SKU: CA.2731204

ISBN 9790007181291. Language: Latin.

Version for symphony orchestra: 60 min; Church version: 35 min. Score available separately - see item CA.2731200.

SKU: CA.2731205

ISBN 9790007111281. Language: Latin.

Version for symphony orchestra: 60 min; Church version: 35 min. Score available separately - see item CA.2731200.

SKU: M7.DOHR-20565

ISBN 9790202045657.

Die Erstellung vorliegender Orgelbearbeitung bildet einen weiteren Baustein im Bemühen, aus Anlass des 250. Geburtstags im Jahre 2020 das Werk Beethovens auf historische Bearbeitungen für die Königin der Instrumente zu sichten und es in Neuausgaben alter sowie in neuen Orgelbearbeitungen in der édition bon(n)orgue vorzulegen. Erstaunlicherweise hat die Schicksalssymphonie bis heute keine vollständige Orgelbearbeitung gefunden. Der dritte Satz wird hier sogar erstmalig in einer Orgelbearbeitung vorgelegt. Mit dieser Ausgabe liegt nunmehr erstmals eine vollständige Bearbeitung der gesamten Symphonie vor. Die konzertante Aufführung setzt idealerweise ein nicht zu kleines, symphonisch disponiertes Instrument voraus. Die Registrierungsvorschläge stehen in der ästhetischen Tradition der klassischen französischen Orgelromantik (Cavaillé-Coll) und verstehen sich als unverbindliche Anhaltspunkte für die klangliche Umsetzung. (Otto Depenheuer).

SKU: HL.48187031

UPC: 888680884383. 9.0x12.0x0.065 inches.

Widor Toccata Extrait Symphonie No.5 Organ Book.

SKU: HL.48184739

G. Labole: Symphonie in B minor (Organ).

SKU: HL.48186955

Widor Symphonie No7 Op42 Organ Book.

SKU: HL.48184733

UPC: 888680842130. 9.0x12.0x0.121 inches.

Prelude; Adagio; Intermezzo; Final.

SKU: HL.48183635

UPC: 888680870270. 9.0x12.0x0.081 inches.

Jacques Charpentier: Symphonie No.6 (Organ & Orchestra).

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: HL.14013003

ISBN 9780711934948. 11.75x8.25x0.06 inches.

Henryk Mikolaj Gorecki's career spans more than 40 years, dating from the post-Stalinist era of the mid 1950s and embracing a catalogue of more than 70 acknowledged works. It was not, however, until the phenomenal success of his third symphony, Symphony of Sorrowful Songs Op 36, which brought the composer world-wide renown through its numerous performances and recordings, that his music reached an extended audience outside his native Poland. Since then the directness and emotional impact of his music have established him as one of the major figures of contemporary music.