Evocations d'apres l'Evangile de Saint Luc. Par REUCHSEL EUGENE. Evocations D'Apres L'Evangile De Saint Luc Pour Grand-Orgue/ Répertoire / Orgue

Bach: Complete Organ Works Vol. 6 Clavierübung III / Schübler-Choräle / Canonische Veränderungen über 'Vom Himmel hoch' - ed. by Werner Breig Bach Organ Works Printed During the Composer's Lifetime Volume 6 contains the chorale-related organ works that Bach personally had printed: the Dritte Theil der Clavier Übung was published (for organists) in 1739; the Sechs Choräle von verschiedener Art (Schübler-Choräle) and the Canonische Veränderungen were released in separate editions most likely in 1747/48. None of these collections had from the start the appearance which the composer considered as valid in the end. For this reason, Werner Breig focuses in particular on questions of origin in his introduction. Fundamental findings on the genesis of the Clavier Übung III were made only after the publication of the work in the Neue Bach-Ausgabe. The basically unproblematic state of the sources means that this volume contains no CD-ROM with supplementary materials. It was, however, considered editorially necessary to print the Canonische Veränderungen BWV 769 in three versions: as a facsimile of the original print, in a practical arrangement, and in the autograph version (BWV 769a). Table des matières 1 Praeludium pro Organo pleno BWV 552/1 2 Kyrie, Gott Vater in Ewigkeit BWV 669 3 Christe, aller Welt Trost BWV 670 4 Kyrie, Gott heiliger Geist BWV 671 5 Kyrie, Gott Vater in Ewigkeit BWV 672 6 Christe, aller Welt Trost BWV 673 7 Kyrie, Gott heiliger Geist BWV 674 8 Allein Gott in der Höh sei Ehr BWV 675 9 Allein Gott in der Höh sei Ehr BWV 676 10 Fughetta super Allein Gott in der Höh sei Ehr BWV 677 11 Dies sind die heilgen zehen Gebot BWV 678 12 Fughetta super Dies sind die heiligen zehen Gebot BWV 679 13 Wir gläuben all an einen Gott BWV 680 14 Fughetta super Wir gläuben all an einen Gott BWV 681 15 Vater unser im Himmelreich BWV 682 16 Vater unser im Himmelreich BWV 683 17 Christ unser Herr zum Jordan kam BWV 684 18 Christ unser Herr zum Jordan kam BWV 685 19 Aus tiefer Not schrei ich zu dir BWV 686 20 Aus tiefer Not schrei ich zu dir BWV 687 21 Jesus Christus, unser Heiland BWV 688 22 Fuga super Jesus Christus, unser Heiland BWV 689 23 Duetto I BWV 802 24 Duetto II BWV 803 25 Duetto III BWV 804 26 Duetto IV BWV 805 27 Fuga pro Organo pleno BWV 552/2 28 Wachet auf, ruft uns die Stimme BWV 645 (Choräle von verschiedener Art / ?Schübler-Choräle?, Nr. 1) 29 Wo soll ich fliehen hin oder Auf meinen lieben Gott BWV 646 (Choräle von verschiedener Art / ?Schübler-Choräle?, Nr. 2) 30 Wer nur den lieben Gott lässt walten BWV 647 (Choräle von verschiedener Art / ?Schübler-Choräle?, Nr. 3) 31 Meine Seele erhebt den Herren BWV 648 (Choräle von verschiedener Art / ?Schübler-Choräle?, Nr. 4) 32 Ach bleib bei uns, Herr Jesu Christ BWV 649 (Choräle von verschiedener Art / ?Schübler-Choräle?, Nr. 5) 33 Kommst du nun, Jesu, vom Himmel herunter BWV 650 (Choräle von verschiedener Art / ?Schübler-Choräle?, Nr. 6) 34 Einige canonische Veränderungen über ?Vom Himmel hoch, da komm ich her? BWV 769 (Faksimile des Originaldrucks / Fassung des Originaldrucks in spielpraktischer Einrichtung / Fassung des Autographs BWV 769a)

