SKU: HF.FH-2995

ISBN 9790203429951. 9 x 12 inches.

1. Leise rieselt der Schnee (Ed. Ebel); 2. Ach, bittrer Winter (17. Jhd.); 3. Nikolauslied (Rheinland); 4. Morgen, Kinder, wird's was geben (Berliner Volksweise, 1800); 5. Ihr Kinderlein, kommet (J.A.P. Schulz, 1747-1800); 6. Alle Jahre wieder (F. Silcher, 1789-1860); 7. Vom Himmel hoch da komm' ich her (M. Luther); 8. Frohlich soll mein Herze springen (J. Cruger, 1598-1662); 9. Uns ist geboren (Altflamisch); 10. Es ist ein Ros entsprungen (Speiersches Gesangsbuch, 1599); 11. O du frohliche (sizilianische Volksweise); 12. Nun singet und seid froh (Klug's Gesangbuch, 1535); 13. Vom Himmel hoch ihr Englein (Kolner Gesangbuch, 1632); 14. Kommet, iht Hirten (Volksweise); 15. Auf, auf, ihr Hirten (Niederosterreich); 16. Spielt auf (Volksweise); 17. Lieb' Nachtigall, wach auf (1670); 18. Kindlein mein (Volkslied); 19. Kindlein zart (Volksweise); 20. Joseph, lieber Joseph mein (nach Handschrift 1305 der Universitats-Bibliothek Leipzig); 21. Still, still, weil's Kindlein schlafen will (Volkslied aus Salzburg, 1819); 22. O Tannebaum (Alte Volksweise); 23. O Tannebaum (Volkslied aus Westfalen); 24. Ach Tannenbaum (M. Franck, 1573-1639); 25. Am Weihnachtsbaum die Lichter brennen (Volksweise); 26. Frohliche Weihnacht uberall (aus dem Englischen); 27. Stille Nacht (F. Gruber, 1787-1863).

SKU: BR.PB-5364

ISBN 9790004211458. 10 x 12.5 inches.

Autograph lays bare Mendelssohn's Overture to A Midsummer Night's Dream To this day, Mendelssohns epoch-making Overture to A Midsummer Night's Dream has been performed on the basis of a more than dubious transmission. Neither the first edition of the parts (1832), and certainly not the print of the score based on these parts (1835) go back directly to the autograph of the 17-year-old composer, which is now located in Krakow. No wonder, since Mendelssohn had breezily given away his original at an early date. The result: during his lifetime, versions were published with his authorization, even though they were full of unintended inconsistencies. Yet the autograph of 1826 is unequivocal: it is clear, practically free of irregularities and diverges considerably from the corrupted printed version. Christian Martin Schmidt comes up with occasionally differing musical passages, but above all with logical and compositionally compelling performance instructions, laying bare to musical practice the original form buried beneath layers of falsified material for the first time.

Christian Martin Schmidt is laying bare to musical practice the original form of Mendelssohn's epoch-making Overture to A Midsummer Night's Dream buried beneath layers of falsified material for the first time.

SKU: BR.OB-5505-30

ISBN 9790004337806. 10 x 12.5 inches.

A visit to the opera whetted the composers creative appetite to explore the fairy-tale-like theme of Knight Raimunds love for the beautiful mermaid Melusine, which provided the basis for Mendelssohns fourth concert overture. As usual, Mendelssohn worked out the composition in his mind before committing it to paper, a task he most likely began towards the end of March 1833. The works premiere performance took place in London on 7 April 1834; the revised version was given its first account in Leipzig on 23 November 1835. Its ranking as No. 4 of the concert overtures was assigned around 1857 in a posthumous edition.(Ralf Wehner in the Study Edition of the Mendelssohn Work Catalogue).

SKU: BR.OB-5364-15

Christian Martin Schmidt is laying bare to musical practice the original form of Mendelssohn's epoch-making Overture to A Midsummer Night's Dream buried beneath layers of falsified material for the first time.

ISBN 9790004337387. 10 x 12.5 inches.

Autograph lays bare Mendelssohn's Overture to A Midsummer Night's Dream To this day, Mendelssohns epoch-making Overture to A Midsummer Night's Dream has been performed on the basis of a more than dubious transmission. Neither the first edition of the parts (1832), and certainly not the print of the score based on these parts (1835) go back directly to the autograph of the 17-year-old composer, which is now located in Krakow. No wonder, since Mendelssohn had breezily given away his original at an early date. The result: during his lifetime, versions were published with his authorization, even though they were full of unintended inconsistencies. Yet the autograph of 1826 is unequivocal: it is clear, practically free of irregularities and diverges considerably from the corrupted printed version. Christian Martin Schmidt comes up with occasionally differing musical passages, but above all with logical and compositionally compelling performance instructions, laying bare to musical practice the original form buried beneath layers of falsified material for the first time.

Christian Martin Schmidt is laying bare to musical practice the original form of Mendelssohn's epoch-making Overture to A Midsummer Night's Dream buried beneath layers of falsified material for the first time.

SKU: BR.OB-5623-30

ISBN 9790004348772. 10 x 12.5 inches.

Certainly Robert Schumann was right when he stated soon after Beethoven's death that the latter's conception of the symphony as a great, universal confessional work was hardly to be continued by the next generation of composers. He saw a solution to the dilemma in the creation of autonomous concert overtures, such as those written, for instance, by Felix Mendelssohn Bartholdy: Four of his overtures were printed during his lifetime, and others were extant in manuscript, though frequently and successfully performed by the composer. Belonging to the latter group is the Trumpet Overture, begun in 1825 and performed three times between 1828 und 1833 on prominent occasions in Berlin, Dusseldorf, and London.

First printing posthumously 1851 (Rietz).

SKU: BR.OB-5364-23

ISBN 9790004337417. 10 x 12.5 inches.

Autograph lays bare Mendelssohn's Overture to A Midsummer Night's Dream To this day, Mendelssohns epoch-making Overture to A Midsummer Night's Dream has been performed on the basis of a more than dubious transmission. Neither the first edition of the parts (1832), and certainly not the print of the score based on these parts (1835) go back directly to the autograph of the 17-year-old composer, which is now located in Krakow. No wonder, since Mendelssohn had breezily given away his original at an early date. The result: during his lifetime, versions were published with his authorization, even though they were full of unintended inconsistencies. Yet the autograph of 1826 is unequivocal: it is clear, practically free of irregularities and diverges considerably from the corrupted printed version. Christian Martin Schmidt comes up with occasionally differing musical passages, but above all with logical and compositionally compelling performance instructions, laying bare to musical practice the original form buried beneath layers of falsified material for the first time.

Christian Martin Schmidt is laying bare to musical practice the original form of Mendelssohn's epoch-making Overture to A Midsummer Night's Dream buried beneath layers of falsified material for the first time.