with CDs of diction lessons and piano accompaniments; includes historical notes, translations and International Phonetic Alphabet With diction lessons recorded by Irene Spiegelman, German diction coach at the Metropolitan Opera, and piano accompaniments recorded by Laura Ward, this collection of the most often taught Brahms songs is an excellent introduction to lieder. The diction for each song is recorded twice: first recited as an actor would speak it, showing flow of the language and mood, followed by a slow, deliberate lesson, allowing time for the student to repeat each line. This experienced language coach adapts the R in German in the slow versions as recommended for classical singers. She is also very sensitive to liaisons between word sounds in the musical settings.

Songlist: Botschaft, Dein blaues Auge, Die Mainacht, Feldeinsamkeit, Immer leiser wird mein Schlummer, Meine Liebe ist, Mondnacht, O liebliche Wangen, Sapphische Ode, Sonntag, Vergebliches, Von ewiger Liebe, Wie Melodien zieht es mir

This is the largest collection of Brahms songs commercially available. Historical notes on all songs address compositional context in the composer's career, remarks about the poets and early performance history. A new translation appears on the first page of each song. New musical research, clear new engravings make this a distinguished source of song literature.

Songlist: Serenade, Sehnsucht, Ach, wende diesen Blick, Am Sonntag Morgen, Alte Liebe, An die Nachtigall, An eine Aeolsharfe, Auf dem Kirchhofe, Blinde Kuh, Botschaft, Dämmrung senkte sich von oben, Das mädchen spricht, Dein blaues Auge, Der Frühling, Der Gang zum Liebchen, Der Jäger, Der Schmied, Der Tod, das ist die kühle Nacht, Des Liebsten Schwur, Die Liebende schreibt, Die Mainacht, Erinnerung, Es hing der Reif, Es liebt sich so lieblich im Lenze, Es schauen die Blumen, Es träumte mir, Feldeinsamkeit, Geheimnis, Im Gartne am Seegestade, Immer leiser wird mein Schlummer, and more

This is the largest collection of Brahms songs commercially available. Historical notes on all songs address compositional context in the composer's career, remarks about the poets and early performance history. A new translation appears on the first page of each song. New musical research, clear new engravings make this a distinguished source of song literature.

Songlist: Serenade, Ach, wende diesen Blick, Am Sonntag Morgen, Alte Liebe, An die Nachtigall, An eine Aeolsharfe, Auf dem Kirchhofe, Blinde Kuh, Botschaft, Dommrung senkte sich von oben, Dein blaues Auge, Der Frühling, Der Gang zum Liebchen, Der Jäger, Der Schmied, Der Tod, das ist die kühle Nacht, Die Mainacht, Erinnerung, Es hing der Reif, Es liebt sich so lieblich im Lenze, Es schauen die Blumen, Es träumte mir, Feldeinsamkeit, Geheimnis, Im Gartne am Seegestade, Immer leiser wird mein Schlummer, In der Fremde, Juchhe!, Lerchengesang, Liebestreu, and more

Many of Brahms' early choral works are the result of his work in the 1850s as director of a women's choir in Hamburg and the choral society of Detmold. These three sacred choruses are based on rather complex contrapuntal forms: O Bone Jesu is a metric double canon in contrary motion. Adoramus te, Christe is a continuous four-voice canon at the fourth, fifth and octave. Regina coeli is a canon in contrary motion sung by two soloists with choral interjections of Alleluia. Together with an Ave Maria, these comprise Brahms' only published settings of Latin texts. Duration: ca. 3:30.

Songlist: O Bone Jesu, Adoramus te, Christie, Regina coeli

This volume consists of unaccompanied choral works composed or otherwise arranged by Johannes Brahms for mixed choruses as well as individual men's and women's choruses.

Songlist: Love Songs, New Love Songs, Six Quartets, Three Songs, Seven Songs, Songs and Romances, Five Songs, Five Duets

Throughout his life Brahms harmonized and arranged German folk songs for mixed choir. In these masterful versions the elegant simplicity of the originals always maintained, yet Brahms weaves well-shaped vocal lines and adds delicate harmonies to make polished songs of great charm. In this edition, John Lewers has fashioned highly effective and poetic English singing translations, which adhere to the rhyming scheme of the original. The result is a collection of instantly accessible yet little known repertoire, exploring a variety of scenes and moods, which will appeal to all mixed-voice choirs looking for imaginative concert repertoire. German and English text.

