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

Par CABANILLES JUAN BAUTISTA. Joan Cabanilles was cathedral organist in Valencia and the towering figure in Spanish organ music of the late 17th century. His brilliant and diverse musical language, rooted in the traditional sounds of Spain, has not managed to reach a large audience outside the Iberian peninsula, although he is often called 'a musician of European stature”. The aim of this three-volume Urtext edition is to grant access to his most appealing works. To this end, all available sources in the libraries of Astorga, Barcelona, San Lorenzo de el Escoreal, Felanitx/Mallorca, Jaca and Montserrat have been examined and newly evaluated. If Cabanilles's oeuvre consists primarily of tientos, organ hymns and versets, the third and final volume contains three versos, three pasacalles, two galliards, two toccatas and such special forms as Paseos de tercer tono, Diferencias de Folías and a Jácara. „This is an excellent resource for organists interested in exploring this satisfying repertoire.' (Brian E. Harlow, Journal of the Association of Anglican Musicians 1/2018)/ Répertoire / Orgue

Fantasie uber den Choral Hinunter ist der Sonnenschein. Par GENZMER HARALD. Harald Genzmer intends this piece, created in 1999, to be his farewell to the organ. Starting fortissimo, the piece quotes from a traditional German folksong about the setting of the sun and finishes very quietly, ending pianissimo./ Répertoire / Orgue

Par GLADSTONE FRANCIS EDWARD. The organ sonatas of Francis Edward Gladstone (1845-1928) are fine examples of the developing English sonata tradition of the late-nineteenth century and early twentieth century. They exemplify a practical approach to the instrument with consistently moderate technical demands while also allowing the player scope for interpretation with the increasing availability of instruments that were conceived with a symphonic tonal palette in mind. As discussed in The Genesis and Development of an English Organ Sonata (2017), the English sonatas had an important pedagogical role jointly inherited from Mendelssohn?s very practical and popular approach to the instrument and the continued European legacy of the lesson-sonata tradition whereby in learning a piece you also learned the instrument and vice versa. / Date parution : 2022-05-31/ Recueil / Orgue

The first in a series of five concertos, Concerto 1 sees several Marian songs arranged like a sonata in a traditional large-scale three-movement form. For example the hymn of praise Salve Regina is combined with surprising jazz-inspired episodes. / Orgue

Although quite some time has passed since the multifaceted organ music from Spain's Golden Age could be called an 'insider's tip?, it had yet to attain popularity with any wide audience outside the countries of the Iberian Peninsula. The three-volume Urtext edition of selected works by Joan Cabanilles, the cathedral organist from Valencia, now has every chance of becoming a milestone in its own right. The Iberian organ tradition of the 17th century appears to have reached its climax in his tientos, diferencias and versos. In the first two volumes, the editors Gerhard Doderer and Miguel Bernal Ripoll present a total of 22 of his most appealing and most significant tientos.- Urtext edition based on the latest research findings- Preface by the editors (in German, English and Spanish) / Orgue

Austria ?s imperial court chapel was active far beyond the confines of Vienna . It developed a rich musical tradition of its own, with composers of the stature of Heinrich Isaac , Jacob Hassler , Johann Jacob Froberger , and Johann Heinrich Schmelzer .

This volume consists entirely of première publications from the ?uvre of composers working at the imperial court during the fifteenth and sixteenth centuries, including the complete keyboard output of Giovanni Valentini and Johann Heinrich Schmelzer and a Toccata 2 di toni in g ( FbWV 130) by Johann Jacob Froberger.

Altogether it contains twenty-two compositions with a detailed preface, many facsimiles, and a critical commentary. The pieces range from easy to moderately difficult and are equally suitable for use in church services or concert performance.

- Easy to moderately difficult organ music for church or concert use
- Previously unpublished music from the heyday of Austria ?s imperial court chapel
- Contains the première publication of a piece by Froberger / Classique / Partition /

