Format : Sheet music
SKU: CA.5021700
ISBN 9790007090289.
Among Rheinberger's three choral ballads for men's choir and orchestra contained in this volume, Das Tal des Espingo op. 50 deserves especially to be rediscovered. The work is based on a ballad by the poet Paul Heyse which describes, in vivid verses, how an army of Moors are reminded of their home during a trek through the Pyrenees when, just at this moment, they fall prey to an ambush by the Basques. In its original form Das Tal des Espingo was a work for men's choir a cappella. This version has been published for the first time in the appendix of volume 17.
SKU: HL.48016163
UPC: 073999987973. 9.0x12.0x0.075 inches.
Contents: German Dance (Beethoven) * Andantino from Ballade in F (Chopin) * Prelude in B minor (Chopin) * Le Tambourin (Rameau) * Litany (Schubert) * Sehnsucht (Tchaikovsky).
SKU: BT.EMBZ12699
English-German.
After touring Europe from Lisbon to St. Petersburg in the 1840s, Ferenc Liszt settled in Weimar. He abandoned his position as a celebrated virtuoso and took up the post of court Kapellmeister there. Ballade No. 2 is also from the output of this period. Composed together with the Sonata in B Minor and in the same key, to the discerning listener this work reveals the influence of Schubert and Chopin. Intriguingly, the work seems to have progressed along the same path as the composer himself: initially, it concluded with a sensational and thunderous finale, while the definitive version ends with quiet lyricism. This duality can easily be studied in this edition, which includes bothversions. This revised (2018) edition is raised to the level of academic thoroughness by a new editor s preface, a facsimile, and full critical notes.
SKU: CA.1231100
ISBN 9790007027506.
SKU: CA.5019300
ISBN 9790007188160. Key: G minor. Language: all languages.
Karl Straube wrote to Rheinberger about his penultimate Organ Sonata, published in 1899: Your 19th Sonata made a tremendous impression on my audience. The first ballade-like movement in particular was greatly admired by the public. In the middle movement, marked Provencalisch, Rheinberger used a theme by Machaut, whilst the third movement, with its somber improvisatory-like introduction, is very convincing.