SKU: CA.3979819

ISBN 9790007144197. Language: all languages.

Mourning music consisting of free and chorale-based instrumental movements (Nun lasset uns den Leib begrab'n - Christus, der ist mein Leben) from Telemann's funeral music for the Hamburg mayors Schroder (1723) and Stockfleth (1739). - Music for Eternity Sunday or for funeral and memorial services. Score and parts available separately - see item CA.3979800.

SKU: CA.3979814

ISBN 9790007056704. Language: all languages.

Mourning music consisting of free and chorale-based instrumental movements (Nun lasset uns den Leib begrab'n - Christus, der ist mein Leben) from Telemann's funeral music for the Hamburg mayors Schroder (1723) and Stockfleth (1739). - Music for Eternity Sunday or for funeral and memorial services. Score and part available separately - see item CA.3979800.

SKU: CA.3979811

ISBN 9790007056674. Language: all languages.

Mourning music consisting of free and chorale-based instrumental movements (Nun lasset uns den Leib begrab'n - Christus, der ist mein Leben) from Telemann's funeral music for the Hamburg mayors Schroder (1723) and Stockfleth (1739). - Music for Eternity Sunday or for funeral and memorial services. Score and part available separately - see item CA.3979800.

SKU: CA.3979813

ISBN 9790007056698. Language: all languages.

Mourning music consisting of free and chorale-based instrumental movements (Nun lasset uns den Leib begrab'n - Christus, der ist mein Leben) from Telemann's funeral music for the Hamburg mayors Schroder (1723) and Stockfleth (1739). - Music for Eternity Sunday or for funeral and memorial services. Score and part available separately - see item CA.3979800.

SKU: CA.3979812

ISBN 9790007056681. Language: all languages.

Mourning music consisting of free and chorale-based instrumental movements (Nun lasset uns den Leib begrab'n - Christus, der ist mein Leben) from Telemann's funeral music for the Hamburg mayors Schroder (1723) and Stockfleth (1739). - Music for Eternity Sunday or for funeral and memorial services. Score and part available separately - see item CA.3979800.

SKU: CA.3979809

ISBN 9790007056667. Language: all languages.

Mourning music consisting of free and chorale-based instrumental movements (Nun lasset uns den Leib begrab'n - Christus, der ist mein Leben) from Telemann's funeral music for the Hamburg mayors Schroder (1723) and Stockfleth (1739). - Music for Eternity Sunday or for funeral and memorial services. Score and parts available separately - see item CA.3979800.

SKU: SU.80101401

Hamburg Organbook (2017) is a collection of individual organ pieces suitable for recital or service that are all based on motives and themes by the German composer Andreas Willscher (a native of Hamburg). Contained within are: Cortege, Intermezzo, and Litany on the Joseph-Hymnus; Ostinato Postlude on a Motive of Andreas Willscher; Variations on a Theme of Andreas Willscher; Pastorale on a Hymn by Andreas Willscher; Voluntary on a Motet by Andreas Willscher; Paraphrase on a Motive of Andreas Willscher. Instrumentation: Organ Duration: 30' Composed: 2017 Published by: Zimbel Press.

SKU: HL.14014113

ISBN 9788774552291.

54 Organ pieces from the 17th century.

SKU: BA.BA04050

ISBN 9790006443598. 33 x 26 cm inches. Language: German. Text: Feustking, Friedrich Christian.

“A lmira”, Handel’s first opera, was well received when premiered in 1705 at the Theater am Gänsemarkt in Hamburg. The director was Reinhard Keiser, who, remarkably, had himself already set Friedrich Christian Feustking’s text to music. The role of Fernando was sung by Johann Mattheson. The translation used by Handel leaves several Italian arias in their original language, resulting in a delightful mixture of German and Italian.

The opera which, after sundry entangled romances, ends in the wedding of three couples, is characterised by exuberant scenes: the procession at Almira’s crowning ceremony, a duel, a prison scene and a masked-ball involving the three continents Europe, Africa and Asia.

The vocal score to “Almira” by George Frideric Handel brings about a small sensation: Whilst conducting a reenactment of this work in 1732, Georg Philipp Telemann removed the Aria no. 28 “Ingrato, spietato” from his conducting score. Since then this aria has been deemed lost. Due to necessity only the edited vocal text devoid of any music was presented in the 1994 volume of the “Halle Handel Edition”.
Thanks to a recently discovered contemporary manuscript copy from the beginning of the 18th century which was found in the music library of the Mariengymnasium in Jever, this aria has now been made available to performers for the first time in this new vocal score edition. Previous to this the corresponding pages could only be seen as a facsimile in an article of the “Göttinger Händel-Beiträgeâ� �.
Now the aria can be performed again. Furthermore, with the help of this new source, missing measures in the basso continuo which had initially been completed by the editor of the “Halle Handel Edition” volume, could be reconstructed from the basso continuo part of the Bellante aria “Ich brenne zwar” (no. 71).

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

SKU: BA.BVK02070

ISBN 9783761820704. 24.2 x 16 cm inches. Language: German. Preface: Hottmann, Katharina.

