SKU: SU.80101321
Organ Duration: 28 ' Composed: 2012 Published by: Zimbel Press This work features seven meditations on the Seven Last Words of Jesus Christ from the cross. Each part of the composition is musically and spiritually connected with one of the words. The music attempts to portray the meaning of the words, and to heighten how they sound. Often the left hand of the organ represents Christ’s body, the right hand represents his soul, and the pedals represent his breath. In many passages, the listener can observe the instrument in its search for forgiveness, hope, and light..
SKU: SU.80400610
Solo Organ Duration: 50:00 Commissioned by: Created for the AGO Convention 2008 Book Compilation including:Meditations on the SpiritThree TemperamentsTriptychPremiered: At The AGO Convention 2008Copyright 2008 Published by: Paulus Publications (SP513).
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: BR.EB-9098
World premiere: Saarbrucken, September 4, 1989
ISBN 9790004179826. 11 x 14 inches.
,,Les Grotten des Eyzies schrieb ich uberwaltigt vom Anblick der unterirdisch - uberirdischen Schonheit dieses wahrlich grandiosen Naturwunders im Suden Frankreichs. Der unterirdische Gegenentwurf unserer Oberwelt liess mir Klanggestalten entstehen, deren ,,Klangsummen aus genauestens ausgehorten Grundton- und (dazu in ganz bestimmter Relation stehenden ) Oberton-Strukturen bestehen, die ihrerseits als polychrome Ganzheit den Klangstrom bestimmen. Das sich allmahlich herausschalende gregorianische ,,Sicut cervus desiderat ad fontes aquarum gestattet eine unterirdisch-stromenede spiritualita zu vermuten. (Theo Brandmuller) CDs: Theo Brandmuller (organ) CD ARE 7009 Theo Brandmuller (organ) CD loc (lifart orgel classics) 041012 Bibliography : Philippi , Daniela: Die Orgel erzieht die Seele. Zum Orgelschaffen von Theo Brandmuller, in: Organ 11 (2008), Heft 3, pp. 32-41.World premiere: Saarbrucken, September 4, 1989.
SKU: GI.G-003006
SKU: HL.49004340
ISBN 9790001045100. 12.0x8.75x0.109 inches.
SKU: MN.12-128
UPC: 688670121289.
The three movements that make up Nocturnes, Book I are programmatic pieces that take as their points of departure a painting, the rhythms of a great city, and a poem. 1. The Starry Night is a written down improvisation based on Vincent van Goghs famous picture of the same name. The tonal material is a quite literal transformation of the visual elements of the painting: the melismatic cadenzas mirror van Goghs swirling starlight, and the powerful chords were suggested by the sinister trees that shoot upward to puncture the skys patterns. 2. Stovers Rag is a product of the ragtime revival of the early 1970s, when many composers tried their hand at writing concert rags. The New York night, which was not without its sinister element in those days, is expressed in an updating of the classic ragtime format. The piece looks backward as well, with the old French Baroque basse de trompette making an appearance in the trio section. 3. The Song of Shadows taps the nostalgic mood typical of the poetry of Walter de la Mare. The poem of the same name pictures a lone musician on a winter night, an dog sleeping before a sinking fire, and, at the end, the spirits that are summoned by music. The opening melody, played on an 8 flute with tremulant, suggests the blues-tinged sound of an alto saxophone, and throughout the movement the organs capacity for sustained tone is used to suggest and atmosphere of dreamy timelessness. The pieces were written in 1971 and first performed on July 2, 1972 at the National Shrine of the Immaculate Conception in Washington, DC, with the composer at the console.
SKU: CA.1801000
ISBN 9790007186548. Language: all languages.
Debussy's Danse (Tarantelle styrienne), originally for piano and orchestrated by Ravel, is also extremely well suited to performance on the organ. This is shown in this arrangement which has been successfully performed in concerts in several countries by renowned organists. It is now being published in time for the Debussy anniversary year in 2018. The arrangement shows this powerful and spirited Danse, with its typical syncopated rhythms, to its best advantage. The great range of colors offers performers plenty of opportunity for artistic display. The registration markings are intended as suggestions and can easily be adapted to suit different instruments.
SKU: BT.PMC3367
Each of the five connected movements in this choral cycle contains references to 'Light,' assembled from various sacred Latin texts. I composed Lux Aeterna in response to my mother's final illness and found great personal comfortand solace in setting to music these timeless and wondrous words about Light, a universal symbol of illumination at all levels - spiritual, artistic and intellectual. The work opens and closes with the beginning and ending of theRequiem Mass, with the central three movements drawn respectively from the Te Deum, O Nata Lux and Veni, Sancte Spiritus. The opening Introitus introduces several themes that recur later in the work and includes an extended canonon et lux perpetua. In Te, Domine, Speravi contains, among other musical elements, the cantus firmus Herzliebster Jesu (from the Nuremburg Songbook, 1677) and a lengthy inverted canon on fiat misericordia. O Nata Lux and Veni,Sancte Spiritus are paired songs, the former an a cappella motet at the center of the work and the latter a spirited, jubilant canticle. A quiet setting of the Agnus Dei precedes the final Lux Aeterna, which reprises the openingsection of the Introitus and concludes with a joyful celebratory Alleluia. --Morten Lauridsen.
SKU: SU.80101155
This immensely fun and good-spirited work is a setting of the familiar praise song I Have Decided to Follow Jesus. (Assam) A slightly jazzy atmosphere pervades this joyful and very rhythmic piece. The American Organist (Mar 2004) describes the work as: absolutely winsome. 12 pages Published by: Zimbel Press.
SKU: LO.10-1699L
UPC: 000308039290.
SATBPowerful and bold, filled with spirited praise. The choral writing is not difficult and the sturdy organ accompaniment remains secure throughout. Perfect for any festival occasion.
SKU: MN.10-052
UPC: 688670100529.
This four movement suite captures quite a bit of what makes Charles Callahan one of our most popular composers: a sense of high spirited fun, melodic lyricism, and a skillful use of the resources of the organ. The movements work quite well played separately, as well.
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