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Orgelsinfonie No. 16 (SCHNEIDER ENJOTT)
Organ
Schott
Martin Luther. Par SCHNEIDER ENJOTT. On the occasion of the quincentenary of Ref...
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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
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Sir John Stainer: Jubilant March For Organ: Organ: Instrumental Work
Organ
[Sheet music]
Novello & Co Ltd.
This work Jubilant March for Organ is one of many original works that Stainer ...
(+)
This work Jubilant March for Organ is one of many original works that Stainer composed for Novello. It suggests that the high esteem in which Stainer was held by his contemporaries for the excellence of his Organ playing was not misplaced and is quite a rare Stainer work by virtue of its non-religious nature.John Stainer’s life coincided almost exactly with the reign of Queen Victoria. From his humble beginnings as the son of a cabinet maker he rose through his own brilliant musical gifts application and vision to become one of the most celebrated musical persons of his time. He is still remembered for having reOrganized the St Paul’s choir and for raising musicalstandards among church musicians in general and for his pioneering musicological research into early music. His hymns and arrangements of carols retain some popularlity today as does his Passiontide oratorio The Crucifixion.
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Théodore Dubois: Dubois: Complete Organ Works III: Organ: Instrumental Album
Organ
Barenreiter
Complete Organ Works Volume III: Organist at the Church ?La Madeleine?: Trois Pi...
(+)
Complete Organ Works Volume III: Organist at the Church ?La Madeleine?: Trois Pièces pour Grand Orgue (1890) Messe de Mariage:Cinq Pièces pour Orgue (1891)During his tenure at ?La Madeleine? in Paris Théodore Dubois composed a large number of Organ works. Volume III together with the already published Volumes II and IV brings Barenreiter's first complete Urtext edition of this body of music to a close. It contains Trois Pièces (Praeludium-grave Adoratio et Vox Angelica Hosannah) and the well-known and frequently performed wedding piece Messe de Mariage (Entrée du Cortège Bénédiction nuptiale Offertoire Invocation Laus Deo [Sortie]).Like thetwo previous volumes this volume contains many facsimile pages a Critical Commentary (Fr/Eng/Ger) a catalogue of sources and a detailed Foreword that sheds light on the composer?s life instrument-specific issues and performance practice.First complete Urtext edition of Théodore Dubois? Organ worksBased on the latest research findingsSuitable for church worship and concert performanceDetailed Foreword Critical Commentary (Fr/Eng/Ger) and facsimile pagesAlready published:Théodore Dubois: Complete Organ WorksVolume I: Early Works and Works with little or facultative pedal use BA8468Volume II: Organist at the Church ?La Madeleine?: Douze Pièces pour Orgue ou Piano-Pédalier (1886) BA8469 Volume IV: Organist at the Church ?La Madeleine?: Douze Pièces nouvelles (1893) / Ascendit Deus (1902) BA8471Volume V: His Last Organ Works: Dix Pièces (nouvelles) (1921) / Fantasietta avec Variations (1922) BA9208
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Orgelwerke Band I/1 (BUXTEHUDE DIETERICH)
Organ
[Sheet music]
Freie Orgelwerke - BuxWV 136-153, 158. Par BUXTEHUDE DIETERICH. This edition is ...
(+)
Freie Orgelwerke - BuxWV 136-153, 158. Par BUXTEHUDE DIETERICH. This edition is the result of Harald Vogel?s many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17 th - and 18 th -century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the ?Einzelanmerkungen?. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude?s free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary). Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on ?Die Fuge um Bach?. Besides the description of the ?inclusion? of triple measures into the C notation and the irregularities of the ?voice mutation? in the polyphonic structures, this also included a discussion about the justification of the ?inner textual criticism?. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude?s work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the ?indicators of the fantastic style? is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude?s work. In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude?s organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands. / Date parution : 2022-10-12/ Recueil / Orgue
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Concerto da chiesa (SCHROEDER HERMANN)
Organ
Schott
Par SCHROEDER HERMANN. Concerto da chiesa' is the last organ work by Hermann Sch...