Orgelchoräle Der Leipziger Handschrift. Par BACH JOHANN SEBASTIAN. Editorial Board: Werner Breig/ Pieter Dirksen/ Reinmar Emans music text faithful to the sources and reflecting the current status of Bach research developed for musical practice through the cooperation of scholars and performers contains all of Bach's keyboard works that require an independent pedal manual contains all authentic early versions and fragmentarily transmitted or dubious works that can be attributed to Bach with a fair amount of certainty features comprehensive introductions, extensive source descriptions and text-critical notes features supplementary material illustrated synoptically on CD-ROM (in printable quality) brochure, in large format (32 x 25 cm) and compact music engraving, clear, easy to read, with convenient page turns 'The Breitkopf edition is obviously preferable if you're buying new copies. The series so far has been most impressive.' (Clifford Bartlett, Early Music Review) Subscription Conditions A subscription is only possible for the complete collection. The subscription price of the volumes is 20% lower than the final sales price. A subscription can begin at any time. The subscription obliges the subscriber to purchase the entire collection. The New Edition of Bach's Complete Organ Works With repertoire works, musicians often have the choice between editions conceived for practical music-making and others that are more scholarly in concept. This also applies to the organ works of Johann Sebastian Bach, which are available today in various editions. Among them is that of Heinz Lohmann, which Breitkopf and Härtel began publishing in 1967 and whose concept strove for an amalgamation of practice and Urtext. Current Urtext status, historically informed, edited with performers in mind: More than 40 years later, the demands made on a new Urtext edition of Bach's organ works are as stringent as ever before. Next to the results of scholarly research on Bach and the sources, aspects of a historically informed performance practice are increasingly claiming our attention today. Also important for study, teaching and concert performance are, in addition to the above-mentioned demands, such external criteria as format, paper, convenient page turns and an easily legible layout that helps the user quickly grasp the musical context. The new edition, beginning in 2010, also contains all keyboard works with pedal and the 'dubious works' that are hardly dubious anymore The edition of Johann Sebastian Bach's organ works which Breitkopf and Härtel is beginning to publish in fall 2010 wants to do justice to these demands. Next to the core contents of the repertoire, it will also feature all of the master's 'clavier' works which require an independent pedal. Moreover, it will include all authentic early versions as well as the fragmentarily transmitted works. As to the dubious works, it will contain those which can be attributed to Bach today with considerable certainty. It offers incerta, early, and alternative versions on CD-ROM In this work group, the new edition uses for the first time the modern forms of editorial technique with which the synoptical depiction of various versions is made possible on CD-ROM. Thanks to the collaboration with the EDIROM project, which is a leader in the field of digital scientific editorial technique, the edition offers new types of solutions. Incerta, early, and alternative versions that cannot be included in the printed volumes for reasons of size or problems of authenticity, are published on CD-ROM, supplied with comments, and depicted synoptically. Thus, after comparing the versions, the player can decide upon a different version than the one printed in the volume, and can make a high-quality print-out of it. The texts and comments customary to the 'Breitkopf Urtext' editions comprehensive introductions, extensive source descriptions and text-critical observations can be found in the printed version of the volumes. Edited by a competent team: With Werner Breig (Erlangen), Pieter Dirksen (Culemborg/Netherlands) and Reinmar Emans (Bochum), a.o. we have brought together a team that guarantees the highest expertise in various domains. Further Bach experts such as Sven Hiemke (Hamburg), David Schulenberg (Boston) and Jean-Claude Zehnder (Basel) were also enlisted for the edition of single volumes. Werner Breig (* 1932) studied Evangelical church music in Berlin as well as musicology in Erlangen and Hamburg. He obtained his doctorate in 1962 and completed his habilitation (postdoctoral lecturing qualification) in 1973. He then devoted himself to musicology at the Universities of Freiburg i. Br, Karlsruhe, Wuppertal and Bochum. Since his retirement in 1997 he has been living in Erlangen. Between 1997 and 2007 Breig was appointed General Editor of the complete edition of Richard Wagners letters. He is the author of many publications and editions, particularly of early clavier and organ music by Heinrich Schütz and Johann Sebastian Bach, but also of Richard Wagner and Arnold Schoenberg. Furthermore he is the author of the Bach article in the dictionary Die Musik in Geschichte und Gegenwart (MGG, 2nd edition). Pieter Dirksen (* 1961) studied organ, harpsichord and musicology. His 1996 doctoral thesis on Sweelinck's keyboard music was awarded the Praemium Erasmianum. Dirksen has since published many studies on, and editions of, several masters of the 17th century (Sweelinck, Bull, Cornet, Scheidt, Scheidemann, Buxtehude, Luebeck, Johann Christoph Bach) as well as Johann Sebastian Bach. In collaboration with Harald Vogel, he edited Sweelinck's Complete Works for Keyboard Instrument (4 volumes, Breitkopf and Härtel). Dirksen is a member of the academic board of the Bach-Jahrbuch as well as a sought-after harpsichordist, organist and continuo player in international ensembles. Dirksen issued a number of much-acclaimed solo recordings (Sweelinck, Scheidemann, Boehm, Louis Couperin, Bach-Vivaldi, Bachs Art of Fugue and Goldberg Variations). Edison Winner 2003. Reinmar Emans (* 1953) studied musicology in Bonn and wrote his doctoral thesis on the cantatas and canzonettas of Giovanni Legrenzi in 1982. From 1983 to 2008 he was an academic staff member of the Johann-Sebastian-Bach-Institut Göttingen, and temporarily deputy of the managing director. He has taught in Bochum, Marburg, Detmold, Cologne and Hamburg, and has been a freelance contributor to various music periodicals. In 2000 he was responsible for the conception and direction of the Thuringian state exhibition 'Der junge Bach: Weil er nicht aufzuhalten' in Erfurt. He has conducted research and produced publications on opera and the cantata in 17th-century Italy, on stylistic development in the music of Johann Sebastian Bach, and on editorial philology./ Répertoire / Orgue

