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

from the Opera 'Tannhauser'-During his time in Weimar (1848 1861) Liszt developed a then entirely new organ style which stands out for both orchestral and pianistic elements. Together with the choirmaster Alexander Wilhelm Gottschalg (1827 1908) from Tiefurt he regularly initiated so-called 'organ conferences'. And it was at the suggestion of Gottschalg that the present arrangement of the Pilgrim's Choir from the opera 'Tannhäuser' was written. With his version for organ Liszt by means of this example laid the foundations for the (not always undisputed) tradition extending to the present day of organ transcriptions from the operas of Wagner. 'Organistic' elements in the Pilgrims' Choir are theclassical chorale theme the solemn 'sacred' atmosphere of the solemn tempo as well as the expressive cantability. The linear intensification from the antiphonal-organ-like piano dolce of the beginning to the 'full organ' can be realized in a convincing manner with an orchestrally conceived three-manual organ with the sensitive use of the swell box and the successive seamless build-up of the crescendo pedal being of particular significance. Important repertoire piece marking the 200th birthday of Richard Wagner in 2013.

(Ausgewahlte Orgelwerke, Band 1). Par SCHROEDER HERMANN. Hermann Schroeder's abundant oeuvre in the field of chorale-bound organ music is much less known among organists than his free - especially the concertante - organ works, although Hermann Schroeder as an organist felt particularly bound to liturgy and liturgical singing. And according to him, any liturgical organ music should always bear a direct relation to singing. The purpose of the present anthology is to provide the player a representative selection of Schroeder's chorale arrangements. Most of these chorales are relatively short and of medium difficulty at most. The chorale melody can be heard well most of the time so that the pieces are ideal for being used in church services. In the alphabetical index, the beginnings of song titles are accompanied by the corresponding number from Gotteslob (GL) or the Protestant Hymnal for better orientation./ Répertoire / Orgue

Easy liturgical organ music in an accessible modern style is always welcome and Nigel Ogden well-known contributor to Stainer & Bell’s ‘Light Organ’ series and host of ‘the Organist Entertains’ on BBC Radio 2 has composed fifteen new pieces for use within the communion service or other acts of worship.They are suitable both for traditional and electronic keyboard instruments and may be performed on single or multi-manuals with the bass played optionally on pedals as desired. There are fanfares and festal voluntaries to accompany the dramatic high-points of the liturgy as well as tranquil melodies for reposeful moments of meditation and private devotion pluspreludes on familiar hymns to collect the thoughts of the whole congregation. Flexibility is the watchword of At Your Service which offers a really practical contribution to the repertoire of useful music for church organists.

Carolyn Hamlin an organist from Easley South Carolina has put together a collection of seven popular hymns arranged for organ: perfect for preludes postludes offertories and for use at weddings funerals etc. The hymntuneis always prominent and appears often in the right hand left hand or pedal parts! Medium level difficulty. Titles include: Come Christians Join to Sing • Praise the Lord Ye Heavens Adore Him • For All the Saints• Holy Holy Holy • How Firm a Foundation • In Heavenly Love Abiding • When I Survey the Wondrous Cross.

The Organist's Collection is a series which makes available a wide repertoire of music for the organ requiring only a modest technique. Book Fifteen: Music from across the centuries contains wonderful 14 piecesrepresenting the change and evolution that has occurred through the different periods of music. Many of the pieces are familiar and well known while others are fine examples and deserve to be remembered. Set for Manuals andPedals and as always they are beautifully presented and represent tremendous value also included is a thumbnail sketch history of each of the featured composers.

Seven bubbly pieces for organ-There is a large demand for lively and joyful wedding music which speaks to contemporary congregations in the language they know. This collection of Jazzy pieces will command the attention and enhance the atmosphere ofhappiness which is such a wonderful part of the wedding ceremony. Congregations will love these pieces and organists will find them exciting and thrilling to play. We know that organists are always looking for something fresh toplay for weddings and this new collection fits the bill perfectly!Wedding Jazz includes Groovy Gavotte (Tim Blinko) To a slightly Wilder Rose! (Rosalie Bonighton) Mr Purcell’sTrumpeting Tune & Air (Robert Jones) The Perfect Love Waltz (June Nixon) Troldhaugen Blues & Waltz (Betty Roe) Amazing Grace Variation ‘Bluesy Dance’ (Martin Setchell) and Rave TrumpetVoluntary (Andrew Wright).

Gentle music for organ-We know that organists are always on the lookout for music suitable for the quieter and more reflective parts of the service so here is our latest lifeline for you. It is a bumper collection great value for money and each piecebeautifully written as you would expect from our house composers.

Here's a classical organ collection with 'everything you've always wanted to play for a wedding.' These most-often requested pieces are conveniently compiled in one spiral-bound collection and edited with her suggestedregistrations. Some titles include Mendelssohn's 'Wedding March ' 'Trumpet Voluntary ' by Jeremiah Clark 'Arioso in A' by Bach Wagner's 'Bridal Chorus ' and Handel's 'Water Music.'

The music of Bach always has a place in the repertoire of organists. This value for money collection brings together a selection of transcriptions made by the organ scholar Bryan Hesford.

Londonderry Air also known as 'Danny Boy' is known throughout the world as an anthem of Irish identity. It was collected in County Derry in the 1850’s and though claims have been made as to its authorship has always been attributed to ‘anonymous.’This arrangement by J Stuart Archer a British Organist composer and arranger of the early 20th century introduces the famous melody in the lower ranges before giving it full play above the harmonies.

The Organist's Collection is a series which makes available a wide repertoire of music for the organ requiring only a modest technique. Book Eight: Music from across the centuries contains wonderful 14 pieces representingthe change and evolution that has occurred through the different periods of music. Many of the pieces are familiar and well known while others are fine examples and deserve to be remembered. Set for Manuals and Pedals and asalways they are beautifully presented and represent tremendous value also included is a thumbnail sketch history of each of the featured composers.

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.

Instruments: OrganFine arrangements of the most popular music that organists are always being asked to play. The contents speak for themselves!

d'après The Turn of the Screw d'Henry James. Par GUILLOU JEAN. Though the work bearing this title is a portrait of childhood, it is a childhood quite different from the purely gameplaying and dreamlike childhood that is customarily represented. The childhood described here is carrying the seed, in all its purity, of all positive and negative qualities to be found the fully-grown men: a childhood both angelic and diabolical, and indeed very close to Henry James' 'The Turn of the Screw' which was the direct inspiration for this monodrama. Its growth follows the innumerable sudden changes, turns and contrasts of the unsophisticated spirit. There is hardly any development at all, as each idea gives birth to the next or rejects the previons one, being object to every impulse, every tempest, every flux, every fear and delight. After a dreamlike introduction, in which two simple melodies stand out, comes a sudden awakening, Allegro, stamped all over with lavish and forever regenerating dynamism. A sudden halt leads a kind of outburst from the most simple folklore is singing, in regular, repeated notes. Again the question mark leads us to another melody, Tranquillo, of a sweet tempo, but brilliantly decorated with counter-point, its cursive traits leading this time to a kind of roguish march (Vigoroso). Yet soon there emerges a melancholic chant, Largo, in the Cromorne's timbre, and then, in the highest register of the Trumpet there reappears like a metamorphosed memory, the theme of the second movement. Passing other episodes, we come to Tempo giusto, insistent and glorious, interrupted by other passionate figures, cut off by unsettling silent moments and taken up again in always accelerating volleys./ Répertoire / Orgue