Chamber Music Piano SKU: PR.110418370 Composed by Charles Ives. Arranged ...(+)
Chamber Music Piano
SKU: PR.110418370
Composed by Charles Ives.
Arranged by Danny Holt.
Performance Score. 20
pages. Duration 8
minutes. Theodore Presser
Company #110-41837.
Published by Theodore
Presser Company
(PR.110418370).
ISBN
9781491135075. UPC:
680160686247.
Compo
sed as an organ solo by
the 17-year-old Ives for
his own performance
purposes, the beloved
Variations on America is
a treat for any occasion,
whether a holiday
concert, a serious
recital, or other special
event. Danny
Holt’s
transcription for Piano,
Four Hands adds a
dazzling new option to
play at home or on stage,
taking best advantage of
Ives’ tremendous
contrasts in color,
dynamics, and
texture. Composed when
Charles Ives was a
teenager, Variations on
“America†is
both a convenient
introduction to
Ives’ body of
work, and an early
example of his
iconoclastic musical
voice and creative
genius. Just a few years
after composing this
piece, Ives would leave
home to study music at
Yale. But until then he
had been taught by his
father, George (who had
been a bandmaster in the
Civil War). George
subjected the young Ives
to experiments such as
singing a song in one key
while being accompanied
in another, or arranging
for two marching bands to
converge on a town
center, with the
resulting cacophony that
ensued.The Variations
exemplifies an early
period of experimentation
in Ives’ work,
spurred on by the unusual
pedagogy of his father.
The piece is particularly
notable for its use of
bitonality in the two
interludes, subtly
foreshadowing more
well-known examples by
Stravinsky, Bartók,
and others by
approximately two
decades.The bitonal
interludes were so ahead
of their time, in fact,
they were omitted from
the first copy that was
submitted to a publisher
in 1892. (Alas, the piece
was rejected even despite
these
“shockingâ€
elements having been left
out, and it wasn’t
published until more than
five decades later.)
There is some ambiguity
about when exactly Ives
added the interludes into
his manuscript copy,
though ample evidence
suggests he had performed
the piece with the
interludes around the
time he notated the piece
in 1891-92. In any case,
in light of this piece
and his other polytonal
explorations from the
last decade of the 19th
century, it seems fair to
give Ives credit for
being a pioneer in this
area!This arrangement for
Piano, Four Hands,
closely follows
Ives’ original
version for organ,
setting aside William
Schuman’s popular
adaptation for symphony
orchestra and William
Rhoads’ band
transcription of the
Schuman orchestration.
Pianists will find that
the piece translates well
to the instrument.
Ideally, the choreography
and logistics of
elbow-to-elbow four-hands
playing approximates the
wild joy one gets from
watching an organist play
the piece (e.g., the
elaborate pedal part in
the final variation).In
preparing this
publication, attention
was paid to details in
the dual Critical
Editions (Presser
443-41003) of both
Ives’ manuscript
edition and the 1949
publication edited by
organist E. Power Biggs
(who is credited with
discovering what had been
a long-lost, forgotten
work.) But as with much
of Ives’ output,
attempting to create a
true
‘urtext’
score is a futile
endeavor, and especially
with a piece such as this
one – in which
Ives incorporated
improvisation in live
performance –
seems unnecessary anyhow.
True die-hards are of
course encouraged to
consult the critical
editions and even find
inspiration in the
orchestrated version.
Generally, performers are
advised to be wild, have
fun, and not to be too
rigid in their
interpretive
choices.Dynamics in this
arrangement mostly follow
the organ score closely.
Pianists will use good
judgment about pedaling
throughout, which should
be straightforward and
intuitive. Courtesy
accidentals have been
provided frequently
– without
parentheses –
balancing the need for
extra clarity in the
context of Ives’
murky musical language,
and a desire to avoid
unnecessary clutter.A few
notes that might inform
interpretive
decisions:mm. 15-16:
There are inconsistencies
here between Ives’
original manuscript and
the 1949 Biggs edition,
regarding the top voice
in m. 15, beat 3 (C# vs.
