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.14019447

ISBN 9788759868195. UPC: 888680967710. English.

The Planets is cast as a single unit, consisting of seven movements, varying greatly in character, each of which describes a planet or a celestial body. Luna is a contrast to the sun. The sun is enormous, strong and warm whereas the moon is weak, thin, cold and mysterious because it borrows its light from the sun. While 'Luna' described the mysterious moon with cold, thin sound colours.

SKU: HH.HH304-SOL

ISBN 9790708092537.

Tim Raymond's dramatic and inventive organ piece was composed for the instrument in St Bavo's Cathedral in Ghent, Belgium, and was inspired by a plainchant melody found in a manuscript compiled there in 1481. Atmospheric, mysterious and fluid textures alternate with energetic, toccata like passages, reflecting and transforming the pitch structures and temporal proportions of the chant a meditation on the Trinity. A further dimension connects and resonates with the colourful pantheism and cosmic symbolism of the Van Eyck brothers' famous fifteenth century altarpiece, The Adoration of the Sacred Lamb, created for, and housed in, St Bavo's.

SKU: ST.H477

ISBN 9790220223532.

Written in the year of the Queen's Diamond Jubilee, Malcolm Archer reflects the mood of national celebration in his new march for organ The Royal Standard. The title alludes to the famous emblem of royalty that flies proudly over Buckingham Palace when the sovereign is in residence. Befitting its subject, this stirring music is in the high ceremonial style of Elgar and Walton, as colourful as the royal banner in blue, red and gold, but with a modern flavour too in its syncopated main theme. Director of Chapel Music at Winchester College, Malcolm Archer needs no introduction as a church musician, conductor, composer and recitalist. The piece is of intermediate standard, and is suitable for a variety of instruments with two manuals and pedals.

SKU: FG.55011-448-7

ISBN 9790550114487.

Uuno Klami (1900-1961) was born in Virolahti and studied in Helsinki, Paris and Vienna. While living in the capital city Helsinki, he always spent his summers in the original homestead in Virolahti.
Klami is most known for his colourful orchestral works, but works for piano frame the different times of the composer's life nicely. The piano works are so joyous that transcribing from for organ is firmly based.

Surumarssi (Trauermarsch) Op. 8 was composed when Klami was 16 years old, most likely in memory of his late mother. Pastoral A-flat major was composed in December 1919; I find it contains the feeling of Christmas. Barcarole Op. 5 is a French-influenced work. I often find myself thinking of a boat bobbing on waves, while I play this work.
I believe these organ transcriptions bring many joyful moments in concerts as well as in other congregational use. And not only that: they can be used as pedagogic material as well.

SKU: HL.14042524

ISBN 9788759826928.

Vintersalme-Musik (1980) - Choral prelude for Organ. Orig. title: Vintersalme.

Programme note:

When in 1975 I had finished composing my 3rd Symphony (begun in 1973), I wrote three simple melodies for two psalm texts by Ole Sarvig “The Year” and “Choral Hymn”. One of these was later included in the Danish Hymnbook under the title “Året – Som året går” (The Year). 
These three “Sarvig tunes” were derived from the same material as the second movement of the symphony and could be harmonized together in several different temporelationships at the same time - like fractals. This inspired me to write several choral and instrumental works in the following decade based on these melodies: for instance “Frost Psalm”, “Winter Cantata”, “Cycles”, “Cantica” and this piece for organ, all coloured by the Nordic and mythic poem by Sarvig, the beginning of which goes: 

The passing year will pass its deep 
So shall our mind reach winter´s sleep. 
And as the tree stands leafles, bare, 
Is winter´s realms: our minds aware. 

Per Nørgård 

SKU: HL.49019362

ISBN 9790001176552. UPC: 884088924263. 9.0x12.0x0.166 inches.

Used as a place of worship for centuries, first by Christians and then by Muslims (from 1453), the Hagia Sophia (Istanbul) still amazes people from all over the world. Since 1934, it is a museum but more than that, the Hagia Sophia, a unique architectural work of monumental proportions in Christian Antiquity and the Middle Ages, is described as a mystical place. Monumental, yet mysterious, a 'miracle of space', a symbol, a sign. 'Sophia', the holy wisdom, accompanies us through the whole Bible history. The line and sound of Hagia Sophia are based on a symmetrical eight-note row (mode B) with the notes B, C sharp, D, E/F, G, A flat (G sharp), B flat (A sharp). Although the major-minor relations are removed, harmonic connections (colours) emerge nevertheless.

SKU: HL.48184701

UPC: 888680840761. 9.0x12.0x0.094 inches.

“Composed in 1942, Titelouze?s tombstone by Marcel Dupré is a set of sixteen chorals for Organ. Based on liturgical rhythms, these chorals are rated easy and medium in term of difficulty. This musical memorial to Jehan Titelouze, an organist who lived at the period of the Spanish Armada (16th century), is a pedagogical work with melody mainly based on Gregorian music. These sixteen studies, all very different and very progressive are: 1. Creator Alme Siderum (3 voices ? manuals only) 2. Jesu Redemptor Omnium (3 voices ? manuals only) 3. A solis Ortus Cardine (3 voices) 4. Audi Benigne Conditor (3 voice) 5. Te Lucis Ante Terminum (4 voices) 6. Coelestis Urbs Jerusalem (4 voices) 7. As Regias Agni Dapes (4 voices) 8. Veni Creator Spiritus (4 voices) 9. Vexilla Regis (4 voices) 10. Pange Lingua (3 voices) 11. Ave Maris Stella (4 voices) 12. Iste Confessor (4 voices) 13. Lucis Creator Optime (4 voices) 14. Ut Queant Laxis (5 voices) 15. Te Splendor et Virtus (5 voices) 16. Placare Christe Servullis (Toccata) Each choral of this set is really colourful and can be considered a masterpiece.”.

SKU: OU.9780193369139

ISBN 9780193369139. 12 x 9 inches.

Processional bustles with cheerful positivity throughout, its rondo-like structure clarified by the memorability of its abundant melodies. The harmony is modal to begin with, but moves from this deliberately archaic sound to more piquant and modern colours, building to a triumphant conclusion.

SKU: HL.14010744

8.25x11.75x0.12 inches.

Written to display the tone-colours of the modern organ.