SKU: CF.CAS160F
ISBN 9781491165454. UPC: 680160924363. Key: C major.
The story of Samuel Coleridge-Taylor is of a rising star composer, one with a significant gift for melody and a simple lyricism, who embraced the previously unexplored song and dance forms from his father’s native west Africa and incorporated them into his own very European art music. Coleridge-Taylor began playing the violin at age five and by age fifteen wasadmitted to London’s Royal College of Music, where he studied both violin and composition and composed his first works. The simply-titled Melody is taken from Three Short Pieces for Organ - a set of pieces originally published in Novello’s Album for the Organ, No. 3 (1898). While certainly typical of the late 19th century, many of Coleridge-Taylor's creations display inspiration by African musical elements much like spirituals inspired Dvořák’s “New World†Symphony.
SKU: JU.00-GSOC00076
UPC: 029156066869. 9x12 inches. Key: D major. English. Arranged.
Looking for an intermediate-level, tasteful arrangement of the popular Pachabel Canon in D? Here's your answer. Tucker has arranged this famous melody with weddings in mind. It works well for both a processional or pre-service selection. Easily learned, this arrangement sounds more difficult to play than it actually is. A top seller!
SKU: SU.80101410
Fantasy-Variations on Two Themes (2017) for organ was written for Heinrich Christensen in celebration of his significant 2017 birthday. The musical material for the work comprises two different themes. The first is a short melody by the Danish composer Carl Nielsen (1865-1931). (It was a sketch originally intended for inclusion in, but ultimately left out of, Nielsen's late organ work 29 Little Preludes.) This theme represents Heinrich's native Denmark. The second theme is the American folk-gospel hymn Angel Band. This theme represents Heinrich's adopted American homeland. It serves also as a remembrance of our dear mutual friend Harry Lyn Huff (1952-2016), for whom the tune was a particular favorite. Both these themes are developed freely in a set of alternating fantasy-variations. The opening variation begins with a dramatic pedal solo before quoting both themes. The second variation is a lyric setting based on the Nielsen melody. The third is a jubilant hornpipe on Angel Band. The fourth is an aria on a transformation of the Nielsen melody. The fifth is a gigue-toccata on Angel Band. The sixth is an atmospheric contemplation: lush chords in the manuals move slowly and hint at Angel Band while the Nielsen melody is heard for the first time in its complete original form on a high pedal stop. The seventh and final variation begins with a brief evocation of the harmonies of the late Daniel Pinkham (a mentor to both Heinrich and me) before going on to return dramatically and jubilantly to the opening music, bringing together both themes again in a bold conclusion. Instrumentation: Organ Duration: 15' Composed: 2017 Published by: Zimbel Press.
SKU: SU.80101406
San Andreas Suite (2017) consists of four movements: The first movement, Carillon (in festo S. Andreae apostoli), is a carillon with an ostinato repeated pattern and an ever-changing series of harmonies. The harmonic intensity builds in the coda to hint at the rich and complex sonorities of bells. Versets on a Melody from Perigord comprises four versets on an old melody, Quel bru fai din lou chiel, which comes from the Perigord (Dordogne) region of France. The title of the third movement, Pastorale mit einem Orgelpunkt, means Pastorale with a pedal point, and the organ's lowest C sounds throughout. The low C is used as a harmonic generating source; the music above thus often explores sounds based on the harmonic series. The fourth movement, Toccata perigourdine, is an energetic toccata. Quoted in the slower middle section is an old melody also from Perigord. Instrumentation: Organ Duration: 19' Composed: 2017 Published by: Zimbel Press.
SKU: HL.49045099
ISBN 9781495076619. UPC: 841886028180. 9.0x12.0x0.075 inches.
The Rottenburg Toccata develops the choral melody of 'Sankt Martin, dir ist anvertraut' in the virtuosic style of french romantic toccatas. The work is articulated in three sections with contrasted textures: opening variation of the melody with sextuplet figurations, middle variation with a peasant rhythmicalcharacter in the minor mode and conclusion presenting the choral melody on the pedal.
SKU: SU.80101402
Rhapsody in A (2017) is dedicated to organist Alessandro Bianchi and was written for premiere performance on the 1904 Lewis & Co. organ in Ayr Town Hall, Ayr, Scotland, in celebration of the 10th anniversary of the organ concert series there. The title refers both to the tonal/modal center of A and to the first letters of both Alessandro and Ayr. The rhapsody is entirely based on the unaccompanied melody first heard at the outset. This melody serves as the basis of the following contrasting sections; it is used both motivically and to determine the harmonic excursions. The music ends jubilantly. Instrumentation: Organ Duration: 8' Composed: 2017 Published by: Zimbel Press.
SKU: FG.55011-575-0
Olli Kortekangas (b. 1955) spent some time looking for a suitable chorale or theme after receiving a commission from Tomi Satomaa to compose a variation work for organ. It was foundsurprisingly close at hand, on his very own desk: The Partita is based on a chorale melody Kortekangas composed some years ago. The Partita has six movements performed without a break. The first presents the chorale melody itself, and the other five could be described as character pieces each based on some part of it or characteristic. The work was premiered at the Turku Organ Festival in July 2019.
SKU: 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.'.
SKU: SU.80101222
A short meditation. An opening section featuring a descending melody gives way to a hushed, very slow, chorale section. Hints of the melody return in a brief coda. The open harmonies of 4ths and 5ths are the key musical building blocks of the piece. 8 pages Published by: Zimbel Press.
SKU: BA.BA11264
ISBN 9790006569724. 30 x 23 cm inches. Preface: Clement, Albert.
This fantasia for organ was composed in 2019. The composition is based on a melody attributed to the French composer Louis Bourgeois (approx. 1510–1560) which is one of the most well-known melodies in the Christian musical tradition. It has also been sung to various other texts, such as Lutheran chorales. In Bach’s work, the melody appears in the cantata “Lord God, we praise Thee all of us†BWV 130.The composer has retained the style of French Romanticism. The character of the work corresponds to the content of the text and culminates in a festive finale. This music is suitable for many church music occasions.
SKU: PR.113400460
ISBN 9781491135082. UPC: 680160686308.
Several powerful elements combine to create this striking 11½-minute organ solo. In composing for the AGO chapter of Albany, NY, where Hailstork was raised and became a musician, the composer selected the hymn tune Albany, whose text begins with “Ancient of days...†Hailstork’s fantasy on this imposing melody is built as a chorale prelude, following Bach’s method of creating concert works around phrases from a known sacred melody.
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