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.80101467
Variations on a Theme of Haydn (2017) was written for organist Christoph Hintermuller who asked for a work based on the national anthem of Germany. The anthem's tune was written in 1797 by Joseph Haydn (1732-1809). (In English-speaking countries, Haydn's tune is sung as the hymn AUSTRIAN HYMN, usually with John Newton's text Glorious Things of Thee Are Spoken.) The music consists of five contrasting variations plus a recapitulation of the opening variation. The first variation is broad and festive; the second variation is pastoral in character; the third has a scherzando character; the fourth is marked hypnotic and atmospheric; and the fifth is a quasi-musette. The first variation returns as a finale before a brief coda. Instrumentation: Organ Duration: 8' Composed: 2017 Published by: Zimbel Press.
SKU: SU.80101403
Symphony for Organ (2013) is cast as a dramatic progression from darkness into light. The first movement, Masque, is extremely violent and bleak. The title is used with a touch of irony--for this is not a masque of courtly diversion, but rather a furious struggle against the darkness, played out in a series of dramatic episodes following a Tudor-era formal design. The ending builds to a dramatic peak, and leaves us in shell-shocked silence. The second movement, Sarabande, begins quietly and mournfully, and gradually gains in fervency. A faster middle section is a spinning dance before the return of the opening music. In the coda, the light gradually approaches. The third movement, Chorale, evokes the colors of a new dawn. The music of the first movement's struggle gradually becomes washed in the blaze of morning. Instrumentation: Organ Duration: 21' Composed: 2013 Published by: Zimbel Press.
SKU: SU.80101397
Suite in F (2017) is in three movements: Praeambulum, Ground, and Fantasia. The first movement, Praeambulum, begins with F's as descending octaves followed by a rising scalar passage. This theme returns throughout the movement and also serves to provide the harmonic material for the intervening episodes. The second movement, Ground, unfolds over a repeating bass line, beginning with a spare two-part texture (that returns near the end) and increases in harmonic density. The third movement, Fantasia, begins in F and introduces its two basic musical ideas: a fanfare-like march figure and a pattern of quickly alternating 3rds. The music moves through several modal areas before reaching an exultant conclusion. Instrumentation: Organ Duration: 11' Composed: 2017 Published by: Zimbel Press.
SKU: SU.80101137
This brief work for organ is highly suitable as an offertory or prelude. Using warm harmonies, the work builds to a climax and then returns to the calm in which it began 8 pages Published by: Zimbel Press.
SKU: SU.80101422
Suite circulaire (2018) for organ is dedicated to Elisa Williams Bickers. The music takes a free, contemporary approach to the historical genre of circulating (or modulating) compositions, where the basic material moves through a variety of keys before returning home again. The goal is not simply to play a modulation game, but rather to construct a true musical discourse where the varied keys are an essential part of the concept. The first movement, Praeludium, is bright in character. Besides moving through varied keys, the movement is also animated with various looping patterns that provide another link to the circulating concept. The second movement, Ricercare, takes its content very literally from the title, which means to search out. Instead of being a proto-fugue, like many ricercares from the late Renaissance or early Baroque, the music searches through the keys by means of a wandering melody and a modulating accompaniment. The third movement, Toccata, is slightly manic in character. The syncopated theme heard at the start animates the movement as it moves through both tonal, modal, and bitonal/modal harmonies before reaching an excited conclusion. (When the suite is performed on an organ tuned in an unequal, circulating temperament, there is an additional circular effect provided by the quite varied key colors that are heard as the material moves through them.)Organ Duration: 14’ Composed: 2018 Published by: Zimbel Press.
SKU: HL.49017956
ISBN 9790001158404. UPC: 841886013698. 12.0x8.75x0.187 inches.
