Orgelchoräle Der Leipziger Handschrift. Par BACH JOHANN SEBASTIAN. Editorial Board: Werner Breig/ Pieter Dirksen/ Reinmar Emans music text faithful to the sources and reflecting the current status of Bach research developed for musical practice through the cooperation of scholars and performers contains all of Bach's keyboard works that require an independent pedal manual contains all authentic early versions and fragmentarily transmitted or dubious works that can be attributed to Bach with a fair amount of certainty features comprehensive introductions, extensive source descriptions and text-critical notes features supplementary material illustrated synoptically on CD-ROM (in printable quality) brochure, in large format (32 x 25 cm) and compact music engraving, clear, easy to read, with convenient page turns 'The Breitkopf edition is obviously preferable if you're buying new copies. The series so far has been most impressive.' (Clifford Bartlett, Early Music Review) Subscription Conditions A subscription is only possible for the complete collection. The subscription price of the volumes is 20% lower than the final sales price. A subscription can begin at any time. The subscription obliges the subscriber to purchase the entire collection. The New Edition of Bach's Complete Organ Works With repertoire works, musicians often have the choice between editions conceived for practical music-making and others that are more scholarly in concept. This also applies to the organ works of Johann Sebastian Bach, which are available today in various editions. Among them is that of Heinz Lohmann, which Breitkopf and Härtel began publishing in 1967 and whose concept strove for an amalgamation of practice and Urtext. Current Urtext status, historically informed, edited with performers in mind: More than 40 years later, the demands made on a new Urtext edition of Bach's organ works are as stringent as ever before. Next to the results of scholarly research on Bach and the sources, aspects of a historically informed performance practice are increasingly claiming our attention today. Also important for study, teaching and concert performance are, in addition to the above-mentioned demands, such external criteria as format, paper, convenient page turns and an easily legible layout that helps the user quickly grasp the musical context. The new edition, beginning in 2010, also contains all keyboard works with pedal and the 'dubious works' that are hardly dubious anymore The edition of Johann Sebastian Bach's organ works which Breitkopf and Härtel is beginning to publish in fall 2010 wants to do justice to these demands. Next to the core contents of the repertoire, it will also feature all of the master's 'clavier' works which require an independent pedal. Moreover, it will include all authentic early versions as well as the fragmentarily transmitted works. As to the dubious works, it will contain those which can be attributed to Bach today with considerable certainty. It offers incerta, early, and alternative versions on CD-ROM In this work group, the new edition uses for the first time the modern forms of editorial technique with which the synoptical depiction of various versions is made possible on CD-ROM. Thanks to the collaboration with the EDIROM project, which is a leader in the field of digital scientific editorial technique, the edition offers new types of solutions. Incerta, early, and alternative versions that cannot be included in the printed volumes for reasons of size or problems of authenticity, are published on CD-ROM, supplied with comments, and depicted synoptically. Thus, after comparing the versions, the player can decide upon a different version than the one printed in the volume, and can make a high-quality print-out of it. The texts and comments customary to the 'Breitkopf Urtext' editions comprehensive introductions, extensive source descriptions and text-critical observations can be found in the printed version of the volumes. Edited by a competent team: With Werner Breig (Erlangen), Pieter Dirksen (Culemborg/Netherlands) and Reinmar Emans (Bochum), a.o. we have brought together a team that guarantees the highest expertise in various domains. Further Bach experts such as Sven Hiemke (Hamburg), David Schulenberg (Boston) and Jean-Claude Zehnder (Basel) were also enlisted for the edition of single volumes. Werner Breig (* 1932) studied Evangelical church music in Berlin as well as musicology in Erlangen and Hamburg. He obtained his doctorate in 1962 and completed his habilitation (postdoctoral lecturing qualification) in 1973. He then devoted himself to musicology at the Universities of Freiburg i. Br, Karlsruhe, Wuppertal and Bochum. Since his retirement in 1997 he has been living in Erlangen. Between 1997 and 2007 Breig was appointed General Editor of the complete edition of Richard Wagners letters. He is the author of many publications and editions, particularly of early clavier and organ music by Heinrich Schütz and Johann Sebastian Bach, but also of Richard Wagner and Arnold Schoenberg. Furthermore he is the author of the Bach article in the dictionary Die Musik in Geschichte und Gegenwart (MGG, 2nd edition). Pieter Dirksen (* 1961) studied organ, harpsichord and musicology. His 1996 doctoral thesis on Sweelinck's keyboard music was awarded the Praemium Erasmianum. Dirksen has since published many studies on, and editions of, several masters of the 17th century (Sweelinck, Bull, Cornet, Scheidt, Scheidemann, Buxtehude, Luebeck, Johann Christoph Bach) as well as Johann Sebastian Bach. In collaboration with Harald Vogel, he edited Sweelinck's Complete Works for Keyboard Instrument (4 volumes, Breitkopf and Härtel). Dirksen is a member of the academic board of the Bach-Jahrbuch as well as a sought-after harpsichordist, organist and continuo player in international ensembles. Dirksen issued a number of much-acclaimed solo recordings (Sweelinck, Scheidemann, Boehm, Louis Couperin, Bach-Vivaldi, Bachs Art of Fugue and Goldberg Variations). Edison Winner 2003. Reinmar Emans (* 1953) studied musicology in Bonn and wrote his doctoral thesis on the cantatas and canzonettas of Giovanni Legrenzi in 1982. From 1983 to 2008 he was an academic staff member of the Johann-Sebastian-Bach-Institut Göttingen, and temporarily deputy of the managing director. He has taught in Bochum, Marburg, Detmold, Cologne and Hamburg, and has been a freelance contributor to various music periodicals. In 2000 he was responsible for the conception and direction of the Thuringian state exhibition 'Der junge Bach: Weil er nicht aufzuhalten' in Erfurt. He has conducted research and produced publications on opera and the cantata in 17th-century Italy, on stylistic development in the music of Johann Sebastian Bach, and on editorial philology./ Répertoire / Orgue

