Begräbnisgesang Op. 13 „Nun lasst uns den Leib begraben – Urtext based on the Brahms Complete Edition of the Gesellschaft der Musikfreunde in Vienna by Johannes Brahms Choir - Sheet Music

By Johannes Brahms

Brahms' Begrabnisgesang op. 13 has long been one of Breitkopf & Hartel's standard works. Yet while musicians were able to acquire the score, orchestral parts and choral score, there was no piano-vocal score up to now. This gap is now being closed. The piano-vocal score will be a valuable asset to all choirs learning and performing the work, not least because the piano reduction is conceived so as to sound compelling on the organ as well. In his preface, Ulrich Mahlert suggests that the work of the then 25-year-old composer is perhaps to be seen in the light of Robert Schumann's death and Clara Schumann's own thoughts of death.

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Details

Instrument:
Choir
Ensembles:
Choir
Genres:
Christian Romantic Period
Composers:
Johannes Brahms
Publishers:
Breitkopf and Haertel
Series:
Breitkopf Score Library
ISBN:
9790004200582
Format:
Score Vocal Score
Item types:
Physical
Artist:
Johannes Brahms
Usages:
Mass
Number of Pages:
16
Size:
10 x 12.5 inches
Shipping Weight:
0.28 pounds

Chorus with inst. (choir: SATBB – 0.2.2.2 – 2.0.3.1 – timp)

SKU: BR.PB-3225

„Nun lasst uns den Leib begraben – Urtext based on the Brahms Complete Edition of the Gesellschaft der Musikfreunde in Vienna. Composed by Johannes Brahms. Choir; stapled. Partitur-Bibliothek (Score Library).

Now complete with piano-vocal score

Requiem; Romantic. Full score. 16 pages. Duration 10:00. Breitkopf and Haertel #PB 3225. Published by Breitkopf and Haertel (BR.PB-3225).

ISBN 9790004200582. 10 x 12.5 inches.

Brahms' Begrabnisgesang op. 13 has long been one of Breitkopf & Hartel's standard works. Yet while musicians were able to acquire the score, orchestral parts and choral score, there was no piano-vocal score up to now. This gap is now being closed. The piano-vocal score will be a valuable asset to all choirs learning and performing the work, not least because the piano reduction is conceived so as to sound compelling on the organ as well. In his preface, Ulrich Mahlert suggests that the work of the then 25-year-old composer is perhaps to be seen in the light of Robert Schumann's death and Clara Schumann's own thoughts of death.