Cn) and m. 16 (D Major
vs. D Minor).mm. 76-84 &
143-146: In both
Interludes, Ives
emphatically notates
extreme dynamic contrast,
in order to highlight the
bitonality. Although it
may seem counterintuitive
(or even a misprint, as
has apparently been
misconstrued by some),
performers are urged to
follow the
composer’s
marking!m. 109: Two-note
slurs have been added
here for clarity and
consistency with other
similar passages, though
they do not appear in
either the original
manuscript or Biggs.m.
112: The last two eighth
notes of Primo appear as
16ths in the original
manuscript.mm. 183-186:
The original manuscript
has a slightly different
bass line.mm. 184 & 186:
Primo gestures have been
re-written to be slightly
more idiomatic for Piano,
Four Hands.m. 186: The
breath mark at the end of
this bar does not appear
in either the manuscript
or Biggs, but is an
editorial suggestion
– aside from being
appropriately dramatic,
it will indeed be
necessary in a
reverberant hall!I would
like to thank Steven
Vanhauwaert, the other
half of my piano duo,
4handsLA, for his input
on early drafts of this
arrangement.—
Danny Holt, April
2022.
Organ - advanced SKU: HL.49018083 In Memoriam. Composed by Enjott ...(+)
Organ - advanced
SKU:
HL.49018083
In
Memoriam. Composed by
Enjott Schneider. This
edition: Saddle
stitching. Sheet music.
Organ Collection. Enjott
Schneider knupft in
seiner Orgelsinfonie Nr.
8 In Memoriam an Anton
Bruckner an, verarbeitet
variativ Themen aus
dessen Sinfonie Nr. 8 und
stellt diese aber dem
Choral Wachet auf, ruft
uns die Stimme gegenuber.
Eine spannende und
aufwuhlende Musik.
Composed 2009. 62 pages.
Duration 32'. Schott
Music #ED20669. Published
by Schott Music
(HL.49018083).
ISBN
9790001168670.
9.0x12.0x0.24
inches.
In his
Organ Symphony No. 8 'In
Memoriam', following an
idea of the cathedral
organist Silvius von
Kessel from Erfurt (and
dedicatee of the work),
Enjott Schneider carries
on where Anton Bruckner
left off, processes
themes from the latter's
Symphony No. 8
variatively and contrasts
it to 'Haus-Choral des
Erfurter Doms', 'Wachet
auf, ruft uns die
Stimme'. Bruckner's
material is used as a
starting point and
further developed by
Schneider in four
movements: typically
enough, the initial
movement is called
'Metamorphosen' before an
almost eerie atmosphere
is created in a 'Scherzo
sinistro'. The
twelve-note series (in
the third movement),
embedded in a
transcendental mood,
eventually develops into
the chorale which, now as
main theme of the finale,
amalgamates with
Bruckner's stylistic
moments and leads to a
magnificent end - an
exciting and rousing
piece of music.
Organ - advanced SKU: HL.49019021 Organ Solo. Composed by Enjott S...(+)
Organ - advanced
SKU:
HL.49019021
Organ
Solo. Composed by
Enjott Schneider. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Softcover.
Composed 2009. 56 pages.
Duration 27'. Schott
Music #ED21099. Published
by Schott Music
(HL.49019021).
Arranged by Desmond Ratcliffe / Bill Ramsey / O.H. Peasgood. For Organ. Music Sa...(+)
Arranged by Desmond
Ratcliffe / Bill Ramsey /
O.H. Peasgood. For Organ.
Music Sales America.
Celebrations, Weddings.
48 pages. Music Sales
#NOV010124. Published by
Music Sales
Organ - advanced SKU: HL.49045437 For Organ. Composed by Enjott Sc...(+)
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.'.
Solo Organ SKU: SU.80201701 For Solo Organ. Composed by Daniel E. ...(+)
Solo Organ
SKU:
SU.80201701
For
Solo Organ. Composed
by Daniel E. Gawthrop.
