Organ (Organ) SKU: HL.48183087 Composed by Jacques Chailley. Leduc. Class...(+)
Organ (Organ)
SKU:
HL.48183087
Composed
by Jacques Chailley.
Leduc. Classical. CD. 268
pages. Alphonse Leduc
#AL25019. Published by
Alphonse Leduc
(HL.48183087).
UPC:
888680877859.
6.25x9.5x0.704
inches.
French
musicologist and
composer, Jacques
Chailley (1910-1999) was
born into a musical
family and went on to
study at the Paris
Conservatoire. As an
organist himself, he is
well acquainted with the
Chorales, making his
analysis book J. S.
Bach's Chorales for Organ
well-informed. Bach's
chorale catalogue
consists of some 189
chorales; SATB hymns
which tend to be in
strophic form. Chailley's
J. S. Bach's Chorales for
Organ analyses the
harmonic techniques,
structure and other
characteristics of all
the chorales, including
detailed descriptions.
For all musicians, the
knowledge of the
harmonisation of Bach's
chorales is essential.
Therefore, Chailley's J.
S. Bach's Chorales for
Organ is imperative..
Organ SKU: VD.ED20476 Composed by Camille Saint-Saens. Arranged by Otto D...(+)
Organ
SKU:
VD.ED20476
Composed
by Camille Saint-Saens.
Arranged by Otto
Depenheuer. Édition
bon(n)orgue Vol. 76.
Classical. Score. 19 S.
pages. Verlag Dohr
#ED20476. Published by
Verlag Dohr (VD.ED20476).
(E-Z Play Today #199). Composed by Various. For Organ, Piano/Keyboard, Electroni...(+)
(E-Z Play Today #199).
Composed by Various. For
Organ, Piano/Keyboard,
Electronic Keyboard. E-Z
Play Today. Softcover.
528 pages. Published by
Hal Leonard
Organ SKU: SU.80101363 For Organ. Composed by Michael Canales. Key...(+)
Organ
SKU:
SU.80101363
For
Organ. Composed by
Michael Canales.
Keyboard, Organ. Score.
Zimbel Press #80101363.
Published by Zimbel Press
(SU.80101363).
This
exceptionally useful
collection contains 20
short and easy organ
pieces, highly suitable
as preludes, interludes,
and postludes for
services. Canales's
appealing romantic style
draws especially on
Spanish influences, which
is very rare in the organ
literature. Ranging from
the dazzling Flamenco
Postlude in E to the
tender and mystical
Ascension Postlude in D,
this volume will provide
distinctive and engaging
organ literature for
service playing.
Instrumentation: Organ.
Composed: 2012-14
Published by: Zimbel
Press.
Orgelkompositionen von acht nordamerikanischen Komponisten des 18. Bis 20. Jahrh...(+)
Orgelkompositionen von
acht nordamerikanischen
Komponisten des 18. Bis
20. Jahrhunderts. Edited
by Bonn, Juergen. For
Organ. Collection.
Published by
Baerenreiter-Ausgaben
(German import).
Choral; Organ SKU: HL.14041976 SATB and Organ. Composed by Lennox ...(+)
Choral; Organ
SKU:
HL.14041976
SATB
and Organ. Composed
by Lennox Berkeley. Music
Sales America. Classical,
Contemporary. Softcover.
Composed 2012. Chester
Music #CH79519. Published
by Chester Music
(HL.14041976).
This anthem was
commissioned by Sam
Wanamaker of the Globe
Theatre Trust and first
performed at Southwark
Cathedral by the Exultate
Singers under Garrett
O'Brien on 23rd April
1972.
Organ SKU: BA.BA04891-67 Composed by Wolfgang Amadeus Mozart. Edited by H...(+)
Organ
SKU:
BA.BA04891-67
Composed by Wolfgang
Amadeus Mozart. Edited by
Hellmut Federhofer. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. K.
195 (186d). 16 pages.
Duration 30 minutes.
Baerenreiter Verlag
#BA04891_67. Published by
Baerenreiter Verlag
(BA.BA04891-67).
ISBN
9790006459452. 32.5 x
25.5 cm
inches.
