SKU: FG.55011-448-7
ISBN 9790550114487.
Uuno Klami (1900-1961) was born in Virolahti and studied in Helsinki, Paris and Vienna. While living in the capital city Helsinki, he always spent his summers in the original homestead in Virolahti. Klami is most known for his colourful orchestral works, but works for piano frame the different times of the composer's life nicely. The piano works are so joyous that transcribing from for organ is firmly based. Surumarssi (Trauermarsch) Op. 8 was composed when Klami was 16 years old, most likely in memory of his late mother. Pastoral A-flat major was composed in December 1919; I find it contains the feeling of Christmas. Barcarole Op. 5 is a French-influenced work. I often find myself thinking of a boat bobbing on waves, while I play this work. I believe these organ transcriptions bring many joyful moments in concerts as well as in other congregational use. And not only that: they can be used as pedagogic material as well.
SKU: BA.BA08269
ISBN 9790006520206. 29.6 x 20.8 cm inches.
World Premiere 10/02/2002, Vaihingen.
SKU: HL.49018085
ISBN 9790001168892. UPC: 884088520106. 9.0x12.0x0.203 inches. German.
St. Nicolas Church in Leipzig: the 9th of October 1989 saw the last great peace prayer with the Beatitudes, followed by the momentous non-violent peace demonstration. The famous film composer Enjott Schneider created a touching monument to the events of Leipzig by setting the Beatitudes from the Sermon on the Mount to music.In his motet for mixed choir, string trio, bassoon and organ, he captures the extraordinary mood of that day musically in three movements (I In Not - In time of need, II Barmherzigkeit - Mercy, III Hoffnung - Hope).The demanding, yet impressive choral work is perfect for church services.
SKU: SU.80200404
Contents: I. Sinfonia II. Vocalise III. Momentary March IV. Mutanza Oblongata 16 page book Published by: Dunstan House.
SKU: BR.EB-9110
World premiere: Nuremberg, July 5, 1997Commissioned by Internationale Orgelwoche Nurnberg
ISBN 9790004181676. 12.5 x 10 inches.
Der Titel bezieht sich auf ein Fragment aus der Apokalypse nach Johannes.Die Aufmerksamkeit des Horers wird in diesem Orgelwerk auf die ruhelos changierenden Klangraume gelenkt. Die Unendlichkeit dieser Raume lassen Farben entstehen wie Wellen eines allen durchflutenden Ozeans.Von Augenblick zu Augenblick wechseln gewaltige Bilder von Licht und Farbe mit geheimnisvollen, ruhenden Momenten, die wie Spaltoffnungen zu anderen Dimensionen sich verhalten.Durch Friedemann Herz hat dieses Werk den ersten idealen Interpreten gefunden.(Adriana Holszky)CD:Dominik Susteck (organ)CD WERGO WER 6789 2Bibliography:Petersen, Birger: Neue Musik. Analysen, Berlin: Simon Verlag fur Bibliothekswissen 2013, pp. 97-110.World premiere: Nuremberg, July 5, 1997, Commissioned by Internationale Orgelwoche Nurnberg.
SKU: VD.ED28942
ISBN 9790202019429. 11.69 x 8.26 inches.
SKU: M7.DOHR-28942
ISBN 9790202019429.
SKU: HL.49017447
9.25x12.25x0.185 inches.
The Bitter Earth (Horka hlina) cantata was written in 1960 and it was originally conceived for a mixed choir and organ. The composer soon found, however, that this instrumental accompaniment limited the performance possibilities of the piece to a certain extent and he therefore created a piano transcription of the organ part for a later edition which was printed in 1987.The composition sets to music the verses of Jaroslav Seifert from the collection Turn Out the Lights (Zhasnete svetla) which was written in the period of the nation's peril prior to the Second World War. The genuine and totally non-cliched patriotism expressed in these texts has long outgrown the historical connection to the moment of their inception and it continues to bear wtness to Seivert's fervent love for this country.
SKU: GI.G-8394
UPC: 785147839460.
Six Carols of Christmas is a wonderful collection of short, easy-to-prepare organ pieces based on the folk songs of distant lands. They are flexible enough to use at any moment in the liturgy, whether prelude, interlude, or postlude. These carols require moderate skill and are best played on a 2-manual organ. CONTENTS: Come, All Ye Shepherds (Czech) - Gabriel to the Virgin Came (Irish) - How Far Is It to Bethlehem? (English) - On December Five and Twenty (Catalan) - The Babe in Bethl’em’s Manger Laid (English) - To Bethl’em I Would Go (Czech).
SKU: MN.10-999
UPC: 688670109997.
Fantasy on How Great Our Joy received its premiere at the London Winter Festival of Sound 2022 in London, England at the Croydon SDA Church by composer and organist, Professor Janise White. This organ work represents an exhilarating work of joy and adoration to our Saviour, Lord and King. As a clarion call for Christmas, soft flutes carry the melody over a dreamy pentatonic configuration with a drone in the pedals. Staccato trumpets exhibit the joy chordal motif, repeating and swelling to a joyous cadenza on the pedals in toccata style. This jubilant moment continues to intensify as syncopated harmonies join the final verse in elongation on 32' pedals to its majestic close.
SKU: BA.BA09352
ISBN 9790006499830. 21 x 29.5 cm inches. Language: German. Preface: Thomas Daniel Schlee.