Par STAINER. A classic text on Organ technique. Sir John's book, first published in 1877, quickly became the classic for beginners- so popular that publishers Schirmer, Ditson, and Presser each issued its own 'Americanized' edition in the early twentieth century. In addition to the seven Organ pieces of the original edition, including five of Stainer's own works and two pieces by Guilmant, three additional works round of this Dover edition. This edition is a slightly expanded republication of the edition first published by G. Schirmer, New York in 1909, edited by F. Flaxington Harker. Introduction to this Dover edition by Rollin Smith. / Pédagogie / Méthode / Orgue

Par OGDEN NIGEL. Host of BBC radio's 'The Organist Entertains', Nigel Ogden is a celebrity recitalist and a stylish composer. He has performed extensively throughout the UK and the continent, and returns home to Lancashire to pursue his twin hobbies of Morris Minor cars and Art Deco furniture. Host of BBC radio's 'The Organist Entertains', Nigel Ogden is a celebrity recitalist and a stylish composer. He has performed extensively throughout the UK and the continent, and returns home to Lancashire to pursue his twin hobbies of Morris Minor cars and Art Deco furniture./ Répertoire / Orgue

During his tenure at 'La Madeleine? in Paris, Théodore Dubois composed a large number of organ works.Volume III, together with the already published Volumes II and IV, brings our first complete Urtext edition of this body of music to a close. It contains 'Trois Pièces? (Praeludium-grave, Adoratio et Vox Angelica, Hosannah) and the well-known and frequently performed wedding piece 'Messe de Mariage? (Entrée du Cortège, Bénédiction nuptiale, Offertoire, Invocation, Laus Deo [Sortie]).Like the two previous volumes, this volume contains many facsimile pages, a Critical Commentary (Fr/Eng/Ger), a catalogue of sources and a detailed Foreword that sheds light on the composer's life, instrument-specific issues and performance practice.- First complete Urtext edition of Théodore Dubois' organ works- Based on the latest research findings- Suitable for church worship and concert performance- Detailed Foreword, Critical Commentary (Fr/Eng/Ger) and facsimile pages / Orgue

