freedom to improvise and display their skills. This is especially 

the case for the organ, which was his favorite instrument. 

Recorded by Kölner Kammerchor, Collegium Cartusianum and renowned soloist, Peter Neumann (Carus 83.424) 

10.372 full score 34.00 € | 10.372/03 vocal score 15.00 € | 10.372/05 choral score � 3.80 € | 10.372/07 study score 19.80 € 


More Handel available from Carus 

– Israel in Egypt | 55.054 

– Brockes Passion | 55.048 

– L’Allegro, il Pensieroso ed il Moderato | 29.214 

– Acis and Galathea (arr. Mendelssohn Bartholdy) | 55.049 

– Dettinger Te Deum (arr. Mendelssohn Bartholdy) | 55.283/50 

– Three Latin Psalm settings: Dixit Dominus | 55.232; Laudate pueri | 40.417; 

Nisi Dominus | 55.238 

For more information see our Complete Catalog or the Carus Online Catalog. 

� separate catalog with all works by George Frideric Handel available 

Concert tip: 

Perform Handel’s Ode for 

St. Cecilia’s Day together 

with his O be joyful 

(10.179, 30 min).


Antonio Vivaldi (1678–1741) 

Gloria RV 589 (text in Latin). Urtext 

Soli SSA, Coro SATB, Ob, Tr, 2 Vl, Va, Vc/Cb, Bc, organ / 30 min 

The revival of Antonio Vivaldi’s music in the 20th century went hand in hand with the new 

discovery of a large amount of his sacred vocal music which ranged in repertoire from largescale 

compositions for the Mass and Vespers to biblical oratorios and solo motets. The first revivals 

of Vivaldi’s church music, including the Gloria RV 589, were received almost as a 

sensation. They clearly show that, just in the field of church music he attained some of his 

greatest artistic achievements. 



Gloria in D RV 589 Antonio Vivaldi 

(1678–1741) 

© by Carus-Verlag, Stuttgart – Carus 40.001 

Concert suggestion: 

Perform Vivaldi’s 

Gloria RV 589 together with 

his Introduzione e Gloria 

RV 588 (40.008, 30 min), and 

in between a smaller, more 

silent, sacred work by 

Vivaldi. 

Further Vivaldi music available by Carus: 

– Credo RV 591 (L) | 40.004 

– Juditha triumphans RV 644. Oratorio | 40.010 

– Dixit Dominus (Psalm 109) RV 594 (L) | 40.007 

– Domine ad adiuvandum RV 593 (L) | 40.003 

– Introduzione e Gloria RV 588 (L) | 40.008 

– Kyrie RV 587 (L) | 40.005 

– Magnificat RV 610 (L) | 40.002 

– Psalm 110 ”Confitebor” RV 596 (L) | 40.011 

– Psalm 111 ”Beatus vir” 8 RV 597 (L) | 40.012 

– Psalm 121 ”Laetatus sum” RV 607 (L) | 40.013 

Antonio Vivaldi 7 

For details of all works see our Complete Catalog or the Carus Online Catalog. 



8 Joseph Haydn 


Joseph Haydn (1732–1809) 

Missa in Angustiis, “Lord Nelson Mass” in D Hob. XXII:11 (1798) (text in Latin) 

Soli SATB, Coro SATB, 3 Ctr, Timp, 2 Vl, Va, Bc, [Fl, 2 Ob, 2, Clt, Fg, 2 Cor] / 40 min 

This important late Haydn Mass belongs to the category of the Missa solemnis, intended for use 

at a lavishly appointed High Mass. Written in 1798, this is the third of the “six late masses,” 

each of which was composed to celebrate the name day in a particular year of Princess Maria 

Josepha Hermenegilda Esterházy. Haydn’s own title, Mass in times of affliction referred to the 

threat of invasion by Napoleon’s army, also allud ed to in the last movement of the Missa in tempore 

belli two years earlier. In many respects Haydn continued his symphonic practices in this 

late mass: the shorter liturgical sections of the Ordinarium Missae are linked in tonality and form, 

impressive structures are fashioned, and the vocal solos are no longer isolated arias. The unauthentic 

name Nelson Mass is of doubtful origin, but it certainly refers to the British admiral 

Nelson, who on August 1798 defeated Napoleon’s fleet at the Battle of the Nile. 


