Inspired by Benjamin Britten's The Young Person's Guide To The Orchestra, Harald Feller wrote this work for organ and narrator. By combining musical, technical and tonal possibilities of the organ, he wants to arouse the listener's interest and enthusiasm for organ music and make it accessible to a wide (not just young) audience.This work of about 20 minutes' duration can also be performed without narrator. / Voix Et Orgue

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

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

Par HAKIM NAJI. Tanets is inspired by the rhythm of the Basque fandango, with abundant hemiolas alternating 2 and 3 in the accompaniment. The piece, in ternary form, develops a joyful diatonic theme in a very modulating tonal game. / Niveau : 3 / Répertoire / Orgue

Par OGDEN NIGEL. Lewis Carroll from 'Alice in Wonderland' and inspiration for this lively and fun piece of light organ music. '. . . suddenly a White Rabbit with pink eyes ran close by her. There was nothing so very remarkable in that; nor did Alice think it so very much out of the way to hear the Rabbit say to itself, 'Oh dear! Oh dear! I shall be too late!' (when she thought it over afterwards, it occurred to her that she ought to have wondered at this, but at the time it seemed quite natural); but when the Rabbit actually took a watch out of its waistcoat pocket, and looked at it, and then hurried on, Alice started to her feet, for it flashed across her mind that she had never beforeseen a rabbit with either a waistcoat pocket or a watch to take out of it, and burning with curiosity, she ran across the field after it, and was just in time to see it pop down a large rabbit-hole under the hedge. ' Lewis Carroll from 'Alice in Wonderland' and inspiration for this lively and fun piece of light organ music. '. . . suddenly a White Rabbit with pink eyes ran close by her. There was nothing so very remarkable in that; nor did Alice think it so very much out of the way to hear the Rabbit say to itself, 'Oh dear! Oh dear! I shall be too late!' (when she thought it over afterwards, it occurred to her that she ought to have wondered at this, but at the time it seemed quite natural); but when the Rabbit actually took a watch out of its waistcoat pocket, and looked at it, and then hurried on, Alice started to her feet, for it flashed across her mind that she had never beforeseen a rabbit with either a waistcoat pocket or a watch to take out of it, and burning with curiosity, she ran across the field after it, and was just in time to see it pop down a large rabbit-hole under the hedge. '/ Répertoire / Orgue

per organo. Par VASKS PETERIS. Peteris Vasks has written compositions for organ again and again, whether original works or arrangements of his own works for strings. He drew his ideal sound image and his inspiration from the famous organ of the Cathedral in Riga where the composer has been living for a long time. Like in almost all his compositions, the basic idea of 'Musica seria' is the personal human examination of Creation: on the one hand the beauty of Nature, on the other hand the destruction of Nature by man. Vasks' organ music does not provide any great difficulties but rather displays an impressive tonal variety of the most intimate, held back sounds to tremendous chordal eruptions./ Répertoire / Orgue

Description When Brahms, Mendelssohn and Schumann composed for the organ, all three turned for inspiration to the musical style of the late Baroque period. Includes 11 'Choral Preludes' by Brahms, three 'Preludes And Fugues' by Mendelssohn, six 'Fugues' by Schumann and other works by the composers. Songlist [Unknown] Chorale Prelude And Fugue On O Traurigkeit O Herzeleid Eleven Choral Preludes Op.122 Felix Mendelssohn Fugue In A-flat Minor Johannes Brahms Prelude And Fugue No.1 In A Minor Prelude And Fugue No.1 In C Minor Prelude And Fugue No.2 In G Major Prelude And Fugue No.2 In G Minor Prelude And Fugue No.3 In D Minor Robert Schumann Six Fugues On The Name Bach Op.60 Six Sonatas Op.65

Par NUORVALA JUHANI. Juhani Nuorvala, described as an “electro-acoustic urban minimalist”, seeks inspiration from widely varied sources. With the enthusiasm of an explorer, he has delved into microtonality, French spectral music, techno and rock. It all becomes organically fused into his own idiom, often characterised by a frenzied rhythmic drive. Prélude non retouché (2012) for organ in ¼ comma meantone tuning with C# Eb F# G# Bb celebrates these features with light-hearted and easy-going mood, with attractive roughness due to tuning system. / Date parution : 2023-06-01/ Répertoire / Orgue

