SKU: HL.49045437
ISBN 9790001162715. UPC: 841886029088. 9.0x12.0x0.168 inches.
On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther.The composer describes the five movements of the symphony as follows:'1st movement:Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people.2nd movement:In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time.3rd movement:The omnipresence of death and dying - from the plague and war to the never-ending dangers of daily life - was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air.4th movement:The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air.5th movement:The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'.
SKU: HL.14031560
ISBN 9788759811009. International (more than one language).
STILL. LEBEN Organist Eva Feldbc:ek had been asking me for a long time to write for the organ without the use of iron blocks, extra stopping assistants etc .... unusual difficulties that belonged to my earlier organ music. I setmyselfthe task of Miting a ''handier'' kind of music for the organ. Once I had finished STILL. LEBEN, I didn't think I had achieved what I was looking for. True, the two movements did not involve odd things, but handy isn't really the word for them either. So I wrote the three movements in COUNTERMOVE to tidy up even more. And since I didn't think that was enough either, I wrote the really simple pieces under the title IN TRIPLUM. The three series(eight pieces in all, 2 + 3 + 3) sound very different, but they all take their point of departure from the nature and tonal resources ofthe organ. Everywhere there is polyrhythm or hierarchical layering, polychromaticism, diatonics and melody (the last of these only sparingly and in some of the movements). Pelle Gudmundsen-Holmgreen.
SKU: CA.1805200
ISBN 9790007100209.
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: 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: HL.48024624
ISBN 9781540052834. UPC: 888680940782. 9.0x12.0 inches.
Organ transcription of Anthony Payne's 2006 orchestral completion from Elgar's sketches. Robert Gower comments, Working from the orchestral score confirms Payne's musical intuition in taking fragments and developing them into an entirely convincing whole, one imbued with Elgarian spirit and characterised through the economical precision of his own art. Here, intellectual and artistic integrity combine to construct overall architecture in which not a note is wasted, painstaking care is evident in the subtle details of instrumental coloring, and where there is thrilling rhythmic forward propulsion. In saluting the skills of both composers, I have sought to open out for organists the excitement and sincerity of their work, being designed for performance not only on larger organs with a full range of orchestral color, but also made entirely feasible for performance on smaller two-manual instruments..
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