Par HOLLINS ALFRED. Hollins was a composer of organ music but also a virtuoso pianist and organist, despite being blind from birth. The piece is light in style, as its name suggests, but requires a fairly good manual technique and neat pedalling. A three-manual instrument is needed for really effective performance (a choir clarinet is necessary for the solo middle section). This is an attractive piece to include as a contrasting item in a recital, and would certainly be a useful addition to the repertoire of wedding music. Hollins was a composer of organ music but also a virtuoso pianist and organist, despite being blind from birth. The piece is light in style, as its name suggests, but requires a fairly good manual technique and neat pedalling. A three-manual instrument is needed for really effective performance (a choir clarinet is necessary for the solo middle section). This is an attractive piece to include as a contrasting item in a recital, and would certainly be a useful addition to the repertoire of wedding music./ Recueil / Orgue

Par KLOMP CARSTEN. The series ORGAN PLUS ONE contains pieces which are freely-composed or based on hymn tunes, both original works as well as arrangements. The editions include solo parts in C, Bb, Eb and F, which can be played by violin, flute, oboe, clarinet, trumpet and horn in F. The range of the solo instrument parts is in the middle register, making this series particularly appealing to non-professional church musicians and instrumentalists. The hallmark of this edition – flexible instrumentation with easy playability – ensures that the pieces can easily be tackled and fun to play for church services, musical evenings and small concerts. Idiomatic instrumentalarrangements and the stylistic variety of the pieces guarantee instant success for both organists and instrumentalists. The contents of the volumes correspond to the seasons of the church year: Advent / Christmas Passion / Easter Epiphany / Whitsun / Pentecost Death and Eternity / Funerals Praise and Thanks Divine Service Communion Special Services (baptisms / weddings) The complete series will comprise eight volumes./ Recueil / Orgue et Mélodie

Par COLERIDGE-TAYLOR SAMUEL. The period of composition (ca. 1893) for the Suite de Pièces for violin and piano or violin and organ was especially productive for Samuel Coleridge-Taylor (1875-1912) in the realm of chamber music. Unpublished works include a piano quintet, clarinet sonata, nonet, piano trio, and a piano sonata. It is notable that the different versions of the Suite for piano and organ are so contrasting. Typically, pieces in this genre that exist in versions for piano and organ have little that separate them in terms of musical content. However, Coleridge-Taylor not only approaches each keyboard instrument quite differently but conceived the violin part with notable melodic differences. This can be considered exceptional as they were both issued by the same publisher within a close timeframe. Coleridge-Taylor would have been very familiar with the organ from his early church experience as a boy in addition to studies at the Royal College of Music with Walter Alcock. His writing is consistently idiomatic for the instrument. The few registrational directions in the first edition, assuming they are by Coleridge-Taylor, demonstrate an understanding of the need to balance the organ part with the violin part so that the organ is not too loud. Rather than numbering the manuals I and II, with II being the quieter manual, the score indicates Swell and Choir but there is no requirement for the Great to be used. There are also extended sections where no manual indication is given at all. Whether the registration markings were made by Coleridge-Taylor or an editor at Schott is unclear but the indication for a Choir manual suggests not so much the need for an organ of three manuals but an instrument with a range of foundational colours for writing that is often accompanimental in nature. / Date parution : 2023-06-01/ Répertoire / Violon et Orgue

Notice
Le titre de l'oeuvre est emprunté au poème de Charles Baudelaire Le Voyage. Je ne commente pas Baudelaire mais, plus ou moins souterrainement, le poème a aussi servi d'engrais à la composition.
Et puis, et puis encore ? parcourt cinq étapes : Choeur à choeur, Double I, Tiento, Double II, Molto lento. Chacune d'elles se termine par une respiration calibrée et une double barre qui disent clairement sa place de maillon dans la continuité de l'ensemble. L'interprète joue toutes les étapes, ou quelques-unes seulement groupées alors selon l'agencement choisi dans la liste exhaustive que voici :

Par LEGUAY JEAN-PIERRE. Le titre de l'oeuvre est emprunté au poème de Charles Baudelaire Le Voyage. Je ne commente pas Baudelaire mais, plus ou moins souterrainement, le poème a aussi servi d'engrais à la composition. Et puis, et puis encore ? parcourt cinq étapes : Choeur à choeur, Double I, Tiento, Double II, Molto lento. Chacune d'elles se termine par une respiration calibrée et une double barre qui disent clairement sa place de maillon dans la continuité de l'ensemble. L'interprète joue toutes les étapes, ou quelques-unes seulement groupées alors selon l'agencement choisi dans la liste exhaustive que voici : - I-III, I-V, I-III-V, I-II-V, I-IV-V, - II-III, II-V, II-III-V, II-IV-V, II-III-IV-V, - III-V, III-IV-V, - IV-V. Lorsque dans l'un de ces groupements - qui par leur direction conservent tous quelque chose de l'avancée de l'oeuvre - deux étapes se suivent comme elles le font dans le déroulement complet de la partition, il convient, à la fin de la première des deux étapes, de respecter l'ordre de grandeur de la respiration. S'il y a discontinuité par rapport à l'original, la nature de l'enchaînement est plus librement à la discrétion de l'interprète. Choeur à choeur, Tiento et Molto lento peuvent, quant à eux, être joués individuellement. Et puis, et puis encore ? est écrit de manière à pouvoir être joué sur un orgue d'un ou deux claviers ne dépassant pas l'Ut 5, avec ou sans octave courte, et sans aucun usage du pédalier. Choeur à choeur : sur deux claviers, ou sur un seul avec changement de registration - Double I et Double II : sur un seul clavier, ou sur deux accouplés - Tiento : sur un seul clavier avec jeux coupés, ou sur deux. La main gauche de Tiento ne monte jamais au-dessus du Si 2, pour permettre la participation des cornets descendant jusqu'au do. La liaison entre un accord et un silence attire l'attention sur l'exactitude de la durée de l'accord. Les trilles et batteries, ainsi que les groupes de doubles et triples croches se jouent sans appui initial ni ralenti terminal. Une altération est valable pour la mesure entière. Néanmoins, des altérations de précaution ont été parfois ajoutées. Jean-Pierre Leguay / contemporain / Date parution : 2008-05-04/ Répertoire / Orgue

Fifty best-loved classical themes skilfully arranged for all keyboards by Daniel Scott. Includes suggested registrations and rhythms. / Piano