SKU: HP.1601
UPC: 763628116019.
Six traditional tunes Six Classics arranged for Handbells & KeyboardSix Classics arranged for Handbells & Keyboard.
SKU: OU.9780193433564
ISBN 9780193433564. 10 x 7 inches.
For unison voices (with opt. second part) and piano or organ A moving, traditional Irish blessing set to music of great simplicity and beauty. Chilcott perfectly captures the warmth and sincerity of the text, and weaves a memorable melody, which he clothes in rich harmony. Also available in versions for SATB, and upper voices.
SKU: MN.10-917
Scripture: Psalms 11.
A 9-minute concert piece contrasts gorgeous adagio-like melodies with quicker sectionsbuilding to cadences using full organ. Blend of traditional Romantic and 20th-century techniques.
SKU: LO.10-4248L
ISBN 9781429129305.
Noted British composer Jonathan Willcocks offers this vibrant setting of a traditional English carol. Perfect for Christmas or Epiphany services, your singers are sure to enjoy the lovely interplay between men's and women's voices. This lively selection also incorporates an original choral motive as a unifying musical thread and is especially effective when performed with the optional organ accompaniment.
SKU: LO.70-2212S
ISBN 9780787768010.
Grimoaldo Macchia is one of Europe's most popular composers and arrangers of sacred organ music. In this volume, he applies his vibrant style to thirteen hymns that originate from the USA. Included are traditional folk hymns (such as “What Wondrous Love Is This†and “Amazing Graceâ€) as well as later-composed tunes of American origin (such as “To God Be the Glory!†and “Shall We Gather at the Riverâ€). Crafted with a fresh perspective on these hymns, Macchia’s brief pieces will make for delightful preludes, offertories, and postludes throughout the church year.
SKU: CA.1822000
ISBN 9790007294441.
Edited by the Deutscher Musikrat (German Music Council) with Richard Mailander and Kord MichaelisCatholic and Protestant churches are familiar with the tradition that in times of crisis, new works are composed to comfort the faithful, and are performed in worship. Following in this tradition, the project Orgelmusik in Zeiten von Corona (Organ Music in Times of Corona) was devised. 17 new compositions were commissioned which reflect Corona times, creatively confront the past and the present, and will enrich the repertoire of organ music in a lasting way.The 17 compositions depict a wide range of styles including avant-garde, jazz and classical, and some refer to music from previous eras and church music traditions. They are conceived for different levels of difficulty, are for 2 or 3-manual organs, and last between four and ten minutes. They are particularly suitable for concerts, but can also be played in church services.* 17 thematic reflections on the Corona pandemic: on the horsemen of the apocalypse, the Coeur bleu, the thunder of time, timelines, trust and confidence, and many more* compositions by Timo Bocking, Kathrin A. Denner, Barbara Dennerlein, Dorothee Hahne, Peter Michael Hamel, Frank Heckel, Dorothea Hofmann, Nicole Johanntgen, Anna Korsun, Roland Kunz, Eckhart Kuper, Johannes M. Michel, Iris Rieg, Maximilian Schnaus, Enjott Schneider, Dominik Susteck, and Maximilian Wallrath* stylistic variety and breadth - from classically-influenced compositions, through jazz and pop, to avant-garde and experimental sounds* different levels of difficulty, for 2 or 3-manual organ, 4 to 10 minutes' duration* suitable for concerts and church services.
SKU: HL.49018082
ISBN 9790001168809. UPC: 884088535094. 9.0x12.0x0.2 inches.
Each organ symphony by Enjott Schneider has its own colour and its own theme. Organ Symphony No. 7 'Von Ewigkeit zu Ewigkeit' is dominated by the theme of 'time': from the flowing rumbling of time in ancient beginnings ('In principio' - 1st movement) and periodic to the intellectually incomprehensible revolving ('Zeit der Sterne' - 2nd movement). After the third movement ('Zeit des Menschen'), a valse triste, infused by an almost humorous hectic atmosphere, the symphony ends with a kind of 'Amen!' in the fourth movement. Schneider sums it up: 'It is good as it is, we do not understand the course of time anyway.' With regard to style, his composition is based on elements of minimal music which he combines with the tradition of the European organ composition; it is at the same time a testimony to the composer's flexibility and versatility.
SKU: HL.49017658
ISBN 9790001150262. 9.0x12.0x0.347 inches. German - French.
The Belgian organist and composer Jacques-Nicolas Lemmens (1823-1881) ranks among the most important organ teachers of the 19th century. A student of Adolf Friedrich Hasse in Breslau, he was familiar with the Bach organ tradition but also had a decisive influence on the French organ tradition. From 1849-1869 he was a teacher at the Conservatoire of Brussels and in 1869 he founded his own important church music school in Mechelen ('Lemmens Institute'). His 'Ecole d'orgue', published by Schott in 1862, has now been re-published as a reprint edition due to great demand.
SKU: UT.HS-335
ISBN 9790215328532. 9 x 12 inches.
Walter Battison Haynes (1859-1900): Sonata in D minorHugh Blair (1864-1932): Short Sonata in G majorThe organ sonatas of Walter Battison Haynes and Hugh Blair demonstrate a notable peak in the development of the English organ sonata as a work that is musically cohesive. As discussed in The Genesis and Development of an English Organ Sonata (2017), the portfolio approach towards compositions under one title, a sonata, that included sometimes significantly contrasting movements of varying technical difficulty was common during the second half of the nineteenth century not least as a published example of the compositional skill of composers. Whereas these two sonatas join the tradition of works that could be convincingly played on both medium and large instruments and allow for creativity in registration they are also cohesive pieces that could serve in a concert programme. These works join the legacy of English organ sonatas that had an important pedagogical role jointly inherited from Mendelssohn’s very practical and popular approach to the instrument and the continued European legacy of the lesson-sonata tradition whereby in learning a piece you also learned the instrument and vice versa. They are both idiomatically written and musically rewarding pieces that are imbued with the undeniably English harmonic language of the era that was to remain popular for several decades to come.
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