Keyboard, Organ. Score.
Subito Music Corporation
#80201701. Published by
Subito Music Corporation
(SU.80201701).
Solo Organ
Composed: 2016 Published
by: Dunstan House.
Organ - advanced SKU: HL.49018084 Pathetique. Composed by Enjott S...(+)
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.
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Set of wind
parts. Opus 78.
14/12/10/12/12/10/12/11/7
/12/10/4/7/8/8/8/8/8/7
pages. Baerenreiter
Verlag #BA07896_65.
Published by Baerenreiter
Verlag (BA.BA07896-65).
ISBN 9790006563418.
32.5 x 25.5 cm inches.
Key: C minor.
In
this work I gave
everything I had to give.
[...] What I did here I
will never do
again. Camille
Saint-Saens was
justifiably proud of his
Symphony No. 3 in C minor
op. 78, dedicated to the
memory of Franz Liszt.
Like Beethoven's Ninth,
this so-called Organ
Symphony was commissioned
by the Philharmonic
Society in London, where
it received its premiere
on 19 May
1886.
In this
first scholarly-critical
edition of the symphony,
a great many
inconsistencies and
mistakes inherent in the
previously used edition
have been unveiled and
corrected.
The
edition of Symphony No. 3
marks the launch of a
large-scale project: the
publication of Camille
Saint-Saens - Complete
Edition of the
Instrumental Works. This
performing Urtext edition
is based on volume BA
10303 from that
series.
* First
scholarly-critical
edition of this famous
symphony based on Camille
Saint-Saens aEUR Complete
Edition of the
Instrumental Works *
Now with separate parts
for all winds *
Orchestral parts in a
large format (25.5 cm x
32.5 cm).
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
Organ - advanced SKU: HL.49018082 Von Ewigkeit zu Ewigkeit. Compos...(+)
Organ - advanced
SKU:
HL.49018082
Von
Ewigkeit zu Ewigkeit.
Composed by Enjott
Schneider. This edition:
Saddle stitching. Sheet
music. Organ Collection.
Die Orgelsinfonie Nr. 7
'Von Ewigkeit zu Ewigkeit
ist vom kompositorischen
Rohstoff Zeit bestimmt.
Stilistisch basiert die
Komposition auf Elementen
der Minimal Music, die
Schneider mit der
Tradition der
europaischen
Orgelkomposition
verbindet. Composed 2009.
52 pages. Duration 24'.
Schott Music #ED20668.
Published by Schott Music
(HL.49018082).
ISBN
9790001168809. UPC:
884088535094.
9.0x12.0x0.2
inches.
Each organ
symphony by Enjott
Schneider has its own
colour and its own theme.
Organ Symphony No. 7 'Von
Ewigkeit zu Ewigkeit' is
dominated by the theme of
'time': from the flowing
rumbling of time in
ancient beginnings ('In
principio' - 1st
movement) and periodic to
the intellectually
incomprehensible
revolving ('Zeit der
Sterne' - 2nd movement).
After the third movement
('Zeit des Menschen'), a
valse triste, infused by
an almost humorous hectic
atmosphere, the symphony
ends with a kind of
'Amen!' in the fourth
movement. Schneider sums
it up: 'It is good as it
is, we do not understand
the course of time
anyway.' With regard to
style, his composition is
based on elements of
minimal music which he
combines with the
tradition of the European
organ composition; it is
at the same time a
testimony to the
composer's flexibility
and versatility.
SA choir and Organ SKU: HL.14042519 Composed by Per Norgard. Choral. Clas...(+)
SA choir and Organ
SKU: HL.14042519
Composed by Per Norgard.
Choral. Classical.
Octavo. Composed 2013.
Edition Wilhelm Hansen
#WH31730. Published by
Edition Wilhelm Hansen
(HL.14042519).
ISBN
9788759826935.
<
strong>Jordens
Vej for SA Choir
and Organ by Per
Nørgård
(1981). Text by Ole
Sarvig.
