SKU: HL.49017658
ISBN 9790001150262. 9.0x12.0x0.347 inches. German - French.
The Belgian organist and composer Jacques-Nicolas Lemmens (1823-1881) ranks among the most important organ teachers of the 19th century. A student of Adolf Friedrich Hasse in Breslau, he was familiar with the Bach organ tradition but also had a decisive influence on the French organ tradition. From 1849-1869 he was a teacher at the Conservatoire of Brussels and in 1869 he founded his own important church music school in Mechelen ('Lemmens Institute'). His 'Ecole d'orgue', published by Schott in 1862, has now been re-published as a reprint edition due to great demand.
SKU: BR.EB-9305
ISBN 9790004187692. 12 x 9 inches.
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 17th- and 18th-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 Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (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.pure source edition (no mixture of different transmissions); comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only)); good page turnsflexible division of voices (on 2 or 3 systems, good legibility); contains facsimiles. Contains the Critical Commentary of the subvolumes I/1 and I/2.
SKU: BR.EB-9304
ISBN 9790004187685. 12 x 9 inches.
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 17th- and 18th-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 Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (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.pure source edition (no mixture of different transmissions); comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only)); good page turnsflexible division of voices (on 2 or 3 systems, good legibility); contains facsimiles. The corresponding Critical Commentary is contained in Volume I/2 (EB 9305).
SKU: BR.EB-9306
ISBN 9790004187708. 12 x 9 inches.
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 17th- and 18th-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 Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (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.pure source edition (no mixture of different transmissions) comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only))good page turnsflexible division of voices (on 2 or 3 systems, good legibility)contains facsimiles.
SKU: BR.EB-9415
ISBN 9790004188897. 12 x 9 inches.
SKU: SU.80101311
Three easy organ preludes on traditional Christmas lullabies: 1) Infant Holy, Infant Lowly; 2) Jesus, Jesus, Rest Your Head; 3) Lully, Lulla (The Coventry Carol). Published by: Zimbel Press.
SKU: HP.1601
UPC: 763628116019.
Six traditional tunes Six Classics arranged for Handbells & KeyboardSix Classics arranged for Handbells & Keyboard.
SKU: CA.1822000
ISBN 9790007294441.
Edited by the Deutscher Musikrat (German Music Council) with Richard Mailander and Kord MichaelisCatholic and Protestant churches are familiar with the tradition that in times of crisis, new works are composed to comfort the faithful, and are performed in worship. Following in this tradition, the project Orgelmusik in Zeiten von Corona (Organ Music in Times of Corona) was devised. 17 new compositions were commissioned which reflect Corona times, creatively confront the past and the present, and will enrich the repertoire of organ music in a lasting way.The 17 compositions depict a wide range of styles including avant-garde, jazz and classical, and some refer to music from previous eras and church music traditions. They are conceived for different levels of difficulty, are for 2 or 3-manual organs, and last between four and ten minutes. They are particularly suitable for concerts, but can also be played in church services.* 17 thematic reflections on the Corona pandemic: on the horsemen of the apocalypse, the Coeur bleu, the thunder of time, timelines, trust and confidence, and many more* compositions by Timo Bocking, Kathrin A. Denner, Barbara Dennerlein, Dorothee Hahne, Peter Michael Hamel, Frank Heckel, Dorothea Hofmann, Nicole Johanntgen, Anna Korsun, Roland Kunz, Eckhart Kuper, Johannes M. Michel, Iris Rieg, Maximilian Schnaus, Enjott Schneider, Dominik Susteck, and Maximilian Wallrath* stylistic variety and breadth - from classically-influenced compositions, through jazz and pop, to avant-garde and experimental sounds* different levels of difficulty, for 2 or 3-manual organ, 4 to 10 minutes' duration* suitable for concerts and church services.
SKU: HL.49016073
UPC: 073999247978. 305 X 229 inches.
These “critico-practical” editions by Charles-Marie Widor and Dr. Albert Schweitzer have been a mainstay of organ literature since their publication in 1912. The eight volumes are indexed by the type of composition andoffer extensive observations, based on historical evidence and traditional performance, on topics such as registration, ornamentation, and phrasing. A fundamental component of the organist's library. Volume 7: 66miscellaneous compositions on 56 chorales from “The Little Organ Book”. This volume illustrates the working of chorales in every style, as well as instruction in the use of the pedal.
SKU: OU.9780193433564
ISBN 9780193433564. 10 x 7 inches.
For unison voices (with opt. second part) and piano or organ A moving, traditional Irish blessing set to music of great simplicity and beauty. Chilcott perfectly captures the warmth and sincerity of the text, and weaves a memorable melody, which he clothes in rich harmony. Also available in versions for SATB, and upper voices.
SKU: HL.49018082
ISBN 9790001168809. UPC: 884088535094. 9.0x12.0x0.2 inches.
