Par LACOTE THOMAS. A l'origine de Phteggomai se trouve un émerveillement : celui d'écouter la propagation d'un son projeté dans l'espace de la cathédrale de Chartres. Il y a là une expérience qui dépasse le simple plaisir acoustique ou esthétique, pour atteindre une émotion presque surhumaine, tant l'écoute, tout autant et même plus que la vue, nous permet de saisir, et d'être saisi par, les dimensions et la force transcendante de l'édifice. En grec ancien, le verbe 'phteggomai' (f?????µa?) signifie proférer, se faire entendre, proclamer à pleine voix. Ainsi le centre de gravité de l'orgue dans cette pièce est un jeu de cornet, plein et sonore, qui rebondit et se diffracte dans l'acoustique, s'anime, tourbillonne, et se métamorphosera peu à peu en une masse colossale qui semble atteindre les dimensions même de la cathédrale. La trajectoire de la pièce n'a rien cependant d'une trop évidente ligne droite : elle est aussi faite de nombreuses brisures, d'hésitations, de parenthèses. Au halo prolongeant les sons, créé par le lieu et par une forme de 'persistance rétinienne' de l'oreille, je mêle de multiples traînes inventées, comme des queues de comètes imaginaires. C'est la même racine grecque qui est utilisée dans un verset fort mystérieux d'un psaume (Psaume 18, verset 5), évoquant la manière dont les cieux pourraient chanter la gloire de leur Créateur, jusqu'aux limites du monde. Pour les bâtisseurs des cathédrales, celles-ci n'étaient bien sûr pas seulement des temples de pierre : elles étaient aussi l'image même du cosmos. Ainsi, j'ai placé en tête de la partition de Phteggomai l'audacieuse traduction de ce même verset biblique qu'a donnée Paul Claudel : 'J'entends un son qui va jusqu'au bout, une parole jusqu'aux parois de l'univers pour la répercuter.' Phteggomai est une commande de l'Association des Grandes Orgues de Chartres, pour la finale du Grand Prix d'interprétation. Elle est dédiée à Philippe Lefebvre et Patrick Delabre. / Contemporain / Répertoire / Orgue

Les claviéristes gourmets se régalent ! Anthologie de pièces pour orgue (ou clavier) Comprenant une partie méthode pour pédalier, une partie pédagogique sur l'harmonie au clavier, et quelques pièces d'orgue à 4 mains et de musique d'ensemble. Recueil de 360 pages en 2 volumes Format 22,5 x 32 cm, couverture pelliculée Complément : livret relié de parties séparées pour la partie Musiques d'ensemble Ecrit par Marta Gliozzi et Damien Simon, professeurs d'orgue en conservatoire. Notre apprenti-cuisinier-organiste continue à explorer des matériaux musicaux dans divers styles, découvrant les différentes saveurs esthétiques des pays européens : dans ce deuxième volume, les auteurs poursuivent leur démarche pédagogique, en renouvelant l?approche de la formation de l?organiste. Élèves avec professeur, professeurs avec élèves, élèves avec amis, les pièces de musique d?ensemble et les pièces à 4 mains sont pensées pour vous ! Alors, bonne cuisine à tous, avec patience, écoute attentive de soi et de l?autre, rigueur et surtout amour de tout ce que vous faites ! Bonne dégustation ! Dans ce recueil : ? Chansons populaires, Noëls, Chorals. ? Chants grégoriens, mélodies populaires

Louis Vierne (1870-1937) studied privately with Cesar Franck and was appointed titulaire organist at Notre-Dame (Paris) in 1900. Numerous concert tours throughout Europe and the USA made him well-known outside France.Vierne?s Organ works are masterpieces of Organ music and are firm favourites in the virtuoso Organ repertoire. In particular Vierne raised the form of the Organ symphony to a stylistic peak.The famous collection of ?Pieces de Fantaisie? comprising 24 fantasy pieces in four volumes (Livres I-IV) has become internationally known. With their varying degrees of difficulty the pieces are suitable for bothprofessional organists as well as advanced pupils and students.The collection comprises mainly individual movements which are suitable for use on many different types of occasion.The ?Pieces en style libre pour orgue ou harmonium? comprising 24 pieces in two volumes are shorter and technically easier. These are ?miniatures? of a rather meditative character equally suitable for Organ teaching or concert use.- Evaluation of all available autograph manuscripts first printed editions and previously unpublished letters.- Editorial clarification superseding the long-standing international correction lists.- Critical Commentary (Fr/Eng/Ger) and foreword (Fr/Eng/Ger) with detailed performance practice tips.- Numerous illustrations and facsimile pages.

