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Organ
INSTRUMENTS
INSTRUMENTS
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL - CHOIR
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUITAR
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BAND
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER KEYBOARD
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDLE
VIOLONCELLO - CELLO
XYLOPHONE
ZITHER
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Orgelsinfonie No. 16 (SCHNEIDER ENJOTT)
Organ
Schott
Martin Luther. Par SCHNEIDER ENJOTT. On the occasion of the quincentenary of Ref...
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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
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20 Services for the Church Organist: Organ: Instrumental Album
Organ
Hal Leonard
20 Services for the Church Organist. New interpretations of familiar hymns suita...
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20 Services for the Church Organist. New interpretations of familiar hymns suitable for the church or home. Includes services for Christmas, Lent, Easter and Thanksgiving.
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Francis Jackson: Three Pieces (Procession Arabesque Pageant): Organ:
Organ
[Sheet music]
Novello & Co Ltd.
Composer's Note: In writing these pieces I had in mind certain difficulties whic...
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Composer's Note: In writing these pieces I had in mind certain difficulties which worry most organists from time to time; and in order to combine as it were business with pleasure I thought it worthwhile to concentrate upon one aspect of organ technique in each piece even at the risk of making them a little more difficult than others in this series. In Procession the main difficulty lies in the pedals Arabesque on the other hand could hardly have had a simpler pedal part: its object is to exercise the left hand in producing a smooth running semi-quaver pattern Pageant with its cross-rhythms is designed to produce well-disciplinedhands and feet that can when required work in conflicting rhythms. I have kept the registration schemes as simple and straightforward as possible.
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Thomas Hewitt Jones: Carnival: Organ: Instrumental Album
Organ
[Sheet music]
Novello & Co Ltd.
Thomas Hewitt Jones' Carnival. Composed 2010. Written for Martin Neary Presiden...
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Thomas Hewitt Jones' Carnival. Composed 2010. Written for Martin Neary President of the Organists Charitable Trust. These five short works are all extracted from the excellent Little Organ Book from the Organists Charitable Trust edited by Martin Neary and first published by Novello in 2010. This is a wonderful resource of 11 mainly new works by British composers all of moderate difficulty and well-defined character. Iain Farrington’s Bluesday is full of delicious harmonies with a bold climax framed by a gentle beginning and ending. David Bednall’s Fanfare is a joyful work that would bea good recital opener or festival voluntary with a chance to unleash the big reeds. The simplicity of the title of Howells’s Cradle Song belies a richness and warmth that make this a moving miniature. John Rutter’s evening prelude from 1979 on the plainsong hymn Te lucis ante terminum is tender and clear with some surprisingly plangent harmonies. Thomas Hewitt Jones’s Carnival is an outburst of festivity and bravura. All these pieces are very much worth playing though organists interested in more than two of them would be better served purchasing a copy of the original anthology which is still very well priced (Little Organ Book Novello 9781849386814 £9.95). - Sunday by Sunday
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Pelle Gudmundsen-Holmgreen: Still. Leben: Organ: Instrumental Work
Organ
[Sheet music]
Wilhelm Hansen
STILL. LEBENOrganist Eva Feldbc:ek had been asking me for a long time to write f...
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STILL. LEBENOrganist Eva Feldbc:ek had been asking me for a long time to write for the organ without the use of iron blocks extra stopping assistants etc .... unusual difficulties that belonged to my earlier organ music. I setmyselfthe task of Miting a ''handier'' kind of music for the organ.Once I had finished STILL. LEBEN I didn't think I had achieved what I was looking for. True the two movements did not involve odd things but 'handy' isn't really the word for them either. So I wrote the three movements in COUNTERMOVE to tidy up even more.And since I didn't think that was enough either I wrote the really simple pieces under the title IN TRIPLUM.Thethree series (eight pieces in all 2 + 3 + 3) sound very different but they all take their point of departure from the nature and tonal resources ofthe organ.Everywhere there is polyrhythm or hierarchical layering polychromaticism diatonics and melody (the last of these only sparingly and in some of the movements).Pelle Gudmundsen-Holmgreen
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Kaller Ernst - Organ Method Band 1 - Organ
Organ
Schott
Instrument : organ Nombre de Pages : 62 This School of Organ Playing presuppose...
