(Spiritus Sancti gratia). Par HAKIM NAJI. Des heiligen Geistes reiche Gnade (Spiritus Sancti gratia) by Naji Hakim is a chorale prelude based on a melody by Melchior Vulpius. It is a contribution to the Orgelbüchlein Project, a major international composition project, led by William Whitehead, to complete Johann Sebastian Bach’s unfinished Orgelbüchlein./ Répertoire / Orgue

Naji Hakim's Pange Lingua for Organ. 1.Pange lingua; 2.Nobis datus; 3.In supremae nocte Coenae; 4.Verbum caro; 5.Tantum ergo; 6.Genitori genitoque

Naji Hakim führt in diesem Werk das Choralthema O Königin voll Herrlichkeit durch vier meisterhafte Variationen. Bei mittlerem Schwierigkeitsgrad beträgt die Gesamt-Aufführungsdauer etwa 8 Minuten. / Orgue

Le célèbre compositeur français organe Naji Hakim, qui succède à Olivier Messiaen à l'église de la Trinité Saint, a écrit ce cycle de variation de court en 2012. En raison de sa thématique, le chant grégorien de Pâques 'O filii et filiae', le travail peut être effectué dans des concerts et des services, en particulier au moment de Pâques. Quatre variations à court d'examiner le cantus firmus avec différents moyens stylistiques, contrapuntique et harmonique, la séquence tempo Andante - être energico - Allegro - Allegro. / Orgue

Naji Hakim, né à Beyrouth en 1955, est compté parmi les plus importants des organistes actuels et compositeurs de l'orgue. Il étudie l'orgue avec Jean Langlais au Conservatoire National Supérieur de Musique de Paris, était organiste de Sacré-Coeur à Paris fro / Orgue

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

Par HAKIM NAJI. Written in harmonic style of the twentieth century, these Expressions are contrasted liturgical pieces: prelude, postlude, offertory & communion. The fifteen movements can be linked in a free order, allowing the organist to adapt the duration of his performance to the liturgical service. / Niveau : Facile à Intermédiaire / Répertoire / Orgue

Par HAKIM NAJI. Tanets is inspired by the rhythm of the Basque fandango, with abundant hemiolas alternating 2 and 3 in the accompaniment. The piece, in ternary form, develops a joyful diatonic theme in a very modulating tonal game. / Niveau : 3 / Répertoire / Orgue

The Last Judgment is a through-composed symphonic tableau that follows the structure of the text of Matthew underlining it in a figuralistic manner. Other scriptural references are also to be found: an image of the sun that turns dark (Acts of the Apostles 2: 20) and before the gathering of the nations twelve chords representing the thrones for the judgment of the twelve tribes of Israel (Matthew 19: 28). The thematic material combines original figures with Gregorian chant: the Gloria from the Missa de Angelis; the Alleluia of the Epiphany; Dies irae the sequence from the Requiem Mass; In paradisum theburial antiphon. The sections in recitative style follow the declamatory rhythm of the corresponding verses in Arabic the composer’s mother tongue. Finally the registration requires a symphonic style organ such as the Goll organ in Memmingen Germany at which the composer prepared the orchestral expression of this work.

Die drei Paraphrasen über Veni Creator sind sowohl im liturgischen als auch im konzertanten Rahmen einsetzbar. Der Text geht auf Rabanus Maurus Magnentius (9. Jh.) zurück, die Melodie beruht auf ambrosischer Hymnodie (4. Jh.). / Orgue