SKU: HL.49003538
ISBN 9790001034876. UPC: 073999336337. 9.0x12.0x0.088 inches.
Die acht Sonaten von Guilmant orientieren sich am klassischen Standard. Ursprunglich fur die Cavaille-Coll-Orgel gedacht, lassen sie sich jedoch ebenso gut auf ausserfranzosischen Orgeln ausfuhren. Zur Zeit Ihrer Entstehung waren Sie ein Novum fur die Orgel und ihre Literatur, die beide im 19. Jahrhundert an Bedeutung verloren hatten. Guilmants Kompositionen, reich an Melodik, Harmonik und vollendeter Satztechnik, spiegeln Klangmoglichkeiten und Farbenreichtum der ihm zur Verfugung stehenden Orgeln wider. Sein Einfallsreichtum und seine flussige Kompositionstechnik beeinflussten die Entwicklung der Orgelfuge in ahnlicher Weise, wie Mendelssohn dieses fur die Klavierfuge bewirkt hatte. Im Zeitraum des Vierteljahrhunderts, in dem Guilmant seine Orgelsonaten schuf, vollzogen sich im Bereich der instrumentalen Spieltechnik bedeutende Veranderungen. An Spieler und Instrument wurden nun grossere Anforderungen gestellt.
SKU: BR.EB-8041
World premiere: Dusseldorf, May 20, 1978
ISBN 9790004174401. 9 x 12 inches.
During the intensive study of Johann Sebastian Bach's Musical Offering for the creation of a commissioned composition for wind trio, I had the idea of writing a larger organ work on the Royal Theme at the same time. This is how the Three Ricercare came into being. They are multi-part fantasies for organ, which - connected by the frequently transformed thematic material of the Musical Offering and the manifoldly reshaped B-A-C-H motif - alternate between free, rapsodic parts on the one hand and strictly structured parts on the other. For my 60th birthday, W. E. v. Lewinski wrote an appreciation under the title: Music in the span between constraint and freedom. This formulation aptly characterizes the new organ work. (Jurg Baur) CD: Martin Herchenroder CD Koch 3-1846-3 H1 Bibliography: Semrau , Arno: Polpyhone Orgelmusik von Johann Sebastian Bach bis Jurg Baur, Augsburg: Wissner 2001, darin besonders pp. 259-304 und 510-532. Richter , Reinhold: Zwischen Tradition und Avantgarde zwischen Zweifel und Hoffnung. Einige Notizen zur Chor- und Orgelmusik von Jurg Baur anlasslich des 85. Geburtstages im vergangenen November, in: Forum Kirchenmusik 54 (2003), Heft 6, pp. 23-31.World premiere: Dusseldorf, May 20, 1978.
SKU: HL.49015236
ISBN 9790001072564.
Top Music an der Orgel ist besonders geeignet fur den zeitgemassen Instrumentalunterricht, bietet aber auch gleizeitig alles fur das Selbststudium. 5 Bande mit insgesamt 40 Lektionen, sinnvoll aufeinander abgestimmt, ermoglichen fur Schuler jeden Alters einen originellen Einstieg in das Orgelspiel. Pop-music, Internationale Folklore, aber auch Populare Klassik und kirchliche Musik.
SKU: BR.EB-9147
World premiere: Leon, October 2, 2001
ISBN 9790004182246. 11.5 x 16.5 inches.
CD: Jorg Abbing (organ) CD ARE 7013 Bibliography: Philippi , Daniela: Die Orgel erzieht die Seele. Zum Orgelschaffen von Theo Brandmuller, in: Organ 11 (2008), Heft 3, pp. 32-41.World premiere: Leon, October 2, 2001.
SKU: BR.EB-5613
ISBN 9790004164617. 9 x 12 inches.
SKU: CA.5027300
ISBN 9790007298456.
As well as 20 organ sonatas and seven collections of stand-alone organ pieces with opus numbers, Rheinberger composed a whole range of smaller works for organ methods or organ collections for his favorite instrument, mainly at the request of colleagues and friends. They are ideally suited for mass and organ lessons.This organ volume brings together twelve compositions Rheinberger wrote for different occasions and at various points during his career. Included in the collection are seven short pieces in different keys that date from the early 1860s. Rheinberger wrote these at the request of his teacher Herzog and others for several organ collections of “easy, performable†pieces – and they are rewarding pieces for liturgical use. The works without opus numbers (WoO 10, 37, 56, 70) can no longer be regarded as early works. The Fugue in F minor WoO 10 of 1867, with its tendency to translate counterpoint into expressive chordal writing, already displays many characteristics of the late Rheinberger, the Canzonetta WoO 77 is a late work from autumn 1899, whereas the Romanze WoO 70 is a second version of no. 1 of the Miscellaneen op. 174 in the easier to play key of C major.Separate edition from Supplementary Volume 3 of the Rheinberger Complete Edition.
SKU: CA.2071131
Key: C major. Language: German/English.
Attributed to Schutz by Heinrich Spitta. Score and part available separately - see item CA.2071100.
SKU: CA.2071132
SKU: CA.2071133
SKU: CA.5039819
ISBN 9790007133603. Key: C major. Language: Latin.
The Graduale pro omne tempore Eja gentes was discovered in a contemporary manuscript copy at the Lower Austrian pilgrimage basilica Sonntagberg. Joseph Haydn is named as the composer of this festive motet, very suitable for combination with classical Mass settings at services and concerts. The use of the organ as a solo instrument gives the work a particularly attractive character. Score and parts available separately - see item CA.5039800.
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: CA.3105807
ISBN 9790007043216. Key: C major. Language: German/English.
The cantata O God, what glut of care and pain BWV 58, which Bach subtitled Dialogus and wrote for the Sunday after New Year, limits itself accordingly to the dialog couple consisting of soprano and bass; further soloists or a choir are not required. In the framing movements, the dialog takes on the form of a chorale arrangement: the soprano presents a cantus firmus whose words are consolingly commented on by the bass. Both the expansive chorale arrangements leave room for an aria which is framed by two recitatives. The cantata was composed for the Sunday after New Year 1727, but the received form is from a subsequent performance that took place six or seven years later. For this performance, Bach not only expanded the instrumentation but also replaced an entire aria. Later, he assigned the cantata to his annual cycle of chorale cantatas, probably due to its high proportion of chorales; this Sunday was missing in that annual cycle as there was no Sunday between New Year and Epiphany in 1725. Score available separately - see item CA.3105800.
SKU: BR.EB-9025
World premiere: Munich, 1968
ISBN 9790004179086. 9 x 12 inches.
Dieses Stuck habe ich ziemlich am Anfang meines Kompositionsstudiums bei Gunter Bialas geschrieben. Es hat noch stark hervortretende ,,satztechnische Elemente, handelt aber in vier Satzen von verschiedenen Ritualen der Orgel beziehungsweise des Orgelspiels. 1. Satz: Das Ritual des Registrierens, 2. Satz: Das Ritual des Kanons in einer komplizierten und virtuosen Form, 3. Satz: Das Ritual der Triosonate beziehungsweise des Trios, 4. Satz: Das Ritual der aleatorischen Improvisation und des tiefen Pedaltones C. (Nicolaus A. Huber, 1991)World premiere: Munich, 1968.