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Instrument : organ Nombre de Pages : 62 This School of Organ Playing presupposes a certain technical facility on the piano. The pedal exercises at the beginning are rudimentary and should be practiced in all keys, gradually accelerating the tempo. The studies are graded according to their polyphony, beginning with simple two part exercises, followed by those in three and more parts. This acquaintance with the strict principles of polyphonic music, and the introduction to effective part writing, with a knowledge of harmonic form and architectonic values, provide the essential background for the correct performance of polyphonic music, especialle the fugue. The most important musical forms have been used to illustrate the various possibilites of registration and its relationship to style (colourful, individualistic and smooth playing). The studies are so arranged that earlier technical points, etc. are constantly reviewed, through comparison of style and form, in order to fix, or refreshen, the ideas in the student's mind. It is very important that the evolution of organ music from vocal music should be made clear to the student the very beginning, both musically and intellectually. He will be shown the technical evolution of organ music during the centuries and thus prepared for an artistic execution and interpretation of old and new words, especially for the incomparable art of our great Johann Sebastian Bach. Content : Grundlagen des Pedalspiels - T.L. da Vittoria: Bicinium: Bonum erat - A. Zoilo: Bicinium: Quare fremuerunt - Melius illi - W. Dietrich: Übung in e-Moll - G.P. Telemann: Largo - J.K.F. Fischer: Übung d-Moll - G.P. Telemann: Kanon - J. Pachelbel: Magnificat peregrini toni Meine Seele erhebt den Herrn - T.L. da Vittoria: Accedentes principes - J.K.F. Fischer: Übung in g-Moll - W. Dietrich: Pedalübung - S. Scheidt: Vater unser im Himmelreich VI. Versus Choralis in Basi - H.L. Haßler: Crucifixus - J.K.F. Fischer: Praeludium D-Dur - J. Pachelbel: Übung in a-Moll - W. Dietrich: Übung in As-Dur - R. Schwarz-Schilling: Kanon a 2 - Kanon a 3 - G. Aichinger: Stabat mater - J. Pachelbel: Durch Adams Fall ist ganz verderbt - J.K.F. Fischer: Praeludium fis-Moll - H.L. Haßler: Benedictus - J. Pachelbel: Was mein Gott will, das gescheh' allzeit - T.L.da Vittoria: Exclamans Jesus - S.Scheidt: Warum betrübst du dich, mein Herz IX. Versus. Choralis in Basso - D. Zipoli: Pastorale - J. Pachelbel: Vom Himmel hoch - J.S. Bach: Pedal-Exercitium - J.K.F. Fischer: Fuga g-Moll - J. Pachelbel: Komm, Gott Schöpfer, heiliger Geist - J.K.F. Fischer: Praeludium und Fuga cis-Moll - W. Dietrich: Pedalsolo - Übungen für mehrstimmiges Spiel in einer Hand: J.K.F. Fischer: Praeludium und Fuga e-Moll - H.L. Haßler: Da Jesus an dem Kreuze stund - M. Praetorius: Es ist ein Ros entsprungen - S. Scheidt: Vom Himmel hoch - M. Praetorius: Nun bitten wir den heiligen Geist - B. Resinarius: Nun bitten wir den heiligen Geist - S. Scheidt: Psalmus: Da Jesus an dem Kreuze stund - J.K.F. Fischer: Praeludium und Fuga h-Moll - J.S. Bach: Vom Himmel hoch - O Welt ich muß dich lassen - Herzlich tut mich verlangen - D. Buxtehude: Ach Herr, ich armen Sünder - J.S. Bach: Trio c-Moll - W. Dietrich: Pedalsolo/Trillerübung - J.S. Bach: Allein Gott in der Höh' sei Ehr' - J.K.F. Fischer: Praeludium und Fuga e-Moll - J.L. Krebs: Trio für 2 Manuale und Pedal
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David Heath: Gottlieb And Rhapsody Of The Spheres: Organ: Instrumental Album
Organ
Camden Music
Gottlieb And Rhapsody Of The Spheres are two works for solo Organ. Gottlieb was ...
