Organ SKU: BR.EB-9300 (Plainte sur la perte de la reflexion musicale)<...(+)
Organ
SKU:
BR.EB-9300
(Plainte sur la perte
de la reflexion
musicale). Composed
by Klaus Huber. Arranged
by A. Digby and M.
Sattelberger. Solo
instruments; stapled.
Edition Breitkopf. World
premieres: I version for
flute: Wiesbaden, 1972.
Music post-1945; New
music (post-2000). Score.
Composed 1972. 20 pages.
Duration 20'. Breitkopf
and Haertel #EB 9300.
Published by Breitkopf
and Haertel (BR.EB-9300).
ISBN 9790004187647. 9
x 12 inches.
World
premieres:I version for
flute: Wiesbaden, 1972II
version for piano: Nyon,
1972III version for var.
insts.: Cologne, May 29,
1976VI version for
accordeon: Fribourg, June
25, 1987VIII version for
violoncello Tokyo:
October 14, 1989X version
for organ: Stuttgart,
March 28, 2018This work
(A Breath of the
Untimely) was first
written for solo Flute
and dedicated to Aurele
Nicolet. Its bears the
subtitle Lament on the
Loss of Musical Thought -
some Madrigals for Solo
Flute or Flute with any
other Instruments. This
serves as a playing
instruction but doubles
at the same time as an
outmoded programme: it
refers back to the
musical origin of the
opening lamenting motif,
a tradition which was
once of its time but is
not of our time - namely
the Lamento genre which
gave the title to the
Chaconne in Purcell's
opera Dido and Aeneas.
Almost simultaneously I
wrote a second version
for Piano (for Piano
one-and-a-half hands),
which already formulates
possible approaches for
the performer, in some
detail, to the indicated,
quasi-canonic version of
the piece in the
programme. The multiple
version Ein Hauch von
Unzeit III realizes a
concrete version of a
formal state which floats
between strict canon and
aleatoric principles:
each of the musicians who
are spread throughout the
hall introduces their own
idiomatic translation of
the flute part. And so
the music exists,
omnipresent, not only
spatially throughout the
hall, but also formally
in a sort of fluctuating
simultaneity. For that
reason, it was my express
wish to any potential
interpreter that they
should construct entirely
their own version of the
piece. A healthy number
of musicians have
responded to my
suggestion - versions of
the piece have now been
made for guitar
(Cornelius Schwehr,
Gunther Schneider),
accordion (Hugo Noth),
double bass (Fernando
Grillo), violin
(Hansheinz Schneeberger),
viola, violoncello, and
double bass (trio basso,
Koln), violoncello
(Michael Bach), trombone
(Andrew Digby) and,
created by myself, a sung
version for voice (to
words by Georg Wilhelm
Friedrich Hegel und Max
Bense), and for viola.The
most important
requirement for the whole
piece is absolute
stillness, which should
as far as possible
emanate from the
performer. The pauses are
occasionally in this
respect the most
important element. These
may, if one can find the
necessary stillness,
become very long.Ein
Hauch von Unzeit (A
Breath of the Untimely) -
time almost
dissolves!(Klaus Huber,
1989/2014 - translation:
David
Alberman)CD:Jean-Luc
Menet (Bass flute)CD
Traversieres
120.270Jean-Luc Menet
(fl)CD STR
37039Bibliography:Zimmerm
ann, Heidy:
Zeitgestaltung im
Kompositionsprozess bei
Klaus Huber - dargestellt
anhand von Skizzen, in:
Mnemosyne. Zeit und
Gedachtnis in der
europaischen Musik des
ausgehenden 20.
Jahrhunderts, hrsg. von
Dorothea Redepenning und
Joachim Steinheuer,
Saarbrucken: Pfau 2006,
S. 90-109
World
premiere: Stuttgart,
Hospitalkirche, March 28,
2018.
Organ SKU: BR.EB-9305 Urtext - Critical Source Edition of the Free Org...(+)
Organ
SKU:
BR.EB-9305
Urtext
- Critical Source Edition
of the Free Organ
Works. Composed by
Dietrich Buxtehude.
Edited by Harald Vogel.
Solo instruments;
Softbound. Edition
Breitkopf.
