Présentation de Philippe Lescat : Le séjour en Italie de Georg Friedrich Haendel - bibliographie - lecture de la partition - corrections et suggestions - Restauration - Index.Cantates pour voix seule et basse continue. Manuscrit autographe. Manuscrit R.M. 20.d.11. Le manuscrit R.M. 20.d.12 est édité dans notre référence 5799. / Dessus Et Basse Continue, Bas-dessus Et Basse Continue, Basse Ou Basse Continue / 220 pages / niveau : 1 / Fac-Similés - Format: 24 X 32

The complete edition of Bunk's organ music comes to an end with the publication of volume VI which contains organ works of a primarily liturgical nature. The quality of the music can be compared with compositions by Max Reger and Sigfrid Karg-Elert.This Urtext edition, prepared by the composer's grandson, is the result of a thorough study of the sources based on the latest findings of musical scholarship. Each volume includes a detailed foreword, a Critical Commentary, and many facsimiles and illustrations.Inserted in the volume is a CD which shows a facsimile reproduction of the first edition of Gerard Bunk's Liebe zur Orgel. This reference book by the late Romantic composer, which was highly regarded by none less than Albert Schweitzer and which affords valuable insights into the art of organ building and organ playing in Germany during the first half of the 20th century, has hence been made available again to interested organists and church musicians.- First complete Urtext edition of Bunk's organ works- Edited by the composer's grandson- Detailed foreword and Critical Commentary for each volume (Ger/Eng)- Many facsimiles and illustrationsContents'Wilhelmus van Nassouwe en Choral? 'Nun danket alle Gott?'Kleine Fantasie über C.H.D.B.? for organ or pianoChorale prelude 'Wachet auf, ruft uns die Stimme? (trio for 2 manuals and pedals)37 short chorale improvisations for liturgical use / Orgue

Par AUVINEN ANTTI. Antti Auvinen (b. 1974) composed Singel Excelsis in 2012 using material from an earlier work for three organs. He finds fascinating the rhythmic characteristics of the organ: 'Many of the vibrations and rhythmic fluctuations derived from the overtone series are extremely interesting. Also the natural virtuosity of the instrument is utterly fascinating. In fast passages the rhythmic accuracy needs very quick attack. A slower attack on the other hand makes it possible to turn the attention to gestures and figures, while details get more blurred. Different ?attack features? of the organ stops allow shaping of very diverse rhythmic figures in time and space.' Duration: c. 12' Spiral bound, size B4. / Date parution : 2022-05-31/ Répertoire / Organ

Par CABANILLES JUAN BAUTISTA. Joan Cabanilles was cathedral organist in Valencia and the towering figure in Spanish organ music of the late 17th century. His brilliant and diverse musical language, rooted in the traditional sounds of Spain, has not managed to reach a large audience outside the Iberian peninsula, although he is often called 'a musician of European stature”. The aim of this three-volume Urtext edition is to grant access to his most appealing works. To this end, all available sources in the libraries of Astorga, Barcelona, San Lorenzo de el Escoreal, Felanitx/Mallorca, Jaca and Montserrat have been examined and newly evaluated. If Cabanilles's oeuvre consists primarily of tientos, organ hymns and versets, the third and final volume contains three versos, three pasacalles, two galliards, two toccatas and such special forms as Paseos de tercer tono, Diferencias de Folías and a Jácara. „This is an excellent resource for organists interested in exploring this satisfying repertoire.' (Brian E. Harlow, Journal of the Association of Anglican Musicians 1/2018)/ Répertoire / Orgue

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

Par OGDEN NIGEL. A jaunty and interesting piece with a flip and a flap of penguin! Nigel Ogden's work for Organ is a pleasing and entertaining piece that will help warm you up at any time of year!/ Répertoire / Orgue

per organo. Par VASKS PETERIS. Peteris Vasks has written a large number of pieces for the organ, both original works and arrangements of his own pieces which had originally been written for strings. The Riga-based composer created his ideal sound image after listening to the famous organ of the Cathedral of Riga. The basic idea of the organ work 'Cantus ad pacem' is, as with almost all of his compositions, the personal understanding of nature: the beauty of nature, on the one hand, and the destruction of nature by man, on the other hand. Not presenting any great difficulties, Vasks' organ music displays an impressive variety of sounds, from the most intimate, restrained sounds to powerful chordal outbursts./ Répertoire / Orgue

Par SENFTER JOHANNA. Johanna Senfter (1879–1961) is one of the most interesting composers of the late Romantic period. She studied piano and composition at the Frankfurt Conservatoire 1895–1903 and thereafter in Leipzig with Max Reger 1908/9. Her most significant legacy is her organ music, which takes up the contrapuntal, highly chromatic composition techniques used by her teacher. These ten chorale preludes Op. 73 were written in 1930 and are suitable for concert or liturgical performance./ Répertoire / Orgue

Facsimile edition of the Ochsenhauser Orgelbuch, with critical first edition. Almost 270 years following its completion, for the first time the Ochsenhauser Orgelbuch, a unique collection of organ music from southern Germany, will be published and thus made accessible to the music world. In honor of the completion of the restoration of the Gabler organ in Ochsenhausen this important, with its wonderful color illustrations, has been published in a high-quality limited two-volume edition./ Répertoire / Orgue