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Gottlieb And Rhapsody Of The Spheres are two works for solo Organ. Gottlieb was first performed in 2000 by Simon Neiminski at St Mary's Cathedral Edinburgh. Rhythmically there is a strong influence of Rave music and harmonically I turned the blues upside down often using minor triads in the left hand with major triads in the right hand.Gottlieb is dedicated to Sydney Gottlieb.'Rhapsody of the Spheres: Reading something John Coltrane said on his album 'A Love Supreme' that 'all vibrations lead to God' got me thinking maybe music is the best form of describing what is going on at an atomic and subatomic level: that the great composersand musicians take you to Heaven rather than try to describe it in words.With that in mind I wrote this piece-a prayer to the Moon and the Stars-where I wanted by using the most majestic instrument of all the organ to describe the beauty of existence. This is a one movement piece slow-fast-slow and is dedicated to my eldest son Sean.'David Heath
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John Marson: The Book of the Harp: Organ: Instrumental Reference
Organ
Kevin Mayhew
With more enthusiasts than ever since its heyday the Harp is an instrument whic...
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With more enthusiasts than ever since its heyday the Harp is an instrument which has successfully demonstrated its staying power and its important role both in music and beyond! John Marson’s Book of the Harp is a uniqueand definitive work distilled from a wealth of experience: a lifetime's study and research and an outstanding professional career. He traces the development of the harp from its earliest origins thousands of years B.C. to theinvention of the pedal harp in the eighteenth century and the harps of the twenty first century. He examines the writings of many forgotten exponents of the harp including inventors players and composers and provides a fullycomprehensive view of every model make and modification to the present day!The Book of the Harp is a rich source of information entertainment and anecdote on everything from strings tuning principles offingering and tone production historical influences designs techniques and methods to the harp's literary associations and those with the theatre and cinema its Celtic and religious symbolism virtuoso players and itsappearance in the poetry of Milton and novels of Jane Austen. Both historical and practical The Book of the Harp is an authoritative source of entertainment and a fascinating study for student professionalmusician and interested reader alike. John Marson has enjoyed a glittering career during which he has been principal harpist of the London Symphony Orchestra the BBC Symphony Orchestra Professor of Harp at the Royal College ofMusic and soloist and freelance.
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God of Our Fathers - Patriotic Hymns of Faith: Organ: Instrumental Album
Organ
Fred Bock Music Company
This collection will make you stand up and salute. Carolyn Hamlin has taken thre...
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This collection will make you stand up and salute. Carolyn Hamlin has taken three powerful hymns of faith Eternal Father Strong to Save God of Our Fathers and My Country 'Tis of Thee and strengthened their impact on celebrating our country. Appropriate for any patriotic concert or worship service. Medium difficulty.
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Judith Weir: The Tree Of Peace: Organ: Instrumental Work
Organ
Chester
Judith Weir's The Tree Of Peace was composed in 2016 for Organ. Commissioned in ...
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Judith Weir's The Tree Of Peace was composed in 2016 for Organ. Commissioned in loving memory of Richard Axtell (1952-2015) talented and much-loved organist at the Parish of St. Andrew West Tarring. 'It'senormously inspiring to see the Master of the Queen's Music turning her attention to the organ once again. Judith Weir's The Tree Of Peace is a short piece commissioned in memory of the organist Richard Axtell... Despite thesimplicity of the music it carries all the hallmarks of Weir's unmistakeably refined idiom.' - Stephen Farr Choir and Organ Jan 2018 From the Master of the Queen's Music Judith Weir comes The Tree ofPeace which was commissioned in memory of Richard Axtell organist of the parish church in West Tarring West Sussex. It was given its first performance there by Charles Harrison on the 17 June 2017. It lasts some 4 minutes andproves to be a thoroughly engaging piece in her customary refined idiom. It is in three main sections with a graded increase of tempo throughout. Thematic material is presented at the start cantabile. The central sectionprovides an energetic development marked animato leading to the conclusion molto mosso which gives the theme as in the opening but in augmentation. Throughout I feel an orchestral sense of colour and interrelationships inthe music - and have found it delightful to play. A modest two manual and pedal instrument with some contrasted quiet colours available will suffice and the technical demands are by no means severe. A delightful addition to therepertoire of short self-contained delightful pieces. - Organists' Review Duration: Approx 4 minutes.
