SKU: CA.1804900
ISBN 9790007032043.
SKU: CF.SGB502
ISBN 9780825856907. UPC: 798408056902. 9 X 12 inches.
A noted church workshop and conference leader, Whitworth has published numerous keyboard collections for the church musician. Thine Is The Glory, one of Whitworth's most useful books, is back in print by popular demand. The updated folio brings the church organist 12 classic hymn settings that are appropriate for the various seasons in the church calendar. The book includes: Thine Is the Glory, We Would See Jesus, What Wondrous Love Is This?, Once in Royal David's City, I Heard the Voice of Jesus Say, O Love That Wilt Not Let Me Go, 'Tis So Sweet to Trust in Jesus, Come, Thou Almighty King, My Shepherd Will Supply My Need, Break Thou the Bread of Life, Come, Thou Fount of Every Blessing, and Abide With Me.
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: CA.1804800
ISBN 9790007032036.
SKU: HL.14047929
12.0x8.25 inches.
Robert Saxton 's Passacaglia On The Name John McCabe for Organ. Commissioned by George Vass for a concert in celebration of the life and work of John McCabe CBE. First performed in Faversham Church, Kent, on 28th June 2015 by Edward Kemp-Luck. Duration: 6 mins ca. A review in the June 2016 edition of Organist's Review calls this piece a beautifully produced work that features the pleasing disorientation of false relations and is as inventive as it is impressive. A similarly glowing review in the August-October edtion of The Organ magazine calls this piece a very impressive short work indeed; brilliantly imagines and written for the instrument...one can only urge thismusic on all recital organists - it is a splendid piece, and would surely make a counterpart to an original McCabe organ work in the same programme - the Johannes-Partita , especially.
Robert Saxton's Passacaglia On The Name John McCabe for Organ.
Commissioned by George Vass for a concert in celebration of the life and work of John McCabe CBE.
First performed in Faversham Church, Kent, on 28th June 2015 by Edward Kemp-Luck.
Duration: 6 mins ca.A review in the June 2016 edition of Organist's Review calls this piece a 'beautifully produced work' that features 'the pleasing disorientation of false relations' and is 'as inventive as it is impressive.'
A similarly glowing review in the August-October edtion of The Organ magazine calls thispiece 'a very impressive short work indeed; brilliantly imagines and written for the instrument...one can only urge this music on all recital organists - it is a splendid piece, and would surely make a counterpart to an original McCabe organ work in the same programme - the Johannes-Partita, especially.'
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: 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: HL.48180923
UPC: 888680907976. 9.0x12.0x0.092 inches.
Composed by Jehan Alain, Three Pieces is a set of upper intermediate / advanced works for organ, with pedal-use. The first piece, ?Variations sur un theme de Clement Jannequin (Variations on a Clement Jannequin's Tune), should be played?in the same way as Couperin's Preludes: freshly and softly. It contains four distinctive parts: Affetuoso, Maggiore, Fuggato and Grave. The second piece is called ?Le jardin suspendu (The hanging garden) and features three different parts that can't be played separately. The last piece, Litanies, is quite religious and consists of the repetition of lamentations. Its introduction in vivo is played only by the right hand, then followed by a?Lirico ma sempre vivo part. These are followed by switches between the main tempo and some vivacissimo parts, sounding declamatory. This third piece ends really harmoniously. Jehan Alain is a French organist who became famous with his Suite for Organ. Student of Marcel Dupre and Roger Ducasse among others, he kept composing all his life. One of his most famous international pieces is Litanies.
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