Book 2. Par GOWER ROBERT. The second Oxford Book of Ceremonial Music for Organ is a practical collection of repertoire covering a wide range of uses, from formal public events to more private occasions. The music is stylistically varied, encompassing both flamboyant extravagance and restrained solemnity. Selected with players of intermediate to advanced ability in mind, the collection includes established favourites and attractive new arrangements of well-known works, alongside newly commissioned pieces./ Répertoire / Orgue

 Ces trois études abordent différents aspects de mon écriture pour orgue, Leurs structures propres, leurs contrastes, ou leurs éléments communs les réunissent dans un triptyque pouvant rappeler l'organisation des concertos baroques,La première établit un jeu entre une basse, ostinato assez véloce traversant un large spectre, et des blocs harmoniques, tantôt à l'état brut, tantôt habillés de lignes de contrepoint,La deuxième, stratiforme, lente, s'attache à découvrir un jeu de timbres donnant un relief à des nuées sonores en imperceptible mouvement,La troisième met en oeuvre une longue série d'accords extrêmement brefs dans un tempo rapide, Quelques respirations, rappel des éléments stratiformes de la deuxième étude, viennent rompre le discours,Patrick Choquet Collection Organ Prestige / Orgue

 L'Introduction, Variations et Finale sur ' La Légende de Saint Nicolas ' est une pièce de concert destinée à un grand instrument symphonique (un orgue néoclassique peut également convenir, à condition qu'il soit pourvu d'un nombre suffisant de jeux de fond),Elle rend hommage aux improvisations de Pierre Cochereau (1924-1984), dont elle reprend certains éléments formels et stylistiques, Il ne s'agissait pas d'imiter la musique de l'organiste de Notre-Dame de Paris, mais d'utiliser certains tics pour élaborer une composition originale, L'ensemble est conçu pour être enchaîné sans coupure : des respirations et des points d'orgue sont indiqués dans la partition, Il conviendra d'en modifier la durée en fonction de l'acoustique dans laquelle se trouve l'instrument,Les registrations sont des nuances générales, qui peuvent être adaptées aux possibilités de chaque orgue, du moment que la couleur voulue n'est pas fondamentalement altérée, Dans certains cas, plusieurs registrations sont possibles, laissées à l'appréciation des musiciens, Collection Organ Prestige / Orgue

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 RAVEL MAURICE. Thomas Ospital Pourquoi Ravel n'a t'il rien composé pour l'orgue ? C'est l'éternelle question que se posent les organistes ... Seulement, aimait-il cet instrument? Sa musique, si gracieuse et infiniment mouvante pouvait-elle épouser l'apparente rigidité de l'orgue ? D'autre part, on peut se demander quel aurait été son attrait pour cet instrument si la musique d'orgue de son temps eut été plus connectée à la vie musicale du début du xx:e siècle. Et que dire s'il avait connu nos instruments modernes ... Et nous pourrions ainsi continuer à spéculer et nous livrer à des débats sans lendemain. Bien sûr la transcription permet de combler une partie de ce manque. Mais finalement, avons-nous le droit de détourner une ?uvre imaginée et rêvée dans une finalité sonore simplement pour assouvir notre frustration ? J'ai pour ma part beaucoup hésité à me lancer dans cette aventure. Mais en y travaillant, je me suis rendu compte que cela ouvrait de nouvelles pistes dans l'écriture pour orgue afin de transcrire non pas le texte musical mais cette flexibilité du son si présente dans l' ?uvre de Ravel. Je me suis appuyé pour cela sur les deux versions de Ma Mère l'Oye; celle pour piano à 4 mains composée en 1910 et l'orchestration datant de 1911. Le piano, dont l'épanouissement sonore est si particulier et insaisissable, reste un instrument toujours difficile à transcrire. Aussi, l'orchestration de cette ?uvre par l'auteur donnait de nombreuses réponses quant à la manière de traiter les questions de résonances ou de masses sonores. Lorgue de Saint-Eustache fut également un véritable complice dans cette réalisation; une sorte de laboratoire pour chercher à transposer les effets sonores générés par l'orchestration. Les registrations ont été inspirées par les couleurs de cet orgue bien que rationalisées pour un orgue à trois claviers. Aussi, il est important de ne pas être trop scrupuleux dans l'application de ces indications. De façon générale, il faut veiller à ce que chaque plan sonore reste équilibré et clair. Ne pas hésiter à enlever certains jeux de fonds pour favoriser la lisibilité du discours. Enfin, colorer les jeux solistes par l'adjonction mesurée d'harmoniques. Thomas Ospital / Date parution : 2022-11-29/ Répertoire / Orgue

Arr. John Arkell. Par MASSENET JULES. Meditation from Thais has long been a popular piece in its original form for solo violin with orchestral accompaniment. In this arrangement the solo part is assigned to a solo stop with a light quaver accompaniment in the left hand. This piece provides an interesting and popular addition to the repertoire and will be suitable for many occasions. / Niveau : Intermédiaire / Recueil / Orgue