The Oxford Book of Organ Music by Women Composers presents a comprehensive survey of historical organ pieces by women composers alongside six newly commissioned works. The music is stylistically varied and encompasses secular and sacred repertoire from a range of periods. In addition to original organ repertoire, the collection also contains several organ transcriptions in new arrangements for the instrument. ? 42 pieces for manuals and pedals, in a variety of musical forms, suitable for use at church services or as recital repertoire ? Original music for the instrument, spanning the sixteenth century to the present day, including compositions by Amy Beach, Clementine de Bourges, Nadia Boulanger, Jeanne Demessieux, Cecilia McDowall, Clara Schumann, and Ethyl Smyth, plus commissions from Kristina Arakelyan, Miriam Carpinetti, Ghislaine Reece-Trapp, Isabelle Ryder, Amy Summers, and Rebecca Groom te Velde ? Standalone miniatures, movements from organ sonatas and symphonies, transcriptions of piano, harpsichord, and flute pieces, and an orchestral opera overture ? A variety of difficulty levels, from ABRSM Grades 2-3 through to Diploma standard, with a graded index provided

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

Mit dem Beginn der Editionsreihe Meister der Norddeutschen Orgelschule wurde das Ziel gesetzt, den kompositorischen Ertrag einer rund anderthalb Jahrhunderte währenden Entwicklung der norddeutschen Orgelmusik (1600-1750) in ihren wesentlichen Erscheinungsformen möglichst vollständig editorisch aufzubereiten und der Öffentlichkeit zugänglich zu machen. Die Ausgabe der Görlitzer Tabulatur von Samuel Scheidt bildet nun als 36. Band den Abschluss dieser Bemühungen. Das Tabulatur-Buch, das 1650 erstmals im Druck erschien, sollte Organisten ein Repertoire an vierstimmigen Begleitsätzen zu über 100 Titeln an die Hand geben, die sie bei Gottesdiensten oder zu Hause, auf der Orgel oder anderen, häuslichen Tasteninstrumenten spielen und singen konnten. / Orgue

Bach: Complete Organ Works Vol. 7 Orgelbüchlein - with CD-ROM - ed. by Sven Hiemke Of great practical value ?This edition has everything it takes to replace the Griepenkerl edition for practical music-making,? opined Rainer Goede (in ?kirchmusik.de?) immediately after the release of Volumes 5 and 6. If such a high degree of practical value is attested to these two volumes, then Volume 7 can proudly claim to have the highest practical value of all, since it has the greatest scope of all the volumes. After all, no organist can do without the basic repertoire of the 45 chorale preludes. Edited by Sven Hiemke, the book offers the best possible prerequisites for everyday use. The musical text is as faithful to the sources as possible, and it preserves Bach?s graphic idiosyncrasies in the beaming of eighth notes and sixteenth notes. Furthermore, the chorales are reproduced on three staves, which is fully in keeping with the practice of the Bach era ? but not with the source, however, since the composer himself notated the pieces of the ?Orgelbüchlein? on two staves, either for reasons of economy or for lack of space. The enclosed CD-ROM contains early versions and anonymous arrangements which should encourage organists to explore this repertoire in greater depth.

35 gospel favorites for Organ: 'Amazing Grace' 'Blessed Assurance' 'Higher Ground' 'I Love to Tell the Story' 'In the Garden' 'Just a Closer Walk with Thee' 'Nearer My God to Thee' 'The Old Rugged Cross' 'Precious Memories' 'Rock of Ages' 'Shall We Gather at the River?' 'Sweet By and By' 'What a Friend We Have in Jesus' 'Whispering Hope' 'Wonderful Peace ' and many more.

Vintersalme-Musik (1980) - Choral prelude for Organ. Orig. title: Vintersalme. Programme note: When in 1975 I had finished composing my 3rd Symphony (begun in 1973) I wrote three simple melodies for two psalm texts by Ole Sarvig “The Year” and “Choral Hymn”. One of these was later included in the Danish Hymnbook under the title “Ã…ret – Som Ã¥ret gÃ¥r” (The Year).  These three “Sarvig tunes” were derived from the same material as the second movement of the symphony and could be harmonized together in several different temporelationships at the same time - like fractals. This inspired me to write several choral and instrumental works in the following decade based on these melodies: for instance “Frost Psalm” “Winter Cantata” “Cycles” “Cantica” and this piece for organ all coloured by the Nordic and mythic poem by Sarvig the beginning of which goes:  The passing year will pass its deep  So shall our mind reach winter´s sleep.  And as the tree stands leafles bare   Is winter´s realms: our minds aware.  Per NørgÃ¥rd 

