SKU: SU.80101202

This work is a jaunty and humorous organ solo for pedals alone that suggests ragtime with its rhythms. An excellent recital selection or even a fun service postlude. 8 pages Published by: Zimbel Press.

SKU: HL.14035114

Few baroque composers were ever able to create work as sunny, as joyous as Vivaldi did in this beloved Gloria. The contrast of mood throughout the work as it moves through the drama of the Mass to its satisfying double final movement shows the composer at the height of his powers.Vivaldi composed this work in Venice in about 1715, during his fruitful time at the Ospedale della Pieta. In his lifetime this priest, composer and virtuoso Violinist achieved enormous musical success. Considering his great popularity in the modern era, it is difficult to believe that public appreciation of his work declined after his death and that the Gloria languished undiscovered forcenturies. It wasn't until 1957 that the restored work was heard again in its entirety. Since that time, this moving and joyous Gloria has been recorded more than one hundred times and perennially appears on concert series around the world.

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: 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: HL.14016411

8.25x11.75x0.156 inches.

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.

SKU: CA.2440900

ISBN 9790007068967.

Facsimile edition of the Ochsenhauser Orgelbuch, with critical first edition. Almost 270 years following its completion, for the first time the Ochsenhauser Orgelbuch, a unique collection of organ music from southern Germany, will be published and thus made accessible to the music world. In honor of the completion of the restoration of the Gabler organ in Ochsenhausen this important, with its wonderful color illustrations, has been published in a high-quality limited two-volume edition.

SKU: CA.1801000

ISBN 9790007186548. Language: all languages.

Debussy's Danse (Tarantelle styrienne), originally for piano and orchestrated by Ravel, is also extremely well suited to performance on the organ. This is shown in this arrangement which has been successfully performed in concerts in several countries by renowned organists. It is now being published in time for the Debussy anniversary year in 2018. The arrangement shows this powerful and spirited Danse, with its typical syncopated rhythms, to its best advantage. The great range of colors offers performers plenty of opportunity for artistic display. The registration markings are intended as suggestions and can easily be adapted to suit different instruments.

SKU: MN.12-121

UPC: 688670121210.

Confluence was commissioned by the Organ Artist Series of Pittsburgh in celebration of its twentieth anniversary in 1999. Christa Rakich gave the premier at the closing concert of the season at Calvary Episcopal Church by in April of 1999. It has been performed frequently since that time. The title was given to honor the joining together or confluence of the three rivers of Pittsburgh: the Allegheny, the Monongalela, and the Ohio. Confluence is a curious hybrid related to both the sonata and rondo forms. It is of the ABABA design with the final A quite extended by polyphonic games and a very noisy and triumphant epilogue. The first idea is driving, rhythmic, nervous and agitated. The second is quiet, gentle and pastoral, that slowly moves in its mysterious ways, closing with a plaintive row of a dozen different pitches. The composer delights in the challenge of making tone rows as approachable and sing-able as possible. Both ideas make slightly varied restatements. At the end, fugal exploitation of the first idea is followed by that row, entering with stentorian grandeur in full pedal, heralding the triumphant close. This row, like the month of March is referred to frequently as coming in like a Iamb, going out like a lion.

SKU: CA.5280400

ISBN 9790007139384.

The fourth volume of the section of the Reger Edition devoted to his organ works comprises, in chronological order, the chorale preludes composed between October 1893 and November 1914 in Wiesbaden, Weiden, Munich, Leipzig, and Meiningen. The composition of chorale preludes accompanied Reger throughout his entire career, even though they were composed primarily in the years from 1900 to 1902 and 1914 (Opus 135a). As almost no other composer at the turn of the century, he dedicated himself to the chorale prelude, composing around 100 works in this genre. Since January 2008, the first scholarly, critical edition of the works of Max Reger (RWA) is being produced at the Max-Reger-Institute, Karlsruhe. Its design as a hybrid edition breaks new ground in the methods of editorial practice. It comprises three areas of Reger's compositional output: Organ works, Lieder and choruses and, for the first time, Max Reger's arrangements of works by other composers. To begin the series, the first seven volumes have been published and contain the organ works, which have been eagerly awaited by many.