Orgelchoräle Der Leipziger Handschrift. Par BACH JOHANN SEBASTIAN. Editorial Board: Werner Breig/ Pieter Dirksen/ Reinmar Emans music text faithful to the sources and reflecting the current status of Bach research developed for musical practice through the cooperation of scholars and performers contains all of Bach's keyboard works that require an independent pedal manual contains all authentic early versions and fragmentarily transmitted or dubious works that can be attributed to Bach with a fair amount of certainty features comprehensive introductions, extensive source descriptions and text-critical notes features supplementary material illustrated synoptically on CD-ROM (in printable quality) brochure, in large format (32 x 25 cm) and compact music engraving, clear, easy to read, with convenient page turns 'The Breitkopf edition is obviously preferable if you're buying new copies. The series so far has been most impressive.' (Clifford Bartlett, Early Music Review) Subscription Conditions A subscription is only possible for the complete collection. The subscription price of the volumes is 20% lower than the final sales price. A subscription can begin at any time. The subscription obliges the subscriber to purchase the entire collection. The New Edition of Bach's Complete Organ Works With repertoire works, musicians often have the choice between editions conceived for practical music-making and others that are more scholarly in concept. This also applies to the organ works of Johann Sebastian Bach, which are available today in various editions. Among them is that of Heinz Lohmann, which Breitkopf and Härtel began publishing in 1967 and whose concept strove for an amalgamation of practice and Urtext. Current Urtext status, historically informed, edited with performers in mind: More than 40 years later, the demands made on a new Urtext edition of Bach's organ works are as stringent as ever before. Next to the results of scholarly research on Bach and the sources, aspects of a historically informed performance practice are increasingly claiming our attention today. Also important for study, teaching and concert performance are, in addition to the above-mentioned demands, such external criteria as format, paper, convenient page turns and an easily legible layout that helps the user quickly grasp the musical context. The new edition, beginning in 2010, also contains all keyboard works with pedal and the 'dubious works' that are hardly dubious anymore The edition of Johann Sebastian Bach's organ works which Breitkopf and Härtel is beginning to publish in fall 2010 wants to do justice to these demands. Next to the core contents of the repertoire, it will also feature all of the master's 'clavier' works which require an independent pedal. Moreover, it will include all authentic early versions as well as the fragmentarily transmitted works. As to the dubious works, it will contain those which can be attributed to Bach today with considerable certainty. It offers incerta, early, and alternative versions on CD-ROM In this work group, the new edition uses for the first time the modern forms of editorial technique with which the synoptical depiction of various versions is made possible on CD-ROM. Thanks to the collaboration with the EDIROM project, which is a leader in the field of digital scientific editorial technique, the edition offers new types of solutions. Incerta, early, and alternative versions that cannot be included in the printed volumes for reasons of size or problems of authenticity, are published on CD-ROM, supplied with comments, and depicted synoptically. Thus, after comparing the versions, the player can decide upon a different version than the one printed in the volume, and can make a high-quality print-out of it. The texts and comments customary to the 'Breitkopf Urtext' editions comprehensive introductions, extensive source descriptions and text-critical observations can be found in the printed version of the volumes. Edited by a competent team: With Werner Breig (Erlangen), Pieter Dirksen (Culemborg/Netherlands) and Reinmar Emans (Bochum), a.o. we have brought together a team that guarantees the highest expertise in various domains. Further Bach experts such as Sven Hiemke (Hamburg), David Schulenberg (Boston) and Jean-Claude Zehnder (Basel) were also enlisted for the edition of single volumes. Werner Breig (* 1932) studied Evangelical