Gesamtausgabe, Bd 26. Par RHEINBERGER JOSEF GABRIEL. In Rheinbergers Orchesterbearbeitungen zeigt sich seine exzellente Instrumentationskunst ebenso wie eine latente orchestrale Klanglichkeit seiner vierhändigen Klaviermusik und seiner Werke für die Orgel. Aus der Ouvertüre zum Singspiel Der arme Heinrich op. 37 wird so ein charmantes Orchesterstück aus Schubert’schem Geist. Mit der Orchestrierung seiner vierhändigen es-Moll-Klavierfantasie op. 79 gelang Rheinberger eine klangliche Transformation von großer Überzeugungskraft. Originalwerke für Orgel dienten als Basis beim Elegischen Marsch op. 167b sowie bei der Passacaglia aus der Orgelsonate op. 132, mit der Rheinberger Bachs Orgelpassacaglia [BWV 582] noch vor Max Reger alsVorbild „wiederentdeckt“ hatte./ Répertoire / Orchestre

Par RHEINBERGER JOSEF GABRIEL. Rheinberger's concert overtures are completely beholden to the tradition of the genre established at least since the 1820s. The spread of this genre was favored in equal measure by the growth of bourgeois musical culture and the overwhelming model of Beethoven's nine symphonies, which sowed a certain perplexity and discouragement among composers of the next generation and led them to turn increasingly to the smaller single-movement genre in their orchestral music. Soon a generic distinction arose between two types of overture. One was the autonomous overture, whose character results from its specific introductory function. Rheinberger's Academic Overture follows in thissame line of tradition. The other type was the overture with subject-matter, in which the romantic inclination to recreate extra-musical material in music found an expecially fruitful field of exploration. Having originated as the opening item of an opera or play, the overture had, after all, long been accustomed to accommodating the contents of the work that followed. The concert overture on an extra-musical subject is in turn associated in particular with the works of Felix Mendelssohn Bartholdy. Rheinberger too, closely modeled his opp. 11 and 110 on Mendelssohn's overtures./ Répertoire / Orchestre

Sinfonisches Tongemälde. Par RHEINBERGER JOSEF GABRIEL. Rheinberger’s first Symphony was among the most successful and frequently performed new symphonies following its premiere in 1866. This “symphonic tone painting” in four movements [Prelude, Thekla, Wallenstein’s Camp, Wallenstein’s Death], which is based on Schiller’s trilogy of dramas, was Rheinberger’s only excursion into the realm of programme music. The influence of Beethoven is unmistakable, the lively 3rd movement [scherzo/trio] depicts with much humour the life of a soldier, and the sermon portrays of the zealous capuchin monk./ Répertoire / Piccolo, 2 Flûtes Traversières, 2 Hautbois, 2 Clar

Par RHEINBERGER JOSEF GABRIEL. On account of their melodic beauty and the network of motivic development between the individual movements, the four piano trios are among the most attractive of Rheinberger's works. All works are also available in separate editions./ Répertoire / Ensemble de Chambre

Tonalité : As-Dur - Op.: 94 -. Par RHEINBERGER JOSEF GABRIEL. “We consider Rheinberger’s new Piano Concerto to be one of his most significant and inspired works, ” wrote a critic following the premiere in 1876 of this virtuoso Concerto op. 94, which enjoyed a spontaneous success in German centers of musical life./ Répertoire / 2 Flûtes Traversières, 2 Hautbois, 2 Clarinettes,

Florentiner Sinfonie'. Par RHEINBERGER JOSEF GABRIEL. Rheinberger began work on his second Symphony during his visit to Italy with his wife in 1874. He was commissioned to write it by an orchestral society in Florence – an indication that his reputation had already spread throughout Europe. The autograph score contains a poem by his wife Fanny, which in four sections expressed the moods of impressions of the visit which seem to underlie the symphony. Contemporaries praised particularly the ”beauty of the Adagio. ” The work is here presented for the first time in an edition based critically on the sources./ Répertoire / Piccolo, 2 Flûtes Traversières, 2 Hautbois, 2 Clar

Florentiner Sinfonie'. Par RHEINBERGER JOSEF GABRIEL. Rheinberger began work on his second Symphony during his visit to Italy with his wife in 1874. He was commissioned to write it by an orchestral society in Florence – an indication that his reputation had already spread throughout Europe. The autograph score contains a poem by his wife Fanny, which in four sections expressed the moods of impressions of the visit which seem to underlie the symphony. Contemporaries praised particularly the ”beauty of the Adagio. ” The work is here presented for the first time in an edition based critically on the sources./ Répertoire / Piccolo, 2 Flûtes Traversières, 2 Hautbois, 2 Clar

Tonalité : As-Dur - Op.: 94 -. Par RHEINBERGER JOSEF GABRIEL. “We consider Rheinberger’s new Piano Concerto to be one of his most significant and inspired works, ” wrote a critic following the premiere in 1876 of this virtuoso Concerto op. 94, which enjoyed a spontaneous success in German centers of musical life./ Répertoire / 2 Flûtes Traversières, 2 Hautbois, 2 Clarinettes,

Florentiner Sinfonie'. Par RHEINBERGER JOSEF GABRIEL. Rheinberger began work on his second Symphony during his visit to Italy with his wife in 1874. He was commissioned to write it by an orchestral society in Florence – an indication that his reputation had already spread throughout Europe. The autograph score contains a poem by his wife Fanny, which in four sections expressed the moods of impressions of the visit which seem to underlie the symphony. Contemporaries praised particularly the ”beauty of the Adagio. ” The work is here presented for the first time in an edition based critically on the sources./ Répertoire / Piccolo, 2 Flûtes Traversières, 2 Hautbois, 2 Clar

Tonalité : As-Dur - Op.: 94 -. Par RHEINBERGER JOSEF GABRIEL. “We consider Rheinberger’s new Piano Concerto to be one of his most significant and inspired works, ” wrote a critic following the premiere in 1876 of this virtuoso Concerto op. 94, which enjoyed a spontaneous success in German centers of musical life./ Répertoire / 2 Flûtes Traversières, 2 Hautbois, 2 Clarinettes,

Tonalité : C-Moll - Op.: 149 -. Par RHEINBERGER JOSEF GABRIEL. The field of sacred chamber music, apart from vocal music and the solo-organ repertoire, often lives in the shadows. Thus the reprint of this valuable trio is all the more welcome. The organ has the same role here as the piano in a piano trio! [Württembergische Blätter für Kirchenmusik May 1993, p. 192]/ Répertoire / Violon Solo, Violoncelle Solo, 2 Violons, Alto, Vi

Tonalité : F-Dur - Op.: 137 -. Par RHEINBERGER JOSEF GABRIEL. Langue : o Spr/ Répertoire / 3 Cors, 2 Violons, Alto, Violoncelle, Contrebasse

Tonalité : Es-Dur - Op.: 139 -. Par RHEINBERGER JOSEF GABRIEL. Langue : o Spr/ Répertoire / Flûte Traversière, Hautbois, Clarinette, Basson, C

Tonalité : G-Moll - Op.: 177 -. Par RHEINBERGER JOSEF GABRIEL. Langue : o Spr/ Répertoire / 2 Cors, 2 Trompettes, Timbales, 2 Violons, Alto, V

Tonalité : F-Dur - Op.: 137 -. Par RHEINBERGER JOSEF GABRIEL. Langue : o Spr/ Répertoire / 3 Cors, 2 Violons, Alto, Violoncelle, Contrebasse