Organ - intermediate to advanced

SKU: HL.49016185

Die Marianische. Composed by Enjott Schneider. This edition: Paperback/Soft Cover. Sheet music. Organ Collection. Als Gegenstuck zur Orgelsinfonie Nr.1 Pater Noster bietet die 2. Orgelsymphonie weichere und geheimnisvollere (eben marianische) Klangwelten an und skizziert Stationen aus Marias Lebensweg. Als Instrument empfiehlt sich eine Orgel mit mindestens drei Manu. Composed 2006. 55 pages. Duration 24'. Schott Music #ED 20074. Published by Schott Music (HL.49016185).

ISBN 9790001145411. UPC: 884088202507. 9.0x12.0x0.141 inches.

As a counterpart to theOrgan Symphony No. 1 Pater Noster (ED 9937), the Organ Symphony No. 2 offers softer and more mysterious (Marian) sound worlds, sketching stages of Mary's life: an adoring Salve Regina grows from the mystic source, followed by Berceuse pour Marie as a lullaby of the Christmas events. The third movement Mater Dolorosa falls back on the well-known Gregorian sequence Stabat Mater, taking Mary's pain at the cross as its central theme. The finale treats the Ave Maris Stella in a crescendo from pp to ff in a positive and solemn manner, in memory of Mary's assumption. It is advisable to use an organ with at least three manuals.

Organ

SKU: HL.49045810

Elegy Organ. Composed by Enjott Schneider. Organ Collection. Classical. Softcover. 12 pages. Duration 300 seconds. Schott Music #ED22844. Published by Schott Music (HL.49045810).

UPC: 841886032835.

This work drew its inspiration from the famous picture of the Virgin Mary 'Gnadenbild Mariahilf' (1537) by Lucas Cranach the Elder which shows Mary as a woman of delicate beauty and modest sensuality without the usual attributes of the Virgin Mary. Originally composed for oboe and organ (Schott, ED 22863), this work was premiered in Kronach, where Lucas Cranach was born, in March 2017.

Organ - advanced

SKU: HL.49018084

Pathetique. Composed by Enjott Schneider. This edition: Saddle stitching. Sheet music. Organ Collection. Naturlich denkt man beim Titel Orgelsinfonie Nr. 9 Pathetique von Enjott Schneider an ein anderes Werk mit diesem Beinamen: an Tschaikowskys Sinfonie Nr. 6. Und das ist kein Zufall: Der Komponist sieht sein Orgelwerk als Hommage an diese grosse Schwester. Composed 2009. 52 pages. Schott Music #ED20670. Published by Schott Music (HL.49018084).

ISBN 9790001168687. UPC: 884088531089. 9.0x12.0x0.218 inches.

One of the first things that comes to one's mind when reading the title of Organ Symphony No. 9 'Pathetique' by Enjott Schneider is another work with this epithet: Tchaikovsky's Symphony No. 6. And that is no coincidence: The composer regards his organ work as an homage to this 'elder sister'. While Tchaikovsky, in a secret programme, made out his own life to be a struggle and long ordeal to the point of his suspected suicide, Enjott Schneider presents those hours as the ultimate tale of woe in which Jesus had well and truly become human, fatefully bearing the pain and misery of all people. 'Gethsemane', 'Geiselung: Ecce homo', 'Golgatha' and 'Grablegung': Maria Magdalena' are the names of the stages and movements. The Greek word 'pathos' means 'strong emotion, feeling, passion or suffering' - in Schneider's Organ Symphony No. 9, this comes true, musically, in his inner conflict, struggle, wrestling with his fate, cruelty of the crucifixion and deathly silence.

Organ - advanced

SKU: HL.49045437

For Organ. Composed by Enjott Schneider. This edition: Saddle stitching. Sheet music. Organ Large Works. Classical. Softcover. Composed 2016. 48 pages. Duration 24'. Schott Music #ED 22668. Published by Schott Music (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.'.