New Edition of the Complete Works Volume 7-Each volume in this bilingual edition of all the works by Johann Jacob Froberger (1617 1667) contains a Critical Commentary and a detailed Preface with sections on the edition?s scope and subdivisions editorial method and on performance practice as well as with discussions of contemporary instruments ornamentation and Froberger?s life.Volume VII now brings the complete edition to a close. It contains the two previously unpublished motets ?Alleluja absorta est mors? (FbWV 701) and ?Apparuerunt Apostolis? (FbWV 702) both for Soprano Tenor Bass two Violins and Continuo as well as the ?Capriccio in C? (FbWV 706) forfour voices or four instruments.The appendix provides a catalogue of all Froberger works known to date (FbWV) including as applicable the incipit of each work and an entry on its instrumentation date of composition editions and sources along with special comments. Another heading directs readers to the most important references in the secondary literature.Complete urtext edition at the cutting edge of scholarship.First publication of two motets.Catalogue of all Froberger works in an appendix (FbWV).New Edition of the Complete Works Volumes I -VII special price BA9299

A splendid collection of Anthems edited for upper-voices by Barry Rose. In total there are twenty-eight pieces - eight published for the first time - including a set of Preces and Responses and a setting of the Magnificat and Nunc Dimittis. This is a really useful resource for choirs that sing Services.

Freie Orgelwerke - BuxWV 136-153, 158. Par BUXTEHUDE DIETERICH. This edition is the result of Harald Vogel?s many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17 th - and 18 th -century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the ?Einzelanmerkungen?. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude?s free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary). Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on ?Die Fuge um Bach?. Besides the description of the ?inclusion? of triple measures into the C notation and the irregularities of the ?voice mutation? in the polyphonic structures, this also included a discussion about the justification of the ?inner textual criticism?. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude?s work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the ?indicators of the fantastic style? is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude?s work. In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude?s organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands. / Date parution : 2022-10-12/ Recueil / Orgue

In the Variations on Old Psalm-Tunes for Organ Dyson fully explores the composer’s chosen sources: Orlando Gibbons’s ‘Forth in Thy name O Lord I go’ Pry’s Psalter (1621) ‘O Lord turn not away Thy face’ Thomas Campion’s ‘By the waters of Babylon’ and ‘God moves in a mysterious way’ from the Scottish Psalter (1635). These works are popular for service voluntaries.Twentieth century composer and educator George Dyson was a writer of ambitious and critically well-received works that due to their unfashionably accessible late Romantic style were allowed to languish and are now in the process of reassessment and renewed performance. However Dyson’s works for unison Voiceand church music in particular his two settings of the Magnificat and Nunc Dimittis have remained active in the Anglican repertoire.

Antonio Vivaldi probably composed his famous Gloria in 1725. Although the exact circumstances of its origin remain a riddle it was definitely conceived as a self-contained concert piece rather than as part of a complete setting of the Mass.The compositional fabric the festive character of the outside movements and the predominance of the strings in the middle movements make this masterpiece of Venetian sacred music a natural choice for an arrangement for solo voices choir and organ. Rather than imitating the orchestral writing Martin Focke?s arrangement offers a self-contained version tailor-made for this combination of instruments thereby making a pinnacleof European church music accessible to the often more modest resources of today?s churches.Standard work of the oratorio repertoireSelf-contained version for solo voices (SSA) choir (SATB) and organHighly supportive easy-to-play organ partIdeal for use in church servicesDuration: c. 30 mins.The Bärenreiter Choir & Organ Series presents great choral works in arrangements for soloists choir and organ; no orchestra is needed.The original orchestral parts have been transcribed into easy-to-play organ reductions whereby the contemporary tradition of such arrangements has been taken into consideration. In some cases the original organ versions by the composer were used. The organ parts are presented on three staves. The choir and solo parts always remain true to the original. You need only one edition for soloists singers and organist alike.

