Martin Luther. Par SCHNEIDER ENJOTT. On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of 'faith' ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the 'Luther rose' which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, 'white' is the colour of angels and ghosts, 'black' stands for the pain of crucification: 'The just shall live by faith, but by faith in the Crucified.' But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The 'Danse macabre' was a popular motif in those years. Luther's chorale 'Mitten wir im Leben sind / mit dem Tod umfangen' from 1524 ('Enchiridion' from Erfurt) is based on the Gregorian chant 'Media vita in morte sumus' created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, 'I stand here and can say no more. God help me. Amen', are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a 'perpetuum mobile', i.e. a dogged, ostinato and never-ending musical air. 5th movement: The 'Mighty Fortress', on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the 'Marseille anthem of the Reformation', Friedrich Engels the 'Marseillaise of the Peasants' Wars'. This disputability is not thought through to the end but rather interrupted: With a jubilant 'birdcall version' of the melody, the finale shows a rather chamber-music-like side of the 'ideals of freedom of Christians'.'/ Répertoire / Orgue

Par SCHNEIDER ENJOTT. This frenetic assortment of familiar chorale melodies by Martin Luther was composed to mark the celebrations of Luther’s music (and the 800th anniversary of the choir of St Thomas in Leipzig) in 2012. Ein feste Burg ist unser Gott [A mighty fortress is our God] appears as a powerful ritornello theme, elaborated with tender lyricism just before the end. A chorale setting of Verleih uns Frieden gnädiglich [Lord, in thy mercy grant us peace] makes a calm middle section for this otherwise highly demanding organ piece. An organ with three manuals is required./ Répertoire / Orgue à 4 Mains

Four children are on a modern day treasure hunt looking for the five core truths of faith as expressed by Martin Luther (ala the Reformation). While celebrating the Reformation's anniversary - 500 years next year - through humor and great music we learn some of the most profound truths in the Christian faith.

Written in commemoration for the 500th anniversary of the Protestant Reformation this special commission takes the words of Martin Luther and delivers them with music of scope and power. A significant instrumental flourish opens the piece setting the stage for an energetic theme that combines traditional style with a more modern rhythmic vocabulary. Episodic sections reflect the rise of this significant text which articulates the story of redemption. Score and Parts (tpt 1-2 hn tbn tba timp) available as a digital download.

based on 'From Highest Heaven I Come to Tell'-The words and lyrics of the Christmas Carol From Highest Heaven I Come To Tell were written by the great Martin Luther (1483-1546) and can be found in The Hymns of Martin Luther. Martin Luther expressed radical views which began the reformation movement. His followers protested at the treatment given to Martin Luther the event from which the term 'Protestant' was derived. It was first published in Joseph Klug's Gesangsbuch in around 1535. Add a majestic Baroque feel to any concert with this simple yet effective arrangement.

based on 'From Highest Heaven I Come to Tell'-The words and lyrics of the Christmas Carol From Highest Heaven I Come To Tell were written by the great Martin Luther (1483-1546) and can be found in The Hymns of Martin Luther. Martin Luther expressed radical views which began the reformation movement. His followers protested at the treatment given to Martin Luther the event from which the term 'Protestant' was derived. It was first published in Joseph Klug's Gesangsbuch in around 1535. Add a majestic Baroque feel to any concert with this simple yet effective arrangement.

God So Loved The World is a work for Unaccompanied SATB Divisi Chorus by renowned Welsh composer Paul Mealor. The work lasts around 4 minutes and was commissioned by the Martin Luther College Choir. The world premiere of God So Loved The World took place on February the 13th 2015 by the Martin Luther College Choir at Chapel of the Christ Martin Luther College conducted by Kermit Moldenhauer. Choral composer Paul Mealor has written a vast number of works both a cappella and with accompaniment. His work has been broadcast internationally at the 2011 RoyalWedding as well as achieving the 2011 Christmas Number One.

Texts from Veni veni Emmanuel and Martin Luther-Texts from Veni veni Emmanuel and Martin Luther translated by William Reynolds. Borrowing from two familiar Advent texts Michael Larkin has penned a lovely anthem of hope and anticipation. Advent Meditation isintrospective and prayerful in tone yet rejoices in awe at the coming of Christ and the magnitude of his humble birth. Flowing melodic lines and an accessible keyboard accompaniment make this piece suitable for choirs of anysize.

(Remembering Dr. Martin Luther King Jr.)-Composed in remembrance of Dr. Martin Luther King Jr. the title of this dramatic setting is taken from a biblical passage and quoted by Dr. King in his celebrated I Have a Dream speech in 1963. After a fanfare-like introduction the piece is comprised of three sections. The Dream relects on Dr. King's famous speech. This is followed by Strife which recalls the violence of the civil rights movement and finally Hope which looks to a brighter future and is a setting of the hymn We Shall Overcome. Performed with or without the narration this is a stirring work for young bands. Dur: 5:20

Three Washington Statues fut commandé par la United States Army Band « Pershing?s Own » dirigée par le Colonel Thomas H. Palmatier. Certains des monuments mémoriaux et statues les plus emblématiques du monde se trouvent à Washington D.C.Philip Sparke en a choisi trois comme inspiration pour ce morceau : « The Lincoln Memorial » où le compositeur dépeint la grandeur de ce temple grec de style dorique ; « The Martin Luther King Jr. Memorial » sur les marches duquel le discourscélèbre « I have a dream » fut prononcé ? la musique est révérencieuse ainsi que puissante en référence à ce discours de Martin Luther King ; et la statue « Encore » en mémoire du célèbrecompositeur pianiste et chef d?orchestre de jazzafro-américain Duke Ellington. Dans le mouvement final Philip Sparke a réussi à saisir le dynamisme virtuose énergétique et unique de la musique d?Ellington.

Three Washington Statues fut commandé par la United States Army Band « Pershing?s Own » dirigée par le Colonel Thomas H. Palmatier. Certains des monuments mémoriaux et statues les plus emblématiques du monde se trouvent à Washington D.C.Philip Sparke en a choisi trois comme inspiration pour ce morceau : « The Lincoln Memorial » où le compositeur dépeint la grandeur de ce temple grec de style dorique ; « The Martin Luther King Jr. Memorial » sur les marches duquel le discourscélèbre « I have a dream » fut prononcé ? la musique est révérencieuse ainsi que puissante en référence à ce discours de Martin Luther King ; et la statue « Encore » en mémoire du célèbrecompositeur pianiste et chef d?orchestre de jazzafro-américain Duke Ellington. Dans le mouvement final Philip Sparke a réussi à saisir le dynamisme virtuose énergétique et unique de la musique d?Ellington.

Isaac Watts (1674-1748) wrote the lyrics of 'There is a land of pure delight' and is known as the 'Father of English Hymnody'. Watts was for the English hymn as Ambrose was for the medieval Latin hymn and what Martin Luther was for the German chorale. He wrote about 750 songs and some of them survide the ravahes of time. (Joy To The World When I survey the wondrous cross I sing the Mighty Power of God) 'There is a Land of Pure Delight' is usually in English-speaking areas sung on Luther Orlando Emerson's melody ('Ascription'). Here is used a traditional English melody ('Mendip'). There is a land of pure delight Wheresaints immortal Reign. Infinite day excludes the night And pleasures banish pain .