40.609/07 study score 21.00 € | 40.609/09 set of 12 harmony parts 22.50 € | 40.609/11–14 4 strings a 5.30 € 

40.609/49 organ 16.50 € 

All masses by Joseph Haydn are available for sale with complete performance material 

– Missa brevis in F major Hob. XXII:1 | 40.601 

– Missa in honorem BVM in E flat major, “Great Organ Solo Mass” Hob. XXII:4 | 40.603 

– Missa Cellensis in honorem BVM in C major, “Great Mariazell Mass” Hob. XXII:5 | 40.604 

– Missa Sancti Nicolai in G major, “Nicolai Mass” Hob. XXII:6 | 40.605 

– Missa brevis Sti. Joannis de Deo in B flat major, “Little Organ Solo Mass” Hob. XXII:7 | 40.600 

– Missa Cellensis in C major, “Little Mariazell Mass” Hob. XXII:8 | 40.606 

– Missa in tempore belli in C major, “Paukenmesse” (Mass in Time of War) Hob. XXII:9 | 40.607 

– Missa Sancti Bernardi von Offida in B flat major, “Heiligmesse” (Holy Mass) Hob. XXII:10 | 40.608 

– Missa in Angustiis, “Lord Nelson Mass” Hob. XXII:11 | 40.609 

– Missa in B flat major, “Theresienmesse” (Maria Theresa Mass) Hob. XXII:12 | 40.610 

– Missa in B flat major, “Creation Mass” Hob. XXII:13 | 40.611 

– Missa in B flat major, “Harmony Mass” (Wind Band Mass) Hob. XXII:14 | 40.612 

also available 

Choral collection Mozart · Haydn 

The choral collection Mozart · Haydn contains sacred music of two famous pairs 

of composers from the Viennese classical school: father and son Leopold and 

Wolfgang Amadeus Mozart, and the brothers Joseph and Johann Michael 

Haydn. The compilation of both famous and little-known works offers a broad 

insight into the repertoire of church music from the Viennese classical school. 

Vol. I: for equal voices | 2.111 

Vol. II: for choirs with only one male voice | 2.112 

Vol. III: for mixed choirs | 2.113 

Concert tip: 

Perform the Lord 

Nelson Mass together 

with the Magnificat 

BWV 243 by Johann 

Sebastian Bach 

(31.243, 30 min). 

Special edition: 

The complete Latin Masses of Haydn are available as study scores in an attractive case | 51.990, 179.00 € 

In preparation: 

Urtext editions of: 

– The Creation | 51.990 (April 2011) 

– The Seven Words 

– Te Deum 

– Stabat Mater

Wolfgang Amadeus Mozart (1756–1791) 

Requiem K. 626 (text in Latin). Urtext 

Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Ctr, 3 Trb, Timp, 2 Vl, Va, Bc / 50 min 

Recorded by Kammerchor Stuttgart, Barockorchester Stuttgart and renowned soloist, 

Frieder Bernius (Carus 83.207) 

In the version completed 1792 by F. X. Süßmayr, commissioned by the widow Mozart 

(ed. U. Leisinger) 

The history of the genesis of the Requiem is entwined with legends and anecdotes. The burdens 

of the composition and performance of La Clemenza di Tito and Die Zauberflöte, and an acute 


infection led to the collapse and death of the composer following a short illness. Mozart left his 

wife in considerable debt. Constanze therefore turned to Mozart’s friends, asking them to complete 

the fragment. After two failed attempts, the task passed to Mozart’s pupil Franz Xaver Süßmayr, who completed the 

Requiem in the form known today, using working materials that are no longer extant, and perhaps verbal instructions from 

the composer. Today the Süßmayr version is still the most well known, and it is doubtless the one with the closest historical 

ties to Mozart. Süßmayr’s version of the Requiem has been published in a new edition which is true to the original sources. 



In the completion by Robert D. Levin / 80 min 

The attacks against Süßmayr’s completion began in 1825, when the so-called “Requiem Controversy” 

erupted. Over the last decade a number of musicians have attempted to cleanse the 

Requiem of the deficiencies introduced by Süßmayr. The completion published here takes into account 

the tendencies of the newer versions (such as revised instrumentation, or recomposition 

of some parts). At this the character, texture, voice leading, continuity and structure of Mozart’s 

music was observed. Details on each separate movement will be found in the Critical Report. 

