Par CAMPO REGIS. paraphrase sur l'air 'Gualtier malde ! caro nome', extrait de l'opéra 'Rigoletto' de Giuseppe Verdi/ Répertoire / Orgue

This handbook contains everything required for the London College of Music grade 3 & 4 Electronic Organ exams: scales & arpeggios, studies, pieces, performance notes, sample discussion questions, and sample chord sequence, accompanying & aural tests. Features original compositions and arrangements of well-known pieces. The series provides a solid foundation of musical education for any organ student, whether they are intending to take an exam or not. / Exams / Etude / Orgue Electronique

This handbook contains everything required for the London College of Music grade 7 & 8 Electronic Organ exams: scales & arpeggios, studies, pieces, performance notes, sample discussion questions, and sample chord sequence, accompanying & aural tests. Features original compositions and arrangements of well-known pieces. The series provides a solid foundation of musical education for any organ student, whether they are intending to take an exam or not. / Exams / Etude / Orgue Electronique

Book 1. Par HARWOOD BASIL. Sonata No. 1, Op. 5 Two Preludes, Op. 52 Two Meditations, Op. 57 A Quiet Voluntary, Op. 70 Basil Harwood's organ music takes a chronological journey through the composer's creative years. This journey begins with the Organ Sonata No. 1 in C sharp minor, op. 5 and ends with Quiet Voluntary for Evensong, op. 70, composed in 1946 when the composer was eighty-seven. In the intervening years came many and varied compositions often demanding an instrument of ample resources together with a player equal to their somewhat formidable technical demands. Displaying a fine sense of craftsmanship, they represent an important contribution to the organ repertoire. Unjustly neglected in the years since the composer's death, it is hoped that these six volumes will continue the ever-growing interest in Basil Harwood's music./ Répertoire / Orgue

Little Organ Book / Six Chorales 'Von Verschiedener Art' (Schübler-Chorales) / Chorale-Partitas. Par BACH JOHANN SEBASTIAN. Replaces BA 5171 Volume 1 of Bach' s organ music presents some of the most frequently played organ pieces altogether. Here they appear in a new engraving based on the New Bach Edition (NBA). This updated edition takes into account the latest findings of Bach scholarship: Thus, for example, a newly-discovered copy of the first edition containing inscriptions in Bach' s own hand could be incorporated into the musical text of the Schübler Chorales. For the Orgel-Büchlein, Bach' s autograph manuscript remains the principal source. Yet a glance at its early dissemination among his pupils reveals an abundance of readings that give interested organists insights into how perhaps Bach' s most famous collection was played at that time. Unfortunately no autograph manuscripts survive regarding the early chorale partitas. However the Foreword helps to solve the 'riddle' of how these partitas were handed down. Links to major sources have been provided in collaboration with the Bach Archive Leipzig and its Bach digital database. The relevant page of the source in question can be accessed quickly and conveniently via shortlinks at http://links.baerenreiter.com. These links are checked for their validity on a regular basis. - Complete new engraving - New detailed Foreword by Christine Blanken (Ger/Eng) - Links to relevant sources in Bach digital/ Répertoire / Orgue

A totally groovy collection of riffs, turns, grooves and vamps specially compiled for the Organ player by Andrew D. Gordon. This generous selection of grooves will add swing, bounce and funky syncopations to your playing, with everything from four-bar riffs to more substantial progressions that will squeeze a host of unusual and addictive rhythms from beneath your fingers. All examples are grouped by style, covering Blues, Funk, Gospel, Jazz, Latin and Reggae sounds. There is guidance to help you choose appropriate voice selections, as well as a guide to some of music's funkiest Organ stars. The book is complete with a CD featuring recordings of everyexample to help you really capture the 'feel' of each unique groove./ Recueil / Orgue

The importance of Jan Pieterszoon Sweelinck (1562?1621) to the clavier music of the baroque era can hardly be overestimated. This scholarly performance edition by Siegbert Rampe is the first to present all of his keyboard works while distinguishing between?works of certain authenticity?, ?works of uncertain authenticity? and ?works of doubtful authenticity.?