Renaissance/early
Baroque; Baroque. Score.
84 pages. Breitkopf and
Haertel #EB 9305.
Published by Breitkopf
and Haertel (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.
Organ SKU: BR.EB-9304 Urtext - Critical Source Edition of the Free Org...(+)
Organ
SKU:
BR.EB-9304
Urtext
- Critical Source Edition
of the Free Organ
Works. Composed by
Dietrich Buxtehude.
Edited by Harald Vogel.
Solo instruments;
Softbound. Edition
Breitkopf.
Renaissance/early
Baroque; Baroque. Score.
108 pages. Breitkopf and
Haertel #EB 9304.
Published by Breitkopf
and Haertel (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).
Composed by Johann Jakob Froberger (1616-1667). Edited by Siegbert Rampe. This e...(+)
Composed by Johann Jakob
Froberger (1616-1667).
Edited by Siegbert Rampe.
This edition: Complete
edition. Paperback.
Johann Jacob Froberger.
New Edition of the
Complete Works I - VII.
Performance score,
score, set of parts,
anthology, Werkve. 1429
pages. Duration 15
minutes. Baerenreiter
Verlag #BA09299.
Published by Baerenreiter
Verlag (BA.BA09299).
Organ SKU: BR.EB-9306 Urtext - Critical Source Edition of the Free Org...(+)
Organ
SKU:
BR.EB-9306
Urtext
- Critical Source Edition
of the Free Organ
Works. Composed by
Dietrich Buxtehude.
Edited by Harald Vogel.
Solo instruments;
Softbound. Edition
Breitkopf.
Renaissance/early
Baroque; Baroque. Score.
84 pages. Breitkopf and
Haertel #EB 9306.
Published by Breitkopf
and Haertel (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.
Organ SKU: BR.EB-9415 Urtext - Critical Source Edition of the Free Org...(+)
Organ
SKU:
BR.EB-9415
Urtext
- Critical Source Edition
of the Free Organ
Works. Composed by
Dietrich Buxtehude.
Edited by Harald Vogel.
Solo instruments;
Softbound. Edition
Breitkopf.
Renaissance/early
Baroque; Baroque. Score.
192 pages. Breitkopf and
Haertel #EB 9415.
Published by Breitkopf
and Haertel (BR.EB-9415).
ISBN 9790004188897. 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.
By Benjamin Culli. For organ. Funeral; Trust, Unity, Healing & Peace. Level: Mod...(+)
By Benjamin Culli. For
organ. Funeral; Trust,
Unity, Healing & Peace.
Level: Moderately
Easy-Moderately
Difficult. Published by
Concordia Publishing
House.
Organ SKU: SU.90810370 For Organ. Composed by Nancy Galbraith. Key...(+)
Organ
SKU:
SU.90810370
For
Organ. Composed by
Nancy Galbraith.
Keyboard, Organ. Score.
Subito Music Corporation
#90810370. Published by
Subito Music Corporation
(SU.90810370).
Commissioned by
the AGO 2015
Instrumentation:
Organ Duration:
3' Composed: 2015
Published by: Subito
Music Publishing.
Organ SKU: ST.EC66 Composed by Various. Edited by John Caldwell. This edi...(+)
Organ
SKU: ST.EC66
Composed by Various.
Edited by John Caldwell.
This edition: Collected
Editions. Library
Volumes. Early Tudor
Organ Music. Collection.
Stainer and Bell Ltd.
#EC66. Published by
Stainer and Bell Ltd.
(ST.EC66).
ISBN
9780852499726.
EECM
65 and EECM66 revisit the
repertoire of the
ground-breaking volumes 6
and 10 in the series,
Early Tudor Organ Music,
in the light of 60 years
of continuing research
and deeper understanding
of the surviving corpus.
Some 109 works are
brought together here, in
the order in which they
appear in each manuscript
â?? British Library
Additional MS 29996
accounting for
three-quarters of the
content, plus 22 works
from other sources. There
are settings for the
Office (antiphons, hymns,
the Te Deum and
Magnificat) and Mass
ordinary and propers
(particularly the
Offertory).
The
format is of the same
dimensions as other EECM
volumes, although
presented in landscape
for more practical use.