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Orgelwerke Set Band I (BUXTEHUDE DIETERICH)
Organ
[Sheet music]
Breitkopf & Härtel
Freie Orgelwerke - BuxWV 136-161. Par BUXTEHUDE DIETERICH. This edition is the r...
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Freie Orgelwerke - BuxWV 136-161. 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
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Orgelwerke Band I/1 (BUXTEHUDE DIETERICH)
Organ
[Sheet music]
Freie Orgelwerke - BuxWV 136-153, 158. Par BUXTEHUDE DIETERICH. This edition is ...
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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
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Johann Sebastian Bach: Toccata: Organ: Instrumental Work
Organ
Fentone Music
The first three notes of this piece are probably the most famous notes of all or...
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The first three notes of this piece are probably the most famous notes of all organ literature. Its titanic diminished chords thunderous pedal lines and theatrical dynamic contrasts have brought this work notoriety beyond the church and concert hall and into films ranging from ?Fantasia? to ?Rollerball.? The toccata (derived from the word toccare to touch) was a technical work in which difficulties of execution were always present Rather than considering that this work presents a fugue preceded by a toccata the title of this work is best interpreted as the brilliant composition of a fugue phrase itself weaving through the blazing triumphant chords. After theannouncement of the theme the rhythm of sixteenths continues almost without interruption to the final measures.
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More Last Verses (RAWSTHORNE NOEL)
Organ
[Sheet music]
Kevin Mayhew
Par RAWSTHORNE NOEL. / Recueil / Orgue
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Ars Organi Vol. 3 (PEETERS FLOR)
Organ
Schott
Complete theoretical and practical method for organ-playing in three parts. Par ...
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Complete theoretical and practical method for organ-playing in three parts. Par PEETERS FLOR. Flor Peeters, born in Belgium in 1903, is one of the most important organists and organ composers of the 20th century. After completing his studies at the famous Lemmens Institute in Mechelen, he worked there as a teacher of organ and improvisation before becoming professor at and director of the Royal Flemish Conservatoire of Antwerp. Until his death in 1986, Peeters gave concerts all around the world, held numerous master classes and received several awards and prizes for his achievements as a composer, organist and teacher. In his successful three-volume educational work 'Ars Organi', Peeters combines theoretical knowledge and practical exercises on all aspects of organ playing, starting with basic information on the instrument, manual and pedal exercises and two-part manual and pedal playing. While Vol. 2 contains exercises on three-part playing, Vol. 3 contains exercises on four and five-part playing as well as studies on demanding trio playing. Each learning stage is accompanied by pedal exercises and tips on articulation, touch, interpretation, registration and organ specifications - a valuable compendium for every organist. / Méthode / Date parution : 1954-11-20/ Méthode / Orgue
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Ogden: Scherzo For The White Rabbit: Organ: Instrumental Work
Organ
Stainer and Bell
Lewis Carroll from 'Alice in Wonderland' and inspiration for this lively and fun...
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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.'
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Théodore Dubois: Complete Organ Works Volume 6: Organ: Instrumental Album
Organ
-
Intermediate
Barenreiter
Pieces for Organ without pedal-At the cutting edge of scholarship.Music in every...