Motet Intabulations. Par SCHEIDEMANN HEINRICH. Le présent volume de 12 Motet Intabulations vient compléter les 3 volumes déjà publiés avec la musique d'orgue par Heinrich Scheidemann (vers 1595-1663), de sorte que le oeuvre d'orgue complet de l'organiste de Hambourg est maintenant disponible dans un éditorial modern standard. De 1611-1614 Scheidemann a étudié avec Jan Pieterszoon Sweelinck d'Amsterdam et de 1629, a travaillé comme organiste à St. Catherine à Hambourg depuis environ trois ans et demi décennies. Il a fusionné le style de son maître avec la tradition allemande du Nord et est donc considéré comme co-fondateur de l'école allemande d'orgue du Nord. Pendant longtemps, l'habileté à transférer des compositions vocales dans la notation de doigt avait été un des principales exigences sur un organiste formé de façon compétente. Au début du XVIIe siècle, cependant, la technique plutôt ' intabulation pratique ' s'est évanouie à l'arrière-plan en faveur des formes innovantes de l'arrangement de la firmi cantus sacrée. Scheidemann appartient au crédit pour aider la tradition du genre, qui avait la MINUS.../ Répertoire / Orgue

Symphonic Observations About Albrecht Dürer'S Apocalypse. Par MAINTZ PHILIPP. The doomsday visions of Albrecht Dürer's woodcut series 'Apocalypse with Pictures” have inspired many composers to create musical representations of the pictured events. With 'septimus angelus', Philipp Maintz follows in this tradition. However he abandons the pattern of a primarily pictorial reinterpretation of these artworks, concentrating instead on the wealth of their structural mysteries. In the Foreword of the score, organist Bernhard Buttmann writes: 'Both the organist and the audience are seen as subjects of the musical happening and become its focal point. Just as Dürer's richness of detail will only reveal itself after lengthy, meditative observation, Philipp Maintz' 'septimus angelus” requires an unbiased, open-minded, and perpetually fresh listening process that should correspond to a colorful interpretation with an openness to new sound experiments. The performer faces the challenging task of incorporating a wealth of precious details into the musical development as a whole, while offering ever-changing ways of musical illumination from multiple perspectives.” / Date parution : 2019-08-30/ Répertoire / Orgue

Le belge organiste et compositeur Jacques-Nicolas Lemmens (1823-1881) se classe parmi les plus importants enseignants orgue du XIXe siècle. Un étudiant de Adolf Friedrich Hasse à Breslau, il était familier avec la tradition d'orgue de Bach, mais avait aussi un décisif je / Orgue

Compositeur atypique et indépendant, les oeuvres de Michel Estellet-Brun sont écrites pour la plupart d'après des improvisations réalisées en public. Son langage très personnel et passionné - se refusant à toute école ou mode du temps, plutôt dans la tradition romantique - ainsi que la spontanéité typique de l'improvisation donnent à ses oeuvres une un caractère naturel et sincère s'inscrivant dans une architecture solide. / Orgue

Jean Guillou gehört zu den bedeutendsten Orgelvirtuosen und -komponisten der Gegenwart. Als Schüler von Dupré, Duruflé und Messiaen verkörpert er die lebendige Tradition der französischen Orgelmusik. / Orgue

Par VEYRIER JACQUES. Par ce titre, aux résonnances quelque peu provocatrices, l'auteur affirme et assume parfaitement un ancrage profond dans la tradition. Cependant, en explorant les infinies possibilités du contrepoint, il en repousse les limites bien au delà des conventions classiques. Ceci le conduit naturellement à des solutions harmoniques tout à fait contemporaines. Ainsi, dans la Fugue à deux sujets, il superpose un motif très 'référencié' à des mélismes où domine la liberté d'un chromatisme plus actuel. Enfin, l'évidente parenté des thèmes de ces trois pièces confère à l'ensemble une grande unité. / Niveau : Assez Difficile / Moderne / Date parution : 2010-06-28/ Répertoire / Orgue

Dans la tradition de la musique écrite en hommage à un artiste mort, cette oeuvre a été composée pour Thomas Trotter en commémoration du peintre français Georges Rouault (1871-1958). Une figure marquante de la Renaissance artistique et intellectuelle de la vie catholique française dans la première moitié du XXe siècle, les travaux de Rouault était sombre, subtil et émouvant dans son observation de la fragilité de la vie humaine. Il a peint les juges, les clowns, les prostituées, les pauvres et le Christ. Les archétypes et capturés dans son travail de caractères ont été l'inspiration subliminale derrière une grande partie de la matière dans la musique. Cette pièce considérant éblouissante est coulée dans une travée unique comprenant plusieurs sections contrastées, et il invite toute la gamme des capacités techniques, expressives et registrationnelle d'instrument et de joueur. La première a été donnée par Thomas Trotter sur l'instrument Klais Symphony Hall, Birmingham en mars 2004, suivie des représentations au Royal Albert Hall de Londres, Philharmonie de Cologne et Gewandha de Leipzig... / Orgue