EECM66 contains Advent,
Christmas, Epiphany and
Lenten hymns from Add. MS
29996, and 22 pieces from
other sources. Three
appendices include
intabulated pieces,
plainchant melodies, and
hymns and
faburdens.
In
addition to numerous
anonymous titles,
composers found in these
volumes include Avery
Burnett, Robert Coxsun,
William Kyrton, Thomas
Preston, John Redford,
Philip ap Rhys, Edmund
Strowger, Thomas Tallis,
John Thorne, Robert White
and Richard Wynslate.
Electric Organ SKU: HL.49006518 Edited by Willi Draths. This edition: Sad...(+)
Electric Organ
SKU:
HL.49006518
Edited by
Willi Draths. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. 32 pages.
Schott Music #ED 6657.
Published by Schott Music
(HL.49006518).
Organ SKU: HL.48184378 Composed by Olivier Messiaen. Leduc. Classical. So...(+)
Organ
SKU:
HL.48184378
Composed
by Olivier Messiaen.
Leduc. Classical.
Softcover. 166 pages.
Alphonse Leduc #AL27373.
Published by Alphonse
Leduc (HL.48184378).
UPC: 888680846329.
10.0x13.5x0.283
inches.
“Oliv
ier Messiaen (1908-1992)
is known for his unique
composition style.
Incorporating complex
rhythms, harmony and
melodies, Book of the
Holy Sacrement for Organ
is no exception to the
composer's popular,
distinctive style.
Composed in 1984, Book of
the Holy Sacrement is a
major collection of Organ
pieces by the composer.
Messiaen began to compose
the cycle of compositions
in 1928 and it comprises
18 parts. The work was
first performed in 1986
by organist, Almut
Roessler, with a typical
performance lasting about
100 minutes. Messiaen's
Book of the Holy
Sacrement is essential to
all advanced, virtuoso
and contemporary
organists seeking to
expand and vary their
repertoire.â€.
Organ SKU: HL.14016411 Composed by Francis Jackson. Music Sales America. ...(+)
Organ
SKU:
HL.14016411
Composed
by Francis Jackson. Music
Sales America. Post-1900.
Book [Softcover]. 20
pages. Music Sales
#NOV570004. Published by
Music Sales
(HL.14016411).
8.25x11.75x0.156
inches.
Composer
's Note:
In
writing these pieces I
had in mind certain
difficulties which worry
most organists from time
to time; and in order to
combine, as it were,
business with pleasure I
thought it worthwhile to
concentrate upon one
aspect of organ technique
in each piece, even at
the risk of making them a
little more difficult
than others in this
series.
In
Procession the
main difficulty lies in
the pedals
Arabesque, on
the other hand could
hardly have had a simpler
pedal part: its object is
to exercise the left hand
in producing a smooth,
running semi-quaver
pattern Pageant
with its cross-rhythms,
is designed to produce
well-disciplinedhands and
feet that can, when
required, work in
conflicting rhythms.
I have kept the
registration schemes as
simple and
straightforward as
possible.
Organ SKU: M7.DOHR-28887 Composed by Felix Bartholdy Mendelssohn. Edited ...(+)
Organ
SKU:
M7.DOHR-28887
Composed by Felix
Bartholdy Mendelssohn.
Edited by Rainer Goede.
Sheet music. Op.85. MDS
(Music Distribution
Services) #DOHR 28887.
Published by MDS (Music
Distribution Services)
(M7.DOHR-28887).
Organ SKU: M7.DOHR-28883 Composed by Felix Bartholdy Mendelssohn. Edited ...(+)
Organ
SKU:
M7.DOHR-28883
Composed by Felix
Bartholdy Mendelssohn.
Edited by Rainer Goede.
Sheet music. Op.38. MDS
(Music Distribution
Services) #DOHR 28883.
Published by MDS (Music
Distribution Services)
(M7.DOHR-28883).
Organ SKU: M7.DOHR-28884 Composed by Felix Bartholdy Mendelssohn. Edited ...(+)
Organ
SKU:
M7.DOHR-28884
Composed by Felix
Bartholdy Mendelssohn.
Edited by Rainer Goede.
Sheet music. Op.53. MDS
(Music Distribution
Services) #DOHR 28884.