The first piece “Sicut ros Hermon†(Psalm 133) meditates on the path God’s mercy takes, whereby the initial slow descending harmonic sequences develop into an emphatic song followed by a tender chorale-like coda. “Si sumpsero pennas aurorae†(Psalm 139) relates to a highly poetic, consolatory but also admonishing image of the psalm: As far as our wings may carry us, God’s hand will take hold of us. We cannot escape his mercy or his judgement. At the end of this striking movement the music conveys almost haptic moments; one can sense the mighty ‘hand’ by means of the tutti sound. Finally the music becomes as calm as at the start of this piece, though dialogue-like figurations convey repercussions of what was experienced and acknowledged.
SKU: CA.1708200
ISBN 9790007068011. Language: all languages.
Recently I have again studied the poetry of Hermann Hesse, the most significant 'Maulbronnian'. His poems 'A Toccata from Bach' and 'Playing the Flute' inspired me to write the present piece. In 'Playing the Flute' he expressed his idea about the essence of music: It is 'time made aesthetically perceivable. And in the present, to be sure. And thus, once again, the identity of the moment and eternity come to mind.' The title of this piece is drawn from the last line of 'Playing the Flute.' (John Van Buren).
SKU: CA.1808549
Language: all languages.
The Concerto for organ, strings and percussion by Kay Johannsen, Kantor of the Stiftskirche in Stuttgart, is a valuable addition to the repertoire for organ and orchestra. It is a work composed to appeal to both performer and audience alike - with thrilling rhythmic sections as well as moments of great intimacy. The organ part, for a three manual instrument if possible, is shown to its best advantage in many and varied tonal colors, ranging from the most delicate solo registrations to powerful forte. The organ writing is demanding, but well within the capabilities of experienced organists. Precise registration suggestions are contained in the score. The string orchestra (minimum 4/4/3/3/1) is scored with sophistication, with solos for all instruments. The percussion is for two players - a part for timpani and one for other, readily available percussion instruments. By avoiding the use of wind and brass instruments, the work can also be performed where the tuning of the organ is not ideally suited to modern orchestral pitch. Score and part available separately - see item CA.1808500.
SKU: CA.1808500
ISBN 9790007163952. Language: all languages.
The Concerto for organ, strings and percussion by Kay Johannsen, Kantor of the Stiftskirche in Stuttgart, is a valuable addition to the repertoire for organ and orchestra. It is a work composed to appeal to both performer and audience alike - with thrilling rhythmic sections as well as moments of great intimacy. The organ part, for a three manual instrument if possible, is shown to its best advantage in many and varied tonal colors, ranging from the most delicate solo registrations to powerful forte. The organ writing is demanding, but well within the capabilities of experienced organists. Precise registration suggestions are contained in the score. The string orchestra (minimum 4/4/3/3/1) is scored with sophistication, with solos for all instruments. The percussion is for two players - a part for timpani and one for other, readily available percussion instruments. By avoiding the use of wind and brass instruments, the work can also be performed where the tuning of the organ is not ideally suited to modern orchestral pitch.
SKU: HL.49018083
ISBN 9790001168670. 9.0x12.0x0.24 inches.
In his Organ Symphony No. 8 'In Memoriam', following an idea of the cathedral organist Silvius von Kessel from Erfurt (and dedicatee of the work), Enjott Schneider carries on where Anton Bruckner left off, processes themes from the latter's Symphony No. 8 variatively and contrasts it to 'Haus-Choral des Erfurter Doms', 'Wachet auf, ruft uns die Stimme'. Bruckner's material is used as a starting point and further developed by Schneider in four movements: typically enough, the initial movement is called 'Metamorphosen' before an almost eerie atmosphere is created in a 'Scherzo sinistro'. The twelve-note series (in the third movement), embedded in a transcendental mood, eventually develops into the chorale which, now as main theme of the finale, amalgamates with Bruckner's stylistic moments and leads to a magnificent end - an exciting and rousing piece of music.
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: CA.1808600
ISBN 9790007166656. Language: all languages.
The Great Wall developed out of an improvisation, a homage to the Great Wall of China. Two motifs dominate in the work, which requires a three-manual organ: a two-measure ostinato in the pedal, and an oriental-sounding melody found on the manuals, in the basic shape and in the variations. The music leads seamlessly from an atmospheric picture into a rhythmically-driven crescendo, is interrupted by a storm fantasy before ending, after a second upsurge, in a radiant fortissimo. The dynamics and articulation are given very precisely in the score. The registration markings relate to the four-manual Muhleisen organ in the Stiftskirche Stuttgart, and are intended as a guide for performance. This thrilling work, which recalls Ravel's Bolero at certain moments, communicates directly with a wide range of audiences.
SKU: CA.1808800
ISBN 9790007188658. Language: all languages.
Sunrise was composed in August 2016 from a concert improvisation. The work is structured as a great crescendo. Although the title refers to the image of a sunrise, the music was not primarily conceived as program music. In one layer of the composition, motoric groups of motifs increasingly condense, beginning in a high register and constantly changing, whilst in a second layer a calm thematic idea is intensified and expanded in barely noticeable alterations. As well as the seamless crescendo from pianissimo to fortissimo, the work uses precisely-notated registrations of color, especially for parts where the chorale-like theme is written in chords in the middle and low registers. The resulting moments of luminescence are emphasized even more through a harmony with bitonally layered major chords. This work is also available on CD (Carus 83.485).
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