Description 27 scintillating works for Church or Concert performance. Songlist Capriccio, 'La Caccia' (Polibio Fumagalli) Carillon (Leo Sowerby) Carillon From 'Douze Pieces', Op.16 (Leon Boellmann) Carillons From 'Dix Pieces', Op.7 (Emile Bourdon) Carillon-sortie (Mulet) Fanfare D'orgue (Harry Rowe Shelley) Festival Toccata [Fletcher, Percy E.] Humoresque, 'L'organo Primitivo' (Pietro Yon) Les Carillons De Saint-paul D'orleans (Adolphe Marty) Rondo Con Imitatizione De' Campanelli (Giovanni Morandi) Roulade From 'Six Pieces', Op.9 (Seth Bingham) Scherzo (Gaston Dethier) Scherzo In E Major From 'Dix Pieces' (Eugene Gigout) Scherzo In G Minor Op.49 No.2 Toccata (Symphony No.5) [Widor, Charles-Marie] Toccata And Fugue In D Minor- Bwv565 (J.S Bach Ed. Lemare) Toccata From 'Suite Gothique (Leon Boellmann) Toccata In A Major Op.67, No.2 (Georges Macmaster) Toccata In B Minor From 'Dix Pieces' (Eugene Gigout) Toccata In B Minor From 'Suite De Morceaux' (Charles Tournemire) Toccata In D Minor From 'Trois Pieces' (Alphonse Mailly) Toccata In D Minor Op.108, No.1 (Albert Renaud) Toccata In E Major (Remigio Renzi) Toccata In E Minor (Joseph Callaerts) Toccata In G Major From 'Douze Pieces' (Theodore Dubois) Tu Es Petra From 'Equisses Byzantines' (Henri Mulet) Veritables Preludes Flasques