51.626/50 full score 69.00 € | 51.626/53 vocal score 8.95 € | 51.626/57 study score 29.90 € 


Missa in C minor in the reconstructions and completion by Robert D. Levin 

Urtext / Soli SSTB, Coro SATB/SATB, Fl, 2 Ob, 2 Fg, 2 Cor, 2 Ctr, 3 Trb, Timp, 2 Vl, Va, Bc 

80 min 

51.427 full score 89.80 € | 51.427/03 vocal score 15.80 € | 51.427/07 study score 29.90 € 

all performance material for rental only 

Wolfgang Amadeus Mozart 9 

Note! 

The complete church music by Mozart is available in Carus Urtext editions with the 

complete performance material for sale. The scores have been critically edited in just 

the last few years and thus the editors have been able to take into consideration the 

newest source discoveries. Every volume contains a detailed foreword with information 

concerning the genesis, scoring, sources and performance history of the larger 

works. 

See more details in our Complete Catalog or in the Carus Online Catalog. 

Special edition: The complete sacred vocal music as study scores 

For the Mozart anniversary year of 2006 his sacred vocal works were published in a 

high quality, special edition. Set I contains 20 volumes including the complete 

Masses, also the Requiem, and both Vespers. 

All of his additional sacred works are included in set II containing 9 volumes. The editions 

are based on the latest musicological developments and they offer musicians 

and music lovers alike a treasure of Mozart’s sacred music. 

Vol. I: All masses & 2 vespers: Carus 51.000, 20 study scores, 149.00 € 

Vol. II: Shorter church works: Carus 51.001, 9 study scores, 129.00 € 

�separate catalog with all works by Wolfgang Amadeus Mozart available 



10 Franz Schubert 


Franz Schubert (1797–1828) 

Mass in A flat major D 678 (text in Latin). Urtext 

Soli SATB, Coro SATB, Fl, 2 Ob, 2 Clt, 2 Fg, 2 Cor, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Vc, Cb, organ 

50 min 

Between 1814 and 1828 Franz Schubert composed six Latin masses. Whereas the early masses 

were conceived more for practical performance in Schubert’s home town of Lichtenthal, because 

of their length, their level of technical difficulty, as well as the almost symphonic design, the later 

settings present a greater challenge. Actually, Schubert’s Mass in A flat major was composed in 

light of his ambitions to obtain the post of Assistant Music Director in Vienna. But Emperor 

Franz I preferred masses which were short and easy to perform – something which cannot be 

claimed for this Mass. 



Mass in A flat major D 678 

© by Carus-Verlag, Stuttgart – Carus 40.659/03 

The complete masses by Schubert 

The Carus program of publications will encompass Schubert’s complete sacred compositions 

and it is intended to emphasize the wide range of his works in this area. Many of the smaller 

liturgical compositions are published here for the first time in separate editions. What is to be 

discovered is a fascinating oeuvre, rooted in the ”stile antico” and in the compositions of the 

Viennese classical masters, but whose exquisite lyricism and harmonic subtlety reveal a typically 

Schubertian world of expression. 

– Mass in F major D 105 (L) | 40.656 

– Mass in G major D 167 (L) 

– after the parts from Kloster Neuburg | 40.675 

– edition based on the autograph score with additional oboes and bassoons 

by Ferdinand Schubert | 40.643 

– Mass in B flat major D 327 (L) | 40.657 

– Mass in C major D 425 (L) | 40.658 

– Mass in E flat major D 950 (L) | 40.660 

– Liturgical songs, sacred and secular songs 

For more details see our Complete Catalog or the Carus Online Catalog. 


The Latin Masses, set of six study scores in a box | Carus 40.901, 80.00 € 

Franz Schubert 

(1797–1828) 

Vocal score: Mathias Siedel 

Concert tip: 

Perform the Mass in A flat 

major together with the 

solennes de Confessore KV 

339 by Wolfgang Amadeus 

Mozart (40.059, 30 min).