Coproduc tion Barenreiter/Metzler.

SKU: HL.49007806

SKU: HL.49023822

ISBN 9783795756505. 5.75x8.25x0.14 inches. German.

Der Liederkarren greift auf, was uberall gesungen wird: die beliebtesten Melodien der Jugendgruppen und Schulklassen, die popularsten Songs vieler Musikgruppen und Gitarrenkurse, die bekanntesten Lieder der Burgerinitiativen und anderer engagierter Gruppen und Liedermacher.

SKU: BR.CHB-5386

ISBN 9790004413876. 7.5 x 10.5 inches. German.

It is unknown when exactly Brahms wrote his 13 Kanons op. 113, a collection of 13 rounds for female voices. However, it is likely that the individual pieces were composed between 1859 and 1863 and for various occasions. In this period, Brahms did various counterpoint studies to which the rounds as one the strictest forms of counterpoint fit nicely. Another contributing factor around this time was Brahms' work with the newly founded Hamburger Frauenchor [Hamburg Female Choir]. Some of the rounds can be found in the part books of this ensemble. The innocent, small, amorous lines that should be sung lightly and joyfully by pretty girls were not published until 1891. For the whole set, Brahms received the formidable salary of 6000 marks. As well as using lines by famous writers, Brahms drew lyrics from folk songs, too.

For three, four and six female voices a cappella.

SKU: BR.CHB-5386-02

ISBN 9790004413876. 7.5 x 10.5 inches. German.

It is unknown when exactly Brahms wrote his 13 Kanons op. 113, a collection of 13 rounds for female voices. However, it is likely that the individual pieces were composed between 1859 and 1863 and for various occasions. In this period, Brahms did various counterpoint studies to which the rounds as one the strictest forms of counterpoint fit nicely. Another contributing factor around this time was Brahms' work with the newly founded Hamburger Frauenchor [Hamburg Female Choir]. Some of the rounds can be found in the part books of this ensemble. The innocent, small, amorous lines that should be sung lightly and joyfully by pretty girls were not published until 1891. For the whole set, Brahms received the formidable salary of 6000 marks. As well as using lines by famous writers, Brahms drew lyrics from folk songs, too.

For three, four and six female voices a cappella.

SKU: HL.49019483

ISBN 9783795705428. German.

Tschaikowsk y besuchte Hamburg zwischen 1861 und 1893 sechsmal, dirigierte dort und wohnte deutschen Erstauffuhrungen seiner Werke bei. Der Band vereint Zeugnisse, die uber die personlichen Eindrucke des Komponisten in der Hansestadt berichten, und Rezensionen, die in Hamburger Zeitungen uber seine Musik erschienen.

SKU: HL.49032989

ISBN 9783795704308. German.

Hermann Rauhe, Prasident und Professor an der Hochschule fur Musik und Theater Hamburg sowie Ordinarius em. der Hamburger Universitat, hat seit Anfang der 60er Jahre bis heute eine grosse Zahl von Texten in Fachorganen, wissenschaftlichen Reihen und Sammelbanden veroffentlicht, die sich - von vielfaltigen Ansatzen ausgehend - an unterschiedliche Zielgruppen richten: Lehrende und Studierende der Musikpadagogik und Musikwissenschaft, Musiksoziologen und -therapeuten, Kulturpolitiker und -manager sowie interessierte Laien, auch auf verschiedenen, teils (scheinbar) der Musik fern liegenden Gebieten. In diesem Buch wird an 24 Beitragen aus nahezu 40 Jahren der Publikationstatigkeit Hermann Rauhes die ganze Breite seiner Interessen und seines Engagements aufgezeigt. Besonders eindrucksvoll ist die Entwicklung, die sein Denken und Handeln im Laufe dieser Zeit genommen hat, und die sich in den hier zusammengestellten Texten in aller Deutlichkeit widerspiegelt.Beispielhaf t fur das geschilderte Spektrum seien hier einige Titel angefuhrt:- Musikpadagogik als Didaktik musikalischer Kommunikation und Interaktion (1975)- Aspekte einer Umweltverschmutzung durch Musik (1977)- Thesen zu einer alternativen Kinder- und Jugendmusik (1979)- Jazz in der Aus- und Fortbildung (1980)- Wozu braucht der Mensch Musik? (1982)- Interdisziplinare Grundfragen der musiktherapeutischen Wirkungsforschung (1984) - Kulturmanagement: Beruf oder Berufung? (1991)- Antrieb und Motivation, Entspannung und Meditation (1993)- Zur Rezeption und Wirkung internationaler Musicalerfolge (1995)u.v.a.Eine ausfuhrliche Bibliographie aller von Hermann Rauhe veroffentlichten Schriften bildet den Abschluss dieser fesselnden Zusammenschau.

SKU: BR.PB-5559-07

Tchaikovsky's Hamburg Symphony in the Urtext

ISBN 9790004213698. 6.5 x 9 inches.

