Distler, Hugo: Small Organ Chorale Arrangements op. 8, No. 3 and individually handed down Chorale Arrangements I
partition de concert
He then worked as cantor and organist at St. Jacobi in Lübeck and taught composition and organ at the Stuttgart Musikhochschule from 1937 onwards.
In 1940 he took up the same position at the Berlin Musikhochschule and also became director of the Berlin Cathedral Choir in 1941.
Considerably influenced by the Lübeck Stellwagen organ at St. Jacobi, he championed the characteristic pre-Baroque and Baroque sound of the organ and the forms which best suited it. His stylistic preference was for a specifically neo-Baroque, functional-objective type of sound.
This critical edition with previously unpublished works includes the forewords of the first editions, facsimiles, a critical commentary for each volume as well as a list of sources.
- First Urtext edition of Hugo Distler's organ works
- Includes previously unpublished works
- Reflects the latest state of research
- De tailed foreword, critical commentary (Ger/Eng), facsimiles and tips on performance practice
In the autumn of 1923, a young man produced the first music editions of his newly founded publishing house in his parents’ living room. He named his company Bärenreiter. In the spring of 1924 when Karl Vötterle came of age, he was able to register it with the German Publishers and Booksellers Association. At first, he mainly put out folk song collections, church as well as organ music including early music by Leonhard Lechner and Heinrich Schütz, at the time primarily known in specialist circles.
During the last months of the Second World War, the publishing house in Kassel was destroyed and once more a fresh beginning had to be made. With the start of the extensive German music encyclopaedia MGG – "Musik in Geschichte und Gegenwart" – as well as numerous series of scholarly-critical complete editions such as the “New Mozart Edition” and the “New Bach Edition”, the visionary founder of the publisher created the basis for the further development of Bärenreiter. The musicological editions increasingly aroused interest abroad, and Bärenreiter found itself on an expansion course.
When Karl Votterle died in 1975, his daughter Barbara took over the helm, supported by her husband Leonhard Scheuch. Under their leadership, the catalogue grew significantly and the brand BÄRENREITER URTEXT was established. Finally, in 2003, their son Clemens Scheuch joined the publisher which today he is managing together with his parents. Thus Bärenreiter has remained a family business to this day and has become a company of international standing in the world of classical music.
