Organ SKU: HL.49045488 Fur Orgel. Composed by Christian Jost. This...(+)
Organ
SKU:
HL.49045488
Fur
Orgel. Composed by
Christian Jost. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Softcover. Composed 2011.
32 pages. Duration 15'.
Schott Music #ED 21065.
Published by Schott Music
(HL.49045488).
ISBN
9790001176088.
9.0x12.0x0.145
inches.
There is no
other work more closely
associated with the organ
than Johann Sebastian
Bach's Toccata in D
minor. During my
compositional
preparation, I repeatedly
found myself returning to
this work. I had a number
of different formal
models in mind, but felt
myself gravitating
towards the rhapsodic
character of toccata form
so that my new
composition for organ
ultimately became a
toccata developing from a
pedal point on the
fundamental note 'D'. As
is appropriate to the
volume of a large modern
organ, my concept focuses
on symphonic tonal layers
whose suggestive
maelstrom originates from
the inner strength of
repeating elements and
their register- like
augmentation, culminating
in the unleashing of
polyrhythmic
progressions. (Christian
Jost).
Organ SKU: FG.55011-448-7 Uuno Klamin savellyksia urkusovituksina....(+)
Organ
SKU:
FG.55011-448-7
Uuno Klamin
savellyksia
urkusovituksina.
Composed by Uuno Klami.
Edited by Esa Ylonen.
Score. Fennica Gehrman
#55011-448-7. Published
by Fennica Gehrman
(FG.55011-448-7).
ISBN
9790550114487.
Uuno
Klami (1900-1961) was
born in Virolahti and
studied in Helsinki,
Paris and Vienna. While
living in the capital
city Helsinki, he always
spent his summers in the
original homestead in
Virolahti. Klami is
most known for his
colourful orchestral
works, but works for
piano frame the different
times of the composer's
life nicely. The piano
works are so joyous that
transcribing from for
organ is firmly based.
Surumarssi
(Trauermarsch) Op. 8 was
composed when Klami was
16 years old, most likely
in memory of his late
mother. Pastoral A-flat
major was composed in
December 1919; I find it
contains the feeling of
Christmas. Barcarole Op.
5 is a French-influenced
work. I often find myself
thinking of a boat
bobbing on waves, while I
play this work. I
believe these organ
transcriptions bring many
joyful moments in
concerts as well as in
other congregational use.
And not only that: they
can be used as pedagogic
material as well.
Organ SKU: BR.EB-9300 (Plainte sur la perte de la reflexion musicale)<...(+)
Organ
SKU:
BR.EB-9300
(Plainte sur la perte
de la reflexion
musicale). Composed
by Klaus Huber. Arranged
by A. Digby and M.
Sattelberger. Solo
instruments; stapled.
Edition Breitkopf. World
premieres: I version for
flute: Wiesbaden, 1972.
Music post-1945; New
music (post-2000). Score.
Composed 1972. 20 pages.
Duration 20'. Breitkopf
and Haertel #EB 9300.
Published by Breitkopf
and Haertel (BR.EB-9300).
ISBN 9790004187647. 9
x 12 inches.
World
premieres:I version for
flute: Wiesbaden, 1972II
version for piano: Nyon,
1972III version for var.
insts.: Cologne, May 29,
1976VI version for
accordeon: Fribourg, June
25, 1987VIII version for
violoncello Tokyo:
October 14, 1989X version
for organ: Stuttgart,
March 28, 2018This work
(A Breath of the
Untimely) was first
written for solo Flute
and dedicated to Aurele
Nicolet. Its bears the
subtitle Lament on the
Loss of Musical Thought -
some Madrigals for Solo
Flute or Flute with any
other Instruments. This
serves as a playing
instruction but doubles
at the same time as an
outmoded programme: it
refers back to the
musical origin of the
opening lamenting motif,
a tradition which was
once of its time but is
not of our time - namely
the Lamento genre which
gave the title to the
Chaconne in Purcell's
opera Dido and Aeneas.