Ludwig van Beethoven (1770–1827) 

Mass in C major op. 86 (text in Latin). Urtext 

Soli SATB, Coro SATB, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 2 Cor, 2 Tr, Timp, 2 Vl, Va, Basso (Vc, Cb, organ) 

50 min 

(ed. Ernst Herttrich) 

With its tonal language of subjective avowal, the first of Beethoven’s two masses opens up new 

worlds of expression for the liturgical texts of the Mass which are expressly modern and point 

towards the future. Not to be considered a preliminary work to the Missa solemnis, it is an entirely 

independent work which set standards for the further development of settings of the Mass 

in the 19th century. Its newness, of which the composer himself was fully aware (“I do not speak 


gladly of my Mass, or of myself, but I do believe that I have treated the text in a manner in 

which only few have treated it.”), paves the way to an hitherto unknown, contemporary avenue 

of faith which today is still current. Carus presents this important work of church music history in a new critical edition 

by the Beethoven expert Ernst Herttrich. 

40.688 full score 63.00 € | 40.688/03 vocal score 9.90 € | 40.688/05 choral score � 5.40 € | 40.688/09 set of harmony parts | 40.688/11–14 4 strings a 4.95 € 

40.688/49 organ 11.50 € 

Mass in C major op. 86 

© 2010 by Carus-Verlag, Stuttgart – Carus 40.688/03 

Coming soon: 

Missa solemnis op. 123 (text in Latin) 

Soli SATB, Coro SATB, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Vc, Cb, Org / 90 min 

(ed. Ernst Hettrich) 

“… my greatest and most accomplished work” – with no lesser words Beethoven himself expressed his own high regard for 

the Missa solemnis. From the very beginning this mass was especially close to his heart; hardly any other work occupied him 

so long and so intensively. Research in the fields of theology, liturgics and the history of church music from Gregorian chant 

via Palestrina to Bach and Handel, up to the relevant works of his direct predecessors accompanied the composition of this 

work. Accordingly, although of a great stylistic unity, the Missa solemnis shows that it is a compendium of the entire liturgical, 

sacred, religious music composed up until that time. 

Following the publication of Beethoven’s Mass in C major op. 86, Carus now presents the Missa solemnis in a new Urtext 

edition by the Beethoven scholar, Ernst Herttrich. The edition contains a foreword in German, English and French, as well as a 

Critical Report in compact form with all of the pertinent information concerning the situation of the sources, the edition and 

readings. 

40.689 full score 

The score will be availabe in April 2011! 

Ludwig van Beethoven 

(1770–1827) 

Vocal score: Paul Horn 

Ludwig van Beethoven 11 

Concert tip: 

Perform this Mass in C 

major together with the 

Te Deum by Józef Swider 

(7.412, 20 min). 



12 Felix Mendelssohn Bartholdy 


Felix Mendelssohn Bartholdy (1809–1847) 

The three Oratorios 

Few nineteenth-century oratorios have attained such a firm place in the musical life of our 

times as those of Mendelssohn. With their timeless biblical settings, they combine elements of 

romanticism with the mighty choral style of Handel and the meditative chorales of Bach. 

The complete church works recorded by Frieder Bernius and the Kammerchor Stuttgart are 

available on CD. 

St. Paul / Paulus op. 36 (1834–1836) (text in English and German). Urtext 

Soli SATB, Coro SATB, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Serpente/Contrafagotto, Timp, 

2 Vl, Va, Vc, Cb, Org / 145 min (ed. R. Larry Todd) 

Mendelssohn composed St. Paul, his first oratorio, under the impression of his own revival of J. S. Bach’s St. Matthew Passion 

in 1829. Robert Schuman praised the “inextinguishable color of the instrumentation” and the “brilliant play with all the 

forms of composition.” He described it as a “jewel of the present.” 

40.129/01 full score (clothbound edition) 129.00 € | 40.129/00 full score (paperbound) 115.00 € | 40.129/03 vocal score (G/E) 16.80 € 

40.129/04 vocal score (G) 15.95 € | 40.129/07 study score 35.00 € | 40.129/08 Text � 0.95 € | 40.129/09 set of 19 harmony parts 92.00 € 


Elijah / Elias op. 70 (1844–1846) (text in English and German). Urtext 

Soli SATB, Coro SATB, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Oficleide, Timp, 2 Vl, Va, Vc/Cb, 

Org / 130 min (ed. R. Larry Todd) 

“For a subject like Elijah ... the drama must reign supreme ... the characters must be introduced 

speaking and acting like living people ... a quite vivid world of the sort we find in every chapter of 

the Old Testament.” Mendelssohn to his librettist 

40.130/01 full score (clothbound edition) 145.00 € | 40.130/00 full score (paperbound) 119.00 € 