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 SKU: ST.H464 Composed by Various. Arranged by Norris. Organ music. ...(+)
Organ
SKU: ST.H464
Composed by Various.
Arranged by Norris. Organ
music. Fifteen pieces for
use at Funerals and
Memorial Services.
Arranged by John Norris..
Score. Stainer & Bell
Ltd. #H464. Published by
Stainer & Bell Ltd.
(ST.H464).
ISBN
9790220222139.
Well
-chosen music is an
essential adjunct to the
dignity and reverence of
funerals and acts of
remembrance, comforting
those who mourn, and
shining light upon the
personality of the
departed person.
Among these fifteen new
arrangements, organists
will find a wealth of
material from which to
select the right piece
appropriate to the
occasion. There are
classics such as
Mendelssohn's O rest
in the Lord and
Handel's Dead
March from Saul,
romantic masterpieces
like Elgar's
Nimrod and
Mahler's
Adagietto, as
well as a contemporary
favourite, Candle in
the Wind, which
featured so memorably at
the funeral of Diana,
Princess of Wales.
A leading arranger
and teacher for the
organ, John Norris has
also included his own
Improvisation on
Brother James' Air,
an arrangement of
Sibelius's
Finlandia ('Be
still, my soul'), and a
novelty item The
Broken Melody by
Auguste van Biene. The
collection concludes,
appropriately, with
Stanford's uplifting
Nunc Dimittis
from the Evening Service
in C.
Organ SKU: HL.14009590 Composed by Edwin H. Lemare. Music Sales America. ...(+)
Organ
SKU:
HL.14009590
Composed
by Edwin H. Lemare. Music
Sales America. Classical.
Book [Softcover]. Music
Sales #NOV950225.
Published by Music Sales
(HL.14009590).
Lemare's
compositions are uneven
in quality, but the best
are still active in the
repertoire. The Toccata
di Concerto is certainly
full of fireworks and has
the capacity to show the
abilities of a great
Organ. The upper parts
have plenty of French
toccata style, but the
theme in the pedals gives
the piece substance, as
does the romantic,
chromatic interlude in
the middle of the
work.Organ virtuoso and
composer Edwin Lemare was
the world's highest-paid
Organist at the height of
his career in the early
1900's, drawing bravos
from ctritics and the
crowds who queued around
the block to hear this
most famous of Organists.
After having served as a
church Organist for a
relativelyshort period,
he began the life of a
travelling recitalist,
beginning with a
hundred-recital tour of
the USA and Canada in
1900, a career that
continued until the stock
market crash of 1929.
Lemare was also virtuosic
in his ability to
transcribe great
Orchestral works for the
Organ, allowing audiences
in those less urban times
to hear works played live
that they might have
heard no other way.
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.
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).
Soprano voice solo, tenor
voice solo, mixed choir,
organ
SKU:
BR.EB-8058
Movements III and
IV. Composed by Felix
Bartholdy Mendelssohn.
Arranged by Thorsten
Sterzik. Symphony.
Edition Breitkopf. With
regard to the anniversary
of the Reformation in
2017, this version for
solos, choir and organ by
Torsten Sterzik
originated to pave the
Reformation Symphony's
way into the church as
well, restoring the text
to Luther's chorale in
the fourth movement.
Symphony; Romantic. Organ
score. 36 pages. Duration
30'. Breitkopf and
Haertel #EB 8058.
Published by Breitkopf
and Haertel (BR.EB-8058).
ISBN 9790004183700. 9
x 12 inches.
The
Reformation Symphony was
composed in 1830 for the
300th anniversary of the
Confessio Augustana, the
founding of the Lutheran
confession of faith. In
the fourth movement,
Mendelssohn quotes,
elaborates and varies
artfully the
Luther-chorale Ein feste
Burg ist unser Gott [God
is our fortress],
erecting a musical
monument to the reformer
Martin Luther. After an
initial confl icting
reception, the
Reformation Symphony
meanwhile is established
fi rmly in the concert
repertoire. EB 8058 is
intended for performances
with organ. It can also
be used for the
preparation of the chorus
and soloists for
performances with
orchestra.
