Organ SKU: SU.80101404 For Organ. Composed by Carson Cooman. Keybo...(+)
Organ
SKU:
SU.80101404
For
Organ. Composed by
Carson Cooman. Keyboard,
Organ. Score. Zimbel
Press #80101404.
Published by Zimbel Press
(SU.80101404).
Organ Symphony
No. 2 (2017) was written
for and is dedicated to
German organist Philip
Hartmann. In all of my
works that employ
larger-scale forms (not
just organ compositions),
I am continually looking
for different ways of
providing the form and
structure. My first organ
symphony (2013) comprised
three larger movements
that charted a
progression from dark to
light. By contrast, this
second organ symphony
comprises 12 shorter
movements that together
build a larger structure
out of varied emotional
states. Although the
movements are different
in character, there are
connections of harmony
and motive across them.
One goal behind this work
is that it be suitable
for effective performance
on almost any organ,
small or large. Most
organ symphonies require
a large instrument. By
contrast, this piece can
be played effectively on
even a small organ with a
limited number of stops
(even a one manual organ
with an octave pedal
board). It can also be
very effective on a large
symphonic organ with many
different colors and a
huge tutti. Registration
is left to the
performer's discretion,
and the organist is
strongly encouraged to
use the full extent of
whatever resources are
available.
Instrumentation: Organ
Duration: 34' Composed:
2017 Published by: Zimbel
Press.
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).
Alto Saxophone & Organ SKU: AP.1-ADV7061 For Alto Saxophone and Organ<...(+)
Alto Saxophone & Organ
SKU: AP.1-ADV7061
For Alto Saxophone and
Organ. Arranged by
Friedemann Graef. Series;
Solo; Solo Small
Ensembles; Woodwind -
Alto Saxophone Solo.
Advance Music: Spirituals
for Saxophone. Sacred;
Spiritual; Traditional.
Score and Part(s).
Advance Music
#01-ADV7061. Published by
Advance Music
(AP.1-ADV7061).
UPC:
805095070613. English.
Traditional.
This
collection of pieces for
saxophone and organ or
piano, Spirituals for
Saxophone arranged by
Friedemann Graef, is
designed for use in
concert performances as
well as for church
services and other
ceremonies. This
traditional American
spiritual, Lord I Want to
Be a Christian, has been
extended by composed
introductions and
endings, or interludes
and written solos. The
notated solos here are
the results of more than
ten years of the
arranger's personal
experience with these
tunes and chord changes.
The organ part may also
be played on acoustic
piano if the bass voice
is played one octave
lower in respective
passages---these passages
are marked. There is a
transposed part for
B-flat and E-flat
saxophones. Due to the
different register of the
tenor and alto saxophone,
a few notes of the alto
saxophone parts have been
changed for a more
effective sound.
Tenor Saxophone & Organ SKU: AP.1-ADV7066 For Tenor Saxophone and Orga...(+)
Tenor Saxophone & Organ
SKU: AP.1-ADV7066
For Tenor Saxophone
and Organ. Arranged
by Friedemann Graef.
Series; Solo; Solo Small
Ensembles; Woodwind -
Tenor Saxophone Solo.
Advance Music: Spirituals
for Saxophone. Sacred;
Spiritual; Traditional.
Score and Part(s).
Advance Music
#01-ADV7066. Published by
Advance Music
(AP.1-ADV7066).
UPC:
805095070668. English.
Traditional.
This
collection of pieces for
saxophone and organ or
piano, Spirituals for
Saxophone arranged by
Friedemann Graef, is
designed for use in
concert performances as
well as for church
services and other
ceremonies. This
traditional American
spiritual, Lord I Want to
Be a Christian, has been
extended by composed
introductions and
endings, or interludes
and written solos. The
notated solos here are
the results of more than
ten years of the
arranger's personal
experience with these
tunes and chord changes.
The organ part may also
be played on acoustic
piano if the bass voice
is played one octave
lower in respective
passages---these passages
are marked. There is a
transposed part for
B-flat and E-flat
saxophones. Due to the
different register of the
tenor and alto saxophone,
a few notes of the alto
saxophone parts have been
changed for a more
effective sound.
Alto Saxophone & Organ SKU: AP.1-ADV7062 For Alto Saxophone and Organ<...(+)
Alto Saxophone & Organ
SKU: AP.1-ADV7062
For Alto Saxophone and
Organ. Arranged by
Friedemann Graef. Series;
Solo; Solo Small
Ensembles; Woodwind -
Alto Saxophone Solo.
Advance Music: Spirituals
for Saxophone. Sacred;
Spiritual; Traditional.
Score and Part(s).
Advance Music
#01-ADV7062. Published by
Advance Music
(AP.1-ADV7062).
UPC:
805095070620. English.
Traditional.