Manuscript
copy.
Programme
note
When
in 1975 I had finished
composing my 3rd Symphony
(begun in 1973), I wrote
three simple melodies for
two psalm texts by Ole
Sarvig: “The
Year” and
“Choral
Hymn”. These three
tunes were derived from
the same material as the
second movement of the
3rd Symphony and could be
harmonized together in
several different tempo
relationships at the same
time - like fractals
– which inspired me
to write several choral
and instrumental works in
the following decade
based onthese melodies:
“Frost
Psalm”,
“Winter
Cantata”,
“Cantica”
a.o. One of
these ‘Sarvig
melodies’ is now in
the Danish Hymnbook, nr.
720, under the title
'Året'(The
Year). Jordens
vej for choir
and organ was the basis
of the work Korsalme
(1982) for mixed choir
and instruments (ad
lib.).
(TRUMPET/PNO) SKU: HL.48181536 Composed by Camille Saint-Saens. Leduc. Ro...(+)
(TRUMPET/PNO)
SKU:
HL.48181536
Composed
by Camille Saint-Saens.
Leduc. Romantic.
Softcover. 12 pages.
Alphonse Leduc #AL21179.
Published by Alphonse
Leduc (HL.48181536).
UPC: 888680842109.
9.0x12.0x0.05
inches.
“Cami
lle Saint-Saëns
(1835-1921) is best known
for his Carnival of the
Animals and Organ
Symphony. Yet, his
Fantasy in E flat major
arranged for Cornet or
Trumpet and Piano remains
popular in the advanced
repertoire for the
instruments.
Saint-Saëns entered
the Paris Conservatoire
at the mere age of
thirteen, where he
studied Organ and
composition. He then went
on to have a successful
career as an organist and
composer, writing his
Fantasy in E flat major
in 1857. The piece was
originally composed for
the Organ, but Henri
Busser (1872-1973)
recognised the work's
significance and arranged
it for Cornet or Trumpet
with Piano accompaniment.
To this day, Fantasy in E
flat major remains
prominent in the advanced
brass player's
repertoire.â€.
Chamber Music English Horn, Piano SKU: PR.114417250 For English Horn a...(+)
Chamber Music English
Horn, Piano
SKU:
PR.114417250
For
English Horn and
Orchestra. Composed
by Gaetano Donizetti.
Edited by Mark Biggam
Pedro Diaz. Sws each. See
the Historical Notes by
Michael Finkelman on the
second and third pages.
Romantic. Set of Score
and Parts. With Standard
notation. 16+8 pages.
Duration 12:30. Theodore
Presser Company
#114-41725. Published by
Theodore Presser Company
(PR.114417250).
ISBN
9781491110928. UPC:
680160631469. 9x12
inches. Key:
F.
Concertino in
FÂ for English Horn and
OrchestraPreviously known
only through a spurious
edition in G Major, the
authentic Concertino in F
was recently discovered
in Italy by Pedro Diaz,
English Hornist of the
Metropolitan Opera
Orchestra. Diaz prepared
this ground-breaking
authentic edition through
comparison of the
multiple historical
sources and an intimate
knowledge of Donizetti's
works. The new edition in
F Major is embellished
with footnotes regarding
sources and
ornamentation. The piano
reduction and orchestral
score and parts
(available on rental)
were prepared by
composer/oboist Mark
Biggam in tandem with
Diaz's work, and the
publication includes
extensive historical
notes by scholar Michael
Finkelman. PEDRO DIAZ
joined The Metropolitan
Opera Orchestra in 2005
and has performed as solo
English Hornist in
hundreds of productions.
As a sought after
teacher, Mr. DÃaz has
lectured extensively at
top music conservatories
including The Juilliard
School, The Manhattan
School of Music, The
Eastman School of
Music,The Hartt Music
School, and Duquesne
University. His
international appearances
include masterclasses in
Panama, Italy, Mexico,
Canada, Puerto Rico,
Leipzig, Berlin, and
Italy.A native of Puerto
Rico, he received his
early musical training in
the “Escuela Libre
de Musica,†an
esteemed public school
for the performing arts.