church music in Berlin as well as musicology in Erlangen and Hamburg. He obtained his doctorate in 1962 and completed his habilitation (postdoctoral lecturing qualification) in 1973. He then devoted himself to musicology at the Universities of Freiburg i. Br, Karlsruhe, Wuppertal and Bochum. Since his retirement in 1997 he has been living in Erlangen. Between 1997 and 2007 Breig was appointed General Editor of the complete edition of Richard Wagners letters. He is the author of many publications and editions, particularly of early clavier and organ music by Heinrich Schütz and Johann Sebastian Bach, but also of Richard Wagner and Arnold Schoenberg. Furthermore he is the author of the Bach article in the dictionary Die Musik in Geschichte und Gegenwart (MGG, 2nd edition). Pieter Dirksen (* 1961) studied organ, harpsichord and musicology. His 1996 doctoral thesis on Sweelinck's keyboard music was awarded the Praemium Erasmianum. Dirksen has since published many studies on, and editions of, several masters of the 17th century (Sweelinck, Bull, Cornet, Scheidt, Scheidemann, Buxtehude, Luebeck, Johann Christoph Bach) as well as Johann Sebastian Bach. In collaboration with Harald Vogel, he edited Sweelinck's Complete Works for Keyboard Instrument (4 volumes, Breitkopf and Härtel). Dirksen is a member of the academic board of the Bach-Jahrbuch as well as a sought-after harpsichordist, organist and continuo player in international ensembles. Dirksen issued a number of much-acclaimed solo recordings (Sweelinck, Scheidemann, Boehm, Louis Couperin, Bach-Vivaldi, Bachs Art of Fugue and Goldberg Variations). Edison Winner 2003. Reinmar Emans (* 1953) studied musicology in Bonn and wrote his doctoral thesis on the cantatas and canzonettas of Giovanni Legrenzi in 1982. From 1983 to 2008 he was an academic staff member of the Johann-Sebastian-Bach-Institut Göttingen, and temporarily deputy of the managing director. He has taught in Bochum, Marburg, Detmold, Cologne and Hamburg, and has been a freelance contributor to various music periodicals. In 2000 he was responsible for the conception and direction of the Thuringian state exhibition 'Der junge Bach: Weil er nicht aufzuhalten' in Erfurt. He has conducted research and produced publications on opera and the cantata in 17th-century Italy, on stylistic development in the music of Johann Sebastian Bach, and on editorial philology./ Répertoire / Orgue

PRELUDES 1. Prelude in D Minor 2. Prelude in E-flat Major 3. Prelude in G Major 4. Prelude in G Minor 5. Prelude in A Major 6. Prelude in A Minor 7. Prelude in D Minor TOCCATAS 1. Toccata in C Major 2. Toccata in D Minor 3. Toccata in D Major 4. Toccata in C Major 5. Toccata in C Major 6. Toccata in D Minor 7. Toccata in F Major 8. Toccata in G Minor 9. Toccata in C Major 10. Toccata in C Minor 11. Toccata in G Minor 12. Toccata in E Minor 13. Toccata in F Major 14. Toccata in G Minor 15. Toccata in G Minor FANTASIAS and RICERCARES Fantasia in E-flat Major Fantasia in G Minor Ricercare in F-sharp Minor Ricercare in C Major Ricercare in C Minor PRELUDE and FUGUE / TOCCATA and FUGUE / FUGUES Prelude and Fugue in E Minor Toccata and Fugue in B-flat Major 1. Fugue in C Major 2. Fugue in C Major 3. Fugue in C Major 4. Fugue in C Major 5. Fugue in C Major 6. Fugue in C Major 7. Fugue in C Major 8. Fugue in C Major 9. Fugue in C Major 10. Fugue in C Minor 11. Fugue in D Major 12. Fugue in F Major 13. Fugue in G Major 14. Fugue in C Major 15. Fugue in G Minor 16. Fugue in A Minor 17. Fugue in A Minor 18. Fugue in D Minor 19. Fugue in G Major CHORALE SETTINGS 1. Ach Gott vom Himmel, sieh darein (1st setting) 2. Ach Gott vom Himmel, sieh darein (2nd setting) 3. Ach Herr, mich armen Sünder (1st setting) 4. Ach Herr, mich armen Sünder (2nd setting) [Ach lieben Christen, seid getrost] 5. Ac wie elend ist unsre Zeit 6. Allein Gott in der Höh' sei Ehr' (1st setting) 7. Allein Gott in der Höh' sei Ehr' (2nd setting) 8. Allein zu dir, Herr Jesu Christ 9. An Wasserflüssen Babylon (1st setting) 10. An Wasserflüssen Babylon (2nd setting) 11. Auf meinen lieben Gott [Aus tiefer Not schrei' ich zu dir] 12. Christe, der du bist Tag and Licht 13. Christ lag in Todesbanden 14. Christ unser Herr zum Jordan kam 15. Da Jesus an dem Kreuze stund 16. Der Herr ist mein getreuer Hirt (1st setting) 17. Der Herr ist mein getreuer Hirt (2nd setting) 18. Der Tag, der ist so freudenr 19. Dies sind die