SKU: HL.49016184
ISBN 9790001140782. UPC: 884088202484. 9.0x12.0x0.145 inches.
Schneider's Organ Symphony No. 1 is in the tradition of the French organ symphonies (Widor, Vierne, Durufle). With its general tendency from the desperate dark to the comforting bright, the symphony brings up the air of the praying and pleading of suffering people as a theme. The 'pater noster' as archetype of the prayer is cited in all movements.
SKU: FZ.6069
ISBN 9790230660693. 23.50 x 31.50 cm inches.
This facsimile of the manuscript by Guillaume Lasceux is part of our Dominantes collection. Presentation by Jean Saint-Arroman: Registrations for the Annuaire de l'organiste. Index. In a different style, this work is nevertheless in the tradition of the liturgical organist of the XVIIIth century. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the National Library of Paris (France). Anne Fuzeau Classique propose period copies of classical music scores.
SKU: AP.1-ADV7064
UPC: 805095070644. English. Traditional.
This collection of pieces for saxophone and organ or piano, Spirituals for Saxophone arranged by Friedemann Graef, is designed for use in concert performances as well as for church services and other ceremonies. This traditional American spiritual, Swing Low, Sweet Chariot, has been extended by composed introductions and endings, or interludes and written solos. The notated solos here are the results of more than ten years of the arranger's personal experience with these tunes and chord changes. The organ part may also be played on acoustic piano if the bass voice is played one octave lower in respective passages---these passages are marked. There is a transposed part for B-flat and E-flat saxophones. Due to the different register of the tenor and alto saxophone, a few notes of the alto saxophone parts have been changed for a more effective sound.
SKU: AP.1-ADV7061
UPC: 805095070613. English. Traditional.
This collection of pieces for saxophone and organ or piano, Spirituals for Saxophone arranged by Friedemann Graef, is designed for use in concert performances as well as for church services and other ceremonies. This traditional American spiritual, Lord I Want to Be a Christian, has been extended by composed introductions and endings, or interludes and written solos. The notated solos here are the results of more than ten years of the arranger's personal experience with these tunes and chord changes. The organ part may also be played on acoustic piano if the bass voice is played one octave lower in respective passages---these passages are marked. There is a transposed part for B-flat and E-flat saxophones. Due to the different register of the tenor and alto saxophone, a few notes of the alto saxophone parts have been changed for a more effective sound.
SKU: AP.1-ADV7069
UPC: 805095070699. English. Traditional.
SKU: AP.1-ADV7062
UPC: 805095070620. English. Traditional.
This collection of pieces for saxophone and organ or piano, Spirituals for Saxophone arranged by Friedemann Graef, is designed for use in concert performances as well as for church services and other ceremonies. This traditional American spiritual, Sometimes I Feel Like a Motherless Child, has been extended by composed introductions and endings, or interludes and written solos. The notated solos here are the results of more than ten years of the arranger's personal experience with these tunes and chord changes. The organ part may also be played on acoustic piano if the bass voice is played one octave lower in respective passages---these passages are marked. There is a transposed part for B-flat and E-flat saxophones. Due to the different register of the tenor and alto saxophone, a few notes of the alto saxophone parts have been changed for a more effective sound.
SKU: AP.1-ADV7068
UPC: 805095070682. English. Traditional.
This collection of pieces for saxophone and organ or piano, Spirituals for Saxophone arranged by Friedemann Graef, is designed for use in concert performances as well as for church services and other ceremonies. This traditional American spiritual, Oh Freedom, has been extended by composed introductions and endings, or interludes and written solos. The notated solos here are the results of more than ten years of the arranger's personal experience with these tunes and chord changes. The organ part may also be played on acoustic piano if the bass voice is played one octave lower in respective passages---these passages are marked. There is a transposed part for B-flat and E-flat saxophones. Due to the different register of the tenor and alto saxophone, a few notes of the alto saxophone parts have been changed for a more effective sound.
SKU: AP.1-ADV7063
UPC: 805095070637. English. Traditional.
SKU: AP.1-ADV7066
UPC: 805095070668. English. Traditional.
SKU: AP.1-ADV7060
UPC: 805095070606. English. Traditional.
This collection of pieces for saxophone and organ or piano, Spirituals for Saxophone arranged by Friedemann Graef, is designed for use in concert performances as well as for church services and other ceremonies. This traditional American spiritual, O Happy Day, has been extended by composed introductions and endings, or interludes and written solos. The notated solos here are the results of more than ten years of the arranger's personal experience with these tunes and chord changes. The organ part may also be played on acoustic piano if the bass voice is played one octave lower in respective passages---these passages are marked. There is a transposed part for B-flat and E-flat saxophones. Due to the different register of the tenor and alto saxophone, a few notes of the alto saxophone parts have been changed for a more effective sound.
SKU: AP.1-ADV7067
UPC: 805095070675. English. Traditional.
SKU: AP.1-ADV7065
UPC: 805095070651. English. Traditional.
SKU: BR.EB-9306
ISBN 9790004187708. 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.
SKU: BR.EB-9415
ISBN 9790004188897. 12 x 9 inches.
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).
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.14019451
ISBN 9788759809266. English.
Written in 1995 as one part of Lorentzen's 'Suite of Seven Pieces for organ', Mercurius is a symbol of merchants, trade and thiefs, traditionally depicted with wings on his heels, forever restless, scurrying about. The music is divided into sequences of four, resulting in a sense of weightlessness and hurried urgency. The first complete performance of 'The Planets' took place in 1996 and was given by Jens E. Christensen.
SKU: HL.49044329
ISBN 9790001199452. UPC: 841886022386. 9.0x12.0x0.12 inches.
Wittrich's modern interpretation of one of the most famous chorales in which traditional forms and structures of traditional church music merge with flavours of jazz, rock and pop music.
SKU: HL.14005770
9.0x12.0x0.047 inches.
Charles Villiers Stanford was an Irish composer, music teacher, and conductor. Stanford composed a substantial number of concert works, including seven symphonies, but his best-remembered pieces are his choral works for church performance, chiefly composed in the Anglican tradition. Admitted to Queens College, Cambridge with an Organ scholarship Stanford had written a substantial number of compositions, including vocal music, both sacred and secular, and orchestral works before getting involved with the university's Musical Society. While still an undergraduate, Stanford was appointed organist of Trinity College, Cambridge.
Part of the'Four Intermezzi Op. 189' Intermezzo On An Irish Air for Organ is based on the melody of the well-known 'Londonderry Air'. The traditional Irish tune was first collected in the mid 19th century by Jane Ross, and is recognised all around the world by the Irish Diaspora. Duration ca. 6:20.
SKU: HL.49019695
ISBN 9790001191142. 9.0x12.0x0.15 inches. German.
Three fairy-tales based on traditional texts, arranged as a melodrama by Enjott Schneider. The fairy-tales require a gripping narrator and an imaginative organist who finds colourful and gentle sounds that are dramaturgically suitable, depending on the specification of the organ. A valuable addition to the repertoire for organ concerts, organ inaugurations or children's and youth concerts.
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