40.130/03 vocal score (G/E) 16.80 € | 40.130/04 vocal score 14.80 € | 40.130/07 study score 41.00 € | 40.130/08 Text � 0.95 € 


Christus (fragment) op. 97 (1847) (text in English and German). Urtext 

Soli STBB, Coro SATTBB, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 2 Cor, 2 Tr (only part 2), 3 Trb, Timp, 2 Vl, Va, Vc, Cb 21 min 

(ed. R. Larry Todd) 

Mendelssohn left his third oratorio incomplete at the time of his early death in 1847. A fragment of some twenty minutes’ 

duration survives with two fully orchestrated sections: “The Birth of Christ” and “The Suffering of Christ.” Not only do they 

represent a valuable addition to any Christmas or Passion concert, they can also be used in church services. 

40.131 full score 38.00 € | 40.131/07 study score 6.25 € | 40.169/03 vocal score (part 1) 5.50 € | 40.169/05 choral score (part 1) � 2.50 € 

40.169/09 set of 14 harmony parts (part 1) 18.00 € | 40.169/11–15 5 strings (part 1) a 1.80 € | 40.170/03 vocal score (part 2) 6.50 € 

40.170/05 choral score (part 2) � 3.80 € | 40.170/09 set of 16 harmony parts (part 2) 25.00 € | 40.170/11–15 5 strings (part 2) a 1.80 € 

The complete sacred music by Mendelssohn 

The complete sacred music by Mendelssohn is available from Carus in critical editions 

with the complete performance material for sale. The Stuttgart Mendelssohn Editions 

include forewords in three languages which provide historical information and analysis 

of the works as well as critical comments. 

– The five psalms, including Psalm 42 ”Wie der Hirsch schreit” 

– Lobgesang. Sinfonie-Kanate 

– The eight chorale cantatas 

– More Latin and German church works 


Mendelssohn’s complete sacred works for choir and orchestra in study scores 

40.900, 22 study scores, 299.00 €

Luigi Cherubini (1760–1842) 

Requiem in C minor (text in Latin) 

Coro SATB, 2 Ob, 2 Clt, 2 Fg, 2 Cor, 2 Tr, 3 Trb, Timp, Tamtam, 2 Vl, 2 Va, Vc, Cb 

50 min (ed. Wolfgang Hochstein) 

Luigi Cherubini 13 

Cherubini’s Requiem in C minor for mixed choir (without vocal soloists) and orchestra, which is presented here in a critical 

edition, is among the most significant contributions to this genre in the 19th century. It was composed in Paris in 1816 and 

within a short time it became well known. Musicians such as Beethoven, Schumann and Brahms held it in high esteem 

because of the work’s superior compositional construction, orchestration, mastery of form and the balance in proportion between 

text and music. 

Recorded by Kammerchor Stuttgart, Hofkapelle Stuttgart, Frieder Bernius (Carus 83.227) 

40.086 full score 51.00 € | 40.086/03 vocal score 9.80 € | 40.086/07 study score 16.90 € 

40.086/09 set of 14 harmony parts 37.00 € | 40.086/11–16 6 strings a 6.60 € 

Requiem in C minor 


Camille Saint-Saëns (1835–1921) 

Oratorio de Noël op. 12 (text in Latin) 

Soli SMsATB, Coro SATB, 2 Vl, Va, Vc, Cb, organ, Arpa / 40 min 

Luigi Cherubini 

(1760–1842) 

Vocal score: Paul Horn 

Camille Saint Saëns Christmas Oratorio has become a fixture in the choral repertoire. Besides Bach’s Christmas Oratorio or 

the Story of Christmas by Heinrich Schütz, with its interesting instrumentation and superior compositional style, this piece offers 

an additional possibility for celebrating Christmas. 


40.455/11–15 5 strings a 3.90 € | 40.455/48 Arpa 5.80 € 

Carus recommends: 

For choirs with only modest means this Christmas oratorio can be performed 

in the version for choir and organ. The choir only needs to purchase 

our choral scores. 

40.455/45 Choir & organ 12.80 € 

Further works for choir and organ: 

Concert tip: 

Perform Cherubini's 

Requiem together with 

his rather unknown motet 

Sciant gentes (12 min, 

same scoring, 40.090), or 

the Marche funébre 

(16.502, 7 min). 