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Pieces for Organ without pedal-At the cutting edge of scholarship.Music in every key for church worship and concert performance.Detailed Foreword Critical Commentary (Fr/Eng/Ger) and facsimiles.Volume VI presents 42 easy to moderately difficult pieces without pedal for Organ or Harmonium in every key and brings the complete edition of Theodore Dubois Organ works to a close. With their contrasting length and character the pieces offer a wide range of performance possibilities both inside and outside the liturgy.Since Dubois was a master of melody several of the pieces can also be rendered on the Piano further enhancing the collection's practicalvalue.Already published:Volume I: Early Works and Works with Minimal or Optional Use of the Pedals BA 8468Volume II: Organist an La Madeleine Douze Pi?cesBA 8469Volume III: Trois Pi?ces pour Grand Orgue (1890) Messe de Mariage Cinq Pi?cesBA 8470Volume IV: Organist an La Madeleine Douze Pi?ces Nouvelles Offertoire pour la f?te de l???AscensionBA 8471Volume V: Dix Pieces pour Grand Orgue; Fantasietta avec Variations BA 9208
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Orgelmusik zu Trauungen (Leichte Orgelmusik für grosse Feste) The Organ Wedding Album (Easy Organ Music for Festive Ceremonies)]
Français
Organ
[Sheet music]
-
Easy
Barenreiter
Orgue / Die Ausgabe enthält festliche, stille oder meditative Orgelkompositione...
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Orgue / Die Ausgabe enthält festliche, stille oder meditative Orgelkompositionen, vor allem aber beliebte, für Orgel bearbeitete Vokal- und Instrumentalwerke Vorwort / Popular Organ music for weddings in easy arrangements for organ with and without pedalboard
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Bach J.s. - Complete Organ Works Vol.5 - Sonatas, Trios, Concertos + Cd-rom
Organ
[Sheet music + CD-ROM]
Breitkopf & Härtel
Bach: Complete Organ Works Vol. 5 Sonatas / Trios / Concertos - ed. by Pieter D...
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Bach: Complete Organ Works Vol. 5 Sonatas / Trios / Concertos - ed. by Pieter Dirksen Organ Works Based on Compositions by Bach and Others Genres such as sonata, trio and concerto were initially uncommon in the keyboard music of the early 18th century. Thus it comes as no surprise that many of the pieces in this volume are arrangements by Bach of original compositions and of works by other composers. Next to the Sonatas BWV 525?530 and the Concertos or concerto movements based on pieces by other composers BWV 592?596, the volume also contains the Trio in D minor BWV 583, the Trio settings BWV 585?587 as well as the early versions of BWV 527 and 528. Moreover, the CD-ROM offers eight arrangements of trio movements by Bach made by others. In his detailed introduction, Pieter Dirksen discusses various aspects of these pieces' origins, inasmuch as they help us better understand the works. The organist will especially welcome the comments on performance practice and registration. It is precisely the fact that these works derive from chamber-music models that leads to individual considerations for each work group.
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Josef Rheinberger: Sonatas 19 And 20 For Organ: Organ: Instrumental Work
Organ
[Sheet music]
Novello & Co Ltd.
Josef Rheinberger (b. 1839 d. 1901) was a prolific composer in almost every fie...
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Josef Rheinberger (b. 1839 d. 1901) was a prolific composer in almost every field but he found in the Organ the medium best fitted to his genius and temperament. This seems to be proved by the fact that his reputation as an Organ composer has grown and is now firmly established whereas his position in other branches has declined. His twenty sonatas and his numerous shorter pieces (about a hundred) make up one of the most important contributions to the Organ repertory. It may indeed be claimed that in the maintenance of a high level of quality and interest throughout a long series of works of both large and small scale his position as an Organ composer issecond only to that of Bach. Sonata No. 19:The G minor Sonata is one of a small proportion of the twenty - No. 15 in D is another - concerning whose merits players are divided. It does not meet one half-way. It is the longest of the twenty: some monotony inevitably results from the use of the key of G for all its movements : its difficulties are of the ungrateful type : and the vigour of its first movement is often rough-even harsh. Yet it appears to be among the favourites of those who know it well; the late Dr. G. J. Bennett (a pupil of Rheinberger's and a devotee of the Sonatas) placed it among the best of the later numbers. Sonata No. 20:In spite of some inequalities No. 20 makes a worthy end to a fine series. Rheinberger's failing health at the time of its composition is no doubt responsible for a few moments of indecision especially in the Finale. The invention shows little if any falling off. In all the sonatas there are few better themes of the broad diatonic type than that which opens the first movement ; and the pleasant tunes of the Intermezzo and Pastoral and the swinging subject of the Finale are in the true Rheinberger vein. But the lack of a substantial fugal section is felt: it might well have come as a central portion of the Finale which
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Arthur Seymour Sullivan: Lost Chord: Organ: Instrumental Work
Organ
Novello & Co Ltd.