Like Hamlet Overture, originating at about the same time, Tchaikovsky's 5th symphony, composed in 1888, focuses on the human existential question: To be or not to be - triumph over fate or triumph of fate? The per aspera ad astra dramaturgy underlying the symphony culminates in triumphant certainty. If Tchaikovsky was initially euphoric, then severe self-doubts befell him after he conducted the premiere in St. Petersburg. These doubts demonstrably led him to make interpretative changes for the Hamburg performance in 1889, including a cut in the finale. Only with the extremely positive response to this performance did his doubts dispel. Nevertheless, Tchaikovsky himself never again conducted the 5th symphony. It was only posthumously established in the repertoire through Arthur Nikisch's commitment. The new edition's textual criticism takes into account besides the autograph and first edition also the first edition's orchestral parts, together with the piano arrangement produced from the autograph by Sergei Taneyev. In addition to thoroughly clarifying dynamics and articulation, the source comparison also corrected many errors and solved problematical passages, such as, for instance, the trombone entry in m. 372 of the finale. Considered, moreover, for the first time has been the composer's doubts about his work and its ambiguities, frequently successfully suppressed in the history of its performance and reception. Tchaikovsky's conductor's copy is unfortunately lost, hence his alterations made for the Hamburg performance are not precisely known. They have survived only indirectly through remarks that Willem Mengelberg left to posterity, for which he could draw on Tchaikovsky's conductor's score and oral references by the composer's brother Modest. So, anyone wishing to deal seriously with the work's certainties will not be able to do so in the future without having also to deal with its uncertainties.

Tch aikovsky's Hamburg Symphony in the Urtext.

SKU: BR.OB-5558-27

Tchaikovsky's Hamburg Symphony in the Urtext

ISBN 9790004344699. 10 x 12.5 inches.

Like Hamlet Overture, originating at about the same time, Tchaikovsky's 5th symphony, composed in 1888, focuses on the human existential question: To be or not to be - triumph over fate or triumph of fate? The per aspera ad astra dramaturgy underlying the symphony culminates in triumphant certainty. If Tchaikovsky was initially euphoric, then severe self-doubts befell him after he conducted the premiere in St. Petersburg. These doubts demonstrably led him to make interpretative changes for the Hamburg performance in 1889, including a cut in the finale. Only with the extremely positive response to this performance did his doubts dispel. Nevertheless, Tchaikovsky himself never again conducted the 5th symphony. It was only posthumously established in the repertoire through Arthur Nikisch's commitment. The new edition's textual criticism takes into account besides the autograph and first edition also the first edition's orchestral parts, together with the piano arrangement produced from the autograph by Sergei Taneyev. In addition to thoroughly clarifying dynamics and articulation, the source comparison also corrected many errors and solved problematical passages, such as, for instance, the trombone entry in m. 372 of the finale. Considered, moreover, for the first time has been the composer's doubts about his work and its ambiguities, frequently successfully suppressed in the history of its performance and reception. Tchaikovsky's conductor's copy is unfortunately lost, hence his alterations made for the Hamburg performance are not precisely known. They have survived only indirectly through remarks that Willem Mengelberg left to posterity, for which he could draw on Tchaikovsky's conductor's score and oral references by the composer's brother Modest. So, anyone wishing to deal seriously with the work's certainties will not be able to do so in the future without having also to deal with its uncertainties.

Tch aikovsky's Hamburg Symphony in the Urtext.

SKU: BR.OB-5558-30

Tchaikovsky's Hamburg Symphony in the Urtext

ISBN 9790004344705. 10 x 12.5 inches.

Like Hamlet Overture, originating at about the same time, Tchaikovsky's 5th symphony, composed in 1888, focuses on the human existential question: To be or not to be - triumph over fate or triumph of fate? The per aspera ad astra dramaturgy underlying the symphony culminates in triumphant certainty. If Tchaikovsky was initially euphoric, then severe self-doubts befell him after he conducted the premiere in St. Petersburg. These doubts demonstrably led him to make interpretative changes for the Hamburg performance in 1889, including a cut in the finale. Only with the extremely positive response to this performance did his doubts dispel. Nevertheless, Tchaikovsky himself never again conducted the 5th symphony. It was only posthumously established in the repertoire through Arthur Nikisch's commitment. The new edition's textual criticism takes into account besides the autograph and first edition also the first edition's orchestral parts, together with the piano arrangement produced from the autograph by Sergei Taneyev. In addition to thoroughly clarifying dynamics and articulation, the source comparison also corrected many errors and solved problematical passages, such as, for instance, the trombone entry in m. 372 of the finale. Considered, moreover, for the first time has been the composer's doubts about his work and its ambiguities, frequently successfully suppressed in the history of its performance and reception. Tchaikovsky's conductor's copy is unfortunately lost, hence his alterations made for the Hamburg performance are not precisely known. They have survived only indirectly through remarks that Willem Mengelberg left to posterity, for which he could draw on Tchaikovsky's conductor's score and oral references by the composer's brother Modest. So, anyone wishing to deal seriously with the work's certainties will not be able to do so in the future without having also to deal with its uncertainties.

Tch aikovsky's Hamburg Symphony in the Urtext.