Published by MDS (Music
Distribution Services)
(M7.DOHR-28884).
Preludes, Toccatas, Fantasias and Fugues II / Early Versions and Variants to ...(+)
Preludes, Toccatas,
Fantasias and Fugues II /
Early Versions and
Variants to I (Volume 5)
and II (Volume 6).
Composed by Johann
Sebastian Bach
(1685-1750). Edited by
Dietrich Kilian / Peter
Wollny. This edition:
urtext edition.
Paperback. Johann
Sebastian Bach. Organ
Works 6 | BARENREITER
URTEXT. Preludes,
Toccatas, Fantasias and
Fugues II / Early
Versions and Variants to
I (Volume 5) and II
(Volume 6). Performance
score, anthology.
Published by Baerenreiter
Verlag (BA.BA5266).
Organ SKU: BA.BA08966-67 Composed by Charles Francois Gounod. Edited by H...(+)
Organ
SKU:
BA.BA08966-67
Composed by Charles
Francois Gounod. Edited
by Hans Schellevis. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. 15
pages. Baerenreiter
Verlag #BA08966_67.
Published by Baerenreiter
Verlag (BA.BA08966-67).
ISBN 9790006563999.
32.5 x 25.5 cm
inches.
Sacred
works occupy a large part
of Charles Gounod's
oeuvre. It was the Messe
solennelle en l'honneur
de Sainte Cecile that
established his fame as a
church composer. Its
melodic invention and
effective handling of the
orchestra reveal a close
proximity to opera. This
Urtext edition is based
not only on the original
print of 1856 but also on
copyists' manuscripts and
autograph sources.
Rounding off this
well-researched Urtext
edition are an
informative Introduction
and a detailed Critical
Commentary. The edition
is being published to
celebrate the 200th
anniversary of Gounod's
birth.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Composed
by Charles Francois
Gounod. Edited by Frank
Hondgen. Messe Solennelle
De Ste. Cecile. Sacred
vocal music, Masses,
Latin, Whole church year
/ Omni tempore. Choral
Score. Composed 1855. CG
56. 28 pages. Duration 45
minutes. Carus Verlag #CV
27.095/05. Published by
Carus Verlag
(CA.2709505).
ISBN
9790007186883. Language:
Latin.
Shining rays
stream from the 'Messe de
sainte Cecile'. At first
people were dazzled, then
bewitched, then overcome.
This is how the composer
Camille Saint-Saens
described his impression
of what was probably
Charles Gounod's
best-known setting of the
mass. The work written in
1855 in honor of the
patron saint of church
music, soon became
well-known beyond the
borders of France and
acquired a degree of
popularity like almost no
other sacred composition.
In the Messe de sainte
Cecile, Gounod combines
sublime simplicity with
operatic-dramatic
elements and a colorful,
effective orchestration.
Critical edition in
proven Carus quality.
Score available
separately - see item
CA.2709500.
Composed
by Charles Francois
Gounod. Edited by Frank
Hondgen. 1x 27.095/21
piccolo, 1x 27.095/22
flute 1, 1x 27.095/23
flute 2, 1x 27.095/24
oboe 1, 1x 27.095/25 oboe
2, 1x 27.095/26 clarinet
1, 1x 27.095/27 clarinet
2, 2x 27.095/28 Bassoon 1
and 3, 2x 27.095/29
Bassoon 2 and 4, 1x
27.095/31 horn 1, 1x
27.095/32 hor. Messe
Solennelle De Ste.
Cecile. Sacred vocal
music, Masses, Latin,
Whole church year / Omni
tempore. Set of Orchestra
Parts. Composed 1855. CG
56. Duration 45 minutes.
Carus Verlag #CV
27.095/09. Published by
Carus Verlag
(CA.2709509).
ISBN
9790007200220. Language:
Latin.
Shining rays
stream from the 'Messe de
sainte Cecile'. At first
people were dazzled, then
bewitched, then overcome.
This is how the composer
Camille Saint-Saens
described his impression
of what was probably
Charles Gounod's
best-known setting of the
mass. The work written in
1855 in honor of the
patron saint of church
music, soon became
well-known beyond the
borders of France and
acquired a degree of
popularity like almost no
other sacred composition.
