SKU: HL.49017658

ISBN 9790001150262. 9.0x12.0x0.347 inches. German - French.

The Belgian organist and composer Jacques-Nicolas Lemmens (1823-1881) ranks among the most important organ teachers of the 19th century. A student of Adolf Friedrich Hasse in Breslau, he was familiar with the Bach organ tradition but also had a decisive influence on the French organ tradition. From 1849-1869 he was a teacher at the Conservatoire of Brussels and in 1869 he founded his own important church music school in Mechelen ('Lemmens Institute'). His 'Ecole d'orgue', published by Schott in 1862, has now been re-published as a reprint edition due to great demand.

SKU: HL.14066470

SKU: HL.49045437

ISBN 9790001162715. UPC: 841886029088. 9.0x12.0x0.168 inches.

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.'.

SKU: BT.DHP-1064014-020

9x12 inches. English-German.

The French composer Louis Bourgeois lived from c.1510 to 1560. Bourgeois was cantor in Geneva and, commissioned by John Calvin, he composed melodies for metrical (rhyming) versions of the psalms. After completing about a hundred one-part psalms, he made some four-part arrangements, which were denounced and even resulted in his imprisonment for a day. Later, Bourgeois published a number of psalm collections, and judging from his book Le droict chemin de musique he was also an excellent educator. The melodies Bourgeois composed, are (contrary to Gregorian chants) particularly suitable for community singing. This applies to his hymn tune Saint Michael, which is why this melody hasbeen used for various texts, written for many occasions. John Blanken made this arrangement for a wedding ceremony: an occasion in which faith and trust play a large - if not the largest - role. Hence the title Hymn of Faith. The arrangement contains four verses of the hymn. After a majestic opening the hymn follows twice, the second verse being embellished in the tenor register. After a short interlude verse three follows, played by a quartet. The majestic opening is then repeated as a modulation into the fourth verse, which concludes the work in a brilliant tutti.

De melodieën van de France componist Louis Bourgeois (ca. 1510-1560) zijn heel geschikt voor volkszang - zo ook de hymne ST Michael. Niet voor niets is deze melodie gebruikt voor vele liedteksten voor uiteenlopende gelegenheden. JohnBlanken maakte dit arrangement voor een trouwdienst, een gelegenheid waarbij vertrouwen een grote rol speelt, vandaar de titelHymn of Faith. Het arrangement herbergt vier vrezen. Na een majestueuze opening volgt de hymnetwee keer, waarbij het tweede vers wordt omgespeeld in het tenorregister. Na een kort tussenspel volgt vers drie in een zetting voor kwartet. De opening wordt herhaald als modulatie naar het vierde vers, waarmee het werk in eenstralend tutti afsluit.

Der Komponist, Kantor und Pädagoge Louis Bourgeois lebte im 16. Jahrhundert in Genf und komponierte Psalm- und Kirchenliedmelodien, die sich besonders gut für den Gemeindegesang eigneten. Die vorliegende Bearbeitung einer seiner Melodien schrieb John Blanken für eine Hochzeitszeremonie - ein Anlass, bei dem Glaube und Vertrauen eine große Rolle spielen: Daher der Titel Hymn of Faith. Ein wunderbares Stück ernste“ Musik, das zu vielen Gelegenheiten passt.

SKU: BT.DHP-1064014-030

9x12 inches. English-German-Dutch.

The French composer Louis Bourgeois lived from c.1510 to 1560. Bourgeois was cantor in Geneva and, commissioned by John Calvin, he composed melodies for metrical (rhyming) versions of the psalms. After completing about a hundred one-part psalms, he made some four-part arrangements, which were denounced and even resulted in his imprisonment for a day. Later, Bourgeois published a number of psalm collections, and judging from his book Le droict chemin de musique he was also an excellent educator. The melodies Bourgeois composed, are (contrary to Gregorian chants) particularly suitable for community singing. This applies to his hymn tune Saint Michael, which is why this melody hasbeen used for various texts, written for many occasions. John Blanken made this arrangement for a wedding ceremony: an occasion in which faith and trust play a large - if not the largest - role. Hence the title Hymn of Faith. The arrangement contains four verses of the hymn. After a majestic opening the hymn follows twice, the second verse being embellished in the tenor register. After a short interlude verse three follows, played by a quartet. The majestic opening is then repeated as a modulation into the fourth verse, which concludes the work in a brilliant tutti.

Der Komponist, Kantor und Pädagoge Louis Bourgeois lebte im 16. Jahrhundert in Genf und komponierte Psalm- und Kirchenliedmelodien, die sich besonders gut für den Gemeindegesang eigneten. Die vorliegende Bearbeitung einer seiner Melodien schrieb John Blanken für eine Hochzeitszeremonie - ein Anlass, bei dem Glaube und Vertrauen eine große Rolle spielen: Daher der Titel Hymn of Faith. Ein wunderbares Stück ernste“ Musik, das zu vielen Gelegenheiten passt.

SKU: GI.G-003384

These psalm refrains and Gospel acclamations are crafted to be singable and expressive. For each Sunday and Holy Day, a carefully selected musical refrain is paired with a Gregorian or modern psalm tone with the verse text set under the notation in large print. Through-composed verse settings for a number of the psalms are included, and many refrains have choral harmony. The CD-set contains recordings of all the responsorial psalms and Gospel Acclamations for Sundays, feasts, and solemnities, as well as common seasonal psalms, psalms for funerals, and other music. These psalm settings and acclamations coordinate with WLP’s worship resources but will find a welcome home in any parish setting.

SKU: HL.48186554

UPC: 888680797355. 8.0x11.5x0.192 inches.

1.Prelude in E minor; 2.Fugue in E minor; 3.Marche religieuse; 4.Intermezzo; 5.Carillon; 6.Choral; 7.Elegie; 8 and 9.Deux Versets sur 'Adoro Te'; 10.Canzona in the Gregorian Mode; 11.Adagietto; 12.Paraphrase.

SKU: GI.G-003386

These psalm refrains and Gospel acclamations are crafted to be singable and expressive. For each Sunday and Holy Day, a carefully selected musical refrain is paired with a Gregorian or modern psalm tone with the verse text set under the notation in large print. Through-composed verse settings for a number of the psalms are included, and many refrains have choral harmony. The CD-set contains recordings of all the responsorial psalms and Gospel Acclamations for Sundays, feasts, and solemnities, as well as common seasonal psalms, psalms for funerals, and other music. These psalm settings and acclamations coordinate with WLP’s worship resources but will find a welcome home in any parish setting.