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Par SCHROEDER HERMANN. Concerto da chiesa' is the last organ work by Hermann Schroeder (1904-1984). It was composed a few months before his death. The premiere was performed by Clemens Ganz, then organist at the Cathedral of Cologne, in memory of the esteemed teacher and college colleague. The work marks the end of a tirelessly prolific life with more than one hundred organ works of various characters, genres and possibilities of use in liturgy and concerts. The title 'Concerto da chiesa' reveals that this is a work for concerts, not for being used in services. The three-movement composition is an unmistakable 'Schroeder' work: emphasis of linearity according to high baroque standards, conciseness and sometimes impulsive gestures of the themes and rhythms, layers of parallel chords within a freely tonal modern harmony, not forgetting the plasticity of form and the motor functions which are surprisingly energetic for an eighty-year-old./ Répertoire / Orgue
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Edwin H. Lemare: Toccata Di Concerto For Organ: Organ: Instrumental Work
Organ
[Sheet music]
Novello & Co Ltd.
Lemare’s compositions are uneven in quality but the best are still activ...
(+)
Lemare’s compositions are uneven in quality but the best are still active in the repertoire. The Toccata di Concerto is certainly full of fireworks and has the capacity to show the abilities of a great Organ. The upper parts have plenty of French toccata style but the theme in the pedals gives the piece substance as does the romantic chromatic interlude in the middle of the work.Organ virtuoso and composer Edwin Lemare was the world’s highest-paid Organist at the height of his career in the early 1900’s drawing bravos from ctritics and the crowds who queued around the block to hear this most famous of Organists. After having served as a church Organist for a relativelyshort period he began the life of a travelling recitalist beginning with a hundred-recital tour of the USA and Canada in 1900 a career that continued until the stock market crash of 1929. Lemare was also virtuosic in his ability to transcribe great Orchestral works for the Organ allowing audiences in those less urban times to hear works played live that they might have heard no other way.
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Edwin H. Lemare: Andantino In Db For Organ: Organ: Instrumental Work
Organ
[Sheet music]
Novello & Co Ltd.
Lemare’s compositions are uneven in quality but the best are still acti...
(+)
Lemare’s compositions are uneven in quality but the best are still active in the repertoire. The Andantino also known as ‘Moonlight and Roses’ is the best known of his pieces and was requested by audiences at every concert he performed. The work requires thumbing down so the performing is playing on three manuals at once.Organ virtuoso and composer Edwin Lemare was the world’s highest-paid Organist at the height of his career in the early 1900’s drawing bravos from ctritics and the crowds who queued around the block to hear this most famous of Organists. After having served as a church Organist for a relatively short period he began the life of a travelling recitalist beginning with a hundred-recital tour of the USA and Canada in 1900 a career that continued until the stock market crash of 1929. Lemare was also virtuosic in his ability to transcribe great Orchestral works for the Organ allowing audiences in those less urban times to hear works played live that they might have heard no other way.
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Robert Saxton: Passacaglia On The Name John McCabe: Organ: Instrumental Work
Organ
University Of York Music Press
Robert Saxton's Passacaglia On The Name John McCabe for Organ.Commissioned by Ge...
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Robert Saxton's Passacaglia On The Name John McCabe for Organ.Commissioned by George Vass for a concert in celebration of the life and work of John McCabe CBE.First performed in Faversham Church Kent on 28th June 2015 by Edward Kemp-Luck.Duration: 6 mins ca.A review in the June 2016 edition of Organist's Review calls this piece a 'beautifully produced work' that features 'the pleasing disorientation of false relations' and is 'as inventive as it is impressive.'A similarly glowing review in the August-October edtion of The Organ magazine calls thispiece 'a very impressive short work indeed; brilliantly imagines and written for the instrument...one can only urge this music on all recital organists - it is a splendid piece and would surely make a counterpart to an original McCabe organ work in the same programme - the Johannes-Partita especially.'
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Orgelwerke Set Band I (BUXTEHUDE DIETERICH)
Organ
[Sheet music]
Breitkopf & Härtel
Freie Orgelwerke - BuxWV 136-161. Par BUXTEHUDE DIETERICH. This edition is the r...
