SKU: CA.1810000
ISBN 9790007100322.
SKU: HL.49045437
ISBN 9790001162715. UPC: 841886029088. 9.0x12.0x0.168 inches.
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.'.
SKU: JK.01927
UPC: 093285019270.
The Temple Organist is a series of hymn arrangements designed to support the sacred reverence found in temples of the Church of Jesus Christ of Latter-day Saints. The songs selected for the two volumes have been taken directly from approved lists of hymns appropriate for temples. The arrangements in this volume, like volume 1, are arranged to include the harmonizations from the 1985 hymnal, with a variation that follows in most cases. True to the style of Orgain Chains, they include interludes to connect each hymn so they can be played consecutively (including modulations that bridge different keys beautifully). You will enjoy serving temple patrons as you play these simple, contemplative hymn settings.Contents Include:Oh, May My Soul Commune with TheeNearer, My God, to TheeO My FatherI Need Thee Every HourJesus, Lover of My SoulMore Holiness Give MeGuide Me to TheeDid You Think to Pray?Sweet Hour of PrayerHow Gentle God's CommandsWhere Can I Turn for Peace?Be Thou HumbleDearest Children, God Is Near YouBe Still, My SoulLead, Kindly LightSweet Is the Peace the Gospel BringsO Love That Glorifies the SonGod Loved Us, So He Sent His SonHow Great the Wisdom and the LoveWith Humble HeartJesus, Once of Humble BirthIn Humility, Our SaviorThere Is a Green Hill Far AwayI Stand All AmazedSweet Is the WorkCome, Follow MeLove One AnotherDear to the Heart of the ShepherdLord, I Would Follow TheeComposer: VariousArranger: Brent JorgensenDifficulty: Easy.
SKU: JK.01885
UPC: 093285018853. Ecclesiastes 3:1-2, Matthew 5:4, 1 Peter 5:7.
Thirty-one favorite funeral hymns arranged in a continuous medley for organ prelude/postlude. You can start anywhere in the book and end anywhere! Pedals are included within the staff. Songs included in this book: Comfort and Hope Be Still, My Soul The Lord is My Shepherd Nearer, My God, To Thee Where Can I Turn For Peace? Come unto Jesus Lead, Kindly Light Jesus Christ I Know That My Redeemer Lives Beautiful Savior I Believe in Christ I Stand All Amazed He Sent His Son How Great Thou Art The Love of God Our Savior's Love Love One Another My Heavenly Father Loves Me I Feel My Savior's Love Where Love Is Faith and Devotion Come, Follow Me I Need Thee Every Hour Because I Have Been Given Much Amazing Grace In the Garden Softly and Tenderly Come, Thou Fount of Every Blessing Each Life That Touches Ours For Good Eternal Families Families Can Be Together Forever Love at Home Oh, What Songs of the Heart I Am a Child of God O My Father Closing God Be With You Till We Meet Again Abide with Me! Abide with Me, 'Tis Eventide Anthems Goin' home Consider the Lilies Holy Art Thou Jesu, Joy of Man's Desiring Composer: Various Arranger: Brent Jorgensen Difficulty: Medium Reference: Ecclesiastes 3:1-2, Matthew 5:4, 1 Peter 5:7.
SKU: HL.302741
ISBN 9781540065261. UPC: 888680967468. 9.0x12.0x0.182 inches.
Introducing the E-Z way to reading music notes, chords, and learning musical terms! Keyboards are among the most versatile of all musical instruments, and many electronic keyboards today have special automatic features and automatic rhythms. These features make making music even more fun and versatile! If you've always wanted to learn how to play the keyboard, this book is your first step to success! Beginnings Book A provides easy-to-understand instructions with popular songs and favorite tunes so you can start playing music you know and love while learning to play! In practically no time, you'll be performing some of your favorite standards, including: Aura Lee • Danny Boy • He's Got the Whole World in His Hands • Kumbaya • Lullaby (Cradle Song) • On Top of Old Smoky • Simple Gifts • When the Saints Go Marching In • Yankee Doodle • and more. This book also includes access to online recordings of demonstration and backing tracks, so you can listen to the demos to hear how the piece should sound, then play along with the backing tracks to sound like a pro! Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.
About Hal Leonard E-Z Play Today
For organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar.
SKU: HL.49018083
ISBN 9790001168670. 9.0x12.0x0.24 inches.
