SKU: BR.EB-9110

World premiere: Nuremberg, July 5, 1997Commissioned by Internationale Orgelwoche Nurnberg

ISBN 9790004181676. 12.5 x 10 inches.

Der Titel bezieht sich auf ein Fragment aus der Apokalypse nach Johannes.Die Aufmerksamkeit des Horers wird in diesem Orgelwerk auf die ruhelos changierenden Klangraume gelenkt. Die Unendlichkeit dieser Raume lassen Farben entstehen wie Wellen eines allen durchflutenden Ozeans.Von Augenblick zu Augenblick wechseln gewaltige Bilder von Licht und Farbe mit geheimnisvollen, ruhenden Momenten, die wie Spaltoffnungen zu anderen Dimensionen sich verhalten.Durch Friedemann Herz hat dieses Werk den ersten idealen Interpreten gefunden.(Adriana Holszky)CD:Dominik Susteck (organ)CD WERGO WER 6789 2Bibliography:Petersen, Birger: Neue Musik. Analysen, Berlin: Simon Verlag fur Bibliothekswissen 2013, pp. 97-110.

World premiere: Nuremberg, July 5, 1997, Commissioned by Internationale Orgelwoche Nurnberg.

SKU: HL.49004337

ISBN 9790001045070. UPC: 884088097196. 8.75x12.0x0.067 inches.

SKU: MN.12-128

UPC: 688670121289.

The three movements that make up Nocturnes, Book I are programmatic pieces that take as their points of departure a painting, the rhythms of a great city, and a poem. 1. The Starry Night is a written down improvisation based on Vincent van Goghs famous picture of the same name. The tonal material is a quite literal transformation of the visual elements of the painting: the melismatic cadenzas mirror van Goghs swirling starlight, and the powerful chords were suggested by the sinister trees that shoot upward to puncture the skys patterns. 2. Stovers Rag is a product of the ragtime revival of the early 1970s, when many composers tried their hand at writing concert rags. The New York night, which was not without its sinister element in those days, is expressed in an updating of the classic ragtime format. The piece looks backward as well, with the old French Baroque basse de trompette making an appearance in the trio section. 3. The Song of Shadows taps the nostalgic mood typical of the poetry of Walter de la Mare. The poem of the same name pictures a lone musician on a winter night, an dog sleeping before a sinking fire, and, at the end, the spirits that are summoned by music. The opening melody, played on an 8 flute with tremulant, suggests the blues-tinged sound of an alto saxophone, and throughout the movement the organs capacity for sustained tone is used to suggest and atmosphere of dreamy timelessness. The pieces were written in 1971 and first performed on July 2, 1972 at the National Shrine of the Immaculate Conception in Washington, DC, with the composer at the console.