Jehan Alain (1911-1940) was a French organist and composer. The third volume of Alain's Organ Works comprise Prélude Profane and Lamento as well as other favourites from the composer. Alain studied with Organ virtuosos Guilmant and Vierne and was primarily an organist and composer of religious music. Whilst at the Paris Conservatoire Alain won many prizes and his composition catalogue comprises some 140 works. The compositions in the third volume of Organ Works by Jehan Alain are full of life mirroring his personality. From lively andcomical pieces to sensitive and unexpected works Alain's pieces are diverse in musicality. Moreover the composer exploits Organ techniques making for an exciting and varied collection for intermediate to advanced level organists.

This is a major collection of Organ music for students players and church musicians of all levels and abilities. Compiler and editor Anne Marsden Thomas has drawn on her long experience of teaching and playing to select the most attractive tuneful repertoire in two new sets of graded anthologies one set (3 volumes) for manuals only the second set (3 volumes) for manuals and pedals.Within each book the pieces are grouped according to service needs into Preludes Interludes Processionals and Postludes. The repertoire spans the 16th to the 21st century with some new pieces written especially for the collection. A number of pieces throughout the collection have beenselected for the ABRSM organ syllabus.The result is a wonderful collection of repertoire for all players containing a wealth of attractive and varied pieces that will offer much practical support for church musicians and enrich and develop their playing.Major collection of organ music for students players and church musicians of all levels and abilitiesEach book groups pieces according to service needs: Preludes Interludes Processionals PostludesTuneful attractive repertoire spanning 16th-21st cents. with some new pieces written especially for the collectionMajor composers for the instrument well representedPieces edited afresh to present music clearly and practically for players with registration and tempo suggestions for each pieceStrong representation in new ABRSM syllabus (from 2011)Graded collection: approx. book 1 Grades 1-4; book 2 Gr. 4-6 book 3 Gr. 6-8High-profile editor leading teacher and concert organist

This is a major collection of Organ music for students players and church musicians of all levels and abilities. Compiler and editor Anne Marsden Thomas has drawn on her long experience of teaching and playing to select the most attractive tuneful repertoire in two new sets of graded anthologies one set (3 volumes) for manuals only the second set (3 volumes) for manuals and pedals. Within each book the pieces are grouped according to service needs into Preludes Interludes Processionals and Postludes. The repertoire spans the 16th to the 21st century with some new pieces written especially for the collection. A number of pieces throughout the collectionhave been selected for the ABRSM organ syllabus. The result is a wonderful collection of repertoire for all players containing a wealth of attractive and varied pieces that will offer much practical support for church musicians and enrich and develop their playing. Major collection of organ music for students players and church musicians of all levels and abilities Each book groups pieces according to service needs: Preludes Interludes Processionals Postludes Tuneful attractive repertoire spanning 16th-21st cents. with some new pieces written especially for the collection Major composers for the instrument well represented Pieces edited afresh to present music clearly and practically for players with registration and tempo suggestions for each piece Strong representation in new ABRSM syllabus (from 2011) Graded collection: approx. book 1 Grades 1-4; book 2 Gr. 4-6 book 3 Gr. 6-8 High-profile editor leading teacher and concert organist