Written at the deathbed of Arthur Sullivan’s brother Fred in 1877 and set...
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Written at the deathbed of Arthur Sullivan’s brother Fred in 1877 and setting words by Adelaide Anne Proctor The Lost Chord was immediately successful and became the biggest sensation of any song in its decade. Of all the drawing room ballads of the Victorian era The Lost Chord has remained alive in the popular imagination. This arrangement for solo Organ is true to the original without overplaying its drama and restores the eponymous 'lost chord’ to the Organ from whence it originally came. Composer Arthur Sullivan is known the world over for his operatic collaborations with W S Gilbert including H M S Pinafore and The Pirates of Penzance among many others. ButSullivan was also a composer of a host of other works among them operas Orchestral works ballets and hymns and church pieces.
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Scènes d'enfant op. 28 (GUILLOU JEAN)
Organ
Schott
d'après The Turn of the Screw d'Henry James. Par GUILLOU JEAN. Though the work ...
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d'après The Turn of the Screw d'Henry James. Par GUILLOU JEAN. Though the work bearing this title is a portrait of childhood, it is a childhood quite different from the purely gameplaying and dreamlike childhood that is customarily represented. The childhood described here is carrying the seed, in all its purity, of all positive and negative qualities to be found the fully-grown men: a childhood both angelic and diabolical, and indeed very close to Henry James' 'The Turn of the Screw' which was the direct inspiration for this monodrama. Its growth follows the innumerable sudden changes, turns and contrasts of the unsophisticated spirit. There is hardly any development at all, as each idea gives birth to the next or rejects the previons one, being object to every impulse, every tempest, every flux, every fear and delight. After a dreamlike introduction, in which two simple melodies stand out, comes a sudden awakening, Allegro, stamped all over with lavish and forever regenerating dynamism. A sudden halt leads a kind of outburst from the most simple folklore is singing, in regular, repeated notes. Again the question mark leads us to another melody, Tranquillo, of a sweet tempo, but brilliantly decorated with counter-point, its cursive traits leading this time to a kind of roguish march (Vigoroso). Yet soon there emerges a melancholic chant, Largo, in the Cromorne's timbre, and then, in the highest register of the Trumpet there reappears like a metamorphosed memory, the theme of the second movement. Passing other episodes, we come to Tempo giusto, insistent and glorious, interrupted by other passionate figures, cut off by unsettling silent moments and taken up again in always accelerating volleys./ Répertoire / Orgue
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The Oxford Book of Organ Music by Women Composers
Organ
Oxford University Press
The Oxford Book of Organ Music by Women Composers presents a comprehensive surve...
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The Oxford Book of Organ Music by Women Composers presents a comprehensive survey of historical organ pieces by women composers alongside six newly commissioned works. The music is stylistically varied and encompasses secular and sacred repertoire from a range of periods. In addition to original organ repertoire, the collection also contains several organ transcriptions in new arrangements for the instrument. ? 42 pieces for manuals and pedals, in a variety of musical forms, suitable for use at church services or as recital repertoire ? Original music for the instrument, spanning the sixteenth century to the present day, including compositions by Amy Beach, Clementine de Bourges, Nadia Boulanger, Jeanne Demessieux, Cecilia McDowall, Clara Schumann, and Ethyl Smyth, plus commissions from Kristina Arakelyan, Miriam Carpinetti, Ghislaine Reece-Trapp, Isabelle Ryder, Amy Summers, and Rebecca Groom te Velde ? Standalone miniatures, movements from organ sonatas and symphonies, transcriptions of piano, harpsichord, and flute pieces, and an orchestral opera overture ? A variety of difficulty levels, from ABRSM Grades 2-3 through to Diploma standard, with a graded index provided
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Anne Marsden Thomas: Oxford Service Music 1 Manuals & Pedals: Organ:
Organ
Oxford University Press
Oxford Service Music for Organ: Manuals and Pedals Book 1 was winner of the Mus...
