SKU: BR.EB-8809

You will find supplementary material online

Baroque period. Score. 184 pages. Breitkopf and Haertel #EB 8809. Published by Breitkopf and Haertel (BR.EB-8809).

ISBN 9790004183786. 12.5 x 10 inches.

The now-published volumes 9 and 10 have presented a special challenge, for particularly in the field of the chorale arrangements the transmissions are more complex than in any other group of works. This ties in with the crucial question of Bach's authorship, which has been the subject of much controversy in the past. There were heated discussions about it even just prior to our edition, and editors and publisher are aware that the present selection is a thoroughly debatable snapshot. More on this in the volumes' text sections. The situation of the chorale partitas is not quite so dramatic, whereby these holdings also had to be subdivided for reasons of transmission into main section, appendix, and online presentation. The so called ,,Neumeister-Chorale are incorporated in the group of the separately transmitted chorale settings in alphabetical order, because the compilation of the pieces does not follow any collection idea of Bach (such as, for example, his larger late collections). The indication ,,Neumeister-Sammlung should facilitate the attribution. Those works requiring further research, besides of some versions, are presented online, since their profile reveals less evidence of the true author. Breitkopf has given the world a splendid edition of the organ works of Bach. These final two volumes offer a wealth of chorale-based music benefiting from the very latest research. Aside from the edition's obvious scholarly merit, a practicing church organist will love the convenience and variety of these volumes. Recommended without hesitation.(Jonathan B. Hall, The American Organist).

SKU: BR.EB-8810

You will find supplementary material online

ISBN 9790004183793. 12.5 x 10 inches.

The now-published volumes 9 and 10 have presented a special challenge, for particularly in the field of the chorale arrangements the transmissions are more complex than in any other group of works. This ties in with the crucial question of Bach's authorship, which has been the subject of much controversy in the past. There were heated discussions about it even just prior to our edition, and editors and publisher are aware that the present selection is a thoroughly debatable snapshot. More on this in the volumes' text sections. The so called ,,Neumeister-Chorale are incorporated in the group of the separately transmitted chorale settings in alphabetical order, because the compilation of the pieces does not follow any collection idea of Bach (such as, for example, his larger late collections). The indication ,,Neumeister-Sammlung should facilitate the attribution. Those works requiring further research, besides of some versions, are presented online, since their profile reveals less evidence of the true author. Breitkopf has given the world a splendid edition of the organ works of Bach. These final two volumes offer a wealth of chorale-based music benefiting from the very latest research. Aside from the edition's obvious scholarly merit, a practicing church organist will love the convenience and variety of these volumes. Recommended without hesitation.(Jonathan B. Hall, The American Organist).

SKU: HL.49019844

ISBN 9790001196659. UPC: 888680968236. 8.75x11.75x1.178 inches.

Buxtehude's organ music fascinated J. S. Bach and generations of organists ever since. Our new edition in the renowned series 'Masters of the North German Organ School' is based on the original version while taking the latest findings of the Buxtehude research into account. Vol. 1 contains 18 Preludes (pedaliter), Vol. 2 three toccatas, 1 preambulum, 2 ciacones, 9 canzonas and 3 fugues.

SKU: CA.4068919

ISBN 9790007133481. Key: D major. Language: Latin.

Beethoven described his Missa solemnis as his greatest work several times, a work which, coming from the heart, was to touch and move audiences. The surviving sources enable us to recognize how intensively and how long he worked on the composition in order to give what he felt was adequate expression to the text. In its length and musical demands, the Missa solemnis goes far beyond typical liturgical settings, and the premiere took place, for good reason, in a concert hall. The chorus plays a key structural role in the work, and in the process has to master some extremely demanding sections. The leading Beethoven expert Ernst Herttrich has produced an Urtext edition based on the available sources, and reflecting the latest state of scholarship. Score and parts available separately - see item CA.4068900.

SKU: FZ.50529

12.5 x 14 cm inches.

Anne Fuzeau Classique propose to discover our facsimiles' music in CD. Regis Allard, historical organ of Saint Michel de Bolbec (Calvados). Mass in the 8th tone for organ - Gaspard Corrette. Processional of the Royal Abbey of Chelles - Guillaume Gabriel Nivers. Romano-Monasticum Gradual - Guillaume Gabriel Nivers. Divine Office for use by the Ursuline Ladies of Dijon - Charles Derey. Improvised verses on the organ, Regis Alard.
Alternating with Nivers's 'musical plainchant', Corrette's Mass sounds like a homage of the organ to itself, as it gracefully takes on the role of preacher of the Divine Cult.
Regis Allard was trained by Andre Isoir and Michel Chapuis (for several years he had private lessons with the latter) as well as at the Schola Cantorum in Paris, where he graduated. He devotes himself exclusively to the interpretation of early music and participates in numerous events centred on historic instruments in France, Spain, Holland and northern Germany. He was a prize winner in the International Competition of French Music in Toulouse. His first disk, with pieces by Heinrich Scheidemann on the Arp Schnitger organ in the Stade church in northern Germany, received a Choc from Le Monde de la Musique. His latest recording, J. S. Bach's Art of the Fugue under the Hortus label performed on the new instrument of the church Saint Louis en l'isle in Paris, received critical praise.
Ad Limina This group of women cantors, all trained in the Conservatory, themselves music teachers, choir directors, soloists, come from either side of the French-Swiss border, whence the name Ad Limina, which means 'at the border'.
This ensemble pursues a novel exploration of the paths of religious music, from the baroque period to our day, with emphasis on Gregorian plainchant and European music from the 19th century to contemporary creation.