SKU: BR.EB-8259
World premiere: Munich, 1980
ISBN 9790004175750. 9 x 12 inches.
Das Fragment Kyrie eleison fur Orgel im Fruhjahr 1980 fur Zsigmond Szathmary komponiert ist Fragment im fruher angedeuteten Sinn. Als Ausschnitt aus dem Labyrinth unserer musikalischen Moglichkeiten, als Teilausdruck von diesen. Vielleicht auch Beginn eines grosseren Zyklus.Zugleich Ruckerinnerung an meine musikalische Kindheit, als ich, die Pedale mit den Fussen kaum erreichend, auf einer Orgelbank sass in einem kleinen Dorf mit dem schonen Namen Odenspiel, improvisierend ohne Ende, traumverloren.Spater wurden Kirche wie Orgel zum Problem. In neuen Stucken nun Ausgang von einfachen Elementen (Ton und Farbe, Intervall und Cluster, periodischer und aperiodischer Rhythmus, Gestik und Feld), Versuch, entsprechend den Bedingungen der Orgel, Punkt und Linie zur Flache zu formen. Auch zu explosiven Ausbruchen.Die Tone zu Beginn und Ende bilden ein Halbtonintervall, zugleich ein stationares Tongewebe. Erinnerung eines alten Klagerituals? Versteinert als nicht mehr mogliches oder noch nicht wieder mogliches Kyrie eleison?(Friedhelm Dohl)Bibliography:Petersen, Birger: Neue Musik. Analysen, Berlin: Simon Verlag fur Bibliothekswissen 2013, pp. 111-120.World premiere: Munich, 1980.
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.1800000
ISBN 9790007110154.
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: HL.253940
12.0x9.0 inches.
Jan Rybarskis Fantasia for Organ is a work of a great emotional impact. Its romantic dramaturgy leads the listener into the state of deep reflections. The work is monumental; its structure resembles a one-part sonata with a fugue in the middle fragment. The arrangement requires organs with minimum 16-18 voices in two manuals. Despite fast passages and at times complicated harmony that require a lot of practice, the work is played with comfort. The author, as an organist-practitioner, uses difficult technical elements that he controls in a perfect manner. The proportion of the traditional and modern harmonics is ideal, which means it perfectly corresponds to the dramaturgy of the work. The main formative element is the rhythm that - as the author claims himself - inspires, opens both the performer and the listener to the experience. The structure of the Fantasia brings connotations to the course of a human life, with a film story that apparently is different for everyone, but conveys one truth common to all people: in order to overcome difficulties, you need to trust God.
SKU: HL.263189
ISBN 9788759839294. 12.0x8.5x0.13 inches.
Triptykon / Triptych for Organ solo by Niels Rosing-Schow. Triptych is written for the celebration of the 500th anniversary of the Reformation in 2017, commissioned by The Danish Society of Organists and Cantors. From the preface: The three movements of the work are musical images or situations, with the middle one, Toccata, as its axis. The latter is intended as an image of the dispute between Luther and the ecclesiastical authorities, which is the origin of the Reformation. Two of Luther's Reformation Hymns are more or less palpably present in the music. The other two movements can be regarded as 'before' and 'after'. The first, Exordium, is a 'fluid' situation, but also a preparation, which gradually accumulates a suspense pointing towards the discharge of energy of the Toccata. The third movement, Hymn, represents a serene situation, where a wealth of hymnal fragments grows out of an underlying structure, repeated several times(technically speaking, a passacaglia). There are also elements, however, which are derived from the previous movements. Niels Rosing-Schow (2016).
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