This is a major collection of Organ music for students players and church musicians of all levels and abilities. Compiler and editor Anne Marsden Thomas has drawn on her long experience of teaching and playing to select the most attractive tuneful repertoire in two new sets of graded anthologies one set (3 volumes) for manuals only the second set (3 volumes) for manuals and pedals. Within each book the pieces are grouped according to service needs into Preludes Interludes Processionals and Postludes. The repertoire spans the 16th to the 21st century with some new pieces written especially for the collection. A number of pieces throughout the collectionhave been selected for the ABRSM organ syllabus. The result is a wonderful collection of repertoire for all players containing a wealth of attractive and varied pieces that will offer much practical support for church musicians and enrich and develop their playing. Major collection of organ music for students players and church musicians of all levels and abilities Each book groups pieces according to service needs: Preludes Interludes Processionals Postludes Tuneful attractive repertoire spanning 16th-21st cents. with some new pieces written especially for the collection Major composers for the instrument well represented Pieces edited afresh to present music clearly and practically for players with registration and tempo suggestions for each piece Strong representation in new ABRSM syllabus (from 2011) Graded collection: approx. book 1 Grades 1-4; book 2 Gr. 4-6 book 3 Gr. 6-8 High-profile editor leading teacher and concert organist

Max Reger's Free Organ Pieces-Volumes 3 and 4 in our Complete Edition - are short works of various levels of difficulty. They are a real find for all organists who have not felt sufficiently proficient to tackle the technical demands of the monumental organ fantasias. Some of these intentionally simple and clearly-structured works might even contain elements which Gould lead to a revised conception of Reger's works better suited to our times.

Du compositeur Bach Carl Philip Emmanuel cette partition musicale dont le titre est Complete Works for Organ Band 1 a été composée pour tous les amateurs ou professionnels de Orgue. Fan de Classique vous trouverez votre bonheur dans cette partition musicale des éditions Wiener Urtext. / Orgue / Partition

Book 1-A prolific composer of Victorian church music Caleb Simper was a humble musician whose choral works sold in vast quantities rightly deserving their publisher's accolade as being 'sung throughout the civilised world'. Born in Wiltshire in 1857 Simper was largely self-taught. He attempted a number of professions including piano tuning before finding his vocation as an organist. As with his choral music of which he wrote 162 anthems under his own name and many others under the pseudonym of Edwyn A Clare his organ voluntaries offer playable and practical music for organists of limited technical ability on two staves.

A collection of useful service music that is rewarding to the pianist-turned organist as well as the more technically proficient and of course to those who worship. Written on the two-stave format.Contents:1. Morning Song2. In Heavenly Love Abiding3. Jesus Thou Joy Of Loving Hearts ('Rockingham')4. I Will Sing Unto The Lord5. Berceuse6. Cortege Nuptial7. Arietta8. Fanfare9. Meditation10. The Lord My Pasture Will Prepare ('St. Petersburg')11. The Faithful Shepherd12. Elegy13. Upon The Cross Of Calvary ('Marian')14. Alleluia15. What A Friend We Have In Jesus ('Friend')16. Rise Up O Men Of God ('Festal Song')17. On Wings Of Hope18. Postlude For A Festive Occasion19. Great God To Thee My Evening Song ('Hazel')20. Eventide

With more enthusiasts than ever since its heyday the Harp is an instrument which has successfully demonstrated its staying power and its important role both in music and beyond! John Marson’s Book of the Harp is a uniqueand definitive work distilled from a wealth of experience: a lifetime's study and research and an outstanding professional career. He traces the development of the harp from its earliest origins thousands of years B.C. to theinvention of the pedal harp in the eighteenth century and the harps of the twenty first century. He examines the writings of many forgotten exponents of the harp including inventors players and composers and provides a fullycomprehensive view of every model make and modification to the present day!The Book of the Harp is a rich source of information entertainment and anecdote on everything from strings tuning principles offingering and tone production historical influences designs techniques and methods to the harp's literary associations and those with the theatre and cinema its Celtic and religious symbolism virtuoso players and itsappearance in the poetry of Milton and novels of Jane Austen. Both historical and practical The Book of the Harp is an authoritative source of entertainment and a fascinating study for student professionalmusician and interested reader alike. John Marson has enjoyed a glittering career during which he has been principal harpist of the London Symphony Orchestra the BBC Symphony Orchestra Professor of Harp at the Royal College ofMusic and soloist and freelance.

