Spiral Bound-The authors' new approach to learning two playing techniques offers a systematic method for mastering the modern legato technique needed for organ music composed after 1750 as well as an articulated technique for earlier works. The authors also present useful information on accompanying anthems and solos and on adapting piano and orchestral accompaniments to the organ.

A prolific editor and arranger for the organ Best also composed church music carols glees piano music orchestral pieces as well as works for the organ. Major works for the 'King of Instruments' include 'Four Concert Fantasias' of which 'Fantasia on a Welsh March' is number two in the set. Based on the Welsh tune 'Men of Harlech' it subjects the march to virtuosic treatment that makes demands on both player and instrument. It is a fine work and worthy of inclusion in any recital programme.

Coronation Anthem for Mixed Choir and Orchestra-Zadok The Priest HWV 258 (BA10258) and The King Shall Rejoice HWV 260 (BA10259) are the best-known of the four coronation anthems that Handel wrote for the crowning of George II in London (1727). HWV 258 accompanied the king’s anointment HWV 260 his actual coronation. Thanks to their festive and majestic structure befitting the occasion as well as their spacious scoring for Large Choir and Orchestra it comes as no surprise that motifs from Zadok the priest have found their way into the official hymn of the UEFA Champions League. The present editions by the authoritative Handel scholar Stephan Blaut are the first to offerthese two anthems based on the Urtext from the Halle Handel Edition. Bilingual Forewords (Ger/Eng) Idiomatic Piano reductions Based on the Halle Handel Edition Full score parts and vocal score available for sale

Arranged here for Organ the Centenary Collection celebrates the life and works of the British organist and composer William Lloyd Webber. Born in 1914 by the age of 14 Lloyd Webber had already become awell-known Organ recitalist giving frequent performances at many important churches and cathedrals throughout Great Britain. He won an Organ scholarship to Mercer's School later winning a further scholarship to the Royal Collegeof Music where he studied composition with Ralph Vaughan Williams and gained his FRCO diploma at nineteen. Parallel to his activities as an organist Lloyd Webber began to compose and from 1945 to the mid-1950s he wrotemusic in many different forms: Vocal and instrumental Choral and Organ Chamber and Orchestral. Some of his best known works include the oratorio 'St. Francis of Assisi' the Orchestral tone poem 'Aurora' the Sonatinas for Violaand Piano and Flute and Piano and numerous songs Organ pieces and Choral works. Showcasing Lloyd Webber as a composer who was true to himself and who fully embraced his signature style the music in the CentenaryCollection is romantic melodious and – above all – heartfelt.

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

Debussy’s beautiful beloved Clair De Lune was written as the third movement of his Suite Bergamasque at the turn of the last century. It was inspired by a poem of contemporary Paul Verlaine and is asignificant example of Debussy’s innovative use of key time and tonal colour. The piece has been arranged for Orchestra though not by Debussy Harp Guitar and many other instrumental combinations.Clair De Lune was composed for Piano in D flat and has here been transposed to C.

BWV 248. Par BACH JOHANN SEBASTIAN. For this edition, Carsten Klomp has transferred the orchestral movement of the 1st cantata from Johann Sebastian Bach's Christmas Oratorio to the organ. It not only enables a performance with a reduced line-up, but also a tonally appealing and surprisingly coherent rendition of this wonderful music. The way the voices are distributed on the manuals and pedal and the balance between virtuosity and good playability ensure both proximity to the original score and an organ-appropriate implementation. Instead of a simple piano reduction on the organ, this version offers an independent performance option that allows the organ to be used in all of its facets and possibilities.The vocal parts (solos and choir) are identical to the edition of the original version (Carus 31.248/00), so that the piano reduction and choral score can be used.The single part for the organ was optimized for page turning, i.e. the choral parts were not printed, but the dacapo was always notated out. / Date parution : 2021-12-09/ Répertoire / 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

Une clinique de créatifs pour tous-organe technique sur les accords, enregistrement, effets spéciaux, en développement effectuant des compétences et organiser. Comprend une variété de pièces. / Orgue / Partition