SKU: HL.14025052
UPC: 884088488697. 8.5x11.0x0.125 inches.
The works included in the Hugo Parry Organ Album Book 2 are the Toccata and Fugue (The Wanderer), Chorale Fantasia on O God Our Help and Chorale Fantasia on An Old English Theme.The later years of Organist, teacher and composer Hubert Parry's life were a fruitful time of composition and academic output. In these three works, his commitment to diatonic music and his assimilation of both Brahms and indigenous British music are apparent, as well as his mastery and understanding of his instrument.
SKU: FZ.3288
ISBN 9790230632881. 22.00 x 31.00 cm inches.
This facsimile of an original by Gaspard Corrette is part of our French classical music collection. Edition : Paris, Rouen, Foucault, l'Auteur, 1703. In his preface, Gaspard Corrette gives valuable indications about his registrations, the touch and character of the pieces, and their ornamentation. The engraving is very fine. Preface by: Philippe Lescat: the life and works of Gaspard Corrette. Marcel Degrutere: Gaspard Corrette's organ. Jean Saint-Arroman: on the interpretation of the score and the preface. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the National Library of Paris (France). Anne Fuzeau Classique propose period copies of classical music scores.
SKU: HL.49017864
ISBN 9790220131288. UPC: 884088567637. 9.0x12.0x0.107 inches.
Sacrificium was commissioned by the St Albans International Organ Festival for what has become one of the most influential organ competitions in the world. It is a demanding 8 minute work that will challenge performers with an abundance of contrasting material whilst still leaving space for individual interpretation. Casken refers to the story of Alban who sacrificed his life to save another Christian thereby becoming the first British Martyr in his programme note and more specifically the act of exchanging cloaks and deception which led to Alban's execution. This idea of taking on a new appearance is apparent in the music as recurring themes undergo transformations, gradually becoming absorbed into new musical textures.
SKU: LO.70-2215S
ISBN 9780787768041.
This collection of organ works by Angela Kraft Cross provides excellent material for service or concert. Two trumpet tune-style pieces are joined by a lyric fantasy and a festive postlude. The volume's title work is a stirring multi-movement piece inspired by Kraft Cross's mentor from medical school and by the process of healing. As with Kraft Cross's previous volume, Tree of Life, this music makes a powerful impact in performance, enriching the experience of congregants or recital listeners.
SKU: HL.49046414
ISBN 9781540090522. UPC: 842819103974.
The American musical patrons Mildred and Robert Wood Bliss were considering which distinguished composer to commission to create a work in celebration of their 30th wedding anniversary in 1938. The couple had made the acquaintance of Igor Stravinsky in April the preceding year at the premiere of his ballet Jeu de Cartes in New York and had subsequently invited the composer to their country home 'Dumbarton Oaks' in Washington D.C. to talk about a new composition. Stravinsky only just managed to complete the work in time for the anniversary celebrations: its date of completion was also the date of its first performance. For his classically styled three-movement work, he selected the title Concerto in E flat, adding the subtitle Dumbarton Oaks as a dedication. The structure of the work references the concerto grosso: it features a soloist ensemble which unites in the tutti sequences but also plays in concertino groups during the solo episodes. Broken chordal structures characterise the central movement whereas the outer movements are distinguished through their use of fugato. Dumbarton Oaks went on to become one of Stravinskys mostsuccessful works, performed widely and delighting Mildred Bliss so much that she immediately issued another commission, for the Symphony in C. Its composer's very public commitment to American cultural life helped pave the way for Stravinskys emigration to the USA in 1945. As early as 1952 Leif Thybo created an arrangement for organ which Stravinsky probably did not know at the time of his life.
SKU: HL.49044122
ISBN 9790001191234. 12.0x8.75x0.42 inches.