Mozart: Inter natos mulierum | 40.033/45 and Sancta Maria, Mater Dei | 40.053/45 

Schubert: Mass in G major | 40.675/45 

Joseph Haydn: Missa brevis Sti. Joannis de Deo (Little organ solo Mass) | 40.600/45 

Schumann: Missa sacra | 40.687/45 

Vierne: Messe solennelle en ut dièse mineur | 27.017/45 



14 Gioachino Rossini 


Petite Messe solennelle 


Further works by Rossini: 

– Messa di Rimini | 40.674 

– Miserere (Psalm 50) | 40.805 

– Stabat Mater | 70.089 

Gioachino Rossini (1792–1868) 

More Masses for Choir & Orchestra/Instruments 

(selection): 

Bach: Masses BWV 233–236 

Cherubini: Coronation Mass 

Beethoven: Missa in C major (see page 11) 

Diabelli: Mass in E flat major 

Dittersdorf: Missa solemnis in C major 

Dvorák: Mass in D major (see page 15) 

Gatti / Haydn: Creation Mass 

Petite Messe solennelle (text in Latin) 

Soli SATB, Coro SATB, 2 Pfte, Armo / 90 min 

Next to the Stabat Mater, the Petite Messe solennelle of 1863 is Rossini’s second extensive 

sacred composition. Ostensibly, the work was, in a way, an occasional piece (what great work 

was not?), written for the dedication of a private chapel for the once well-to-do Parisian nobility. 

This explains the reduced instrumental accompaniment for two pianos and harmonium. Of 

course this instrumental garb, reminiscent of decent, elevated salon music, produces an unmistakable 

timbre which through its typical Rossini rhythm obtains an addedflair. 

40.650 full score 45.00 € | 40.650/03 vocal score (1st Pfte) 17.00 € | 40.650/05 choral score � 6.80 € 

40.650/07 study score 22.00 € | 40.650/49 2nd Pfte + Armo 26.00 € 

Giachino Rossini 

(1792–1868) 

Joseph Haydn: 12 Latin Masses (see page 8) 

Herzogenberg: Mass in E minor 

Leopold Mozart: Missa in A major 

– Missa solemnis in C major 

Wolfgang Amadeus Mozart: Latin Masses (see page 9) 

Nicolai: Missa in D major 

Puccini: Missa (see page 16) 

Rheinberger: Mass in C major 

Richter: Messa pastorale in G major 

– Mass in A major 

Rossini: Messa da Rimini (see page 14) 

Schubert: 6 Latin Masses (see page 10) 

Telemann: Missa brevis in B minor 

For more details see our Complete Catalog or the 

Carus Online Catalog.


Johannes Brahms (1833–1897) 

Ein deutsches Requiem op. 45 (text in German) 

Soli SB, Coro SATB, Picc, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Tuba, Timp, Arpa, 2 Vl, Va, 

Vc, Cb, [Cfg, organ] / 70 min 

Since its first complete performance in 1868 in the Cathedral of Bremen, Brahms’s Ein 

deutsches Requiem is, without question, one of the key works in the history of the oratorio. 

The reputation of the work is based not only on its unusually concentrated musical structure, 

but also on the original conception of the text: Brahms assembled important passages from 

both the Old and New Testaments in Luther’s translation so that thoughts on sorrow and consolation 

would obviously refer to one another. In contrast to many other oratorios of the 19th 

century Brahms places the choir, the voice of the community, in the center of this interdenominational 

celebration of the dead. 

Recorded by Kammerchor Stuttgart, Klassische Philharmonie Stuttgart and renowned soloist, Frieder Bernius (Carus 83.200) 

27.055 full score 54.00 € | 27.055/03 vocal score 8.50 € | 27.055/05 choral score � 6.20 € | 27.055/07 study score 19.20 € | 27.055/09 set of harmony parts 79.90 € 

27.055/11–15 5 strings a 5.20 € 27.055/48 Arpa 4.25 € | 27.055/49 organ 8.60 € 

Our recommandation for choirs which cannot afford the original Brahms orchestration: 

Perform the Brahms Requiem in the new arrangement for chamber ensemble 

Solo SB, Coro SATB, wind quintet (Picc/Fl, Ob, Clt, Fg, Cor), Timp, string quintet (2 Vl, Va, Vc, Cb) 

(arr. Joachim Linckelmann) 

27.055/50 full score 76.00 € | 27.055/03 vocal score 8.50 € | 27.055/05 choral score � 6.20 € | 27.055/59 10 parts 40.60 € 