(Ausgewahlte Orgelwerke, Band 1). Par SCHROEDER HERMANN. Hermann Schroeder's abundant oeuvre in the field of chorale-bound organ music is much less known among organists than his free - especially the concertante - organ works, although Hermann Schroeder as an organist felt particularly bound to liturgy and liturgical singing. And according to him, any liturgical organ music should always bear a direct relation to singing. The purpose of the present anthology is to provide the player a representative selection of Schroeder's chorale arrangements. Most of these chorales are relatively short and of medium difficulty at most. The chorale melody can be heard well most of the time so that the pieces are ideal for being used in church services. In the alphabetical index, the beginnings of song titles are accompanied by the corresponding number from Gotteslob (GL) or the Protestant Hymnal for better orientation./ Répertoire / Orgue

This work Jubilant March for Organ is one of many original works that Stainer composed for Novello. It suggests that the high esteem in which Stainer was held by his contemporaries for the excellence of his Organ playing was not misplaced and is quite a rare Stainer work by virtue of its non-religious nature.John Stainer’s life coincided almost exactly with the reign of Queen Victoria. From his humble beginnings as the son of a cabinet maker he rose through his own brilliant musical gifts application and vision to become one of the most celebrated musical persons of his time. He is still remembered for having reOrganized the St Paul’s choir and for raising musicalstandards among church musicians in general and for his pioneering musicological research into early music. His hymns and arrangements of carols retain some popularlity today as does his Passiontide oratorio The Crucifixion.

Born in 1955 Lebanese-French composer organist and improviser Naji Hakim studied under Jean Langlais at the Paris Conservatoire before succeeding Olivier Messiaen as organist of the Saint Trinity Church in Paris. Considering his significant musical training Hakim's compositions are created from a wealth of knowledge and understanding  Hommage À Igor Stravinsky being no exception. Composed in 1990  Hommage À Igor Stravinsky is a Triptych for Organ. As suggested by the title Hakim's work reflects Stravinsky's style and therefore is highly modern in composition.With a typical performance lasting about 16 minutes and 40 seconds the concerto is made up of three movements; Prelude Dance and Finale. The Organ addresses many virtuosic techniques making for a challenging yet exhilarating performance. For all advanced organists seeking varied modern repertoire Hakim's Hommage À Igor Stravinsky is an essential addition to the repertoire.

Early Organ Music for Manuals contains six works by six different composers four of them English -- arranged where necessary for two-manual Organ. The biographies included for each composer are most informative and help to place the works in their historic context while the performance notes add greatly to the performer’s understanding. The songbook includes works by Maurice Greene Samuel Wesley John Blow J . E. Eberlin Benjamin Rogers and G. B. Martini.

While organ music of the 19th century was not highly regarded in Germany a few years ago [with the exception of a few outstanding works], our understanding of it has grown during recent years. In other countries 19th century organ music has retained its place in the repertoire to a far greater extent. This three-volume collection presents playable organ works of high quality for both liturgical and concert use. Most of the pieces have not yet been available in new editions [at the time of publication], and are made accessible to a wider public for the first time. The first two volumes contain pieces which were composed in, or introduced to, the German-speaking area of Europe between1800 and 1900; some of them point back stylistically to the 18th century. The focus of the third volume is on works by French, British, and American composers. There are also organ pieces from Bohemia, Belgium, Denmark, and even Brazil./ Répertoire / Orgue

Par GRAY ALAN. The four organ sonatas of Alan Gray (1855-1935) stand as one of the largest contributions to the sonata repertoire by an English composer. Published around 1890, they also mark an advancement in the repertoire of potential concert works. Gray had not studied abroad and his sonatas demonstrate a compelling emergence of a distinctly English style of organ sonata after almost half a century of continental influence. All four sonatas show a strong command of not only writing for the instrument but also the art of registration. Gray?s indications are clear, logical, and practical. He writes for a symphonic organ of at least three manuals but many of the pieces could be played on an instrument of only two manuals. The use of contrasting manual colours between phrases and the incorporation of solo stops is notable for conveying Gray?s views on interpretation and his strong understanding of the instrument. / Date parution : 2022-05-31/ Recueil / Orgue

Neue Ausgabe sämtlicher Werke 5 2-At the cutting edge of scholarship.Detailed explanatory notes.Johann Jacob Froberger who lived from 1617 to 1667 developed a style of composition representing a synthesis of Italian French and English influences thereby setting new standards at that time. Only Jan Peterszoon Sweelinck can match Froberger in terms of significance for 17th century keyboard music.The text to each volume of the complete edition of Froberger?s Organ and Keyboard music is published in German and English comprising a critical commentary as well as a detailed foreword explaining the scope and subdivision of the edition and the editorial techniques.Also information on performance practice on instruments of the time and on ornamentation is included as well as details on Froberger?s biography.Volume V.2 like the previously published volume V.1 contains the musical text from an anonymous 17th century copy which was returned to the Berlin Singakademie from Kiev in 2001. It is divided into works of definitive authenticity new readings and two appendices containing works of doubtful authenticity and spurious arrangements.