Each organ symphony by Enjott Schneider has its own colour and its own theme. Organ Symphony No. 7 'Von Ewigkeit zu Ewigkeit' is dominated by the theme of 'time': from the flowing rumbling of time in ancient beginnings ('In principio' - 1st movement) and periodic to the intellectually incomprehensible revolving ('Zeit der Sterne' - 2nd movement). After the third movement ('Zeit des Menschen'), a valse triste, infused by an almost humorous hectic atmosphere, the symphony ends with a kind of 'Amen!' in the fourth movement. Schneider sums it up: 'It is good as it is, we do not understand the course of time anyway.' With regard to style, his composition is based on elements of minimal music which he combines with the tradition of the European organ composition; it is at the same time a testimony to the composer's flexibility and versatility.
SKU: LO.70-2184S
ISBN 9780787765019.
Following his Simply Lent collection, J. William Greene has written a collection of sophisticated yet practical hymn settings for the weeks before Christmas. Greene's rich compositional craft and love for traditional forms and techniques are evident in music that expresses the anticipation of the Advent season.
SKU: CA.4060449
ISBN 9790007219437. Key: C major. Language: Latin.
When Joseph Haydn assumed the position as music director of the Court of Esterhazy in 1766, following the death of his predecessor, Gregor Joseph Werner, he began by composing his first and most extensive Missa solemnis. The title Missa Cellensis (later also known as the Cecilian Mass) and the date of an autograph score suggest that this work was probably commissioned by Prince Nicolaus Esterhazy for the 600th anniversary of the pilgrimage church Mariazell located in Styria. With regard to the scoring as well as form, this Mass is still in the tradition of the late baroque number mass. In contrast to previous mixed versions based on various sources, the new edition follows the authentic (original) version using the most reliable sources. This work is now available in carus music, the choir app. Score and part available separately - see item CA.4060400.
SKU: CA.4060409
ISBN 9790007219383. Key: C major. Language: Latin.
When Joseph Haydn assumed the position as music director of the Court of Esterhazy in 1766, following the death of his predecessor, Gregor Joseph Werner, he began by composing his first and most extensive Missa solemnis. The title Missa Cellensis (later also known as the Cecilian Mass) and the date of an autograph score suggest that this work was probably commissioned by Prince Nicolaus Esterhazy for the 600th anniversary of the pilgrimage church Mariazell located in Styria. With regard to the scoring as well as form, this Mass is still in the tradition of the late baroque number mass. In contrast to previous mixed versions based on various sources, the new edition follows the authentic (original) version using the most reliable sources. This work is now available in carus music, the choir app. Score and parts available separately - see item CA.4060400.
SKU: CA.3810249
ISBN M-007-21504-0. Latin.
At less than 20 years of age, the youngest son of the Leipzig cantor of St. Thomas, Johann Sebastian Bach, withdrew from the Lutheran musical tradition of his family: Johann Christian Bach went to Italy, converted to Catholicism there and composed mainly Latin church music between 1757 and 1760. His great successes with operas for Turin, Milan and Naples from 1761 onwards led him all the way to London. Bach's church music comprises a number of vespers compositions, some of them large-scale, including this Magnificat a 4 (1760) for soloists, choir and orchestra. The very diversified work gets its additional attraction from distinctively led oboes and horns.
SKU: CA.4060419
ISBN 9790007133214. Key: C major. Language: Latin.
SKU: CA.4060403
ISBN 9790007092078. Key: C major. Language: Latin.
When Joseph Haydn assumed the position as music director of the Court of Esterhazy in 1766, following the death of his predecessor, Gregor Joseph Werner, he began by composing his first and most extensive Missa solemnis. The title Missa Cellensis (later also known as the Cecilian Mass) and the date of an autograph score suggest that this work was probably commissioned by Prince Nicolaus Esterhazy for the 600th anniversary of the pilgrimage church Mariazell located in Styria. With regard to the scoring as well as form, this Mass is still in the tradition of the late baroque number mass. In contrast to previous mixed versions based on various sources, the new edition follows the authentic (original) version using the most reliable sources. This work is now available in carus music, the choir app. Score available separately - see item CA.4060400.
SKU: CA.4060400
ISBN 9790007091385. Key: C major. Language: Latin.
When Joseph Haydn assumed the position as music director of the Court of Esterhazy in 1766, following the death of his predecessor, Gregor Joseph Werner, he began by composing his first and most extensive Missa solemnis. The title Missa Cellensis (later also known as the Cecilian Mass) and the date of an autograph score suggest that this work was probably commissioned by Prince Nicolaus Esterhazy for the 600th anniversary of the pilgrimage church Mariazell located in Styria. With regard to the scoring as well as form, this Mass is still in the tradition of the late baroque number mass. In contrast to previous mixed versions based on various sources, the new edition follows the authentic (original) version using the most reliable sources. This work is now available in carus music, the choir app.
SKU: LO.70-2449L
ISBN 9780787779085.
Drawing from over 250 years of evolving American hymnody, John Dixon has curated a diverse series of 12 organ settings that capture the essence of this rich heritage. Featuring a variety of tunes, half of which are rooted in 19th-century folk hymn tradition and the remainder hailing from the late 19th and early 20th centuries, these settings are designed to inspire, uplift, and console.
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