This
collection of pieces for
saxophone and organ or
piano, Spirituals for
Saxophone arranged by
Friedemann Graef, is
designed for use in
concert performances as
well as for church
services and other
ceremonies. This
traditional American
spiritual, Sometimes I
Feel Like a Motherless
Child, has been extended
by composed introductions
and endings, or
interludes and written
solos. The notated solos
here are the results of
more than ten years of
the arranger's personal
experience with these
tunes and chord changes.
The organ part may also
be played on acoustic
piano if the bass voice
is played one octave
lower in respective
passages---these passages
are marked. There is a
transposed part for
B-flat and E-flat
saxophones. Due to the
different register of the
tenor and alto saxophone,
a few notes of the alto
saxophone parts have been
changed for a more
effective sound.
Tenor Saxophone & Organ SKU: AP.1-ADV7067 For Tenor Saxophone and Orga...(+)
Tenor Saxophone & Organ
SKU: AP.1-ADV7067
For Tenor Saxophone
and Organ. Arranged
by Friedemann Graef.
Series; Solo; Solo Small
Ensembles; Woodwind -
Tenor Saxophone Solo.
Advance Music: Spirituals
for Saxophone. Sacred;
Spiritual; Traditional.
Score and Part(s).
Advance Music
#01-ADV7067. Published by
Advance Music
(AP.1-ADV7067).
UPC:
805095070675. English.
Traditional.
This
collection of pieces for
saxophone and organ or
piano, Spirituals for
Saxophone arranged by
Friedemann Graef, is
designed for use in
concert performances as
well as for church
services and other
ceremonies. This
traditional American
spiritual, Sometimes I
Feel Like a Motherless
Child, has been extended
by composed introductions
and endings, or
interludes and written
solos. The notated solos
here are the results of
more than ten years of
the arranger's personal
experience with these
tunes and chord changes.
The organ part may also
be played on acoustic
piano if the bass voice
is played one octave
lower in respective
passages---these passages
are marked. There is a
transposed part for
B-flat and E-flat
saxophones. Due to the
different register of the
tenor and alto saxophone,
a few notes of the alto
saxophone parts have been
changed for a more
effective sound.
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).
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: HL.48024624 Transcription for Organ. Composed by Anthon...(+)
Organ
SKU:
HL.48024624
Transcription for
Organ. Composed by
Anthony Payne and Edward
Elgar. Arranged by Robert
Gower. BH Piano.
Classical. Softcover. 20
pages. Duration 540
seconds. Boosey & Hawkes
#M060134647. Published by
Boosey & Hawkes
(HL.48024624).
ISBN
9781540052834. UPC:
888680940782. 9.0x12.0
inches.
Organ
transcription of Anthony
Payne's 2006 orchestral
completion from Elgar's
sketches. Robert Gower
comments, Working from
the orchestral score
confirms Payne's musical
intuition in taking
fragments and developing
them into an entirely
convincing whole, one
imbued with Elgarian
spirit and characterised
through the economical
precision of his own art.
Here, intellectual and
artistic integrity
combine to construct
overall architecture in
which not a note is
wasted, painstaking care
is evident in the subtle
details of instrumental
coloring, and where there
is thrilling rhythmic
forward propulsion. In
saluting the skills of
both composers, I have
sought to open out for
organists the excitement
and sincerity of their
work, being designed for
performance not only on
larger organs with a full
range of orchestral
color, but also made
entirely feasible for
performance on smaller
two-manual
instruments..
Mixed Choir [SATB], Chamber Orchestra or Organ SKU: BT.PMC3367 For Cho...(+)
Mixed Choir [SATB],
Chamber Orchestra or
Organ
SKU:
BT.PMC3367
For
Chorus and Chamber
Orchestra or Organ- Organ
Score. Composed by
Morten Lauridsen. Vocal
Score. Composed 1997. 56
pages. Peermusic
Classical #PMC3367.
Published by Peermusic
Classical (BT.PMC3367).
Each of the
five connected movements
in this choral cycle
contains references to
'Light,' assembled from
various sacred Latin
texts. I composed Lux
Aeterna in response to my
mother's final illness
and found great personal
comfortand solace in
setting to music these
timeless and wondrous
words about Light, a
universal symbol of
illumination at all
levels - spiritual,
artistic and
intellectual. The work
opens and closes with the
beginning and ending of
theRequiem Mass, with the
central three movements
drawn respectively from
the Te Deum, O Nata Lux
and Veni, Sancte
Spiritus. The opening
Introitus introduces
several themes that recur
later in the work and
includes an extended
canonon et lux perpetua.
In Te, Domine, Speravi
contains, among other
musical elements, the
cantus firmus
Herzliebster Jesu (from
the Nuremburg Songbook,
1677) and a lengthy
inverted canon on fiat
misericordia. O Nata Lux
and Veni,Sancte Spiritus
are paired songs, the
former an a cappella
motet at the center of
the work and the latter a
spirited, jubilant
canticle. A quiet setting
of the Agnus Dei precedes
the final Lux Aeterna,
which reprises the
openingsection of the
Introitus and concludes
with a joyful celebratory
Alleluia. --Morten
Lauridsen.