heil'gen zehn Gebot' 20. Durch Adams Fall ist ganz verderbt (1st setting) 21. Durch Adams Fall ist gan verderbt (2nd setting) 22. Durch Adams Fall its ganz verderbt (3rd setting) [Ein Christ soll nicht der Meinung sein] 23. Ein' feste Burg ist unser Gott 24. Erbarm dich mein, o Herre Gott 25. Erhalt uns, Herr, bei deinem Wort [Es ist gewisslich an der Zeit] 26. Es spricht der Unweisen Mund whol (1st setting) 27. Es spricht der Unweisen Mudn whol (2nd setting) 28. Es woll' uns Gott genädig sein (1st setting) 29. Es woll' uns Gott genädig sein (2nd setting) 30. Gelobet seist du, Jesu Christ 31. Gott der Vater whon' uns bei 32. Gott hat das Evangelium 33. Gott Vater, der du deine Sonn' 34. Herr Christ, der ein'ge Gottessohn 35. Herr Gott, dich loben alle wir [Herr Jesu Christ, ich weiss gar wohl] [Herr Jersu, Gnadensonne] 36. Ich hab' mein' Sach' Gott heimgestellt 37. Ich ruf' zu dir, Herr Jesu Christ (1st setting) 38. Ich ruf zu dir, Herr Jesu Christ (2nd setting) [Ich weiss ein Blümlein] 39. In dich hab' ich gehoffet, Herr 40. Jesus Christus unser Heiland, der den Tod (1st setting) 41. Jesus Christus unser Heiland, der den Tod (2nd setting) 42. Jesus Christus unser Heiland, der von uns Bicinium (Two-Part Setting) 43. Komm Gott Schöpfer, heiliger Geist 44. Komm heiliger Geist, Herre Gott 45. Komm her zu mir, spricht Gottes Sohn 46. Lob sei Gott in des Himmels Thron 47. Mag ich Unglück nicht widerstahn 48. Meine Seele erhebt den Herren (Magnificat peregrini toni) 49. Nun freut euch, lieben Christen g'mein 50. Nun komm der Heiden Heiland 51. Nun lasst uns Gott dem Herren 52. Nun lob mein' Seel' den Herren 53. O Lamm Gottes unschuldig 54. O Mensch, bewein' dein' Sünde gross 55. Vater unser im Himmelreich (1st setting) 56. Vater unser im Himmelreich (2nd setting) 57. Vom Himmel hoch, da komm' ich her (1st setting) 58. Vom Himmel hoch, da komm' ich her (2nd setting) [Wach auf, mein Herz, und singe] 59. Warum betrübst du dich, mein Herz (1st setting) 60. Warum betrübst du dich, mein Herz (2nd setting) 61. Was mein Gott will, das gescheh' allzeit (1st setting) 62. Was mein Gott will, das gescheh' allzeit (2nd setting) 63. Wenn mein Stündlein vorhanden ist 64. Wennn wir in höchsten Nöten sein 65. Wie schön leuchtet der Morgenstern 66. Wir glauben all' an einen Gott 67. Wo Gott der Herr nicht bei uns hält (1st setting) 68. Wo Gott der Herr nicht bei uns hält (2nd set 69. Wo Gott der Herr nicht bei uns hält (3rd setting) 70. Wo Gott zum Haus nicht giebt sein' Gunst (1st setting) 71. Wo Gott zum Haus nicht giebt sein' Gunst (2nd setting) 72. Treuer Gott, ich muss dir klagen (Variations 1-4)

Utilisé comme un lieu de culte depuis des siècles, d'abord par les chrétiens et par les musulmans puis (à partir de 1453), la basilique Sainte-Sophie (Istanbul) étonne encore des gens de partout dans le monde. Depuis 1934, il est un musée - mais plus que cela, l'Hagia Sophia, une oeuvre architecturale unique de proportions monumentales dans l'Antiquité chrétienne et du Moyen Age, est décrit comme un lieu mystique. Monumental, encore mystérieuse, un 'miracle de l'espace', un symbole, un signe. 'Sophia', la sainte sagesse, nous accompagne à travers toute l'histoire de la Bible.La musique actuelle doit être considérée dans ce contexte: A la réflexion, la contemplation de la musique et de la poésie. La création est puissante, mais la vérité à ce sujet est puissant aussi. Et la prise de conscience que le chemin de la vérité est atteint par la sagesse. En conséquence, cette pièce doit traverser le puissant pour la moitié de sa durée, monumental. Il s'agit de la coupole au-dessus toutes les suivantes (d'observation) versets (sections). Depuis la barre 371, le chemin ramène à la puissance, à la joie (bar 406). Il ne faut pas oublier de mentionner la suggestion de 'chanter dans une mosquée' (barre de 510) qui est répondu par une simple prière (bar 511). Ce n'est pas sans rappeler la mosaïque dessus de la porte impériale du bâtiment dépeindre Jésus-Christ assis sur un trône orné de bijoux. Il tient un livre ouvert dans lequel on peut lire: 'La paix soit avec vous. Je suis la lumière du monde '.La ligne et le son de Sainte-Sophie sont basées sur un symétrique huit notes rangée (mode B) avec la note B, C sharp, D, E / F, G, A plat (sol dièse), si bémol (A dièse). Bien que les relations majeure-mineure sont retirés, les connexions harmoniques (couleurs) apparaissent néanmoins. / Orgue