SÄMTLICHE ORGELWERKE, BAND 10. Par BACH JOHANN SEBASTIAN. The now-published volumes 9 and 10 have presented a special challenge, for particularly in the field of the chorale arrangements the transmissions are more complex than in any other group of works. This ties in with the crucial question of Bach?s authorship, which has been the subject of much controversy in the past. There were heated discussions about it even just prior to our edition, and editors and publisher are aware that the present selection is a thoroughly debatable snapshot. More on this in the volumes? text sections. The so called ?Neumeister-Choräle? are incorporated in the group of the separately transmitted chorale settings in alphabetical order, because thecompilation of the pieces does not follow any collection idea of Bach (such as, for example, his larger late collections). The indication ?Neumeister-Sammlung? should facilitate the attribution. Those works requiring further research, besides of some versions, are presented online, since their profile reveals less evidence of the true author. / Date parution : 2021-11-25/ Recueil / Orgue

 Les cinq pièces qui composent Orchésographie ont été écrites de 2008 à 2012, Elles sont dédicacées à Pascale ROUET,Après avoir placé la plupart de mes précédents cycles pour orgue dans une tonalité sombre, grave et tourmentée, j'ai voulu écrire une série de pièces plus intimistes, optimistes, et nostalgiques, empreintes - j'espère l'avoir réussi - de fraîcheur et de sérénité, J'ai puisé librement mon inspiration dans les danses de la Renaissance, que j'aime particulièrement jouer à l'orgue et dont j'ai essayé de restituer l'esprit, dans la mesure où celui-ci correspondait très bien à ce projet,Le cycle reprend le très beau titre d'Orchésographie, que le chanoine de Langres Jehan Tabourot a donné en 1589 à son ' Traicté en forme de dialogue par lequel toutes personnes peuvent facilement apprendre and practiquer l'honneste exercice des dances ', sous le pseudonyme de Thoinot Arbeau, anagramme de son nom, Il s'agit du premier manuel qui précise les pas à exécuter en regard de la partition musicale dans les multiples danses d'origine médiévale, qui connaîtront un succès phénoménal chez les musiciens des siècles suivants (Passe-pieds, branles, pavanes, tourdions, voltes et autres gavottes ?),Dans cet esprit, ces pièces conviennent donc particulièrement à un petit orgue ancien, Le langage n'est en rien changé par l'esthétique ancienne d'un instrument, dans la mesure où, dans ma musique, il n'est pas de contrainte grammaticale dont le sens et la cohérence soient susceptibles d'être altérés par le tempérament de l'orgue ou le changement de diapason, Je dirais même que certaines de mes pièces acquièrent davantage de ' caractère harmonique ' par la variation de ces deux paramètres - d'autant plus d'ailleurs que ma musique revendique souvent une connivence d'intention avec les pièces des époques anciennes (durée relativement courte de chaque pièce, registration presque unique, virtuosité sans difficulté, abstraction placée au service d'épanchements émotifs et sensibles, aspect essentiellement rhétorique, refus de la lourdeur harmonique au profit de lignes mélodiques travaillées et ornées),Interpréter ces pièces sur un orgue moderne est possible, La cohérence des accords n'en est en rien changée, Mais j'ai tendance à vivre cela comme un appauvrissement du caractère rugueux et âpre qui me plaît beaucoup lorsque l'on dispose d'un orgue ancien, I, Estampie 3' 25''II, Basse Danse 4' 25''III, Saltarello 3'IV, Pavane 4'V, Gaillarde 5' / Orgue

Les Six Etudes ont été écrites de 1996 à 1998 et revues pour leurs versions finales en 2012,Elles sont dédicacées à Pascale ROUET, Sylvain HEILI, Aude SCHUMACHER, Pierre PERDIGON et François MENISSIER, Elles constituent des microcosmes singuliers contrastant les uns avec les autres, qui peuvent être joués en tant que suite ou séparément,Les six pièces s'inspirent librement de la musique française, allemande et italienne du XVIIe siècle, en reprenant un certain nombre de traits caractéristiques des formes musicales de cette époque : durée relativement courte de chaque pièce, registration presque unique, virtuosité sans difficulté, abstraction placée au service d'épanchements émotifs et sensibles, aspect essentiellement rhétorique, refus de la lourdeur harmonique au profit de lignes mélodiques travaillées et ornées, Etude 1 : Toccata 3'15''Etude 2 : Anamorphose 3'15''Etude 3 : Récit de Tierce 4'30''Etude 4 : Per Elevazione 4'Etude 5 : Sur la Quinte 3'Etude 6 : Stylus Fantasticus 3'30'' / Orgue