Orgel Büchlein-Volume 1 of Bach?s organ music presents some of the most frequently played organ pieces altogether. Here they appear in a new engraving based on the New Bach Edition (NBA).This updated edition takes into account the latest findings of Bach scholarship: thus for example a newly-discovered copy of the first edition containing inscriptions in Bach?s own hand could be incorporated into the musical text of the Schübler Chorales.For the Orgel-Büchlein Bach?s autograph manuscript remains the principal source. Yet a glance at its early dissemination among his pupils reveals an abundance of readings that give interested organists insights into how perhaps Bach?smost famous collection was played at that time.Unfortunately no autograph manuscripts survive regarding the early chorale partitas. However the Foreword helps to solve the ?riddle? of how these partitas were handed down.Links to major sources have been provided in collaboration with the Bach Archive Leipzig and its Bach digital database. The relevant page of the source in question can be accessed quickly and conveniently via shortlinks at http://links.baerenreiter.com. These links are checked for their validity on a regular basis.Urtext of the New Bach EditionComplete new engravingNew detailed Foreword by Christine Blanken (Ger/Eng)Links to relevant sources in Bach digitalVolume 1 hardback BA5056The Complete Organ Works: The Definitive Edition Now in 11 paperback volumes in a slipcase BA 5279

A triumphant and celebratory collection of ten pieces for Organ manuals and pedals. In May 1999 the Peter Warlock Society held a concert in which Malcolm Rudland played pieces specially written for the occasion by other society members. While not actually Warlock compositions they give a unique insight into the influence he has had on English music even modern styles.

Enfin, une collection de Noël définitive pour les organistes ! Ce nouveau livre offre 31 pièces festives par certains des meilleurs compositeurs avec préludes, dernier verset arrangements et musique pour orgue après le dernier verset 33 des chants populaires - certains dans deux clés - faire un pare-chocs totale de 150 pièces ! Tous sont facilement sight-readable, qui en fait un incontournable pour l'organiste occupé. / Orgue

This collection presents a varied repertoire by J. S. Bach arranged for the Organ by Martin Setchell.Bringing a wealth of popular pieces under the fingers and feet of intermediate players this volume caters for all parts of the church service as well as providing recital repertoire and popular encores.Taking its cue from the Baroque practice of transcription and with the needs of modern players in mind Bach Transcriptions For Organ presents a set of pieces with wide and varied use and makes a valuable addition to any organist's repertoire.This volume includes:A selection of varied repertoire by J.S. Bach in new arrangements for the Organ.16 pieces from a cross-section of the master's instrumental and Choral works.Practical new transcriptions by a leading concert organist suited to most Organs.Music suitable for all parts of a church service - preludes postludes and communion pieces - as well as recital repertoire and popular encores.A host of well-known favourites including the Badinerie from Orchestral Suite No. 2 the slow movement of the Double Violin Concerto and the Pastoral Symphony from the Christmas Oratorio as well as less familiar works.

8 beautiful arrangements of classic hymns: All Hail the Power of Jesus' Name * All Through the Night * Come Ye Thankful People Come * Have Thine Own Way Lord * Joy to the World * A Mighty Fortress Is Our God * Precious Lord Take My Hand * Shall We Gather at the River.

Clavierübung III/Schübler-Choräle/Canonische Veränderungen ü. Vom Himmel hoch-Breitkopf Urtext edition of Johann Sebastian Bach's Complete Organ Works. 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. Featuressupplementary 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. 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 & H?rtel 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.This edition of Johann Sebastian Bach's Organ works wants to do justice to these demands. Next to the core contents of

Präludien und Fugen I - mit CD-ROM-Breitkopf Urtext edition of Johann Sebastian Bach's Complete Organ Works. 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. Featuressupplementary 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. 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 & H?rtel 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.This edition of Johann Sebastian Bach's Organ works wants to do justice to these demands. Next to the core contents of

Vincent Lübeck\'s few organ works were transmitted only in copies that were written chiefly in letter tablature, and that stem mostly from Lübeck\'s circle of students, thus from the collections of Hamburg\'s Nicolaikirche. / Classique / Urtext edited by Harald Vogel / Partition /

Martin Luther. Par SCHNEIDER ENJOTT. 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'.'/ Répertoire / Orgue