(+)
Freie Orgelwerke - BuxWV 136-161. Par BUXTEHUDE DIETERICH. This edition is the result of Harald Vogel?s many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17 th - and 18 th -century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the ?Einzelanmerkungen?. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude?s free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary). Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on ?Die Fuge um Bach?. Besides the description of the ?inclusion? of triple measures into the C notation and the irregularities of the ?voice mutation? in the polyphonic structures, this also included a discussion about the justification of the ?inner textual criticism?. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude?s work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the ?indicators of the fantastic style? is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude?s work. In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude?s organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands. / Date parution : 2022-10-12/ Recueil / Orgue
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Alain: 3 Pieces: Organ: Instrumental Album
Français
Organ
[Sheet music]
Leduc, Alphonse
Composed by Jehan Alain Trois Pièces is a set of upper intermediate / advanc...
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Composed by Jehan Alain Trois Pièces is a set of upper intermediate / advanced works for Organ with pedal-use. The first piece “Variations sur un thème de Clément Jannequin” (Variations on a Clément Jannequin’s tune“ should be played “in the same way as Couperin’s Préludes: freshly and softly”. It contains four distinctive parts: Affetuoso Maggiore Fuggato and Grave. The second piece is called “Le jardin suspendu” (The hanging garden) and features three different parts that can’t be played separately. Thelast piece “Litanies” is quite religious and consists of the repetition of lamentations. Its introduction in Vivo is played only by the right hand then followed by a “Lirico ma sempre vivo” part. These are followed by switches between the main tempo and some Vivacissimo parts sounding declamatory. This third piece ends really harmoniously. Jehan Alain is a French organist who became famous with his Suite for Organ. Student of Marcel Dupré and Roger Ducasse among others he kept composing all his life. One of his most famous international pieces is 'Litanies'.
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Percy E. Fletcher: Festival Toccata: Organ: Instrumental Work
Organ
[Sheet music]
Novello & Co Ltd.
The Festival Toccata is relatively well-known among the works of Fletcher and is...
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The Festival Toccata is relatively well-known among the works of Fletcher and is popular as a wedding piece and for encores. The brilliance of Festival Toccata’s surface disguises the fact that one does not need to be a virtuoso to play it well and effectively.Percy Fletcher was an English composer conductor and Orchestrator of prodigious output who made his career in the lively world of the London music theatre of the years of the late 19th and early 20th century. He was music director at many theatres including His Majesty’s Theatre for the last seventeen years of his life. He was the Orchestrator and conductor for the big budget spectacular theatre piece Chu Chin Chowwhich ran for five years a record that remained unbroken for forty years. In addition to his myriad works of light music Fletcher also wrote a serious church cantata The Passion of Christ as well as the delightful children’s work The Walrus and the Carpenter.
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Percy E. Fletcher: Fountain Reverie: Organ: Instrumental Work
Organ
[Sheet music]
Novello & Co Ltd.
The Fountain Reverie features soft rippling arpeggios with a contrasting middle...
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The Fountain Reverie features soft rippling arpeggios with a contrasting middle section. As with the Festival Toccata published at the same time the brilliance of Fountain Reverie disguises the fact that one does not need to be a virtuoso to play it well and effectively and it plays well on many different Organs.Percy Fletcher was an English composer conductor and Orchestrator of prodigious output who made his career in the lively world of the London music theatre of the years of the late 19th and early 20th century. He was music director at many theatres including His Majesty’s Theatre for the last seventeen years of his life. He was the Orchestrator and conductorfor the big budget spectacular theatre piece Chu Chin Chow which ran for five years a record that remained unbroken for forty years. In addition to his myriad works of light music Fletcher also wrote a serious church cantata The Passion of Christ as well as the delightful children’s work The Walrus and the Carpenter.
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Harold Sumsion: Air Berceuse And Procession for: Organ: Instrumental Work
Organ
[Sheet music]
Novello & Co Ltd.
This three-movement work for Organ Air Berceuse and Procession written in 194...
