By Robert Lau. For organ. Level: 3-staff. Sacred organ. Published by Sacred Music Press.

Arranged by Carolyn Hamlin. For Organ (Organ Solo). Fred Bock Publications. Softcover. Fred Bock Music Company #BGK1082. Published by Fred Bock Music Company

Organ solo

SKU: CA.1804300

Composed by Friedrich Reimerdes. This edition: Paperbound. Hymns by Martin Luther: War Gott nicht mit uns diese Zeit. German title: Festliche Orgelchorale 7. Organ music based on hymns, Easter and Eastertide. Collection. Composed 1960. 56 pages. Carus Verlag #CV 18.043/00. Published by Carus Verlag (CA.1804300).

ISBN 9790007032005.

By John Innes. Organ. Level: 3-staff. Sacred organ. Published by Lorenz Publishing Company.

Organ - advanced

SKU: HL.49045437

For Organ. Composed by Enjott Schneider. This edition: Saddle stitching. Sheet music. Organ Large Works. Classical. Softcover. Composed 2016. 48 pages. Duration 24'. Schott Music #ED 22668. Published by Schott Music (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.'.

Arranged by Brent Jorgensen. Christian, Contemporary Christian, Gospel, Inspirational. Jackman Music Corporation #01965. Published by Jackman Music Corporation

For voice and organ. Format: organ/vocal songbook (two copies needed for performance). With vocal melody, lyrics, organ accompaniment and chord names. Hymn. 132 pages. 9x12 inches. Published by Hal Leonard.

By Robert Fuchs (1847-1927). For organ. This edition: paperbound. Works for Organ and Choir. Score. Language: all languages. Composed 1911. 91. 16 pages. Published by Carus Verlag

For organ: 2-staff. Sacred. Moderately easy. Lorenz Publishing Company #70/1958L. Published by Lorenz Publishing Company

Best Of Sacred * All Organ Edition with CD composed by Various. Arranged by Craig Stevens. For organ, voice. This edition: Paperback. Collection. Sacred. Book and CD. Text Language: English. 128 pages. Published by Santorella Publications

For Organ. Composed by Olivier Messiaen (1908-1992). Leduc. Post-1900, Sacred, Classical. Softcover. 11 pages. Alphonse Leduc #AL19271. Published by Alphonse Leduc

By Gilbert M. Martin. Organ. Level: 3-staff. Sacred organ. Published by Sacred Music Press.

(A Fabric of Traditional Favorites Arranged for Organ). By Tim Doran. For organ: 3-staff. Sacred. Moderate. Published by Lillenas Publishing Company

Soprano voice solo, tenor voice solo, mixed choir, organ

SKU: BR.EB-8058

Movements III and IV. Composed by Felix Bartholdy Mendelssohn. Arranged by Thorsten Sterzik. Symphony. Edition Breitkopf. With regard to the anniversary of the Reformation in 2017, this version for solos, choir and organ by Torsten Sterzik originated to pave the Reformation Symphony's way into the church as well, restoring the text to Luther's chorale in the fourth movement. Symphony; Romantic. Organ score. 36 pages. Duration 30'. Breitkopf and Haertel #EB 8058. Published by Breitkopf and Haertel (BR.EB-8058).

ISBN 9790004183700. 9 x 12 inches.

The Reformation Symphony was composed in 1830 for the 300th anniversary of the Confessio Augustana, the founding of the Lutheran confession of faith. In the fourth movement, Mendelssohn quotes, elaborates and varies artfully the Luther-chorale Ein feste Burg ist unser Gott [God is our fortress], erecting a musical monument to the reformer Martin Luther. After an initial confl icting reception, the Reformation Symphony meanwhile is established fi rmly in the concert repertoire. EB 8058 is intended for performances with organ. It can also be used for the preparation of the chorus and soloists for performances with orchestra.

With regard to the anniversary of the Reformation in 2017, this version for solos, choir and organ by Torsten Sterzik originated to pave the Reformation Symphony's way into the church as well, restoring the text to Luther's chorale in the fourth movement and additionally including the third movement, its arioso solos being sung by a soprano and a tenor solo.

Organ

SKU: SU.80101470

For Organ. Composed by Carson Cooman. Keyboard, Organ. Score. Zimbel Press #80101470. Published by Zimbel Press (SU.80101470).

Two Folk Songs (2011) are settings of traditional American folk songs, primarily associated with Appalachia. In keeping with the nature of the source material (and how it is performed in folk contexts), the settings are very straightforward. Every Night, When the Sun Goes Down is song with lyrics that focus on the transcendent peace that comes from faith, overcoming sorrow and death. Sourwood Mountain is a jubilant song with a nonsense refrain (hey-ho diddle-um day). The organ setting evokes the spirit of the banjo. As often happens in a traditional folk band, the melody is elaborated in a more virtuosic fashion on each repetition. Instrumentation: Organ Duration: 6' Composed: 2011 Published by: Zimbel Press.