He has performed as a
guest artist with the
Chicago Symphony, New
York Philharmonic, and
many other leading
ensembles. His playing
has been hailed by
critics as evocative,
eloquent and expressive
and is considered one of
the pre-eminent players
of his generation. Mr.
DÃaz has performed
Wagner’s Tristan
und Isolde 24 times under
the batons of James
Levine, Daniel Barenboim,
and Sir Simon
Rattle.Pedro
DÃaz’s
recording of the
Donizetti Concertino in F
and other concerti is
available from Fox
Products and online
sources, performed with
members of the
Metropolitan Opera
Orchestra. MARK
BIGGAM’s
compositions have been
recognized in various
venues throughout the
United States, Central
America, Asia, and
Europe. He has received
awards from ASCAP and the
Cleveland Foundation. An
oboist himself, many of
Biggam’s
compositions have been
performed by notable
oboists and English Horn
players including John
Mack, Joseph Robinson,
Pedro DÃaz, Carolyn
Hove, and Dwight Parry.
Premieres of his works
have been featured at
events including the
International Double Reed
Society and John Mack
Legacy
Camp.Biggam’s
choral works have gained
recognition, awards, and
commissions from
organizations including
the Moravian Music
Foundation, Ohio
BoyChoir, and Triad Pride
Men’s Chorus. He
also has published
arrangements and piano
reductions of J.S.
Bach’s music for
Bärenreiter-Verlag.
His collaborations with
Pedro DÃaz include the
Donizetti Concertino in F
as well as works of the
lesser-known composers
Pilotti and Mares,
recorded by Mr. Diaz and
members of the
Metropolitan Opera
Orchestra. Biggam has
alsoprepared arrangements
and settings of works for
symphonic band, which
have been performed by
the Piedmont Wind
Symphony.
Arranged by Mark L. Williams. For Organ. FJH Classical Organ Library. Contents: ...(+)
Arranged by Mark L.
Williams. For Organ. FJH
Classical Organ Library.
Contents: Arioso from
Contata No. 156 (Bach);
Air from Water Music
Suite (Handel); Andantino
from Rosamunde
(Schubert); Nocturne from
A Midsummer Night's Dream
(Mendelssohn); O Perfect
Love; Bist du bei Mir
(Bach); Canon in D
(Pachelbel); Largo from
Xerxes (Handel); Where'er
You Walk (Handel); A
Nuptual Blessing;
Pastoral Symphony from
Messiah (Handel); Jesu,
Joy of Man's Desiring
(Bach); He Shall Feed His
Flock From Messiah
(Handel); Bridal Chorus
from Lohengrin (Wagner);
Trumpet Voluntary;
Wedding March from A
Midsummer Night's Dream
(Mendelssohn); Trumpet
Tune; Allegro Maestoso
from Water Music Suite
(Handel); March from
Richard the First
(Handel); Rondeau from
Sinfonies de Fanfares
(Mouret); Prelude to Te
Deum
Organ SKU: HL.49044122 Composed by Bertold Hummel. This edition: Saddle s...(+)
Organ
SKU:
HL.49044122
Composed
by Bertold Hummel. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Softcover. Composed 1989.
Op. 91a. 48 pages.
Duration 26'. Schott
Music #ED21546. Published
by Schott Music
(HL.49044122).
ISBN
9790001191234.
12.0x8.75x0.42
inches.
The
three-movement piece
refers to Bruckner's
music in different ways:
in the first movement,
Hummel used the initials
A-B and the beginning of
the main theme from
Symphony No. 8; in the
second movement, the
first four tones of the
'Adagio' from Symphony
No. 9 play a major role,
and the third movement, a
toccata-like finale, gets
its life from further
tone sequences and motifs
of Bruckner. The work
ends in a majestic
climax. This piece is a
rather demanding, yet
rewarding piece for any
interpreter, and its
performance in the church
is extremely
effective.