Edition : Paris, l'Auteur, R. Ballard, 1667Présentation de : Philippe Lescat : Catalogue de l'oeuvre de Guillaume-Gabriel NiversJean Saint-Arroman : L'utilisation du plain-chant / Orgue / 168 pages / niveau : 1 / Fac-Similés - Format: 22.5 X 31

Joan Cabanilles Selected Works for OrganVolume I: BA11228Volume II: BA11229Although quite some time has passed since the multifaceted organ music from Spain's Golden Age could be called an ?insider's tip? it had yet to attain popularity with any wide audience outside the countries of the Iberian Peninsula. The three-volume Urtext edition of selected works by Joan Cabanilles the cathedral organist from Valencia now has every chance of becoming a milestone in its own right. The Iberian organ tradition of the 17th century appears to have reached its climax in his tientos diferencias and versos. In the first two volumes the editors Gerhard Doderer and MiguelBernal Ripoll present a total of 22 of his most appealing and most significant tientos.Urtext edition based on the latest research findingsPreface by the editors (in German English and Spanish)

Handbook of classical-modern organ playing-Handbook of classical-modern Organ playing.Barenreiter's two-volume edition is the first to offer a reference work on Organ technique systematically subdivided into 60 exercise units. It provides an overview of all relevant topics on manual and pedal playing based on the tutors by Marcel Dupré Fernando Germani Charles-Louis Hanon and Johannes Brahms as well as on their sequels and supplements. There is also a comprehensive set of exercises to maintain the achieved performance level.This compendium is a tutor for all levels of expertise and training from ambitious semi-professional organists through to fully professional church musicians and conservatorystudents. Furthermore it is aimed at all of those who teach the Organ whether privately or at academies colleges conservatories or universities.Two-volume reference work on Organ technique (Ger/Eng)Covers all relevant areas of manual and pedal playingIncludes a comprehensive set of exercisesConcise introductory text (Ger/Eng)Index for topics and keywords on teaching and performing issuesFor every level of expertise and trainingPeter Wagner (b. Karlstadt 1967) studied Catholic church music (A-level certification) Organ improvisation concert Organ and music theory in Cologne Würzburg and Salzburg. His later career led him to a wide variety of teaching consultancy and jury activities in the areas of Organ playing music theory choral and orchestral conducting voice training and children?s choirs. He has also given concert tours in Germany and abroad. From 2001 to 2003 Wagner was an educational consultant and teacher at the Bavarian State Academy of Music in Hammelburg. Since then he has been cathedral organist and choral director in Minden as well dean church musician for the archbishopric of Paderborn.

Edition : Paris, s.d. = 1676Ce livre est un passage obligé dans la formation des jeunes organistes : sans grande difficulté technique, composé de pièces relativement brèves, il exige un sérieux apprentissage du style (agrémentation à compléter, choix des inégalités, application de doigtés anciens, choix des phrasés) et une interprétation très vivante. - Présentation par : Jean Saint-Arroman : Lebègue novateurPhilippe Lescat : Biographie de Lebègue - / Orgue / 160 pages / niveau : 1 / Fac-Similés - Format: 23.5 X 32.5

Freie Orgelwerke - BuxWV 136-153, 158. Par BUXTEHUDE DIETERICH. This edition is the result of Harald Vogel?s many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17 th - and 18 th -century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the ?Einzelanmerkungen?. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude?s free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary). Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on ?Die Fuge um Bach?. Besides the description of the ?inclusion? of triple measures into the C notation and the irregularities of the ?voice mutation? in the polyphonic structures, this also included a discussion about the justification of the ?inner textual criticism?. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude?s work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the ?indicators of the fantastic style? is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude?s work. In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude?s organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands. / Date parution : 2022-10-12/ Recueil / Orgue

First of a series of three tomes by Jehan Alain The Organ Work - Tome 1 is a set of two pieces in three parts each. For upper intermediate players and above this first tome is quite difficult with fairly fast movements that also feature the use of pedals. This first tome includes:  I. Suite (Introduction et Variations JA 69 Scherzo JA 70 and Choral JA 82) II. Trois danses JA 120 (Joie Deuils JA 120 bis and Luttes) The second tome consists of seven pieces while the third tome is the biggest with a total of fourteen. Jehan Alain is a French organist who became famous withhis Suite for Organ. Student of Marcel Dupré and Roger Ducasse among others he kept composing all his life. One of his most famous international pieces is 'Litanies'.

