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                <title>Wallenstein Sinfonisches Tongemälde from 290,00 &euro;</title>
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                <pubDate>Sat, 01 Nov 2025 06:36:09 +0100</pubDate>
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                <title>Sinfonie in F &quot;Florentiner Sinfonie&quot; from 267,00 &euro;</title>
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                <pubDate>Sat, 01 Nov 2025 06:35:53 +0100</pubDate>
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                <title>Concert overtures (Complete edition, Vol. 25) from 172,00 &euro;</title>
                <link>https://www.carus-verlag.com/en/music-scores-and-recordings/josef-gabriel-rheinberger-konzertouvertueren-gesamtausgabe-bd-25-5022500.html</link>
                <pubDate>Sat, 01 Nov 2025 06:36:09 +0100</pubDate>
                <description>&lt;img src=&#039;https://www.carusmedia.com/images-intern/medien//50/5022500/5022500u.jpg&#039; border=0 align=&#039;left&#039; hspace=5&gt;Rheinberger&#039;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&#039;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&#039;s Academic Overture follows in this same 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&#039;s overtures.</description>
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                <title>Orchesterfassungen eigener Werke (Gesamtausgabe, Bd. 26) from 214,00 &euro;</title>
                <link>https://www.carus-verlag.com/en/music-scores-and-recordings/josef-gabriel-rheinberger-orchesterfassungen-eigener-werke-gesamtausgabe-bd-26-5022600.html</link>
                <pubDate>Sat, 01 Nov 2025 06:36:09 +0100</pubDate>
                <description>&lt;img src=&#039;https://www.carusmedia.com/images-intern/medien//50/5022600/5022600u.jpg&#039; border=0 align=&#039;left&#039; hspace=5&gt;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 als Vorbild „wiederentdeckt“ hatte.</description>
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                <title>Piano Concerto in A flat major from 200,00 &euro;</title>
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                <pubDate>Sat, 01 Nov 2025 06:36:09 +0100</pubDate>
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                <title>Complete Edition 28: Organ Concertos from 202,00 &euro;</title>
                <link>https://www.carus-verlag.com/en/music-scores-and-recordings/josef-gabriel-rheinberger-complete-edition-28-organ-concertos-5022800.html</link>
                <pubDate>Sat, 01 Nov 2025 06:36:09 +0100</pubDate>
                <description>&lt;img src=&#039;https://www.carusmedia.com/images-intern/medien//50/5022800/5022800u.jpg&#039; border=0 align=&#039;left&#039; hspace=5&gt;The two organ concertos are marked by somewhat unusual instrumentation. Hector Berlioz warned about a &quot;certain antipathy&quot; between the organ and orchestral instruments, but with the use of three horns in op. 137 proves to be a fine piece of artistry: Rheinberger supplied tone colors which he had perceived the organ to lack. The trio version of the Suite op. 149 adds to the repertoire of &quot;sacred chamber music.&quot; Rheinberger’s later addition to the work of an ad libitum string orchestra takes this Suite into the world of the triple concerto and the concerto grosso, without exactly corresponding to those genres.</description>
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