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.

The Prelude is a flowing 9/8 song; the four-Voice Fugue follows as the slow movement; the Variations return to the original prelude theme.It is difficult to overstate the importance of Franck’s Prelude Fugue and Variation for Organ both in his own compositional life and in the development of the French Organ school. The piece is widely believed to have been one of the elemental founding works of the school appearing at a time when French Organ music was at an ebb. Originally one of Six Pieces appearing in 1862 when Franck was forty years old the work established him in the minds of other young composers as a talent of serious proportions and marked the beginning of afulfilling adult life spent as a highly-regarded composer

BWV 248. Par BACH JOHANN SEBASTIAN. For this edition, Carsten Klomp has transferred the orchestral movement of the 1st cantata from Johann Sebastian Bach's Christmas Oratorio to the organ. It not only enables a performance with a reduced line-up, but also a tonally appealing and surprisingly coherent rendition of this wonderful music. The way the voices are distributed on the manuals and pedal and the balance between virtuosity and good playability ensure both proximity to the original score and an organ-appropriate implementation. Instead of a simple piano reduction on the organ, this version offers an independent performance option that allows the organ to be used in all of its facets and possibilities.The vocal parts (solos and choir) are identical to the edition of the original version (Carus 31.248/00), so that the piano reduction and choral score can be used.The single part for the organ was optimized for page turning, i.e. the choral parts were not printed, but the dacapo was always notated out. / Date parution : 2021-12-09/ Répertoire / Orgue

In the Variations on Old Psalm-Tunes for Organ Dyson fully explores the composer’s chosen sources: ‘O God my strength and fortitude’ from Ravencroft’s Psalter (1621) ‘O for a heart to praise’ from Este’s Whole Book of Psalms (1592) ‘O God of Truth’ from the Scottish Psalter (1635) and Orlando Gibbons’s Song 22 ‘Love of the Father’. 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 worksfor unison Voice and church music in particular his two settings of the Magnificat and Nunc Dimittis have remained active in the Anglican repertoire.

In the Variations on Old Psalm-Tunes for Organ Dyson fully explores the composer’s chosen sources: ‘Hard the glad sound’ from Ravencroft’s Psalter (1621) Orlando Gibbons’s Song 24 ‘O word Immortal’ and Song 5 ‘O Prince of Peace ’ and ‘I was glad’ from the Scottish Psalter (1615). 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 Voice and church music in particular histwo settings of the Magnificat and Nunc Dimittis have remained active in the Anglican repertoire.

This compilation features all of the traditional and best loved wedding music. Containing 53 of the most requested wedding melodies including examples of both classical and popular modern songs there will be somthing here to suit any wedding event. All the tracks are arranged for organ or other keyboard instrument and voice with complete lyrics for the hymns. Organists and pianists will find this volume a convenient collection and an essential addition to their music libraries. Ideal for public and private ceremonies this anthology of joyful music provides keayboardists and singers with ample performance options.

This work for solo organ is based on the piece submitted by Finnissy for his Royal College of Music audition which was scored for solo voices organ and orchestra after Mahler's model. The original work was microtonal; although the microtones have been removed some of the eccentric pitch-spelling has been kept as has the original structure.

A collection of 14 traditional wedding songs for organ voice and piano including: Bridal Chorus * Entreat Me Not to Leave Thee * O Promise Me * Panis Angelicus (O Lord Most Holy) * Pavane * Trumpet Air * Wedding Recessional (A Majestic Medley) * and more.

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.

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

Albert W Ketèlbey's most popular works appear to have been a series of Orchestral tone poems like In a Persian Market that incorporate exoticism and demonstrate the high quality of his Orchestration. The Orchestral version of this piece included a Vocal line of male Voices calling for baksheesh which is absent from the Organ arrangement.Composer and arranger Albert W Ketèlbey is now almost unknown except for his work Bells Across the Meadows but until the time of the Second World War he strode the country’s musical stage like a giant of light musical entertainment. In 1929 he was declared ‘Britain’s greatest composer’ according to the number of performances of his works. Over the course of his career he was a church Organist musical director at London’s Vaudeville Theatre editor to several music publishing firms and Music Director of the Columbia Gramophone Company.

Description For the occasion of the coronation of King George II and Queen Caroline, which took place in Westminster Abbey on October 11, 1727, Handel wrote four splendid anthems and personally supervised their performance which was, according to all reports, one of great magnificence. The four anthems were enthusiastically received, and one or more of them has been performed at every British coronation since 1727. Anthem No. 2 ('The King Shall Rejoice'), although less well-known than Anthem No. 1, is an equally splendid example of Handel's ceremonial style - what Burney has affectionately termed his 'big bow-bow manner'. This work contains an opening Allegro, brilliant and elegant rather than pompous; a grandiose setting of 'Glory and great worship hast thou laid upon him'; and a lively fugal Alleluia as a conclusion. For six-part chorus of mixed voices with organ or piano accompaniment. Edited and with keyboard reduction by William Herrman. Songlist The King Shall Rejoice