ISBN 9783868460254. 8.27 x 5.12 inches.

ISBN 9783936655162.

SKU: BR.BHM-367

ISBN 9783765103674. 9 x 12 inches.

Seek (ricercare) and you will find! The little angel on the cover of the book shows the organist the way to the music he's looking for! In an incredibly time-consuming endeavor, Martin Bieri has compiled all currently available chorale-based organ works, cataloguing about 15,600 works. The bulk of the work is devoted to (chorale) melodies that can be found in the major German-language hymnals. The Ricercare Book offers concise information along with indexes of arrangements, composers, editions and publishers. Nach acht Jahren Laufzeit war es soweit: Ricercare der Sherlock Holmes des Organisten brauchte dringend eine Frischzellenkur d. h. neue Informationen und technische Updates. Das Lifting hat der CD-ROM gut getan. Ricercare saust nunmehr mit neuer Kraft (neuen Informationen) prestissimo durch die weite Datenwelt von uber 20.000 cantus-firmus-gebundenen Orgelwerken und gibt umfassend Auskunft uber Melodien Komponisten Ausgaben Bearbeitungen Verlage u. a. m.
After eight years on the beat it was finally time for Ricercare the Sherlock Holmes of the Organ to get a badly needed makeover i.e. to be supplied with new information and technical updates. The makeover did a world of good to the CD-ROM. Loaded with new info Ricercare now zips along prestissimo through the vast data world of more than 20 000 cantus-firmus-related organ works and provides comprehensive information on melodies composers editions arrangements publishers and much more.


The present edition is based on the music text of the ,,Gesamtausgabe of Robert Schumann's works edited by Clara Schumann together with Johannes Brahms and others between 1879 und 1893. This publication is almost entirely free from arbitrary alterations in the text. A few obvious errors and unjustifiable alterations of the musical text were eliminated after a thorough comparison with the first editions. Die vorliegende Ausgabe folgt dem Notentext der von Clara Schumann in Zusammenarbeit mit Johannes Brahms u. a. zwischen 1879 und 1893 herausgegebenen Gesamtausgabe von Robert Schumanns Werken. Diese Edition ist von willkurlichen Veranderungen des Textes weitgehend frei. Einige offensichtliche Irrtumer und nicht zu rechtfertigende Eingriffe in den Notentext wurden nach Vergleich mit der Erstausgabe und dem Autograph beseitigt. The present edition is based on the music text of the ,,Gesamtausgabe of Robert Schumann's works edited by Clara Schumann together with Johannes Brahms and others between 1879 und 1893. This publication is almost entirely free from arbitrary alterations in the text. A few obvious errors and unjustifiable alterations of the musical text were eliminated after a thorough comparison with the first edition and the autograph.

SKU: BR.OB-3210-19

ISBN 9790004300718. 10 x 12.5 inches.

Johannes Brahms' first Piano Concerto was the fruit of a complex, protracted, and extremely trying creative process. Its origin goes back to a sonata in D minor for two pianos conceived in spring 1854. The impulse for the creation of the main subject was however a shocking event: According to Joseqph Joachim, the theme originated after hearing about Schumanns suicide attempt. A few months earlier, Schumann had revealed Brahms to the musical world in his essay New Paths. In this article, Brahms is extolled as the musician who is called to give expression to the feeling of his times in an ideal fashion. The unusually rapid genesis of the D-minor sonata and its prevailingly dark, monumental mood can be interpreted as an impassioned compositional response to Schumann's suicide attempt. However, the year-long struggle to arrive at the final form of the work should perhaps also be seen in the context of the resounding praise of Schumann's prophetic article. Brahms undoubtly felt a growing inner pressure to live up to the expectations aroused therein.Together with Clara Schumann, Brahms played the three so far existing movements of the sonata, but he was very self-critical. He felt that he had not been able to realize the monumentality he had envisioned, and which Clara Schumann felt, by merely doubling the piano sound. He soon decided to transform the sonata into a symphony (his first orchestral project). However, this idea did not seem to fit his vision either. Only in spring 1855 did he strike upon the definitive solution: a piano concerto. With Brahms as soloist, this concerto premiered in 1859, though he initially had little success. He wrote to Joachim about one of the first performances that the concerto was a brilliant and unmistakable - failure. This hardly surprised Brahms, for he was undoubtedly aware of the newness of the work, which surpassed the expectations of the audience. The work's complex structure and symphonic dimensions, the solo part's rejection of showy, elegant brilliance, and the uniquely Brahmsian orchestral density it maintains throughout; all of these qualities inevitably exasperated audiences at first - until they raised this work to the ranks of the most celebrated concertos of all time.