The seven volumes of this edition, with commentary in German and English, stand at the cutting edge of musical scholarship. Volumes III.1 and III.2 contain, for the first time, all the chorale settings attributed to Sweelinck or handed down under his name.

Volume III.1 presents ten additional chorale and psalm settings and many facsimiles.

A detailed preface covers the sources, the music, the choice of instruments, and questions related to performance practice.


- Definitive complete Urtext edition in seven volumes
- Based on the latest findings of scholarship
- Detailed prefaces and critical report (German and English) as well as list of sources in each volume
- Notes on ornamentation


?All eight volumes inclu de commentaries in German and English and reflect the latest scholarly research. Highly recommended.?
(The American Organist August 2010)

?Anyone interested in scrutinizing the musical text, scouring for alternative versions, and thoroughly examining the sources should buy Rampe?s edition.?
(Musik und Kirche)

?? Bärenreiter?s offering will provi de you with an authoritative treasury of Sweelinck?s work.?
(Church Music Quarterly, 3-2007)

??a must for even serious organ student .?
(The Organ no. 336 ? May?June 2006) / Classique / Partition / Broché /

A Study and Practice Book. Par JOSEF STOIBER FRANZ. Franz Josef Stoiber, organ professor and organist at Regensburg Cathedral, has decided not to present a conventional improvisation tutor here. Instead, he offers a multi-faceted reader and workbook containing useful methodical and pedagogical reflections, e. g. on cultivating a feeling for sound and training responsiveness. It also features a wide range of practical exercises for improvising in various styles, all reflecting his years of experience as a teacher and performer. This guide to organ improvisation has the potential of becoming a standard work in the training of today's organists. - A new approach to organ improvisation - Includes many practicalexercises and music samples - German/English text - Spacious attractive layout/ Répertoire / Orgue

SÄMTLICHE ORGELWERKE, BAND 10. Par BACH JOHANN SEBASTIAN. The now-published volumes 9 and 10 have presented a special challenge, for particularly in the field of the chorale arrangements the transmissions are more complex than in any other group of works. This ties in with the crucial question of Bach?s authorship, which has been the subject of much controversy in the past. There were heated discussions about it even just prior to our edition, and editors and publisher are aware that the present selection is a thoroughly debatable snapshot. More on this in the volumes? text sections. The so called ?Neumeister-Choräle? are incorporated in the group of the separately transmitted chorale settings in alphabetical order, because thecompilation of the pieces does not follow any collection idea of Bach (such as, for example, his larger late collections). The indication ?Neumeister-Sammlung? should facilitate the attribution. Those works requiring further research, besides of some versions, are presented online, since their profile reveals less evidence of the true author. / Date parution : 2021-11-25/ Recueil / 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

Par LEGUAY JEAN-PIERRE. Ma Sonate V est écrite pour l'orgue construit par Jean-Esprit Isnard en 1772 en la basilique Sainte-Marie-Madeleine à Saint-Maximin-La-Sainte-Baume dans le Var et restauré par Pascal Quoirin en 2017-2018. Tempérament inégal, pas de premier do#. Pour agrandir le champ de circulation de l'oeuvre, j'ai fait en sorte qu'elle soit également compatible avec des instruments à tempérament égal. En une grande coulée en forme d'arche, l'oeuvre parcourt sept Strophes. De part et d'autre de la quatrième d'entre elles (Cornets et Jeux de Tierce), deux groupes de trois Strophes se répondent. Le premier arpente successivement trois registrations - Grand Jeu, Plein Jeu, Fond d'Orgue - reprises, mais en sens inverse, par le second groupe. Deux Inserts sont greffés sur les Strophes I et IV. Jusqu'à la fin de la Strophe III, l'oeuvre est écrite pour des claviers montant au ré 5. Ensuite, pensant à certains instruments historiques, je n'ai plus dépassé le do 5. La Sonate est jouée intégralement ou, dans une version abrégée, à partir de la Strophe IV. Jean-Pierre Leguay/ Répertoire / Orgue