Arr. John Arkell. Par BACH JOHANN SEBASTIAN. Sheep May Safely Graze comes from Cantata No. 208 and was originally scored for solo voice, two flutes and continuo. The pastoral subject is clearly illustrated with the two flutes playing in thirds and sixths and this feature has been faithfully retained in John Arkell’s arrangement. This arrangement by John Arkell for organ solo will prove to be a useful addition to repertoire and a suitable piece for a wedding. From cantata No. 208 / Niveau : Intermédiaire / Répertoire / Orgue

Freie Orgelwerke - BuxWV 136-153, 158. Par BUXTEHUDE DIETERICH. 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 17 th - and 18 th -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 Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (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. / Date parution : 2022-10-12/ Recueil / Orgue

Symphonic Observations About Albrecht Dürer'S Apocalypse. Par MAINTZ PHILIPP. The doomsday visions of Albrecht Dürer's woodcut series 'Apocalypse with Pictures” have inspired many composers to create musical representations of the pictured events. With 'septimus angelus', Philipp Maintz follows in this tradition. However he abandons the pattern of a primarily pictorial reinterpretation of these artworks, concentrating instead on the wealth of their structural mysteries. In the Foreword of the score, organist Bernhard Buttmann writes: 'Both the organist and the audience are seen as subjects of the musical happening and become its focal point. Just as Dürer's richness of detail will only reveal itself after lengthy, meditative observation, Philipp Maintz' 'septimus angelus” requires an unbiased, open-minded, and perpetually fresh listening process that should correspond to a colorful interpretation with an openness to new sound experiments. The performer faces the challenging task of incorporating a wealth of precious details into the musical development as a whole, while offering ever-changing ways of musical illumination from multiple perspectives.” / Date parution : 2019-08-30/ Répertoire / Orgue