Songlist: The Ardent Suitor, One Day I Went a-Riding, By a Lone Woodland Spring, Saint Emmeran, A Dove So White, A Lullaby Prayer, Saint Raphael, One Quiet Night, Farewell, The Lover's Vision, O Sweet, Delightful Maytime, Morning Song, The Reaper, The Heavenly Hunter, Separation, Awaken!, Invite Me, Sweet Maiden, The Fiddler, Below In the Valley, At Night, Awaken!, A House Stands by a Flowing Stream, Roses and Pearls, The Knight and the Lady, The Young Carpenter, Battle Prayer

(Ger/Eng) Contents: Aeolian Harp - Am Sonntag Morgen - An Den Mond - An Die Nachtigall - An Ein Veilchen - Auf Dem Schiffe - Bei Dir Sind Meine Gedanken - Botschaft - Damm'rung Senkte Sich Von Oben - Der Gang Zum Liebchen - Der Jager - Der Tod, das ist Die Kuhle Nacht - Die Kranze - Die Mainacht - Erinnerung - Es Hing Der Reif - Feldeinsamkeit - Immer Leiser Wird Mein Schlummer - In Waldeseinsamkeit - Komm Bald! - Kommt Dir Manchmal in Den Sinn - Lerchengesang - Liebestreu - The Little Sandman - Madchenlied - Meine Liebe ist Grun - Meine Lieder - Minnelied - Nachtigall - O Kuhler Wald - O Lieliche Wangen - O Wusst' Ich Doch Den Weg - Parole - Rothe Abendwolken Zieh'n - Ruhe, Sussliebchen - Sapphische Ode - Schmied - Sehnsucht - Wiegenlied - Sonntag - Standchen - Therese - Trennung - Treue Liebe - Vergebliches Standchen - Verrath - Von Ewiger Liebe - Wie Bist Du, Meine Konigin - Wie Melodien Zieht Es Mir - Wir Wandelten.

Songlist: Minnelied (Love Song), Op. 71, No. 5, Therese (Theresa), Op. 86, No. 1, Am Sonntag Morgen (On Sunday Morning), Op. 49, No. 1, Sonntag (Sunday), Op. 47, No. 3, In Waldeseinsamkeit, Op. 85, No. 6, Botschaft (The Message), Op. 47, No. 1, Feldeinsamkeit (In Summer Fields), Op. 86, No. 2, Immer Leiser Wird Mein Schlummer, Op. 105, No. 2, Die Mainacht (The May Night), Op. 43, No. 2, Meine Liebe Ist Grun (My Love Is Green), Op. 63, No. 5, O Kuhler Wald (O Shady Wood), Op. 72, No. 3, O Wusst' Ich Doch Den Weg Zuruck, Op. 63, No. 8, Sapphische Ode (Sapphic Ode), Op. 94, No. 4, Der Schmied (The Smith), Op. 19, No. 4, Standchen (Serenade), Op. 106, No. 1, Vergebliches Standchen (The Vain Suit), Op. 83, No. 4, Von Ewiger Liebe (Love Lasts), Op. 43, No. 1, Wie Bist Du, Meine Konigin, Op. 32, No. 9, Wiegenlied (Sleep, Gently Sleep), Op. 49, No. 4, Wie Melodien Zieht Es Mir, Op. 105, No. 1, Wir Wandelten (We Walked One Day), Op. 96, No. 2, Liebestreu, (Faithfulness), Op. 3, No. 1, Sandmannchen (The Little Sandman), WoO 31, No. 4, Meine Lieder (My Songs), Op. 106, No. 4, Der Jager (The Huntsman), Op. 95, No. 4, Treue Liebe (True Love), Op. 7, No. 1, An Eine Aeolsharfe (To An Aeolian Harp), Op. 19, No. 5, An Den Mond (To The Moon), Op. 71, No. 2, An Die Nachtigall (To A Nightingale), Op. 46, No. 4, An Ein Veilchen (To A Violet), Op. 49, No. 2, and more

This compilation presents 40 of Brahms' most popular vocal works, including Ruhe, Süssliebchen, Wiegenlied ("Cradle Song"), Die Mainacht, Meine Liebe ist grün, and Wie Melodien zieht es mir. An outstanding collection for study as well as performance, it features lyrics in both German and English.

English Only.

Songlist: Blessed they (Brahms-Requiem), Behold, all flesh (Brahms-Requiem), Lord, make me to know (Brahms-Requiem), How lovely is Thy dwelling (Brahms-Requiem), Ye now are sorrowful (Brahms-Requiem), Here on earth (Brahms-Requiem), Blessed are the dead (Brahms-Requiem)

German/English.

The seven choral songs, stylistically very diverse, show clear folk music traits together with Brahm's characteristic leanings towards multiple choirs and to polyphonic or canonic writing. The name SAM-Klang takes the three voice parts from the arrangements -- Soprano, Alto and Men -- and combines it with the Scandinavian and German words for sound to create the portmanteau word sound together or harmony. The series offers basic and advanced choral repertoire. In addition to new repertoire and new arrangements, you will also find essential parts of the classical German, Scandinavian, French and English SATB repertoire, carefully and considerately reworked for SAM. The arrangements retain the characteristic features of the original movements and have almost the same richness of timbre, resulting in works which sound nearly unchanged to an audience. Piano reductions of all choral movements facilitate rehearsal preparation. The arrangements offer development opportunities for all voice sections, bringing new life and new quality to SAM choir work. SAM-Klang enables youth choirs to gain access to classical choral literature and ensures that mixed choirs who face challenges in finding singers for all male voice parts continue to have access to well-loved repertoire.