Bridge’s early works those written before the first World War were more late Romantic in style warmly expansive than his mature works. The Adagio is a four-Voice fugue of poetic expressiveness that makes full use of the instrument’s tonal resources.British composer Frank Bridge was active in the early decades of the 20th century and was a highly respected conductor violist and teacher his sole composition student having been Benjamin Britten. Britten honoured his former teacher in his work Variations on a Theme of Frank Bridge based on a theme from one of Bridge’s pieces for String quartet.

This three-movement work for Organ Air Berceuse and Procession written in 1949 is a very appealing piece that speaks in Sumsion’s fresh melodic Voice. His style is diatonic modern and individual and has not been aged by the orthodoxies of its time.Twentieth century composer and Organist Harold Sumsion spent most of his life in Gloucester where he was a chorister at the cathedral then an articled pupil to the Organist and later assistant Organist and eventually a leader of the Three Choirs Festival. There were short periods studying and teaching in at the Royal Academy of Music in London and the Curtis Institute in Philadelphia. He enjoyed a long and productive tenure atGloucester Cathedral where through is leadership of the Three Choirs Festiva l he came to know some of the most important British composers in particular Edward Elgar.

From This Day Forward is a practical anthology for the wedding organist as arranged by Mark L. Williams. Contents: Arioso from Contata No. 156 (Bach); Air from Water Music Suite (Handel); Andantino from Rosamunde (Schubert); Nocturne from A Midsummer Night’s Dream (Mendelssohn); O Perfect Love; Bist du bei Mir (Bach); Canon in D (Pachelbel); Largo from Xerxes (Handel); Where’er You Walk (Handel); A Nuptual Blessing; Pastoral Symphony from Messiah (Handel); Jesu Joy of Man’s Desiring (Bach); He Shall Feed His Flock From Messiah (Handel); Bridal Chorus from Lohengrin (Wagner); Trumpet Voluntary; Wedding March from A Midsummer Night’s Dream (Mendelssohn); TrumpetTune; Allegro Maestoso from Water Music Suite (Handel); March from Richard the First (Handel); Rondeau from Sinfonies de Fanfares (Mouret); Prelude to Te Deum (Charpentier); Rigaudon (Campra); Psalm 19 (Marcello); March Magnifique (Williams); Savior Like a Shepherd Lead Us (Bradbury); and Sing to God with Heart and Voice (Williams)

The third book of graded pieces by Anne Marsden Thomas. This collection contains lively three-voice movements simple four-part pieces and some slow moving five-part textures. Registration presents a wider variety of challenges including more manual changes than in Book 2. Inclusion of pedals offers useful confidence-building in location of notes and co-ordination with hands. Demands on pedal technique however are very limited here and heels are not required at all. Grade 3

on the Introit of the Feast of the Epiphany. Par HAKIM NAJI. This toccata is based on the introit to the Christian Epiphany festival and solemnly announces the appearance of the Lord. As a toccata, the work is an introduction to Hakim's Adoration (Schott, ED 22614) for voice, flute and organ, a paraphrase of the first three introitus to Epiphany. The Toccata develops a series of symphonic variations with virtuoso movements that emphasize the expressiveness of the words of the Gregorian text: 'Ecce advenit dominator dominus: et regnum in manu ejus, et potestas, et empium. Deus, judicium tuum regi da: et justitiam tuam Filio regis. '(' Behold, the Lord, the ruler, comes: and the kingdom is in his hand, and the power and the dominion. 'God, give your judicial office to the king: and yours Justice to the son of the king. ') (Malachi 3: 1, I Chronicles 29:12, Psalm 71: 1, 10, 11). / Niveau : Intermédiaire / Répertoire / Orgue

Variazioni Per Organo is a work by Aulis Sallinen for Solo Organ commissioned by the Crusell Music Festival where the premiere took place. The piece lasts around 9 minutes.Nicholas Johnson in the September 2016 issue of Organists Review comments that he 'was very taken by the way that Sallinen combines his ideas' and that the composer is 'certainly an original compositional voice.'

Nineteen popular Scottish songs specially arranged for all electronic keyboards complete with lyrics fingering and chord symbols. Each song includes a suggested voice registration rhythm and tempo.