With
regard to the anniversary
of the Reformation in
2017, this version for
solos, choir and organ by
Torsten Sterzik
originated to pave the
Reformation Symphony's
way into the church as
well, restoring the text
to Luther's chorale in
the fourth movement and
additionally including
the third movement, its
arioso solos being sung
by a soprano and a tenor
solo.
Zehn Kompositionen von Georg W. Druckenmuller, Andreas Duben, Johann Lorentz, He...(+)
Zehn Kompositionen von
Georg W. Druckenmuller,
Andreas Duben, Johann
Lorentz, Heinrich
Scheidemann, Samuel
Scheidt und J.P.
Sweelinck. Edited by
Moser, Hans Joachim;
Fedtke, Traugott. For
Organ. Playing Score.
Published by
Baerenreiter-Ausgaben
(German import).
Organ SKU: AY.FRD106 Composed by Paul J. Sifler. Keyboards - Organ. Fredo...(+)
Organ
SKU:
AY.FRD106
Composed by
Paul J. Sifler. Keyboards
- Organ. Fredonia Press
#FRD106. Published by
Fredonia Press
(AY.FRD106).
ISBN
9790302117506.
Paul
J. Sifler, born in
Ljubljana, Slovenia,
immigrated to the United
States at the age of 11,
and following his studies
at the Chicago
Conservatory as music,
led a long and prolific
career as a composer and
organist. The Despair and
Agony of Dachau has been
performed at the National
Cathedral in Washington
D.C. and in Sifler's
native Ljubljana,
performances which were
preceded by a reading of
Psalm 22. Phrases from
the Psalm beginning My
God, my God, why has Thou
forsaken me? are used to
depict the tragedy of the
concentration camp at
Dachau. Among the traumas
represented are the
furnaces, described by a
mighty roar, the
scurrying of rats and
barking of dogs. This
work was composed to
provide a history lesson
for the future, and to
offer the fervent prayer
that mankind will never
again be involved in such
an atrocity.
Keyboard and Organ Works from Copied Sources Partitas and Partita Movements, Par...(+)
Keyboard and Organ Works
from Copied Sources
Partitas and Partita
Movements, Part 2. By
Froberger, Johann Jacob.
Edited by Rampe,
Siegbert. For Organ,
Piano, Harpsichord.
Johann Jacob Froberger:
Neue Ausgabe samtlicher
Werke,Bd.4.1. Playing
Score; Urtext Edition
(paperbound). Published
by Baerenreiter-Ausgaben
(German import). ISBN
M006488360.
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.
In the Style of Louis Lefebure-Wely. For Organ. (3-part Mixed). General collect...(+)
In the Style of Louis
Lefebure-Wely. For Organ.
(3-part Mixed). General
collections. Secular.
Book. Published by Kevin
Mayhew Publishers (U.K.
Import). Level:
Beginning-Intermediate.
Organ SKU: SU.80101364 For Organ. Composed by Michael Canales. Key...(+)
Organ
SKU:
SU.80101364
For
Organ. Composed by
Michael Canales.
Keyboard, Organ. Score.
Zimbel Press #80101364.
Published by Zimbel Press
(SU.80101364).
The composer
writes: This three
movement sonata da chiesa
for organ strives to
combine elements of
traditionalism,
expressionism, and
Spanish nationalism in
order to provide
organists with a warm
blooded, romantic
expression of God's
glory. It is meant to be
suitable for both concert
organists and church
music programs.
Instrumentation: Organ.
Composed: 2014 Published
by: Zimbel Press.
For the Organ. By George Careless; J. Mcgranahan; John J. Mcclellan; Robert Lowr...(+)
For the Organ. By George
Careless; J. Mcgranahan;
John J. Mcclellan; Robert
Lowry; S. Mcburney; St.
Elizabeth. Arranged by
Warren G. Allred. For
Organ Solo. Classical.
Solo part. 24 pages.
Published by Theodore
Presser Company.
Organ - Level 3 SKU: BA.BA11230 Composed by Joan Cabanilles. Edited by Ge...(+)
Organ - Level 3
SKU:
BA.BA11230
Composed
by Joan Cabanilles.
Edited by Gerhard Doderer
and Miguel Bernal Ripoll.
This edition: urtext
edition. Paperback.
Barenreiter Urtext.
Volume III. Performance
score, anthology.