Free harmonizations of hymn tunes by fifty American composers'The purpose of this collection is to offer fresh harmonizations (free accompaniments) to hymn tunes that are in at least two current hymnals and for which there is a dearth of alternate accompaniments'. - D. Dewitt Wasson.Also available: Free Harmonizations Of Hymn Tunes Volume II (HMO152)Contents:1. Abbey2. Abbots Leigh3. Ach Gott Und Herr4. Albany5. All Saints6. All The Way7. Amazing Grace8. Amsterdam9. Angelus10. Ar Hyd Y Nos11. Arnsberg12. Ballerma13. Bangor14. Batty15. Beatus Vir16. Bethany17. Bethlehem18. Bourbon19. Boylston20. Bradbury21. Bread Of Life22. Bremen23. Bryn Calfaria24. Caithness25. Christe Sanctorum26. Christmas27. Cloisters28. Consolation29. Converse30. Creation31. Crimond32. Crucifer33. Cwm Rhondda34. Das Neugeborne Kindelein35. Deo Gracias36. Diva Servatrix37. Donne Secours38. Dunfermline39. Durrow40. Engelberg41. Eudoxia42. Evan43. Ewing44. Far Off Lands45. Federal Street46. Festal Song47. Flemming48. Forest Green49. Foundation50. Galilee51. Geneva52. Germany53. God Be With You54. Gott Des Himmels55. Gott Sei Dank56. Graefenberg57. Grand Isle58. Gwalchmai59. Halifax60. Hankey61. He Leadeth Me62. Helmsley63. Hermas64. Hesperus65. Hyfrydol66. Irby67. Kedron68. Kings Lynn69. Kings Of Orient70. Kings Weston71. Kingsfold72. Kirken Den73. Land Of Rest74. Langham75. Let Us Break Bread76. Llangloffan77. Lux Benigna78. Lynne79. Mckee80. Marion81. Miles Lane82. Monkland83. More Love To Thee84. Morecambe85. Morning Hymn86. Morning Song87. Morning Star88. Mornington89. Need90. Nunc Dimittis91. Nyland92. O Jesu93. O Perfect Love94. O Store Gud95. Old 107th96. Olives Brow97. Omni Dei98. Pilot99. Pleading Savior100. Quam Dilecta101. Rhosymedre102. Rock Of Ages103. Royal Oak104. St. Bride105. St. Cecilia106. St. Drostane107. St. Dunstans108. St. Hilda109. St. Kevin110. St. Margaret111. Sandon112. Schumann113. Serenity114. Slane115. Song 5116. Song 13117. Welwyn118. Woodworth119. Yattendon 46120. York121. Yorkshire

Cette transcription des Chants d'un compagnon errant (Lieder eines fahrenden Gesellen ) a e?te? pense?e pour un instrument symphonique de 3 claviers,Les registrations indique?es au cours de la partition sugge?rent une atmosphe?re ge?ne?rale, sans reve?tir force?ment un caracte?re obligatoire, L'organiste pourra, selon les possibilite?s sonores de l'instrument pratique?, son esthe?tique, et e?galement selon sa propre sensibilite?, ajuster ses propres timbres, en respectant toutefois le caracte?re demande?,Chaque Lied a e?te? pense? a? la manie?re d'un ve?ritable pre?lude de choral pour orgue, chacun prenant une forme diffe?rente : choral orne?, choral en trio, toccata, choral a? 4 voix, L'organiste interpre?te se gardera donc de faire l'erreur de ' faire ressembler ' la transcription a? l'oeuvre originale et notamment en y ajoutant des e?le?ments autres que ceux de?ja? e?crits, En effet, essayer avec un orgue de se rapprocher de l'orchestre ou de la voix humaine serait d'une lourdeur inutile, Les choix qui ont e?te? faits permettent de jouer une pie?ce pour orgue, e?crite pour l'organiste, On e?vitera donc, notamment par le choix de la registration, les phrase?s, de se rapprocher a? tout prix de la version originale, mais pluto?t de rester dans le caracte?re propre a? la litte?rature d'orgue, 1- Wenn mein Schatz Hochzeit macht, (4'15?)2- Ging heut' Morgen übers Feld (4'30?)3- Ich hab' ein glühend Messer (3'30?)4- Die zwei blauen Augen (5'45?) / Orgue

Par CERHA FRIEDRICH. Cerha (b. 1926) has had a long, varied, and distinguished career as composer, conductor, educator, and more. Having written many orchestral and chamber works, along with a number of works for solo instruments, Cerha has turned his attention to the king of instruments with a new set of inventions and preludes for organ. Written in 2011 and 2012, Cerha's new organ works add his distinctive voice to the repertoire. For intermediate to advanced organists./ Répertoire / Orgue

Michael Bedford offers a fresh and exciting set of arrangements for the Easter season. These settings of favorite Easter hymn tunes are festive and creative and offer a rewarding challenge for the experienced organist.

'Another Look at Harmony' is a project started in 1975. The approach has been to link directly rhythmic and harmonic structure. In doing so easily audible root movement (chords or 'changes') was chosen in order that the clarityof their relationship could easily be heard. Here as in earlier periods of Western music melodic material is for the most part a function or result of the harmony. However it is clear that some of the priorities of Westernmusic (harmony/melody first then rhythm) have been reversed.

This Saraband Processional reflects the renewed interest in the sarabande among composers of that time among them Britten Vaughan Williams and Howells. It is a majestic entrance piece.Twentieth century English composer conductor chorister and Organist William H Harris was Organist at St George’s Chapel at Windsor Castle and was conductor for the coronations of Queen Elizabeth II and her father King George VI. His work was performed at the Three Choirs Festival and the Proms though he was best known as a choir trainer.