The composer and organist Paul Siefert, baptized in Gdansk on 28 June 1586 and died there on 6 May 1666, belongs to the 'North German organ school'. Thanks to a grant of the town council of Gdansk, Siefert spent the years from 1607 until probably late 1610 studying in Amsterdam where he got important ideas and suggestions as a pupil of Sweelinck. After his return he became deputy organist in Gdansk. From 1611 to 1616 he worked as an organist first at the church in the old town of Konigsberg, then at the Warsaw court orchestra. On 23 September 1623 he was appointed organist at the Marienkirche of Gdansk in succession to Michael Weyda where he worked until the end of his life. This edition of his organ works contains 13 fantasias, two chorale preludes and a motet as well as a detailed description of the work in the preface and in the critical report.
SKU: SU.80101492
Variazioni sawiane (2021) was written for organist Jan Bart?omiej Bokszczanin. The title refers to the Polish composer Marian Sawa (1937-2005), and the variations are based on a theme from his music. The theme is a metricized version of the original psalm chant from his final composition, Missa Claromontona (2005) for chorus, organ, and timpani. An introduction based on the theme's opening motive leads to a gentle aria that presents the melodic theme twice in its entirety. This is followed by a quasi-ricercare, a scherzetto, a meditation, and a festive return to the opening material. Instrumentation: Organ Duration: 8 Composed: 2021 Published by: Zimbel Press.
SKU: GI.G-003084
If you're already familiar with Edward Eicker's Just a Minute suite, you know his excellent craftsmanship for the organ. Here he writes very useful preludes on three well-known hymn tunes: KREMSER (We Gather Together), PICARDY (Let All Mortal Flesh), and OLD HUNDREDTH (Praise God, from Whom All Blessings Flow). These preludes are pieces you'll return to time and time again. .
SKU: HL.49044612
ISBN 9790001187282. 9.0x12.0x0.099 inches. Latin.
The rushing of the Holy Spirit to which the hymn 'Veni creator' refers is symbolized by fast semiquaver runs of the organ which return again and again during the whole piece. Alternately, the text is interpreted musically in seven verses according to the respective content. Traditional melodies appear in a contemporary harmonic makeup. From this context emerges a field of tension between old and new which eventually dissolves in the 'Amen' of the vocal soloist. The work on the rather demanding piece is rewarding for every performer and the performance at the church is very impressive.
SKU: HL.49045488
ISBN 9790001176088. 9.0x12.0x0.145 inches.
There is no other work more closely associated with the organ than Johann Sebastian Bach's Toccata in D minor. During my compositional preparation, I repeatedly found myself returning to this work. I had a number of different formal models in mind, but felt myself gravitating towards the rhapsodic character of toccata form so that my new composition for organ ultimately became a toccata developing from a pedal point on the fundamental note 'D'. As is appropriate to the volume of a large modern organ, my concept focuses on symphonic tonal layers whose suggestive maelstrom originates from the inner strength of repeating elements and their register- like augmentation, culminating in the unleashing of polyrhythmic progressions. (Christian Jost).
SKU: CA.2331150
ISBN 9790007301712. Latin.
Spoken during his final hours, the “seven words†have been taken as a profound insight into Jesus‘s final suffering on the cross. These words, or rather statements, have been set by numerous composers in different languages. Charles Gounod’s setting of The Seven Words of Christ on the Cross returns to the Latin text and explicitly recalls the music of Palestrina, but with an added nineteenth-century harmonic twist. The edition of this a cappella work comes with a piano reduction for rehearsal purposes. Score available separately - see item CA.2331100.
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: MN.10-568
UPC: 688670105685.
A quiet, six-minute composition of four variations on the German chorale tune MUNICH, adapted by Mendelssohn, that is commonly associated with the text O Word of God Incarnate. Written in D Major, the melody is first presented on a soft solo reed in meter. A chromatic variation without pedal in B minor is next, followed by one in which each phrase is repeated an octave higher, and finally by a return to the solo stop that augments and embellishes the melody. The harmonies are pleasing and the tune easy to follow.
SKU: SU.80101471
Exordium (2016) was commissioned by organist Edward Landin to whom it is dedicated. Grand, invocatory music opens the piece and returns throughout, alternating with urgent, incantantory passages. Instrumentation: Organ Duration: 5' Composed: 2016 Published by: Zimbel Press.
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