Baerenreiter Verlag
#BA11230_00. Published by
Baerenreiter Verlag
(BA.BA11230).
ISBN
9790006561049. 24 x 30.5
cm inches. Preface:
Ripoll, Miguel Bernal /
Doderer,
Gerhard.
Joan
Cabanilles was cathedral
organist in Valencia and
the towering figure in
Spanish organ music of
the late 17th century.
His brilliant and diverse
musical language, rooted
in the traditional sounds
of Spain, has not managed
to reach a large audience
outside the Iberian
peninsula, although he is
often called “a
musician of European
statureâ€.
The aim of this
three-volume Urtext
edition is to grant
access to his most
appealing works. To this
end, all available
sources in the libraries
of Astorga, Barcelona,
San Lorenzo de el
Escoreal,
Felanitx/Mallorca, Jaca
and Montserrat have been
examined and newly
evaluated.
If
Cabanilles’s
oeuvre consists primarily
of tientos, organ hymns
and versets, the third
and final volume contains
three versos, three
pasacalles, two
galliards, two toccatas
and such special forms as
Paseos de tercer tono,
Diferencias de FolÃas
and a
Jácara.
â
žThis is an excellent
resource for organists
interested in exploring
this satisfying
repertoire.“
(Brian E. Harlow,
Journal of the
Association of Anglican
Musicians 1/2018)
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Organ SKU: HL.49046414 Version for organ by Leif Thybo (1952) based on...(+)
Organ
SKU:
HL.49046414
Version for organ by
Leif Thybo (1952) based
on the original version
for chamber
orchestra. Composed
by Igor Stravinsky. Organ
Large Works. Classical.
Softcover. 52 pages.
Duration 900 seconds.
Schott Music #ED23092.
Published by Schott Music
(HL.49046414).
ISBN
9781540090522. UPC:
842819103974.
The
American musical patrons
Mildred and Robert Wood
Bliss were considering
which distinguished
composer to commission to
create a work in
celebration of their 30th
wedding anniversary in
1938. The couple had made
the acquaintance of Igor
Stravinsky in April the
preceding year at the
premiere of his ballet
Jeu de Cartes in New York
and had subsequently
invited the composer to
their country home
'Dumbarton Oaks' in
Washington D.C. to talk
about a new composition.
Stravinsky only just
managed to complete the
work in time for the
anniversary celebrations:
its date of completion
was also the date of its
first performance. For
his classically styled
three-movement work, he
selected the title
Concerto in E flat,
adding the subtitle
Dumbarton Oaks as a
dedication. The structure
of the work references
the concerto grosso: it
features a soloist
ensemble which unites in
the tutti sequences but
also plays in concertino
groups during the solo
episodes. Broken chordal
structures characterise
the central movement
whereas the outer
movements are
distinguished through
their use of fugato.
Dumbarton Oaks went on to
become one of Stravinskys
mostsuccessful works,
performed widely and
delighting Mildred Bliss
so much that she
immediately issued
another commission, for
the Symphony in C. Its
composer's very public
commitment to American
cultural life helped pave
the way for Stravinskys
emigration to the USA in
1945. As early as 1952
Leif Thybo created an
arrangement for organ
which Stravinsky probably
did not know at the time
of his life.
Organ - intermediate-advanced SKU: HL.14032114 Composed by Giles Swayne. ...(+)
Organ -
intermediate-advanced
SKU: HL.14032114
Composed by Giles Swayne.
Music Sales America.
Post-1900. Book
[Softcover]. 32 pages.
Music Sales #NOV360034.
Published by Music Sales
(HL.14032114).
UPC:
884088488642.
11.75x8.25x0.119
inches.
Born in
1946, Giles Swayne
started composing at an
early age, and in his
teens was helped by the
advice and encouragement
of his cousin Elizabeth
Maconchy, whilst studying
the piano with Gordon
Green. After leaving
school he attended Guido
Agosti's piano classes at
the 1964 Accademia
Chigiana summer school in
Siena, and that autumn
went up to Trinity
College, Cambridge, where
he studied the piano with
Phyllis Hepburn-Lee and
composition with Nicholas
Maw. In 1968 he won a
composition scholarship
to the Royal Academy of
Music.