Arranged by Michael Helman. Organ - Method or Collection. H. W. Gray. Book. 24 pages. Jubilate Music Group #00-GBM0205. Published by Jubilate Music Group

By Gwyneth W. Walker (1947-). For Organ Solo. Composed 2009. 28 pages. Duration 10 minutes, 45 seconds

Arranged by James Pethel. Organ - Method or Collection. H. W. Gray. Hymn; Sacred. Book. 36 pages. Jubilate Music Group #00-GBM0310. Published by Jubilate Music Group

By Various. Arranged by Charles E. Callahan Jr.. For organ. Moderately Easy. Published by MorningStar Music Publishers

Arranged by Jerry Westenkuehler. Organ Solo. H. W. Gray Saint Cecilia Series. Form: Prelude. Hymn; Sacred. Sheet. 8 pages. Jubilate Music Group #00-GSTCM0101. Published by Jubilate Music Group

(Nachdruck Ausgabe W. Volckmar). By Johann Christian Heinrich Rinck. For organ. Grade 4 (Difficult). Score. 20 pages. Published by Verlag Dohr

SA vocal soli, SATB choir, 2 violins, viola, cello/contrabass, organ

SKU: CA.3207619

Composed by Wilhelm Friedemann Bach. Edited by Peter Wollny. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Wohl dem, der den Herren furchtet. Sacred vocal music. Set of Orchestra Parts. Composed 1752. BR-WFB F 19. Duration 15 minutes. Carus Verlag #CV 32.076/19. Published by Carus Verlag (CA.3207619).

ISBN 9790007138974. Language: German.

The cantata is one of the few surviving vocal works which Wilhelm Friedemann Bach composed during the eighteen years which he spent as organist and director of music at the Marktkirche in Halle (1746-1764). This cantata, published here for the first time in more than 250 years, was written to introduce the autumn sermons in 1752. A musically and technically demanding composition, it consists of two substantial choral movements, partly concertante and partly polyphonic, based on two biblical utterances. They surround a sensitive, while at the same time strictly contrapuntal, duet for soprano and alto with basso continuo in which God's sweet teaching for the soul is described as the true manna of the faithful, forming a link with the sermons which are to follow. In the compactness of the musical construction and its intensity of expression W. F. Bach was clearly following in the footsteps of his father in this work. Score and parts available separately - see item CA.3207600.

Composed by W. A. P. Mozart (= Plagiavsky / Planyavsky). For organ. 12 pages. Published by Doblinger Music Publishers

Organ

SKU: M7.AST-6097

Composed by Gunther Wiesemann. Sheet music. Composed 1986. Duration 16'. MDS (Music Distribution Services) #AST 6097. Published by MDS (Music Distribution Services) (M7.AST-6097).

ISBN 9790203860976.

(Variationen uber Heil dir im Siegerkranz / God save the King (Nachdruck Ausgabe W. Volckmar)). By Johann Christian Heinrich Rinck. For organ. Classical. Grade 4 (Difficult). Score. 13 pages. Published by Verlag Dohr

SSATB choir, [congregation], wind choir (m. soli), organ

SKU: CA.2905305

Chorale cantata IV. Composed by Helmut Bornefeld. This edition: Complete edition. German title: Ck 4 Herr Jesu Christ, Dich Zu Uns W. Sacred vocal music, Morning, midday, evening. Choral Score. Composed 1954. BoWV 53. 2 pages. Duration 7 minutes. Carus Verlag #CV 29.053/05. Published by Carus Verlag (CA.2905305).

ISBN 9790007102333. Language: German.

Score available separately - see item CA.2905300.

Organ

SKU: M7.DOHR-18921

Composed by Walter Gleissner. Sheet music. Single sheet. 8 pages. MDS (Music Distribution Services) #DOHR 18921. Published by MDS (Music Distribution Services) (M7.DOHR-18921).

ISBN 9790202039212.

Die Ostersequenz Victimae paschali laudes hat mit großer Wahrscheinlichkeit den Dichter und Historiografen Wipo von Burgund ( nach 1046) als Urheber. Sein Beitrag zur Osterliturgie zählt zu den am häufigsten tradierten Sequenzen des Mittelalters und blieb auch nach der Reduktion dieser Gesänge durch das Trienter Konzil auf fünf für das gesamte Kirchenjahr in Gebrauch. Die Melodie wurde aber auch mit Vorliebe für Lieder in der Volkssprache, wie Christ ist erstanden, verwendet. Entsprechend der im Mittelalter üblichen Anwendung des Tempus perfectum als Ausdruck der trinitarischen Vollkommenheit bei liturgischen Gesängen ist die vorliegende Orgelversion der Sequenz im Dreiertakt verfasst. Dreimal wird die Durchführung der Sequenzmelodie in verschiedenen Stimmen durch Zitieren des Choralanfangs von Christ ist erstanden im Pedal interpoliert. Es ist mir noch ein Anliegen anzumerken, dass während der Arbeit an dieser Komposition meine Frau Ruth in die Ewigkeit abberufen wurde. Deshalb möchte ich ihr dieses Stück in österlicher Zuversicht widmen. (Walter Gleißner).