In his Organ Symphony No. 8 'In Memoriam', following an idea of the cathedral organist Silvius von Kessel from Erfurt (and dedicatee of the work), Enjott Schneider carries on where Anton Bruckner left off, processes themes from the latter's Symphony No. 8 variatively and contrasts it to 'Haus-Choral des Erfurter Doms', 'Wachet auf, ruft uns die Stimme'. Bruckner's material is used as a starting point and further developed by Schneider in four movements: typically enough, the initial movement is called 'Metamorphosen' before an almost eerie atmosphere is created in a 'Scherzo sinistro'. The twelve-note series (in the third movement), embedded in a transcendental mood, eventually develops into the chorale which, now as main theme of the finale, amalgamates with Bruckner's stylistic moments and leads to a magnificent end - an exciting and rousing piece of music.
SKU: HL.49033297
ISBN 9790001137751. UPC: 884088070496. 9.0x12.0x0.158 inches.
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.
SKU: BR.EB-8703
ISBN 9790004180686. 9 x 12 inches.
Please note: this edition has nothing to do with Arnold Schonberg! The Schonberg in question is a town near Kronberg in Germany's hilly Taunus region. Around the turn of the last century, the organist Ludwig Sauer (1861-1940) wanted to have a new organ built at his church there and came up with a novel way to finance it: he asked a number of composers to donate a musical piece. He eventually obtained 36 (!) pieces which he grouped together in the Organ Album for the Benefit of the New Organ in Schonberg by L. Sauer and had published in 1900 by Breitkopf & Hartel. Deserving particular mention is Max Reger's popular Introduction and Passacaglia in D minor, which was printed for the first time in that collection and which no doubt helped Sauer's project make organ history. The Schonberger Orgelalbum contains both free pieces and works based on chorales. Thanks to the brevity of the pieces, the book is ideal for use in teaching and in the religious service..
SKU: HL.49046414
ISBN 9781540090522. UPC: 842819103974.
The American musical patrons Mildred and Robert Wood Bliss were considering which distinguished composer to commission to create a work in celebration of their 30th wedding anniversary in 1938. The couple had made the acquaintance of Igor Stravinsky in April the preceding year at the premiere of his ballet Jeu de Cartes in New York and had subsequently invited the composer to their country home 'Dumbarton Oaks' in Washington D.C. to talk about a new composition. Stravinsky only just managed to complete the work in time for the anniversary celebrations: its date of completion was also the date of its first performance. For his classically styled three-movement work, he selected the title Concerto in E flat, adding the subtitle Dumbarton Oaks as a dedication. The structure of the work references the concerto grosso: it features a soloist ensemble which unites in the tutti sequences but also plays in concertino groups during the solo episodes. Broken chordal structures characterise the central movement whereas the outer movements are distinguished through their use of fugato. Dumbarton Oaks went on to become one of Stravinskys mostsuccessful works, performed widely and delighting Mildred Bliss so much that she immediately issued another commission, for the Symphony in C. Its composer's very public commitment to American cultural life helped pave the way for Stravinskys emigration to the USA in 1945. As early as 1952 Leif Thybo created an arrangement for organ which Stravinsky probably did not know at the time of his life.
SKU: ST.H449
ISBN 9790220221286.
A well-known teacher and compiler of Stainer & Bell's Opera Gala series, John Norris has created Wedding Gala with an ear to giving church organists a mix of favourites and exciting discoveries to brighten the routine of music for the service of holy matrimony. No album would be complete without the traditional wedding music of Mendelssohn and Wagner, and it can be found here in this collection alongside other classics of the wedding repertoire by Jeremiah Clarke, Bach and Handel. But there's also a thoroughly contemporary leavening, with arrangements of Sydney Carter's One More Step and Lord of the Dance, both firm favourites, plus Musorgsky's Pictures at an Exhibition and Charpentier's Prelude, adding a note of splendour. But the real bonus is for lovers of English music, with Elgar's Chanson de Matin and 'The Call' from the Five Mystical Songs by Ralph Vaughan Williams, seldom found in comparable collections. And there's also a rare new discovery: the ravishing Chosen Tune by Herbert Howells, transcribed from his Three Pieces for violin and piano, Op. 28, and available as an organ piece for the first time. Each piece is comprehensively registered by the arranger, and the collection as a whole will be welcomed by all organists of intermediate standard as a source of new material not only for liturgical use but also for recitals.
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: 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).
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