2019 - Apophis, for organ, commissioned by Printemps des orgues/Académie des Beaux-Arts, planned for May 30 in Angers

Teaches you everything you need to know to play modern style organ. Specially written for the benefit of students who are teaching themselves. No previous knowledge of the organ is needed as the course starts at the very beginning and progresses right up to professional standard. Book 3 moves on to the bosa nova/modern pop style and 20 more songs including 'Never On A Sunday', 'My Way' and 'What I Did For Love'. / Orgue

Par BLOW JOHN. Selected from Musica Britannica Volume 69. Edited by Barry Cooper. This collection of sixteen pieces by John Blow (1649-1708), taken from the complete organ music published in Volume 69 of Musica Britannica, is an authoritative introduction to the work of the leading Restoration English composer of organ music. More organ music from this period is ascribed to Blow than to all his English contemporaries put together, including Henry Purcell. In compiling this anthology, the editor has incorporated both the best examples from the corpus, and those that were most popular in the composer's lifetime, while illustrating the variety of styles he used. Most of the pieces may be played ona single manual, but there are also 'double voluntaries' (for two manuals) and 'cornet voluntaries' (for two or three manuals). The collection includes advice on ornamentation and a comprehensive editorial note./ Répertoire / Orgue

Organ Transcription by Jean Guillou Instrument : organ Nombre de Pages : 12 Franz Liszt's 'Première Valse oubliée' is known and popular as a subtle and delicately beautiful piece for the piano. This romantic gem has now been arranged by Jean Guillou for the organ in his inimitable way.

Although quite some time has passed since the multifaceted organ music from Spain's Golden Age could be called an 'insider's tip?, it had yet to attain popularity with any wide audience outside the countries of the Iberian Peninsula. The three-volume Urtext edition of selected works by Joan Cabanilles, the cathedral organist from Valencia, now has every chance of becoming a milestone in its own right. The Iberian organ tradition of the 17th century appears to have reached its climax in his tientos, diferencias and versos. In the first two volumes, the editors Gerhard Doderer and Miguel Bernal Ripoll present a total of 22 of his most appealing and most significant tientos.- Urtext edition based on the latest research findings- Preface by the editors (in German, English and Spanish) / Orgue

Par STAINER. A classic text on Organ technique. Sir John's book, first published in 1877, quickly became the classic for beginners- so popular that publishers Schirmer, Ditson, and Presser each issued its own 'Americanized' edition in the early twentieth century. In addition to the seven Organ pieces of the original edition, including five of Stainer's own works and two pieces by Guilmant, three additional works round of this Dover edition. This edition is a slightly expanded republication of the edition first published by G. Schirmer, New York in 1909, edited by F. Flaxington Harker. Introduction to this Dover edition by Rollin Smith. / Pédagogie / Méthode / Orgue

Par BACH JOHANN SEBASTIAN. Organ In Concert Series - Number 4. A famous extract from Bach's popular Orchestral Suite set here for Organ solo by Willi Nagel./ Répertoire / Orgue

A collection of popular organ music for weddings. Includes 'Bridal Chorus' (Wagner), 'Wedding March' (Mendelssohn) and 'Alla Marcia' (Ireland). / Orgue

Albert W Ketèlbey's most popular works appear to have been a series of Orchestral tone poems, like In a Persian Market, that incorporate exoticism and demonstrate the high quality of his Orchestration.The Orchestral version of this piece included a Vocal line of male Voices calling for baksheesh which is absent from the Organ arrangement.Composer and arranger Albert W Ketèlbey is now almost unknown except for his work Bells Across the Meadows, but until the time of the Second World War, he strode the country's musical stage like a giant of light musical entertainment.In 1929, he was declared 'Britain's greatest composer' according to the number of performances of his works.Over the course of his career, he was a church Organist, musical director at London's Vaudeville Theatre, editor to several music publishing firms and Music Director of the Columbia Gramophone Company. / Orgue

Apprenez à jouer au clavier 15 standards de la pop internationale avec 4 accords. Idéal pour les débutants qui souhaite jouer vite. / Orgue / Partition

Six Original Fugues for Organ on Popular TV Themes.. Par BALLICO MIRKO. / Date parution : 2022-05-31/ Recueil / Orgue

Martin Luther. Par SCHNEIDER ENJOTT. 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'.'/ Répertoire / Orgue

Cet ouvrage vous apprend tout ce que vous devez savoir pour jouer l'orgue de style moderne et êtes écrit spécialement pour le bénéfice des étudiants qui sont eux-mêmes d'enseignement. Aucune connaissance préalable de l'orgue n'est nécessaire, comme le cours commence au tout début et progresse à droite jusqu'à la norme professionnelle. Livre 1 couvre la disposition du clavier/pédale-Conseil, notes de la mélodie et cordes, moment musical et rythme plus 22 popular tunes à jouer. / Orgue / 48 pages / niveau : Débutant / Partition

In all ages organists have known how to transcribe popular pieces for their instrument from the entire spectrum of music and to play effectively to the gallery. The repertoire of concert organists was therefore far-reaching and not restricted by any connection with the church. This volume of transcriptions holds a few surprises: one encounters plush and pomp, the deeply serious and the glamor ous, works for the church and for the circus, for the organist playing them and for the whole world./ Répertoire / Orgue