Orgelsonate Nr. 3
op. 88, 1875
With the Third Sonata op. 88 Rheinberger began to compose systematically for the organ. The steps from one sonata to the next became shorter, and now at least one major organ work appeared each year. The term "sonata" encompasses widely differing forms and types of movements.
Purchase
Additional product information
-
Composer
Josef Gabriel Rheinberger
| 1839-1901During the second half of the 19th century Rheinberger, who was born in 1839 in Vaduz (Liechtenstein), was a major figure of European stature. In demand as a teacher of composition and esteemed as a composer, this professor at the Munich Conservatoire and Bavarian Court Kapellmeister made his mark on a whole generation of musicians. The fact that many of his compositions were no longer performed after his death in 1901, despite their high musical qualities, was largely a result of external circumstances. The change of aesthetic orientation which began about the turn of the century led to a radical move away from the conservative-classical ideals to which Rheinberger – like Brahms – had felt himself committed. It was also a fact that Rheinberger never publicized his own works vigorously. The Josef-Rheinberger-Archiv and Carus published a complete edition of works by Josef Gabriel Rheinberger for the first time. The edition, concluded in 2009, has contributed significantly to the fact that the music of this composition teacher and Bavarian Court Kapellmeister from Munich can once again be heard around the world today. Personal details
-
Editor
Martin Weyer
| 1938-2016
Reviews
Hodie Christus natus est II
Nr. 3 in G-Dur op. 88: Mit dieser Sonate beginnt Rheinberger sein kontinuierliches Schaffen für Orgel. Von jetzt an erscheint in alljährlicher Regelmäßigkeit mindestens ein größeres Orgelwerk. Die ersten beiden Sätze sind technisch recht leicht. Die Fuge ist um einiges anspruchsvoller. Offenbar soll beim ersten Satz, einer «Pastorale», jede Sentimentalität vermieden werden. Anders lässt sich Rheinbergers ff wohl kaum verstehen. Der zweite Satz ist ganz zurückgenommen ohne jede raffinierte Harmonik. Die Schlussfuge nimmt den Psalmton wieder auf, der schon im ersten Satz Form bestimmend war. Eher lyrisch statt kontrapunktisch kräftig schließt das Werk.Quelle: Musik & Liturgie, 3/05, S.43
Reviews on our website can only be submitted by customers with a registered user account. A check whether the rated products were actually purchased does not take place.
No feedback available for this product.
Frequent questions about this work
There are no questions and answers available so far or you were unable to find an answer to your specific question about this work? Then click here and send your specific questions to our Customer Services!