Par SWEELINCK JAN PIETERSZOON. The importance of Jan Pieterszoon Sweelinck (1562& 1621) for the evolvement of the Claviermusik ; of the baroque is not to be overrated. The scientific and practical issue by Siegbert Rampe is the first one comprising all of the key-oeuvres by Sweelinck,/ Répertoire / Piano

Les Ténèbres s'inspire du poème éponyme de Charles Baudelaire et explore la riche palette sonore issue de la combinaison entre la trompette et l'orgue. La musique ne prétend pas reproduire l'imagerie propre du poème mais essaie de capturer son atmosphère à la fois sombre (voire menaçante) et éclatante. Il est à noter que l'image centrale des ombres trouve un écho dans la façon dont les idées musicales sont incorporées à la texture. / Trompette Et Orgue

Par WIDOR CHARLES-MARIE. Charles-Marie Widor 's Symphonies for Organ, Op. 42 No. 2. Charles-Marie Widor (b. Lyons 1844, d. Paris 1937) first began his studies in his hometown, but later pursued them in Brussels, taking lessons with Nicolas-Jacques Lemmens on the Organ, and composition lessons with François-Joseph Fetis. In 1868, he inaugurated the Organ at Notre-Dame Cathedral in Paris. He also deputized for Saint-Saë ns at the Organ of La Madeleine, and then in 1870 he was provisionally nominated organist at Saint-Sulpice. It was not until 1933 that he relinquished this post in favour of his pupil Marcel Dupre. Followingthe death of Cesar Franck in 1890, it was Widor who was requested to direct Organ studies at the Paris Conservatoire, and he followed this by taking charge of the composition class in 1896. Among his very many students were figures such as Louis Vierne and Charles Tournemire. Widor was a founder member of the Casa Velasquez in Madrid and the American Conservatoire in Fontainbleu. He was an exceptional virtuoso who could be heard in concerts in France and throughout the whole world. He left numerous works, but it is above all his Organ music that is most performed today./ Répertoire / Orgue

Spécialement arrangé pour orgue, cette collection propose ces hymnes bien-aimés que A Mighty Fortress, America the Beautiful, Amazing Grace, foi de nos pères, et Onward, Christian Soldiers.Compilé par le spécialiste du répertoire d'orgue, Rollin Smith, ce volume propose à prix modique une brève introduction et index des titres et les compositeurs.Caractéristiques mise à plat de liaison cousue. / Orgue

Par COCKER NORMAN. Angelus; Trio; Interlude and Paean The reissue of four pieces by Norman Cocker, celebrated organist of Manchester Cathedral in the inter-war period, further extends Stainer & Bell's library of English Cathedral music that also includes the complete solo works of Basil Harwood and pieces by Darke, Hollins and Bairstow. Detailed registrations by Henry Ley, himself a noted performer and Music Director of Eton College from 1926 to 1945, are of historical interest. Angelus, Trio and Interlude offer episodes of quiet reflection. Paean breaks the mood with flowing, euphonious counterpoint in ceremonial style./ Recueil / Orgue

Les Cryptogrammes No1 et 2 (DLT0250) sont des suites écrites pour orgue et flûte, les 3e (DLT0251) étant pour orgue et alto. Le titre de ces pièces provient d'une sorte de jeu de mot : Le Temple du Marais dont Jean-François Laffay était titulaire fut l'un des premiers lieux de culte accordés aux protestants par Napoléon 1er. L'édifice, construit par François Mansart, date de 1633. Sous la nef principale se trouve une crypte dans laquelle Jean-François Laffay donnait de petits concerts mensuels lorsqu'il était titulaire de la paroisse. Il composa ces suites en forme de sonates à 3 ou 4 mouvements pour être jouées au cours de ces concerts et leur donna le nom de? Cryptogrammes ! / Alto Et Orgue