The three-movement piece refers to Bruckner's music in different ways: in the first movement, Hummel used the initials A-B and the beginning of the main theme from Symphony No. 8; in the second movement, the first four tones of the 'Adagio' from Symphony No. 9 play a major role, and the third movement, a toccata-like finale, gets its life from further tone sequences and motifs of Bruckner. The work ends in a majestic climax. This piece is a rather demanding, yet rewarding piece for any interpreter, and its performance in the church is extremely effective.
SKU: SU.80101506
Overture to Uncle Vanya (2022) is an overture to an imaginary opera based on the play of the same name (publ. 1898) by the Russian playwright Anton Chekhov (1860-1904). The music is not directly programmatic but rather, in the typical manner of an overture, ruminates in a compact form on moods, themes, scenes, and characters from the play itself. Actual opera overtures have historically had their own life as independent concert pieces, and thus the attempt here is to present an atmospheric picture, even without an opera or play following it.Organ Duration: 9' Composed: 2022 Published by: Zimbel Press.
SKU: BR.EB-9305
ISBN 9790004187692. 12 x 9 inches.
This edition is the result of Harald Vogel's many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17th- and 18th-century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the Einzelanmerkungen. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude's free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary).Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on Die Fuge um Bach. Besides the description of the inclusion of triple measures into the C notation and the irregularities of the voice mutation in the polyphonic structures, this also included a discussion about the justification of the inner textual criticism. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude's work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the indicators of the fantastic style is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude's work.In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude's organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands.pure source edition (no mixture of different transmissions); comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only)); good page turnsflexible division of voices (on 2 or 3 systems, good legibility); contains facsimiles. Contains the Critical Commentary of the subvolumes I/1 and I/2.
SKU: BR.EB-9304
ISBN 9790004187685. 12 x 9 inches.
This edition is the result of Harald Vogel's many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17th- and 18th-century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the Einzelanmerkungen. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude's free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary).Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on Die Fuge um Bach. Besides the description of the inclusion of triple measures into the C notation and the irregularities of the voice mutation in the polyphonic structures, this also included a discussion about the justification of the inner textual criticism. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude's work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the indicators of the fantastic style is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude's work.In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude's organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands.pure source edition (no mixture of different transmissions); comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only)); good page turnsflexible division of voices (on 2 or 3 systems, good legibility); contains facsimiles. The corresponding Critical Commentary is contained in Volume I/2 (EB 9305).
SKU: BR.EB-9306
ISBN 9790004187708. 12 x 9 inches.
This edition is the result of Harald Vogel's many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17th- and 18th-century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the Einzelanmerkungen. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude's free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary).Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on Die Fuge um Bach. Besides the description of the inclusion of triple measures into the C notation and the irregularities of the voice mutation in the polyphonic structures, this also included a discussion about the justification of the inner textual criticism. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude's work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the indicators of the fantastic style is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude's work.In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude's organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands.pure source edition (no mixture of different transmissions) comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only))good page turnsflexible division of voices (on 2 or 3 systems, good legibility)contains facsimiles.
SKU: BR.EB-9415
ISBN 9790004188897. 12 x 9 inches.
SKU: HL.49018084
ISBN 9790001168687. UPC: 884088531089. 9.0x12.0x0.218 inches.
One of the first things that comes to one's mind when reading the title of Organ Symphony No. 9 'Pathetique' by Enjott Schneider is another work with this epithet: Tchaikovsky's Symphony No. 6. And that is no coincidence: The composer regards his organ work as an homage to this 'elder sister'. While Tchaikovsky, in a secret programme, made out his own life to be a struggle and long ordeal to the point of his suspected suicide, Enjott Schneider presents those hours as the ultimate tale of woe in which Jesus had well and truly become human, fatefully bearing the pain and misery of all people. 'Gethsemane', 'Geiselung: Ecce homo', 'Golgatha' and 'Grablegung': Maria Magdalena' are the names of the stages and movements. The Greek word 'pathos' means 'strong emotion, feeling, passion or suffering' - in Schneider's Organ Symphony No. 9, this comes true, musically, in his inner conflict, struggle, wrestling with his fate, cruelty of the crucifixion and deathly silence.
