The organ part and reduced score Symphony No. 4 - An Organ Symphony (2008) by Poul Ruders. Full score: WH31186 Orch. parts are available on hire: hire@ewh.dk Preface / Programme Note When introducing a large-scale symphonic work not only as a symphony but as an organ symphony it would be impossible not to think of and perhaps compare it with Camille Saint-Saëns’s famous SYMPHONY NO. 3 popularly known as the Organ Symphony. Well that is a risk I am prepared to take – and live with the consequences.Saint-Saëns however listed his work as a symphony avec/withorgan. The organ only appears in two out of the four sections of thepiece. In my symphony the instrument plays a far more significant part and is featured in all four movements. But it is not a concerto for organ and orchestra rather a symphony with organo obligato - a symphony with an organ part of a soloistic nature. So an Organ Symphony it is. The first movement PRELUDE is exactly that: a foreplay to what is in store for the rest of the symphony. It is slow (very slow!) and predominantly hushed: the organ and the orchestra wake up side-by-side getting to know one another.The second movement CORTÈGE is a slowly moving processional and it evokes extreme solemnity and austerity. Later on the music takes flight and the atmosphere lightens considerably a far more playful music emerging.This leads to the third movement ETUDE an exercise in instrumental virtuosity and technical challenge.The fourth and last movement is called CHACONNE but I could just as well have named it passacaglia (the definition of those two terms seems to blur even among the learned). Bearing in mind the last movement of Johannes Brahms´s SYMPHONY NO.4 which is universally agreed on as being a passacaglia I chose to avoid the Wrath of the Gods and opted for

The Festival Toccata is relatively well-known among the works of Fletcher and is popular as a wedding piece and for encores. The brilliance of Festival Toccata’s surface disguises the fact that one does not need to be a virtuoso to play it well and effectively.Percy Fletcher was an English composer conductor and Orchestrator of prodigious output who made his career in the lively world of the London music theatre of the years of the late 19th and early 20th century. He was music director at many theatres including His Majesty’s Theatre for the last seventeen years of his life. He was the Orchestrator and conductor for the big budget spectacular theatre piece Chu Chin Chowwhich ran for five years a record that remained unbroken for forty years. In addition to his myriad works of light music Fletcher also wrote a serious church cantata The Passion of Christ as well as the delightful children’s work The Walrus and the Carpenter.

from the Opera 'Tannhauser'-During his time in Weimar (1848 1861) Liszt developed a then entirely new organ style which stands out for both orchestral and pianistic elements. Together with the choirmaster Alexander Wilhelm Gottschalg (1827 1908) from Tiefurt he regularly initiated so-called 'organ conferences'. And it was at the suggestion of Gottschalg that the present arrangement of the Pilgrim's Choir from the opera 'Tannhäuser' was written. With his version for organ Liszt by means of this example laid the foundations for the (not always undisputed) tradition extending to the present day of organ transcriptions from the operas of Wagner. 'Organistic' elements in the Pilgrims' Choir are theclassical chorale theme the solemn 'sacred' atmosphere of the solemn tempo as well as the expressive cantability. The linear intensification from the antiphonal-organ-like piano dolce of the beginning to the 'full organ' can be realized in a convincing manner with an orchestrally conceived three-manual organ with the sensitive use of the swell box and the successive seamless build-up of the crescendo pedal being of particular significance. Important repertoire piece marking the 200th birthday of Richard Wagner in 2013.

Arranged for the organ on the basis of the original string orchestra version-The composer pianist choir director and teacher Sir Charles Hubert Parry (1848-1918) was one of the most remarkable figures of the British music scene at the turn of the century. Among his most charming compositions are two suites for String Orchestra. The well-known organist and composer Wolfgang Stockmeier has arranged 'English Suite' for the Organ while keeping close to the original. The arrangement can be performed on the organ with brilliant effect transferring the atmosphere of the English late Romantic era onto the Organ.

Coronation Anthem for Mixed Choir and Orchestra-Zadok The Priest HWV 258 (BA10258) and The King shall rejoice HWV 259 (BA10259) are the best-known of the four coronation anthems that Handel wrote for the crowning of George II in London (1727). HWV 258 accompanied the king’s anointment HWV 260 his actual coronation.Thanks to their festive and majestic structure befitting the occasion as well as their spacious scoring for large choir and orchestra it comes as no surprise that motifs from Zadok The Priest have found their way into the official hymn of the UEFA Champions League.The present editions by the authoritative Handel scholar Stephan Blaut are thefirst to offer these two anthems based on the Urtext from the Halle Handel Edition.Bilingual Forewords (Ger/Eng).Idiomatic Piano reductions.Based on the Halle Handel Edition.Full score parts and vocal score available for sale.