More Requiems for Choir & Orchestra/Instruments from Carus (selection): 

Campra: Messe de Requiem 

Cherubini: Requiem in C minor (see page 13) 

Fauré: Requiem (see page 16) 

Garcia: Requiem 

Hasse: Requiem in E flat Major and Requiem in C major 

Johann Michael Haydn: Requiem in C minor / Requiem in B flat major 

Kraus: Requiem 

Kreek: Requiem 

Lachner: Requiem in F minor 

Mozart: Requiem (see page 9) 

Rheinberger: Requiem in C major 

Verdi: Requiem (in preparation) 

Antonín Dvorák (1841–1904) 

Mass in D op. 86 (text in Latin) / 43 min 

With its traditional forms and proven compositional models, its original ideas, which are sometimes 

marked by a folk- or folksong-like melodic character, and with its harmonic richness, 

Dvorák’s D major Mass serves in its liturgical context to express the worship of God. The Mass 

is characterized by lyrical meditation rather than dramatic immediacy. 

Orchestra version: 

Soli SATB, Coro SATB, 2 Ob, 2 Fg, 3 Cor, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Vc, Cb, organ 

40.653 full score 35.00 € | 40.653/03 vocal score 10.50 € | 40.653/05 Chp with Solos � 6.80 € 


Organ version: 

Soli SATB, Coro SATB, organ – Recorded by Motettenchor Stuttgart, soloist, Günter Graulich (Carus 83.106) 

40.651 full score 23.00 € | 40.651/05 Chp with Solos � 6.80 € | 40.651/49 organ 14.50 € 

Johannes Brahms · Antonín Dvorák 15 




16 Gabriel Fauré · Giacomo Puccini 


Gabriel Fauré (1845–1924) 

Requiem op. 48 

version for symphony orchestra, 1900 (text in Latin) 

Soli SBar, Coro SATB, 2 Fl, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Timp, Vl, 2 Va, 2 Vc, Cb, Arpa, organ 

60 min 

The Requiem of Gabriel Fauré is undoubtedly the most important opus among the sacred works 

of this French master. Beginning with the first performances during the composer’s lifetime, it is 

one of those works whose popularity has never waned. In the absence of an autograph score, a 

new edition of this work posed a challenge in two important respects: on the one hand, to present 

an edition faithful to the often contradictory sources, and on the other, to render a clear and 

meaningful musical text of the work. 

27.312 full score 68.00 € | 27.312/03 vocal score 9.95 € | 27.312/05 choral score � 3.20 € | 27.312/07 study score 18.20 € | 27.312/09 Set (17) 34.80 € 


The church version of this Requiem will be availabe in April 2011 (27.311)! 

Giacomo Puccini (1858–1924) 

Messa di Gloria (1878–1880) SC 6 

(Messa a 4 voci) 

Soli TBar, Coro SATB, Ottavino, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 2 Cor, 2 Tr, 3 Trb, Oficleide, Timp, 2 Vl, 

Va, Vc, Cb / 43 min 

Carus presents the first critical edition of Puccini’s only mass. Based on a comparison with the 

autograph score, numerous errors were corrected which had been present in all previous editions 

of this mass. In preparing this edition, Puccini’s additions to the instrumentation in the 

postcard Carus 40.348/10 Benedictus and his new version of the tenor aria “Gratias agimus” from the Gloria have both 

been taken into consideration. The newer version of the tenor aria changes the character of the 

piece to such a great degree, that it has been included separately as an appendix in this edition. 

The doubling of the brass and string parts, the addition of two French horns and a harp, as well as the addition of an instrumental 

postlude which consists of a repetition in the violoncelli of the main section of the aria leads one to believe that possibly 

Puccini considered having this Aria performed outside the context of the Mass as a separate concertante piece. 

40.645 full score (Ln) 115.00 € | 40.645/03 vocal score 17.50 € | 40.645/07 study score 35.10 € 

40.645/09 set of harmony parts 72.00 € | 40.645/11–15 5 Str 6.60 € 

Available through: 

Concert tip: 

Perform the Messa di Gloria 

together with the rather unkown 

Mottetto per San Paolino by 

Puccini (27.403, 15 min). With the 

exception of the lack of a solo 

tenor in the piece, the scoring is 

identical with this one in the 

Messa, for this reason it would 

seem only natural to perform these 

two works together.

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