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.49006500
ISBN 9790001070584. 9.0x12.0x0.38 inches.
Ausgabe mit Akkordsymbolen, Tastensymbolen fur akkordprogrammierte Orgeln (Easychord, Chordomatic etc.), Fingersatzen, Registrieranweisungen, Registrierschema, Akkordgrifftabelle.
SKU: CA.2071125
Key: C major. Language: German/English.
Attributed to Schutz by Heinrich Spitta. Score and part available separately - see item CA.2071100.
SKU: CA.739300
ISBN 9790007172268. Text language: Latin.
Veni was composed by Kay Johannsen in November 2015. Similar to his 2010 work Et vidimus gloriam eius for four choral groups (SSA, TTB, SATB, SATB) and organ based on the beginning of St John's Gospel, Veni requires a spatial separation of three four-part choirs. The starting point of the composition is the 12th century hymn Veni redemptor gentium by St Ambrose of Milan, which Martin Luther used as the basis of his 1524 hymn Nun komm, der Heiland. The four sections of the cantus firmus are sung in turn by all the basses, altos, sopranos, and tenors, each part at a louder dynamic than the other parts. For the accompanying voices Johannsen uses different principles of canonic technique and motivic variation, with most of the material derived from the cantus firmus. The organ part of this 12-part chorale arrangement provides a harmonic orientation, but is completely independent and introduces both moments of rhythmic accentuation and elements of veiling. The choral writing is also deepened and elevated by the organ sounds derived from the text. Despite all the motivic links between the parts, the music has a direct sensual effect as a sound collage. The work ends with three increasingly distant, homophonic invocations of Veni: the plea Komm occurs at the beginning as at the end.
SKU: GH.WC0441
ISBN 9790661540441.
Variatonsverk for orgel.
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