SKU: CA.5011900

ISBN 9790007188153. Key: E flat minor. Language: all languages.

The 6th Organ Sonata, composed in 1880 in E flat minor, was the first of a series of sonatas in Rheinberger's output which are more strongly symphonic. One of the features they display is the expansion of the previous three movements to a four-movement form. The grand introductory movement is followed by an Intermezzo, a gentle programmatic Marcia religiosa, and a highly effective tightly-constructed fugal Finale.

SKU: CA.2440900

ISBN 9790007068967.

Facsimile edition of the Ochsenhauser Orgelbuch, with critical first edition. Almost 270 years following its completion, for the first time the Ochsenhauser Orgelbuch, a unique collection of organ music from southern Germany, will be published and thus made accessible to the music world. In honor of the completion of the restoration of the Gabler organ in Ochsenhausen this important, with its wonderful color illustrations, has been published in a high-quality limited two-volume edition.

SKU: CA.5014200

ISBN 9790007140816. Key: B flat minor. Language: all languages.

Josef Gabriel Rheinberger dedicated his 9th Organ Sonata (composed in May 1885) to Alexandre Guilmant, the indefatigable concertizing virtuoso who had already given the first Paris performance of Rheinberger's 1st Organ Concerto (in F major, op. 137). With opulent harmonies, conspicuously frequent tempo changes, and chords which are a true delight when played on a Cavaille-Coll organ, the rhapsodic Fantasie at the beginning of the 3rd movement certainly lives up to its name. The separate edition is taken from the Rheinberger Complete Edition.

SKU: SU.80101396

Trilogy on B-A-C-H (2017) uses as its musical material a familiar four-note theme: the letters B-A-C-H (the last name of Johann Sebastian Bach) treated as a musical motive: B-flat, A, C, B-natural (H in German note naming). Starting with Bach himself, this theme has been used by a truly enormous number of composers over the centuries. Most B-A-C-H themed works (at least those for organ), tend to be extremely contrapuntal, likely taking their cue from much of Bach's own organ music. This piece explicitly goes in the other direction and use the theme primarily motivically/melodically and as a generating force for the kind of mixed modality that is typical of Cooman's music. The first movement is an energetic march. The second movement is a lyric meditation containing both an arioso and a short quasi-passacaglia, in which the B-A-C-H motive repeats slowly in the pedals. The last movement is a free fantasia: the motive appears both in chorale-like long notes and as a fast, turning figure. Instrumentation: Organ Duration: 12' Composed: 2017 Published by: Zimbel Press.