(E-Z Play Today #199). Composed by Various. For Organ, Piano/Keyboard, Electronic Keyboard. E-Z Play Today. Softcover. 528 pages. Published by Hal Leonard

Organ solo

SKU: CA.1805220

Composed by Various. Edited by Helmut Volkl. This edition: Paperbound. Hymns by Martin Luther: Ausgaben mit mehreren Luther-Liedern. German title: Vorspiele +Begleitsatze. Organ music based on hymns, Advent, End of the church year, Epiphany, Lent and Passiontide, Ascension, Easter and Eastertide, Whitsun, Trinity, Christmas, Eucharist, Communion, Wedding, Confirmation, Morning, midday, evening. Collection. 160 pages. Carus Verlag #CV 18.052/20. Published by Carus Verlag (CA.1805220).

ISBN 9790007100223.

Score available separately - see item CA.1805200.

Organ solo

SKU: AP.6-296962

Composed by Jean-Francois Dandrieu and Louis-Claude Daquin. Masterworks; Organ - Method or Collection. Dover Edition. French and Classical. Book. 96 pages. Dover Publications #06-296962. Published by Dover Publications (AP.6-296962).

ISBN 9780486296968. UPC: 9780486296968. 9x12 inches. English.

These 40 beautiful French pieces by Daquin, Dandrieu and Balbastre are sure to charm organ-loving audiences everywhere.

By Johann Sebastian Bach. Edited by Griepenkerl, Roitzsch. For Organ. Published by C.F. Peters.

By Various. Edited by Volkl, Helmut. This edition: paperbound. Organ Music (hymns); Occasions: Eucharist, Peace and Justice, Wedding, Confirmation, Praise and thanks, Morning, Midday, Evening, Psalms, Baptism, Mourning, Death, Our Father, Advent, End of the church year, Epiphany, Lent and Passion, Ascension, New Year. Collection. 96 pages

By Lars Hagstrom and Jeremy Chesman. Method/Instruction; Organ Method (Suzuki); Suzuki. Suzuki Organ School. Book. 72 pages. Alfred Music #00-47161. Published by Alfred Music

By Johann Sebastian Bach. Edited by Griepenkerl, Roitzsch. For Organ. Published by C.F. Peters.

Organ Solo. By Dan Locklair. Organ Large Works. Size 9x12 inches. 36 pages. Published by E.c. Kerby.

By Trevor. For Organ. Classical. Sheet Music. 32 pages. Published by Novello & Co Ltd.

SATB choir, 2 trombones [2 violas], organ

SKU: CA.2770500

Composed by Leopold Hofmann. Edited by Guido Erdmann. This edition: paperback. Music from Vienna. Sacred vocal music, Mourning, death. Full score. Composed nach 1790. 12 pages. Duration 4 minutes. Carus Verlag #CV 27.705/00. Published by Carus Verlag (CA.2770500).

ISBN 9790007166588. Language: Latin.

Man that is born of woman hath but a short time to live is one of the central biblical texts dealing with the transitoriness of human existence. Leopold Hofmann, Kapellmeister at St. Stephen's Cathedral in Vienna from 1772 to 1793, where W. A. Mozart was his church music assistant, also set this strongly expressive text. Hofmann's setting, in C minor, offers an austere harmony, characterized by suspensions in a homophonic, through-composed four-part vocal setting (soloists or SATB choir), reinforced only by two trombones and organ continuo. Four concise instrumental transitional passages between the individual verses relieve the pathos laden Viennese church style of this composition. With its tragic air, in some passages it closely resembles Mozart's Requiem K. 626. For this first edition, the two trombone parts are available both in the original clef and in alto clef. The figured bass has been realized so that the piece can also be performed without trombones, with only organ accompaniment. For a performance this piece could easily be combined with the Salve Regina by Pietro Cassati (Carus 27.703) from the Vienna series.

SATB Choir, 2 Trombone [2 Vioas], Organ

SKU: CA.2770505

Composed by Leopold Hofmann. Edited by Guido Erdmann. Music from Vienna. Sacred vocal music, Mourning, death. Choral Score. Composed nach 1790. 4 pages. Duration 4 minutes. Carus Verlag #CV 27.705/05. Published by Carus Verlag (CA.2770505).

ISBN 9790007166595. Text language: Latin.

Man that is born of woman hath but a short time to live is one of the central biblical texts dealing with the transitoriness of human existence. Leopold Hofmann, Kapellmeister at St. Stephen's Cathedral in Vienna from 1772 to 1793, where W. A. Mozart was his church music assistant, also set this strongly expressive text. Hofmann's setting, in C minor, offers an austere harmony, characterized by suspensions in a homophonic, through-composed four-part vocal setting (soloists or SATB choir), reinforced only by two trombones and organ continuo. Four concise instrumental transitional passages between the individual verses relieve the pathos laden Viennese church style of this composition. With its tragic air, in some passages it closely resembles Mozart's Requiem K. 626. For this first edition, the two trombone parts are available both in the original clef and in alto clef. The figured bass has been realized so that the piece can also be performed without trombones, with only organ accompaniment. For a performance this piece could easily be combined with the Salve Regina by Pietro Cassati (Carus 27.703) from the Vienna series. Score available separately - see item CA.2770500.

Versuch einer kurzen Anleitung zur Improvisation des Choralvorspiels. Praxisbezogene Beschreibung von Gestaltungsmoglichkeiten des 2-, 3- und 4stimmigen Satzes sowie verschiedener Formen der Choral-Imitation. By Fritz Dietrich. For Organ. Playing Score (paperbound). Published by Baerenreiter-Ausgaben (German import).

(Short Pieces). By Carl Philipp Emanuel Bach (1714-1788). Edited by Jochen Reutter. For organ. Study score. 116 pages. Published by Wiener Urtext/Vienna Urtext

Organ - advanced

SKU: HL.49045437

For Organ. Composed by Enjott Schneider. This edition: Saddle stitching. Sheet music. Organ Large Works. Classical. Softcover. Composed 2016. 48 pages. Duration 24'. Schott Music #ED 22668. Published by Schott Music (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.'.