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Oxford Service Music for Organ: Manuals and Pedals Book 1 was winner of the Music Industries Association's Best Classical Publication 2011. This is a major collection of Organ music for students players and church musicians of all levels and abilities. Compiler and editor Anne Marsden Thomas has drawn on her long experience of teaching and playing to select the most attractive tuneful repertoire in two new sets of graded anthologies one set (3 volumes) for manuals only the second set (3 volumes) for manuals and pedals. Within each book the pieces are grouped according to service needs into Preludes Interludes Processionals andPostludes. The repertoire spans the 16th to the 21st century with some new pieces written especially for the collection. A number of pieces throughout the collection have been selected for the ABRSM organ syllabus. The result is a wonderful collection of repertoire for all players containing a wealth of attractive and varied pieces that will offer much practical support for church musicians and enrich and develop their playing. Major collection of organ music for students players and church musicians of all levels and abilities Each book groups pieces according to service needs: Preludes Interludes Processionals Postludes Tuneful attractive repertoire spanning 16th-21st cents. with some new pieces written especially for the collection Major composers for the instrument well represented Pieces edited afresh to present music clearly and practically for players with registration and tempo suggestions for each piece Strong representation in new ABRSM syllabus (from 2011) Graded collection: approx. book 1 Grades 1-4; book 2 Gr. 4-6 book 3 Gr. 6-8 High-profile editor leading teacher and concert organist
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Anne Marsden Thomas: Oxford Service Music 3 Manuals: Organ: Instrumental Album
Organ
Oxford University Press
This is a major collection of Organ music for students players and church musi...
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This is a major collection of Organ music for students players and church musicians of all levels and abilities. Compiler and editor Anne Marsden Thomas has drawn on her long experience of teaching and playing to select the most attractive tuneful repertoire in two new sets of graded anthologies one set (3 volumes) for manuals only the second set (3 volumes) for manuals and pedals.Within each book the pieces are grouped according to service needs into Preludes Interludes Processionals and Postludes. The repertoire spans the 16th to the 21st century with some new pieces written especially for the collection. A number of pieces throughout the collection have beenselected for the ABRSM organ syllabus.The result is a wonderful collection of repertoire for all players containing a wealth of attractive and varied pieces that will offer much practical support for church musicians and enrich and develop their playing.Major collection of organ music for students players and church musicians of all levels and abilitiesEach book groups pieces according to service needs: Preludes Interludes Processionals PostludesTuneful attractive repertoire spanning 16th-21st cents. with some new pieces written especially for the collectionMajor composers for the instrument well representedPieces edited afresh to present music clearly and practically for players with registration and tempo suggestions for each pieceStrong representation in new ABRSM syllabus (from 2011)Graded collection: approx. book 1 Grades 1-4; book 2 Gr. 4-6 book 3 Gr. 6-8High-profile editor leading teacher and concert organist
14.75 GBP - Sold by Musicroom UK
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Anne Marsden Thomas: Oxford Service Music 2 Manuals & Pedals: Organ:
Organ
Oxford University Press
This is a major collection of Organ music for students players and church musi...