Almost simultaneously I
wrote a second version
for Piano (for Piano
one-and-a-half hands),
which already formulates
possible approaches for
the performer, in some
detail, to the indicated,
quasi-canonic version of
the piece in the
programme. The multiple
version Ein Hauch von
Unzeit III realizes a
concrete version of a
formal state which floats
between strict canon and
aleatoric principles:
each of the musicians who
are spread throughout the
hall introduces their own
idiomatic translation of
the flute part. And so
the music exists,
omnipresent, not only
spatially throughout the
hall, but also formally
in a sort of fluctuating
simultaneity. For that
reason, it was my express
wish to any potential
interpreter that they
should construct entirely
their own version of the
piece. A healthy number
of musicians have
responded to my
suggestion - versions of
the piece have now been
made for guitar
(Cornelius Schwehr,
Gunther Schneider),
accordion (Hugo Noth),
double bass (Fernando
Grillo), violin
(Hansheinz Schneeberger),
viola, violoncello, and
double bass (trio basso,
Koln), violoncello
(Michael Bach), trombone
(Andrew Digby) and,
created by myself, a sung
version for voice (to
words by Georg Wilhelm
Friedrich Hegel und Max
Bense), and for viola.The
most important
requirement for the whole
piece is absolute
stillness, which should
as far as possible
emanate from the
performer. The pauses are
occasionally in this
respect the most
important element. These
may, if one can find the
necessary stillness,
become very long.Ein
Hauch von Unzeit (A
Breath of the Untimely) -
time almost
dissolves!(Klaus Huber,
1989/2014 - translation:
David
Alberman)CD:Jean-Luc
Menet (Bass flute)CD
Traversieres
120.270Jean-Luc Menet
(fl)CD STR
37039Bibliography:Zimmerm
ann, Heidy:
Zeitgestaltung im
Kompositionsprozess bei
Klaus Huber - dargestellt
anhand von Skizzen, in:
Mnemosyne. Zeit und
Gedachtnis in der
europaischen Musik des
ausgehenden 20.
Jahrhunderts, hrsg. von
Dorothea Redepenning und
Joachim Steinheuer,
Saarbrucken: Pfau 2006,
S. 90-109
World
premiere: Stuttgart,
Hospitalkirche, March 28,
2018.
Organ SKU: HL.14031560 Composed by Pelle Gudmundsen-holmgreen. Music Sale...(+)
Organ
SKU:
HL.14031560
Composed
by Pelle
Gudmundsen-holmgreen.
Music Sales America.
Classical. Book
[Softcover]. Composed
2005. 36 pages. Edition
Wilhelm Hansen #WH30534.
Published by Edition
Wilhelm Hansen
(HL.14031560).
ISBN
9788759811009.
International (more than
one
language).
STILL.
LEBEN Organist Eva
Feldbc:ek had been asking
me for a long time to
write for the organ
without the use of iron
blocks, extra stopping
assistants etc ....
unusual difficulties that
belonged to my earlier
organ music. I
setmyselfthe task of
Miting a ''handier'' kind
of music for the organ.
Once I had finished
STILL. LEBEN, I didn't
think I had achieved what
I was looking for. True,
the two movements did not
involve odd things, but
handy isn't really the
word for them either. So
I wrote the three
movements in COUNTERMOVE
to tidy up even more. And
since I didn't think that
was enough either, I
wrote the really simple
pieces under the title IN
TRIPLUM. The three
series(eight pieces in
all, 2 + 3 + 3) sound
very different, but they
all take their point of
departure from the nature
and tonal resources ofthe
organ. Everywhere there
is polyrhythm or
hierarchical layering,
polychromaticism,
diatonics and melody (the
last of these only
sparingly and in some of
the movements). Pelle
Gudmundsen-Holmgreen.