Edition : Pièces de Clavecin : Paris, Lyon, l'Auteur, Le Goux, 1771.Journaux d'orgue no3-7-12 : Paris, Le Duc, 1784/1785.Présentation de Jean Saint-Arroman : L'agrémentation de Beauvarlet-Charpentier.Ce volume regroupe trois recueils pour orgue, ainsi que le premier livre de clavecin de J.J. Beauvarlet-Charpentier, oeuvre totalement inédite et très intéressante. / Clavecin Et Orgue / 116 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

Bach: Complete Organ Works Vol. 1 Preludes and Fugues I - with CD-ROM - ed. by David Schulenberg As close as possible to Bach In his ?Preludes and Fugues,? Johann Sebastian Bach made decisive contributions to the development of this genre tradition. The importance of this work group in his own organ oeuvre is confirmed by the many transmitted sources: hardly any autographs, but all the more copies. The genesis of the works and the question of versions associated with it are described at length in the introduction. In his new edition, editor David Schulenberg occasionally makes a new evaluation of the transmitted sources. To do so, he based himself as faithfully as possible on the manuscripts that can be traced back to Bach or to his circle. Here the American Bach expert generally chooses one source as his principal one. Divergences from other sources are documented in the Commentary. On the whole, the new Urtext edition sometimes also emends some long-cherished readings of ornaments, voice leading and notation. Also printed in Volume 1 is, for example, the early version of the C major Prelude BWV 545 as well as the inserted Trio movement of the three-movement version of this work. As with the previously published volumes, the CD-ROM enclosed in Volumes 1 and 2 contains dubious works and secondary versions for comparison with the principal versions. This time, the CD-ROMs are completely in German and English and feature the English version of the Commentary.

Lewis Carroll from 'Alice in Wonderland' and inspiration for this lively and fun piece of light organ music. ' . . . suddenly a White Rabbit with pink eyes ran close by her. There was nothing so very remarkable in that; nor did Alice think it so very much out of the way to hear the Rabbit say to itself 'Oh dear! Oh dear! I shall be too late!' (when she thought it over afterwards it occurred to her that she ought to have wondered at this but at the time it seemed quite natural); but when the Rabbit actually took a watch out of its waistcoat pocket and looked at it and then hurried on Alice started to her feet for it flashed across her mind that she had never beforeseen a rabbit with either a waistcoat pocket or a watch to take out of it and burning with curiosity she ran across the field after it and was just in time to see it pop down a large rabbit-hole under the hedge.'

Readers of Louis Mordish's autobiography So I Think I'll Become a Musician will recognise in Turkish Delight the wit charm and sparkle so typical of a musician who was amongst the first gentlemen of his profession.

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

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

Série à succès de Schott ' Meister der Norddeutschen Orgelschule ' se poursuit avec le oeuvre pour orgue par Nikolaus Hasse (ca. 1605-1670). Volume 16 de la série contient les arrangements de quatre chorale de 'Allein Gott in der Hoh sei Ehr', 'Jesus Christus unser Heiland, der von uns den Gotteszorn wandt' (2 versions) et ' Komm, Heiliger Geist, Herre Gott ' ainsi que les textes d'introduction informatifs et notes de rédactionnelles, en l'état habituel dans cette série. / Orgue

D?une difficulté technique moyenne, les pièces contenues dans ce recueil commencent généralement par une harmonisation originale d?un noël donné (et qui peut donc servir d?accompagnement au chant des fidèles), suivi de plusieurs variations assez courtes.

Ecrites par cinq personnalités importantes du monde de l?orgue, et parfaitement adaptées à la liturgie du temps de Noël, elles sont ainsi un outil incontournable pour tous les organistes, en même temps qu?elles trouvent pleinement leur place au concert.

Comme c?est l?usage, les organistes adapteront au mieux les registrations indiquées à l?instrument joué et à l?acoustique du lieu. / Célébrations / Partition / Agrafé / Laprida, Andrès / Lebrun, Eric / Kasparov?, Youri / Bret, Julien / Curror, Ian /

The three-movement piece refers to Bruckner's music in different ways: in the first movement, Hummel used the initials A-B and the beginning of the main theme from Symphony #8- in the second movement, the first four tones of the 'Adagio' from Symphony #9 play a major role, and the third movement, a toccata-like finale, gets its life from further tone sequences and motifs of Bruckner. The work ends in a majestic climax. This piece is a rather demanding, yet rewarding piece for any interpreter, and its performance in the church is extremely effective. / Orgue