SKU: CA.1808500

ISBN 9790007163952. Language: all languages.

The Concerto for organ, strings and percussion by Kay Johannsen, Kantor of the Stiftskirche in Stuttgart, is a valuable addition to the repertoire for organ and orchestra. It is a work composed to appeal to both performer and audience alike - with thrilling rhythmic sections as well as moments of great intimacy. The organ part, for a three manual instrument if possible, is shown to its best advantage in many and varied tonal colors, ranging from the most delicate solo registrations to powerful forte. The organ writing is demanding, but well within the capabilities of experienced organists. Precise registration suggestions are contained in the score. The string orchestra (minimum 4/4/3/3/1) is scored with sophistication, with solos for all instruments. The percussion is for two players - a part for timpani and one for other, readily available percussion instruments. By avoiding the use of wind and brass instruments, the work can also be performed where the tuning of the organ is not ideally suited to modern orchestral pitch.

SKU: SU.80200404

Contents: I. Sinfonia II. Vocalise III. Momentary March IV. Mutanza Oblongata 16 page book Published by: Dunstan House.

SKU: CA.739300

ISBN 9790007172268. Text language: Latin.

Veni was composed by Kay Johannsen in November 2015. Similar to his 2010 work Et vidimus gloriam eius for four choral groups (SSA, TTB, SATB, SATB) and organ based on the beginning of St John's Gospel, Veni requires a spatial separation of three four-part choirs. The starting point of the composition is the 12th century hymn Veni redemptor gentium by St Ambrose of Milan, which Martin Luther used as the basis of his 1524 hymn Nun komm, der Heiland. The four sections of the cantus firmus are sung in turn by all the basses, altos, sopranos, and tenors, each part at a louder dynamic than the other parts. For the accompanying voices Johannsen uses different principles of canonic technique and motivic variation, with most of the material derived from the cantus firmus. The organ part of this 12-part chorale arrangement provides a harmonic orientation, but is completely independent and introduces both moments of rhythmic accentuation and elements of veiling. The choral writing is also deepened and elevated by the organ sounds derived from the text. Despite all the motivic links between the parts, the music has a direct sensual effect as a sound collage. The work ends with three increasingly distant, homophonic invocations of Veni: the plea Komm occurs at the beginning as at the end.

SKU: BR.EB-9110

World premiere: Nuremberg, July 5, 1997Commissioned by Internationale Orgelwoche Nurnberg

ISBN 9790004181676. 12.5 x 10 inches.

Der Titel bezieht sich auf ein Fragment aus der Apokalypse nach Johannes.Die Aufmerksamkeit des Horers wird in diesem Orgelwerk auf die ruhelos changierenden Klangraume gelenkt. Die Unendlichkeit dieser Raume lassen Farben entstehen wie Wellen eines allen durchflutenden Ozeans.Von Augenblick zu Augenblick wechseln gewaltige Bilder von Licht und Farbe mit geheimnisvollen, ruhenden Momenten, die wie Spaltoffnungen zu anderen Dimensionen sich verhalten.Durch Friedemann Herz hat dieses Werk den ersten idealen Interpreten gefunden.(Adriana Holszky)CD:Dominik Susteck (organ)CD WERGO WER 6789 2Bibliography:Petersen, Birger: Neue Musik. Analysen, Berlin: Simon Verlag fur Bibliothekswissen 2013, pp. 97-110.

World premiere: Nuremberg, July 5, 1997, Commissioned by Internationale Orgelwoche Nurnberg.

SKU: CA.1808800

ISBN 9790007188658. Language: all languages.

Sunrise was composed in August 2016 from a concert improvisation. The work is structured as a great crescendo. Although the title refers to the image of a sunrise, the music was not primarily conceived as program music. In one layer of the composition, motoric groups of motifs increasingly condense, beginning in a high register and constantly changing, whilst in a second layer a calm thematic idea is intensified and expanded in barely noticeable alterations. As well as the seamless crescendo from pianissimo to fortissimo, the work uses precisely-notated registrations of color, especially for parts where the chorale-like theme is written in chords in the middle and low registers. The resulting moments of luminescence are emphasized even more through a harmony with bitonally layered major chords. This work is also available on CD (Carus 83.485).

SKU: HL.49017447

9.25x12.25x0.185 inches.

The Bitter Earth (Horka hlina) cantata was written in 1960 and it was originally conceived for a mixed choir and organ. The composer soon found, however, that this instrumental accompaniment limited the performance possibilities of the piece to a certain extent and he therefore created a piano transcription of the organ part for a later edition which was printed in 1987.The composition sets to music the verses of Jaroslav Seifert from the collection Turn Out the Lights (Zhasnete svetla) which was written in the period of the nation's peril prior to the Second World War. The genuine and totally non-cliched patriotism expressed in these texts has long outgrown the historical connection to the moment of their inception and it continues to bear wtness to Seivert's fervent love for this country.

SKU: HL.49033297

ISBN 9790001137751. UPC: 884088070496. 9.0x12.0x0.158 inches.

Though the work bearing this title is a portrait of childhood, it is a childhood quite different from the purely gameplaying and dreamlike childhood that is customarily represented. The childhood described here is carrying the seed, in all its purity, of all positive and negative qualities to be found the fully-grown men: a childhood both angelic and diabolical, and indeed very close to Henry James' The Turn of the Screw which was the direct inspiration for this monodrama.Its growth follows the innumerable sudden changes, turns and contrasts of the unsophisticated spirit. There is hardly any development at all, as each idea gives birth to the next or rejects the previons one, being object to every impulse, every tempest, every flux, every fear and delight. After a dreamlike introduction, in which two simple melodies stand out, comes a sudden awakening, Allegro, stamped all over with lavish and forever regenerating dynamism. A sudden halt leads a kind of outburst from the most simple folklore is singing, in regular, repeated notes. Again the question mark leads us to another melody, Tranquillo, of a sweet tempo, but brilliantly decorated with counter-point, its cursive traits leading this time to a kind of roguish march (Vigoroso).Yet soon there emerges a melancholic chant, Largo, in the Cromorne's timbre, and then, in the highest register of the Trumpet there reappears like a metamorphosed memory, the theme of the second movement. Passing other episodes, we come to Tempo giusto, insistent and glorious, interrupted by other passionate figures, cut off by unsettling silent moments and taken up again in always accelerating volleys.