After discovering there was no satisfactory printed edition of Vivaldi’s Gloria, Günter Graulich decided without further ado to transcribe the music himself from the autograph manuscript for his choir. Demand for the edition grew, and with it the need to have it printed. This marked the birth of Carus-Verlag.
Carus editors' placeHave a look behind the scenes – we invite you to get to know our publishing house and our staff. Here we reveal what spurs us on, give an insight into our work, and show you how we create our editions for you to the highest standards of quality.
Are you one of the many choral singers who practise your choral part with carus music, the choir app – whether it’s intricate Bach coloratura passages, or the harmonic surprises found in Distler? Or are you one of the many choral directors who regularly recommend your choir to practise using carus music? Then right now, you might be wondering why the android version is no longer fully available. Oh well, major events cast their shadows! We have plans for carus music, our choir app. Iris Pfeiffer, who is responsible for the app as head of the Business Development Department, gives an update and reveals what you can look forward to in the near future!
Carus is taking the next step in digitisation as the first German music publisher to offer its customers an extensive program digitally. Conductors, choral directors, and choral music fans can now benefit from a considerably expanded range of products from Carus. Many sheet music editions are now also available in digital form. As well as this, additional materials for successful rehearsal and concert preparation are available for the first time. Read the report of the Carus management.
Camille Saint-Saëns’ lavishly orchestrated setting of the Requiem calls for no fewer than four harps. This expressive work moves and fascinates listeners in equal measure, including our Chief Editor Uwe Wolf. It has long been a heartfelt desire of his to enable as many musicians as possible to perform this work – including groups with more limited resources at their disposal. For the Saint-Saëns anniversary in 2021, Carus is publishing an arrangement for strings, harp, and orchestra by Klaus Rothaupt.
What is an Urtext edition based on if there is no surviving autograph? Which discoveries does a comparison of different sources allow – whether these are copies or printed editions, parts or scores? Where are mistakes always found? The musicologist Ernst Herttrich has edited works including Beethoven’s masses in Urtext editions for Carus. In his new edition of Haydn’s oratorio “Die Jahreszeiten”, he reveals what can be deduced from studying the different sources and why this edition is based on several sources.