Amongst Rheinberger’s 14 mass settings, the Mass in E flat major op. 109 (Cantus Missae) composed in 1878 undoubtedly holds a special position. This mass must, in the opinion of Tristan Meister, count as one of the most important church music compositions of the Romantic period and is worthy of a place in the repertoire of every ambitious choir.
As one of the few amateur musicians in her family, Marit Ketelsen is often responsible for an unmistakably unique musical contribution to a party or in church. With the Liebeslieder (Love songs) she has found a companion which is up to this challenge, one which she has already used many times…
Sarah Schweiger has followed the composer Peter Schindler and his works since she began working at Carus-Verlag. So she was able to experience at first hand how he works on his pieces with a choir at the Choratelier in 2016. Her favorite piece by him is Zirkus Furioso (Zirkus Allegro). In this musical we live through an eventful, but (because of that) very amusing afternoon with the circus director Leo Pimpelmoser.
When Carus-Verlag asked Daniel Ivo de Oliveira to realize the basso continuo part of Mozart’s Mass in c minor K. 427, as completed and edited by Frieder Bernius and Uwe Wolf, he was brought into contact with a style of music that was new to him. After listening to the piece several times he was fascinated once again by Mozart’s exquisite music…
Cornelia Fahrion’s first encounters with Monteverdi were in a vocal ensemble singing his secular madrigals, but she very quickly became familiar with his church music output as well. And even if she cannot say that she has one “favorite piece”, she can name a complete collection of musical pieces which moves her deeply.
When Carus-Verlag asked Daniel Ivo de Oliveira to realize the basso continuo part of Mozart’s Mass in c minor K. 427, as completed and edited by Frieder Bernius and Uwe Wolf, he was brought into contact with a style of music that was new to him. After listening to the piece several times he was fascinated once again by Mozart’s exquisite music…
Felix Sorg first encountered Max Reger’s “Acht geistliche Gesänge” op. 138 during his school music course. He associates many enriching choral experiences in the Trossingen Hochschulchor with these pieces, first of all the “Nachtlied” with a special appearance in the German Parliament…
When asked to choose a favorite piece, at first Felix Loy felt like the famous question of what you would take with you to a desert island. When it comes down to it, there are ultimately just two works: Bach’s Magnificat BWV 243 and the orchestral works of Norbert Burgmüller.
When people hear or read the name “Carus”, it is probably choral music which first comes to mind – sacred or secular. Then perhaps organ music, or even the LIEDERPROJEKT. But not many people would suspect that the catalog includes a truly great Romantic instrumental concerto…
Normally one of the staff presents his or her personal favorite piece here. But for me, and probably for many others too, this choice changes frequently according to my mood. By contrast, for me it is all about a favorite composer: Felix Mendelssohn Bartholdy.