Petites Machines for Orchestra was composed by Henrik Hellstenius in 2015. Commissioned by the Oslo Philharmonic Orchestra.

Kaija Saariaho’s Maan Varjot was jointly commissioned by Orchestre Symphonique de Montreal Orchestre National de Lyon Southbank Centre and the Philharmonia Orchestra.The world premieretook place in Montreal on 19 May 2014 given by the Orchestre Symphonique de Montreal with Olivier Latry (Organ) conducted by Kent Nagano. The French premiere took place during June 2014 given by the Orchestre National de Lyonwith Olivier Latry (Organ). The UK premiere took place at the Southbank London on 26 June 2014 given by the Philharmonia Orchestra with Olivier Latry (Organ) conducted by Esa-Pekka Salonen.

Robert Helmschrott, né en 1938, est professeur à la Musikhochschule de Munich, où il fut également directeur de 1995 à 2003. Il a écrit de nombreuses oeuvres chorales et orchestrales et est un des plus importants représentants allemands de musique contemporaine d'église. Son oeuvre ' Salut ' est un morceau de concert un mouvement qui est gratifiant pour les deux joueurs. Après une longue introduction solo de trompette, les deux feux d'artifice présents instruments de figurations idiomatiques brillantes, pourtant aussi s'assurer que les tons pensive, lyriques ont leur juste part trop. Un morceau de concert gratifiant de ca. durée de 8 minutes. / Trompette Et Orgue

From The Symphonie #6 - Allegro Molto Vivace. Par TCHAIKOVSKI PIOTR ILITCH. Le troisième mouvement (Allegro molto vivace) de 'Symphonie pathétique' Tchaïkovski est - mais pas spécialement désignés comme tels - un scherzo typique et, ce qui est plus, c'est effectivement l'un des plus brillants pièces orchestrales. L'organiste français Jean Guillou, qui est un excellent virtuose dans son propre droit a fait une pièce magnifique concert pour orgue. Une pièce encore efficaces pour les organistes virtuoses !/ Répertoire / Orgue

French composer Charles Gounod (1818-1893) was a prominent in his day best remembered for his Ave Maria and his opera Faust. 1854 saw the premiere of his Messe Solennelle also known as the Messe De Sainte-Cécile. This work fully established Gounod as a noteworthy composer. Despite being a minor composer to us today Gounod was famed in his day so much so that at his funeral Camille Saint-Saëns played the Organ and Gabriel Fauré conducted. Gounod''s Messe Solennelle De Sainte-Cécile proves the composer's extraordinary talent and caught theattention of much of Paris when it was first performed. Famous recordings include that of the Chorus of Radio France with the New Philharmonia Orchestra. For all aspiring choirs Gounod''s Messe Solennelle De Sainte-Cécile is an imperative sublime addition to the repertoire.

Organ Coro II-The Missa in F of 1734 for two or four choirs is probably Pergolesi’s most important work for choir and orchestra. The nickname 'Missa Romana' was added later in reference to a performance given in Rome during Pergolesi’s lifetime.This Urtext edition presents the work for the first time in the four-choir version that Pergolesi wrote for the above mentioned performance in Rome. Choirs III and IV are reproduced in smaller type and are added to the version for double choir in order to intensify the overall sound. This allows the work to be performed not only with two choirs but also in the delightful enlarged version for fourchoirs. Rounding off the edition are an informative Foreword (Eng/Ger) and a Critical Commentary (Eng).First publication with choirs III and IV.Can be performed with both two or four choirs.Idiomatic well-presented Piano reduction.Full score performance material (BA8958) and vocal score (BA8958-90) available for sale.

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.

Cantata for soloists choir and orchestra-Lobe den Herrn meine Seele (Praise thou the Lord o my spirit) BWV 143Little is known about the genesis of “Lobe den Herrn meine Seele” (Praise thou the Lord o my spirit BWV 143.A transcription from the 19th century was for a long time considered the only source; the musical text of the “New Bach Edition” was based on this material.  Recently however a copy of the score from 1762 has become available.  It offers a more reliable musical text rendering a complete revision of the cantata necessary.On the basis of this new source the work is presented here as part of the“New Bach Edition – Revised” in what is presumably its original form in C major with three trumpets.  This orchestration is more typical of Bach’s writing than the version for three horns in the surviving B-flat major version. Revised Urtext edition of the Weimar Cantata Urtext of the New Bach Edition Performance material (BA10143) vocal score (BA10143-90) & study score format 22.5 x 16.5cm (TP1143) available for sale