In 1739 Bach's Third Part of the Clavier Übung was published on 80 pages closely printed. Ever since then the collection has been regarded as a high point in the history of organ composition as it offers an impressive cross section of Bach's artistry.This present volume is an updated edition of Volume 4, Series IV, of the New Bach Edition, presented by Manfred Tessmer in 1969. A fully revised edition proved unnecessary, as there were relatively few corrections affecting the musical text. However, the volume now includes a detailed Preface by Christoph Wolff which discusses not only the work's genesis but also offers an up-to-date description of the sources. For the new engraving of the musical text page-turns were reviewed and improved.Bach's autograph is considered lost and so the main source is the original print of the collection from 1739. In collaboration with the Leipzig Bach Archive and its database Bach digital this new edition includes links to two important copies of the original print which contain hand-written entries by Bach himself.Any complete scholarly-critical edition of the works of Johann Sebastian Bach must, in the interest of its use by researchers and performers, incorporate intervening new discoveries wherever possible. With this in mind, Bärenreiter has entered an agreement with the Leipzig Bach Archive to reissue particular volumes as applicable, either in updated performing editions based on the New Bach Edition or in thoroughly revised editions based on the New Bach Edition - revised. In this way, each new performing edition will represent the cutting edge of research.Further hallmarks of this new generation of Urtext editions will be detailed, up-to-date Prefaces and newly engraved musical texts with optimum page turns. Each volume will list incipits with links to the relevant manuscripts in Bach digital thereby enabling the user to gain quick access to the sources.-With altered readings integrated into the musical text taking into account new musicological evidence-With a new Preface (Ger/Eng) discussing this work and its sources by Christoph Wolff-With links to the relevant sources in Bach digital via http://links.baerenreiter.com-Newly engraved and with improved page turns-Format: 24cm x 30.5cm / Orgue

Par GORDON ANDREW D.. The idea for this book series is to give instrumentalists the opportunity to practice solo improvisational techniques while playing along to rhythm tracks of keyboards, guitar, bass, drums/percussion in various different Latin styles including Calypso, Mambo, Salsa, Songo, Bossa, Guaracha, Samba and Latin-Blues. The 24 grooves totalling over 200 riffs/phrases and play-a-long tracks consists of a variety of tempos and keys. Each groove has a variety of riffs to learn that are generally 4 or 8 measures in length. It would be beneficial if you could memorize these riffs so that you can experiment using different permutations of the riffs as well as being used as a starting off point for one's own improvisations. Each riff has been recorded with a rhythm track with each style having an extended play-a-long track, around 3 minutes in length, recorded without the solo part so you can practice the riffs that you have learned. Also, these musical phrases or riffs may be interchanged from one groove to another and should be learned in as many keys as possible. / Niveau : Intermédiaire / Etude / Orgue

Teil 1. Orgel Und Orgelspiel Im Barock Und In Der Klassik. Der Band gliedert sich in zwei Hauptteile: In Teil A werden die allgemeinen technischen und musikalischen Grundlagen behandelt; Teil B erörtert die stilistische Differenzierung der Interpretation zwischen der Musik des Früh- und Hochbarock, J. S. Bach und dem deutschen Spätbarock sowie der Orgelmusik der Klassik. Die zugehörige Notenausgabe enthält eine Auswahl der im Buch behandelten Werke. Laukviks Orgelschule ist mittlerweile ein Standardwerk. Sie wendet sich an Organisten, die neueste Erkenntnisse historischer Aufführungspraxis in ihre Werkinterpretation integrieren möchten. Sie will dem Organisten helfen, das von der Wissenschaft wieder errungene Fachwissen zurhistorischen Aufführungspraxis für heute gültiges Orgelspiel umzusetzen. Die drei Bände geben in ausführlicher und leicht verständlicher Form eine praktische Einführung an die Hand, indem sie dem Spieler ein möglichst genaues Bild von den interpretatorischen Gepflogenheiten und Zielsetzungen vergangener Zeit vermitteln. Die Ausgaben richten sich nicht nur an Organistinnen und Organisten, sondern auch an Orgellehrer, die für ihren Unterricht einen Leitfaden suchen./ Répertoire / Orgue

Par CHOLLEY PIERRE. Cette pièce fut composee en 2004 pour l'anniversaire de la liberation de Paris. Elle evoque la traversee de la Normandie par les chars du general Leclerc, et cite quelques mesures de la celèbre marche de la 2° D. B./ Répertoire / Orgue

Über Die Acht Kirchentonarten, 1615. Par TRABACI GIOVANNI MARIA. Die Versetten über die 8 Kirchentonarten sind verfaßt, 'um bei Messen, Vespern, allen Gottesdiensten auf gesungene Choralversetten mit Orgelversetten zu antworten”. Der Komponist, der als Organist und Kapellmeister in Neapel wirkte, bündelte in jedem Modus .../ Répertoire / Orgue

[Schule des Generalbaßspiels (Anleitung für eigenständige Realisierung bezifferter Continuo-Stimmen. Mit Auszügen und Beispielen aus der Literatur des 17. und 18. Jahrhunderts)] / Méthodes