Par WILLIAMSON MALCOLM. Commissioned in 1960 for the dedicatory recital of the new organ in Coventry Cathedral. The composer's inspiration grew from the deep impression made on him by the sight of the new cathedral standing beside the charred shell of the old one./ Répertoire / Orgue

Für Orgel. Par PACH WALTER. Die barocken Ostinato-Formeln waren bevorzugte Gestaltungsmodelle für Pachs kompositorische Inspiration./ Répertoire / Orgue

Compositeur de l'époque baroque, Johann Sebastian Bach a été un acteur majeur et influent dans le développement de la musique occidentale. Il a inspiré les plus grands. C'est ainsi que vous retrouverez tout son génie à travers cette partition BACH POUR JEUNES ET ANCIENS / arr. Gregg Sewell - pour Orgue qui a été écrite pourOrgue. Les éditions De Haske Publications qui ont éditées cette oeuvre l'ont répertoriée sour la référence DHP 0970913-401. / Orgue / 24 pages / Partition

Roman de Julien Gracq ' Au château d'Argolo inclut un chapitre où l'un des héros, Herminien, découvre une chapelle cachée profondément dans une forêt. ' Bientôt... à travers les branches, tordus en arabesques fantastiques, est apparu le mur gris d'une chapelle accrochée au milieu d'un gouffre. ' Il voit un organe y et monter les marches du Grenier, il commence à improviser. ' Puis, par les ministères de son inquiétude, un bruit rose up. ' L'auteur donne une description de cette improvisation qui, musicalement, exprime la tension psychologique qui a été constitué dans le cadre de ce roman. Le roulement oeuvre musicale, que le titre du présent chapitre ne prétend pas répondre à la lettre de la description littéraire de cette improvisation, ce qui serait impossible comme décrivant 'Sonate de Vinteuil' de Proust, mais il est inspiré par les deux - cette description et par le roman lui-même. / Orgue

Inspiré du poème de Francis Jammes ' Laisse les nuages blancs? ', ce libre commentaire musical a été composé à l'occasion du 10ème anniversaire de la construction de l'orgue du Temple d'Orthez, d'où l'écrivain est natif. Le langage musical en est simple, mais coloré et expressif. Saint Bertrand de Comminges : lieu mystique et de repos pour les Pèlerins se dirigeant vers Saint Jacques de Compostelle. Cette oeuvre mêle et emmêle le thème allègre de la Chanson de Saint Jacques avec celui, calme et puissant choral, tiré des lettres composant le nom du lieu. / Orgue

Ce recueil est le fruit d'une rencontre entre les personnalités de plusieurs compositeurs et l'exigence d'une écriture permettant à un organiste débutant de pouvoir interpréter des pièces de notre temps sans se mesurer à de trop grandes difficultés techniques. Les différents auteurs qui ont prêté leur inspiration à ce projet proposent chacun un langage spécifique, reflet de l'incroyable diversité qui règne dans nos musiques actuelles. L'objectif des oeuvres se révèle parfois double, particulièrement lorsque le compositeur se fait à la fois pédagogue, mais aussi liturgiste. Ainsi, certaines pièces, après avoir été étudiées avec un professeur, peuvent être adéquatement interprétées lors d'un office (nous pensons particulièrement à la Petite Messe de Jean Legoupil ou aux Paraphrases grégoriennes de Thierry Pallesco. Néanmoins, presque toutes les pièces de ce recueil peuvent être envisagée sous ce double aspect). Afin de suggérer quelques pistes dans l'ordonnancement des difficultés techniques présentées par les morceaux, nous avons demandé conseil à deux professeurs d'orgue qui ont bien voulu proposer un classement par années. / Orgue

Compositeur de l'époque baroque, Johann Sebastian Bach a été un acteur majeur et influent dans le développement de la musique occidentale. Il a inspiré les plus grands. C'est ainsi que vous retrouverez tout son génie à travers cette partition CHORAL - REJOUIS-TOI MON AME qui a été écrite pourOrgue. Les éditions Billaudot qui ont éditées cette oeuvre l'ont répertoriée sour la référence CC3282. / Orgue / Partition