Born in 1998, he began playing the piano at the age of four and composed his first opera Streichkonzert at the age of sixteen, which premiered at the Musiktheater im Revier Gelsenkirchen in 2016. In the same year, he began studying composition with Manfred Trojahn at the Robert Schumann University, which he completed with a master’s degree in 2023 after studying at the Cologne University of Music and Dance with Brigitta Muntendorf and Miroslav Srnka.
Bill Ives has devoted himself entirely to choral music. Several of his works have been published by Carus, most recently the Christmas composition ‘Three Points of Light’.
A previously unknown manuscript in the Puccini Archive in Torre del Lago was identified as the autograph score of the Preludio a Orchestra – and it turned out to be complete! The fourteen missing measures have been copied from this source, so that the complete Preludio can now be performed in its original form.
Today the biggest pop stars in the world are women. Beyoncé, of course, and above all Taylor Swift, Adele, Rihanna, Miley Cyrus and, in Germany, Shirin David and Helene Fischer. They don’t just inspire the masses musically with their songs; they also influence politics and society. Why is it so different in the world of classical music and so-called high culture?
The origin of the myth surrounding the mass dates back to 1607, when the musician and theorist Agostino Agazzari, in his treatise on the basso continuo, directly relates the composition of the Papae Marcelli to the issue of the intelligibility of the text in polyphonic works. Although it was then taken up even more decisively by Adriano Banchieri and Ludovico Cresolli, this cause-and-effect relationship has, however, no historical foundation, except for the temporal coincidence between its composition and the events relating to the Council of Trent.
It was not until the beginning of 1944 that he managed to find words, if not yet sounds, for the “et in terra pax”. It was Kaminski’s fervent wish to complete the mass: He wanted “to be able to finish these two works [Die Messe deutsch, Das Spiel vom König Aphelius]; then, as far as a human being can say, I will wave a confident farewell to this world when the hour comes.”
A work of timeless beauty: We interviewed editor Andreas Gies, who introduces us to the world of Mascagni’s Messa di Gloria and reveals why it deserves our full attention.
Our editor Barbara Großmann gives an overview of Lortzing’s life and work.
Mozart’s “Requiem”: Carus chief editor Uwe Wolf spoke to Howard Arman about his approach to completing the fragment.
Julia Schwartz composes in practically all genres, and several of her compositions have already been published by Carus. She answers six questions in the Carus interview.
