SKU: M7.DOHR-20262
ISBN 9790202042625.
SKU: HL.280395
Hymn preludes and choral arrangements by Bendt Fabricus (2018). Foreword: This small collection of preludes and choral arrangements is a selection of movements, created through more than 30 years of work as an organist in the Danish National Church. The collectionis first and foremost intended as a useful work tool for all my colleagues around the Danish organ benches. There are movements thatare suitable for the small one-manual organ in the village church and others that are intended for the concert organ in the large city church. Some movements are easy to follow, even with a simple and traditionally constructed structure, while others, both harmonious and rhythmic, offer greater complexity and degree of difficulty. Virtually all the kits composed for two manuals and pedal can also be realized on organs that have only one manual and pedal. As far as registration instructions are concerned, my statements are only intended as a guide to the sonorous expression in a given movement, as of course everyone is free to find exactly the registration that is deemed appropriate on the instrument in question. It is my wish that all organists can benefit fromthe collection and that it will prove to be a useful and beneficial supplement in the daily work. Bendt Fabricius.
SKU: HL.49045022
ISBN 9790001154277. UPC: 841886027794.
The formal structure of this organ chorale with solo clarinet follows a Jewish death prayer. The solo clarinet represents the chant of the traditional prayer leader while the organ plays the response of the congregation of the synagogue. The piece ends with a cadenza of the solo clarinet to which an optional organ improvisation can be added.Barbara Heller dedicated this chorale to the memory of Elke Mascha Blankenburg (1943-2013). Talking about her before the first performance, the composer said: 'She was open-hearted with a really tender soul, very trusting. Her creativity knew no limits; she was also an almost fanatical campaigner for music by women. In the music you will hear now I have attempted to convey some aspects of her personality: charming, loving, obstinate, committed, volatile, tragic, crazy, untamed, tender and anguished.' The various sections of this chorale may be performed in a correspondingly contrasting manner: searching, hesitant, visionary, focused, volatile, accusatory, hopeful, etc., with use of rubato and powerful contrasts in dynamic and tone quality.
SKU: HL.14008416
9.0x12.0x0.132 inches.
This essentially contemplative work in four movements is based on a plainsong fragment from the Lamentations of Jeremiah, traditionally sung on Maundy Thursday in the ceremonies spiralling down to the sacrifice of Christ on Good Friday. First performed in June 1982 by Richard Hughes, to whom the work is dedicated.
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: PR.513008810
SKU: BA.BA07795
ISBN 9790006523610. 41.3 x 29.7 cm inches.
World Premiere 12/09/2002, Schwaz (Tirol).
SKU: GH.SKG-10172
ISBN 9790070101721.
Variationer over en traditionell lapplandsk melodi for orgel.
SKU: 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).
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