In the Messe de sainte
Cecile, Gounod combines
sublime simplicity with
operatic-dramatic
elements and a colorful,
effective orchestration.
Critical edition in
proven Carus quality.
Score and parts available
separately - see item
CA.2709500.
Composed
by Charles Francois
Gounod. Edited by Frank
Hondgen. Messe Solennelle
De Ste. Cecile. Sacred
vocal music, Masses,
Latin, Whole church year
/ Omni tempore. Set of
Orchestra Parts. Composed
1855. CG 56. Duration 45
minutes. Carus Verlag #CV
27.095/19. Published by
Carus Verlag
(CA.2709519).
ISBN
9790007200282. Language:
Latin.
Shining rays
stream from the 'Messe de
sainte Cecile'. At first
people were dazzled, then
bewitched, then overcome.
This is how the composer
Camille Saint-Saens
described his impression
of what was probably
Charles Gounod's
best-known setting of the
mass. The work written in
1855 in honor of the
patron saint of church
music, soon became
well-known beyond the
borders of France and
acquired a degree of
popularity like almost no
other sacred composition.
In the Messe de sainte
Cecile, Gounod combines
sublime simplicity with
operatic-dramatic
elements and a colorful,
effective orchestration.
Critical edition in
proven Carus quality.
Score and parts available
separately - see item
CA.2709500.
Organ SKU: BT.EMBZ14775 Composed by Ernst Von Dohnanyi. Book Only. Compos...(+)
Organ
SKU:
BT.EMBZ14775
Composed
by Ernst Von Dohnanyi.
Book Only. Composed 2012.
12 pages. Editio Musica
Budapest #EMBZ14775.
Published by Editio
Musica Budapest
(BT.EMBZ14775).
Ern Dohnányi
(1877 - 1960) composed
his C minor fantasia in
1892, at the age of
fifteen.This work, which
is appearing in print now
for the first time, is a
real curiosity: apart
from a few polyphonic
stylistic exercises
written while he was at
the music academy, this
is Dohnányi's only
piece for organ. The
composer later recalled
his first acquaintance
with that instrument
thus: 'My experience with
the organ actually dates
back to when I was a
third-year grammar school
student, for beginning
with that year I served
as organist for the
Sunday worship services
in the grammar school's
church. These were the
first wages I ever earned
through music.' The
Fantasie wasprepared for
publication on the basis
of the composer's
manuscript by the
well-known Dohmányi
researcher Deborah
Kiszely.
Ern
Dohnányi (1877 - 1960)
composed his C minor
fantasia in 1892, at
the age of fifteen. This
work, now appearing in
print for the first time,
is a real curiosity:
apart from a few
polyphonic stylistic
exercises written whilehe
was at the music academy,
this is Dohnányi's
only piece for organ. The
composer later recalled
his first acquaintance
with that instrument
thus: 'My experience with
the organ actually dates
back to when I was a
third-year grammarschool
student, for beginning
with that year I served
as organist for the
Sunday worship services
in the grammar school's
church. These were the
first wages I ever earned
through music.' The
Fantasie was
prepared forpublication
on the basis of the
composer's manuscript by
the well-known
Dohmányi researcher
Deborah
Kiszely.
Ern
Dohnányi (1877-1960)
komponierte die Fantasie
in c-Moll 1892 im Alter
von fünfzehn Jahren.
Das Werk, welches nun
erstmalig in Druck
erscheint, ist ein echtes
Kuriosum: Abgesehen von
ein paar wenigen
polyphonen Stilübungen
aus der Musikakademie ist
es das einzige Orgelwerk
des Komponisten. Dieser
erinnerte sich später
folgendermaßen an das
Kennenlernen des
Instruments: Meine erste
Begegnung mit dem Orgel
reicht bis zur dritten
Klasse im Gymnasium
zurück. Ab dieser
Klasse nahm ich sonntags
die Funktion des Kantors
in der Kirche der Schule
ein. Das war mein erstes
Geld, was ich mit Musik
verdiente. Die Fantasie
wurde von der bekannten
Dohnányi-Forscherin
Deborah Kiszelynach dem
Originalmanuskript
herausgegeben.