(+)
This is a major collection of Organ music for students players and church musicians of all levels and abilities. Compiler and editor Anne Marsden Thomas has drawn on her long experience of teaching and playing to select the most attractive tuneful repertoire in two new sets of graded anthologies one set (3 volumes) for manuals only the second set (3 volumes) for manuals and pedals. Within each book the pieces are grouped according to service needs into Preludes Interludes Processionals and Postludes. The repertoire spans the 16th to the 21st century with some new pieces written especially for the collection. A number of pieces throughout the collectionhave been selected for the ABRSM organ syllabus. The result is a wonderful collection of repertoire for all players containing a wealth of attractive and varied pieces that will offer much practical support for church musicians and enrich and develop their playing. Major collection of organ music for students players and church musicians of all levels and abilities Each book groups pieces according to service needs: Preludes Interludes Processionals Postludes Tuneful attractive repertoire spanning 16th-21st cents. with some new pieces written especially for the collection Major composers for the instrument well represented Pieces edited afresh to present music clearly and practically for players with registration and tempo suggestions for each piece Strong representation in new ABRSM syllabus (from 2011) Graded collection: approx. book 1 Grades 1-4; book 2 Gr. 4-6 book 3 Gr. 6-8 High-profile editor leading teacher and concert organist
13.95 GBP - Sold by Musicroom UK
Pre-shipment lead time:
In Stock
Similar items
2 sellers
Details
Details
Anne Marsden Thomas: Oxford Service Music 3 Manuals & Pedals: Organ:
Organ
Oxford University Press
This is a major collection of Organ music for students players and church musi...
(+)
This is a major collection of Organ music for students players and church musicians of all levels and abilities. Compiler and editor Anne Marsden Thomas has drawn on her long experience of teaching and playing to select the most attractive tuneful repertoire in two new sets of graded anthologies one set (3 volumes) for manuals only the second set (3 volumes) for manuals and pedals. Within each book the pieces are grouped according to service needs into Preludes Interludes Processionals and Postludes. The repertoire spans the 16th to the 21st century with some new pieces written especially for the collection. A number of pieces throughout the collectionhave been selected for the ABRSM organ syllabus. The result is a wonderful collection of repertoire for all players containing a wealth of attractive and varied pieces that will offer much practical support for church musicians and enrich and develop their playing. Major collection of organ music for students players and church musicians of all levels and abilities Each book groups pieces according to service needs: Preludes Interludes Processionals Postludes Tuneful attractive repertoire spanning 16th-21st cents. with some new pieces written especially for the collection Major composers for the instrument well represented Pieces edited afresh to present music clearly and practically for players with registration and tempo suggestions for each piece Strong representation in new ABRSM syllabus (from 2011) Graded collection: approx. book 1 Grades 1-4; book 2 Gr. 4-6 book 3 Gr. 6-8 High-profile editor leading teacher and concert organist
14.75 GBP - Sold by Musicroom UK
Pre-shipment lead time:
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Similar items
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Details
Details
Anne Marsden Thomas: Oxford Service Music 1 Manuals: Organ: Instrumental Album
Organ
Oxford University Press
This is a major collection of Organ music for students players and church musi...
(+)
This is a major collection of Organ music for students players and church musicians of all levels and abilities. Compiler and editor Anne Marsden Thomas has drawn on her long experience of teaching and playing to select the most attractive tuneful repertoire in two new sets of graded anthologies one set (3 volumes) for manuals only the second set (3 volumes) for manuals and pedals. Within each book the pieces are grouped according to service needs into Preludes Interludes Processionals and Postludes. The repertoire spans the 16th to the 21st century with some new pieces written especially for the collection. A number of pieces throughout the collectionhave been selected for the ABRSM organ syllabus. The result is a wonderful collection of repertoire for all players containing a wealth of attractive and varied pieces that will offer much practical support for church musicians and enrich and develop their playing. Major collection of organ music for students players and church musicians of all levels and abilities Each book groups pieces according to service needs: Preludes Interludes Processionals Postludes Tuneful attractive repertoire spanning 16th-21st cents. with some new pieces written especially for the collection Major composers for the instrument well represented Pieces edited afresh to present music clearly and practically for players with registration and tempo suggestions for each piece Strong representation in new ABRSM syllabus (from 2011) Graded collection: approx. book 1 Grades 1-4; book 2 Gr. 4-6 book 3 Gr. 6-8 High-profile editor leading teacher and concert organist
13.95 GBP - Sold by Musicroom UK
Pre-shipment lead time:
In Stock
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