Songlist: All' Meine Herzgedanken, Dein Herzlein Mild, Es Geht Ein Wehen Durch Den Wald, Rosmarin, Vergangen Ist Mir Gluck Und Heil, Von Alten Liebesliedern, Waldesnacht

In 1868, Johannes Brahms decided to compose a romantic song cycle, the 18 "Liebeslieder Wälzer" or "Love Song Waltzes," Opus 52. When published in 1870, they were an instant success, popular with all musicians and singers. This choral score will include choir and soloist parts, in German and in English, with piano accompaniment.

In spite of being well-known as a great composer of large, complex musical works, some of Brahms' most successful works were smaller, more intimate pieces, such as the eighteen "Liebeslieder," or "Love Song Waltzes," Opus 52, for Soli, Chorus and Piano Four-Hand Accompaniment. Choral score with piano duet accompaniment.

A Choral Extended Work for SATB composed by Johannes Brahms.

A Choral Extended Work for SSAATTB composed by Johannes Brahms.

A Choral Extended Work for SATB composed by Johannes Brahms.

Brahms wrote the Alto Rhapsody, Op 53, for contralto, male chorus, and orchestra in 1869 as a wedding gift for the daughter of Robert and Clara Schumann. The Rhapsody is a setting of verses from Goethe's "Harzreise im Winter." Choral score in German and English with piano accompaniment.

Brahms' Opus 82, for chorus and orchestra, titled "Nänie" (the German form of the Latin word "nenia," meaning "a funeral song") sets to music a poem by Friedrich Schiller. Brahms composed the piece in 1881, in memory of his deceased friend, Anselm Feuerbach. Choral score with piano accompaniment. Text in German and English.

Brahms composed his "Schicksalslied" (Song of Destiny), Opus 54, between 1868 and 1871. It is a short, powerful work for chorus and orchestra. The text is that of Friedrich Holderlin's poem "Hyperions Schicksalslied." Choral score with German and English text and piano accompaniment.

An a cappela chorus with German text for eight voices, composed by Johannes Brahms.

A Choral Extended Work for SSAATTBB Divided Chorus with B Solo composed by Johannes Brahms.

A choral worship collection for SATBB, composed by Johannes Brahms. Titles: 1. Es ist das Heil uns kommen her * 2. Schaffe in mir, Gott, ein rein Herz.

English Edition. This 96 page choral score is taken from a previous Belwin Mills publication. It provides the choir and soloist parts along with a piano reduction of the orchestral parts, with notations, instrument cues, and vocal text in English language. This was to be Brahms' longest work, in 7 movements, and was based on sacred biblical text, originally written in the German language, and therefore did not follow the traditional Latin requiem text. Includes: Blessed are they that mourn * Behold, all flesh is as the grass * Lord, make me to know the measure of my days on earth * How lovely is thy dwelling place * Ye are now sorrowful * Here on earth we have no continuing place * Blessed are the dead.

This 95 page score is taken from a previous Belwin Mills publication. It provides the choir and soloist parts along with a piano reduction of the orchestral parts, with notations, instrument cues, and vocal text in German language. In the Table of Contents an English translation is included. This was to be Brahms' longest work, in 7 movements, and was based on sacred biblical text, in German language, and therefore did not follow the traditional Latin requiem text. Includes: Blessed are they that mourn * Behold, all flesh is as the grass * Lord, make me to know the measure of my days on earth * How lovely is thy dwelling place * Ye are now sorrowful * Here on earth we have no continuing place * Blessed are the dead.

Edited by Roger Wagner, Neue Liebeslieder Walzer, Opus 65 presents 15 choral pieces in SATB voicing. Titles: Verzicht, o Herz, auf Rettung (Renounce, O heart, all rescue) * Finstere Schatten der Nacht (Perilous darkness of night) * An jeder Hand die Finger (On either hand with pledges) for soprano solo * Ihr schwarzen Augen, ihr durft nur winken (Thosse dark'ning glances, they need bu beckon) for bass solo * Wahre, wahre deinen sohn (Neighbor, neighbor, guard your son) for alto solo * Rosen steckts ir an die Mutter (Mother decked my breast with roses) for soprano solo * Vom Gebirge Well' auf Well' (From the mountain, wave on wave) * Weiche Gräser im Revier (Sheltered softly midst the grass) * Nagen am Herzen (Heartsore and restless) for soprano solo * Ich kose süss mit der und der (I seetly kiss with her and her) for tenor solo * Alles, alles in den Wind (Will, nilly in the wind) for soprano solo * Schwarzer Wald, dein Schatten (Darkest Wood, your shadows) * Nein, Gelibter, setze dich mir (No, beloved, sit not near) duet for soprano and alto * Flammenauge, dunkles Haar (Fervent glances, raven hair) * Zum Schluss: Nun, ihr Musen, genug! (Conclusion: Now, ye Muses, enough)

Breitkopf & Härtel edition of Brahms's greatest vocal work, fully scored for solo voices, mixed chorus and orchestra. 208 pgs.

Scored for mixed chorus, solo voices and full orchestra, this choral masterpiece is Brahms' greatest vocal composition, and one of the most performed works in the religious music repertoire. Instrumentation. Text and Translation.