Organ SKU: BR.EB-9345 For Organ. Composed by Sanchez-Verdu. Solo i...(+)
Organ
SKU:
BR.EB-9345
For
Organ. Composed by
Sanchez-Verdu. Solo
instruments; stapled.
Edition Breitkopf.
World premiere:
Berlin, Januar 20, 2019
(Compulsory piece for the
Prizewinner Concert
of the Felix Mendelssohn
Bartholdy Conservatory
Competition, Berlin
2019)Commissioned by the
Felix Mendelssohn
Bartholdy Conservatory
Competition 2019ISBN 9790004188095. 12
x 9 inches.
Lar in
Roman mythology refers to
the so-called Lares, gods
of households, fields and
pathways, deified souls
of the deceased and
tutelary deities,
especially of the house
and its inhabitants. Lar
is also the fireplace in
a house - and thus a
place where you feel
protected. Lar II is part
of a cycle. Each piece
focusses on a kind of
movement or transition
between the interior (the
house) and the unknown
(the outside, the
adventure). Gilles
Deleuze speaks of
deterritorialization; it
is precisely this process
that is also used in
music as a metaphor. For
Deleuze, a melody can act
as a ritornello, for
example, representing the
house, the acquainted.
Lar II plays with
ritornellos which are
developed alternatingly -
like breathing- with
certain movements to the
outside and back again.
Musically, the instrument
organ opens/introduces as
a topos something within
a space and focusses on
the concept of space as
the central point of a
continuous musical
transition. (Jose M.
Sanchez-Verdu,
2018)
World
premiere: Berlin, Januar
20, 2019 (Compulsory
piece for the Prizewinner
Concert of the Felix
Mendelssohn Bartholdy
Conservatory Competition,
Berlin 2019) Commissioned
by the Felix Mendelssohn
Bartholdy Conservatory
Competition 2019.
Organ - intermediate to advanced SKU: HL.49017070 Uber den Choral Morg...(+)
Organ - intermediate to
advanced
SKU:
HL.49017070
Uber
den Choral Morgenglanz
der Ewigkeit.
Composed by Johanna
Senfter. Edited by
Johannes Geffert. This
edition: Saddle
stitching. Sheet music.
Piano. Book only. Op. 66.
32 pages. Duration 14'.
Schott Music #ED 20264.
Published by Schott Music
(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.
Cantata for the Sunday
after New Year.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. This
edition: Paperbound.
Sacred vocal music,
Cantatas, New year. Study
score. Composed
1733/1734. BWV 58. 56
pages. Duration 17
minutes. Carus Verlag #CV
31.058/07. Published by
Carus Verlag
(CA.3105807).
ISBN
9790007043216. Key: C
major. Language:
German/English.
The
cantata O God, what glut
of care and pain BWV 58,
which Bach subtitled
Dialogus and wrote for
the Sunday after New
Year, limits itself
accordingly to the dialog
couple consisting of
soprano and bass; further
soloists or a choir are
not required. In the
framing movements, the
dialog takes on the form
of a chorale arrangement:
the soprano presents a
cantus firmus whose words
are consolingly commented
on by the bass. Both the
expansive chorale
arrangements leave room
for an aria which is
framed by two
recitatives. The cantata
was composed for the
Sunday after New Year
1727, but the received
form is from a subsequent
performance that took
place six or seven years
later. For this
performance, Bach not
only expanded the
instrumentation but also
replaced an entire aria.
Later, he assigned the
cantata to his annual
cycle of chorale
cantatas, probably due to
its high proportion of
chorales; this Sunday was
missing in that annual
cycle as there was no
Sunday between New Year
and Epiphany in 1725.
Score available
separately - see item
CA.3105800.
SATB, String Quartet, Percussion and Organ SKU: HL.14022186 Composed by N...(+)
SATB, String Quartet,
Percussion and Organ
SKU: HL.14022186
Composed by Nico Muhly.
Music Sales America.
Contemporary. Set of
Parts. 54 pages. St. Rose
Music #SRO10001001.
Published by St. Rose
Music (HL.14022186).
Written
for SATB choir, string
quartet, percussion and
organ. Percussion and
string quartet parts.
Full score is used for
the organ part (item
14022188).