SKU: HL.49017956
ISBN 9790001158404. UPC: 841886013698. 12.0x8.75x0.187 inches.
The composer and organist Paul Siefert, baptized in Gdansk on 28 June 1586 and died there on 6 May 1666, belongs to the 'North German organ school'. Thanks to a grant of the town council of Gdansk, Siefert spent the years from 1607 until probably late 1610 studying in Amsterdam where he got important ideas and suggestions as a pupil of Sweelinck. After his return he became deputy organist in Gdansk. From 1611 to 1616 he worked as an organist first at the church in the old town of Konigsberg, then at the Warsaw court orchestra. On 23 September 1623 he was appointed organist at the Marienkirche of Gdansk in succession to Michael Weyda where he worked until the end of his life. This edition of his organ works contains 13 fantasias, two chorale preludes and a motet as well as a detailed description of the work in the preface and in the critical report.
SKU: HL.48181058
UPC: 888680902223. 9.0x12.0x0.15 inches.
Jehan Alain (1911-1940) was a French organist and composer. The second volume of Alain's Organ Works is comprised of Variations on a Theme by Clément Jannequin, The Suspended Garden and Aria, 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 second volume of Organ Works by Jehan Alain are full of life, mirroring his personality. From lively and comical 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.
SKU: HL.48181071
UPC: 888680902278. 9.0x12.0x0.128 inches.
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 and comical 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.
SKU: HL.49017070
ISBN 9790001149433. UPC: 841886009639. 9.0x12.0x0.105 inches.
The overall oeuvre of Johanna Senfter only includes three free organ works: 'Fantasie und Fuge' Op. 30a (in: Female Composers, ED 9741), the present variations 'Morgenglanz der Ewigkeit' Op. 66 and an organ piece in D minor without opus number. Together with the three cycles of chorale preludes Op. 30b, Op. 70 (Schott ED 9603) and Op. 73, the instrument of the organ occupies a rather small part in her oeuvre. That puts the obvious point of view, namely to see the composer of such a 'choral fantasia' mainly as a student of Reger, into perspective. It is, on the contrary, worth to get to know this major work as a facet of the long life of an artist whose major works still wait to be rediscovered.
SKU: AU.9781506495996
ISBN 9781506495996. 8.5 x 11 inches.
John Ferguson’s sparkling arrangement of the much-loved gospel tune HANSON PLACE has been rereleased under the Augsburg Music Alternative Hymn Settings series. Set for organ and congregational singing, the score has been updated to include the assembly’s tune and lyrics, assisting organists as they bring this hymn to life in worship and festival settings.
SKU: FZ.5881
ISBN 9790230658812. 23.50 x 31.50 cm inches.
This facsimile of an original by Jacques Boyvin is part of our French classical music collection. Edition : Paris, Baussend, Le Maire, Rouen, l'Auteur, 1690. These two books figure among the finest classical organ works, combining a beautiful, and sometimes bold, harmony, elegance and high melodic expressiveness. The accompanying Boyvin treatise comes with his second book. Preface by Marcel Degrutere: the life and works of Boyvin. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the Municipal Library of Bordeaux (France). Anne Fuzeau Classique propose period copies of classical music scores.
SKU: HL.14011001
11.75x8.25x0.43 inches.
J. S. Bach (1685-1750) was a German Baroque composer who is revered for the originality and skill of his contrapuntal and harmonic techniques. He spent most of his life working as an organist and choirmaster, but was also employed as a composer a many different Royal Courts. However, his skill as an organist and composer for Organ is what gained him the reputation he enjoyed during his lifetime.
This is perhaps epitomised by his Fantasia and Fugue in G Minor (BWV 542), often referred to as the Great Fantasia and Fugue. It has been edited by Sir Frederick Bridge and James Higgs.
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