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This three-movement work for Organ Air Berceuse and Procession written in 1949 is a very appealing piece that speaks in Sumsion’s fresh melodic Voice. His style is diatonic modern and individual and has not been aged by the orthodoxies of its time.Twentieth century composer and Organist Harold Sumsion spent most of his life in Gloucester where he was a chorister at the cathedral then an articled pupil to the Organist and later assistant Organist and eventually a leader of the Three Choirs Festival. There were short periods studying and teaching in at the Royal Academy of Music in London and the Curtis Institute in Philadelphia. He enjoyed a long and productive tenure atGloucester Cathedral where through is leadership of the Three Choirs Festiva l he came to know some of the most important British composers in particular Edward Elgar.
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Colin Mawby: Hymns for Occasions: Organ: Instrumental Album
Organ
Kevin Mayhew
One Hundred Special Arrangements-In Hymns For Occasions Colin Mawby has taken 1...
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One Hundred Special Arrangements-In Hymns For Occasions Colin Mawby has taken 100 of the most widely used hymn tunes and worked his magic on them. These are not just last-verse treatments but complete mini re-compositions for each tune. There is anintroduction (the sort that always sounds impressive but which contains enough of the hymn tune to act as an encouragement to the congregation) the standard harmonisation a short interlude before the last verse and a last-versearrangement of great beauty and originality followed by a fitting few bars of conclusion. Colin Mawby's approach to this well-loved music is unique: he brings new life to the hymn tradition in a style and quantity that noother composer has yet attempted.
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Harald Genzmer: Prelude Aria and Finale GeWV 413: Organ: Instrumental Work
Organ
Schott
The reputation of the Bohemian composer Zdenek Fibich (1850-1900) has always bee...
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The reputation of the Bohemian composer Zdenek Fibich (1850-1900) has always been somewhat overshadowed by that of Bedrich Smetana and Anton n Dvorák. This is a pity for Fibich though he died young made an equally important contribution to the emerging Czech national styl with his wide range of compositions. After starting piano lessons with his mother as his first teacher the boy went on to music school in Prague and then to the Leipzig Conservatoire where he learned his craft as a composer. He spent a few months teaching piano in Paris and then continued his studies with Vinzenz Lachner in Mannheim. Prague was eventually to become the centre for Fibich'smusical activities: as his dream of a post at the Conservatoire remained unfulfilled his main employment was giving private music lessons and as a composer Zdenek Fibich wrote works for many musical genres: vocal and chamber music piano pieces and orchestral works operas stage music and melodramas literary recitals with orchestral accompaniment to which he gave a new lease of life. There are biographical traces to be found in the 376 piano pieces of the collection 'Moods Impressions and Reminiscences' Op. 41 written in 1892-98: this tells of his love for his pupil Anezka Schulzová in the form of a 'piano diary'. Its four volumes were frequently a source of material for other works such as the symphonic poem 'In the Evening' Op. 39 (also known as 'A Summer's Evening' and 'At Twilight') written in 1893. For his second subject in this 'Idyll' Fibich used the minature no. 139 entitled 'Lento' from his collection of piano pieces. The violinst Jan Kubel k played the melody from 1908 onwards with the title 'Poème' and the work is still known today under this title: its easy charm has made it a favourite tune in the classical repertoire. This arrangement is based on the orchestral version from which other material was adapted for the Prelude.
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Colin Mawby: Carols for Organists: Organ: Instrumental Album
Organ
Kevin Mayhew
20 spectacular arrangements-In Carols for Organists Colin Mawby has taken 20 o...
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20 spectacular arrangements-In Carols for Organists Colin Mawby has taken 20 of the most widely used carols and worked his magic on them. These are not just last-verse treatments but complete mini recompositions for each tune. There is anIntroduction (the sort that always sounds impressive but which contains enough of the hymn tune to act as an encouragement to the congregation) the standard harmonisation a short Interlude before the last verse and a last-versearrangement of great beauty and originality followed by a fitting few bars of conclusion. Colin Mawby's approach to this well-loved music is unique: he brings new life to the carol tradition.
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