SKU: 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.'.

SKU: BR.EB-8809

You will find supplementary material online

Baroque period. Score. 184 pages. Breitkopf and Haertel #EB 8809. Published by Breitkopf and Haertel (BR.EB-8809).

ISBN 9790004183786. 12.5 x 10 inches.

The now-published volumes 9 and 10 have presented a special challenge, for particularly in the field of the chorale arrangements the transmissions are more complex than in any other group of works. This ties in with the crucial question of Bach's authorship, which has been the subject of much controversy in the past. There were heated discussions about it even just prior to our edition, and editors and publisher are aware that the present selection is a thoroughly debatable snapshot. More on this in the volumes' text sections. The situation of the chorale partitas is not quite so dramatic, whereby these holdings also had to be subdivided for reasons of transmission into main section, appendix, and online presentation. The so called ,,Neumeister-Chorale are incorporated in the group of the separately transmitted chorale settings in alphabetical order, because the compilation of the pieces does not follow any collection idea of Bach (such as, for example, his larger late collections). The indication ,,Neumeister-Sammlung should facilitate the attribution. Those works requiring further research, besides of some versions, are presented online, since their profile reveals less evidence of the true author. Breitkopf has given the world a splendid edition of the organ works of Bach. These final two volumes offer a wealth of chorale-based music benefiting from the very latest research. Aside from the edition's obvious scholarly merit, a practicing church organist will love the convenience and variety of these volumes. Recommended without hesitation.(Jonathan B. Hall, The American Organist).

SKU: BR.EB-8810

You will find supplementary material online

ISBN 9790004183793. 12.5 x 10 inches.

The now-published volumes 9 and 10 have presented a special challenge, for particularly in the field of the chorale arrangements the transmissions are more complex than in any other group of works. This ties in with the crucial question of Bach's authorship, which has been the subject of much controversy in the past. There were heated discussions about it even just prior to our edition, and editors and publisher are aware that the present selection is a thoroughly debatable snapshot. More on this in the volumes' text sections. The so called ,,Neumeister-Chorale are incorporated in the group of the separately transmitted chorale settings in alphabetical order, because the compilation of the pieces does not follow any collection idea of Bach (such as, for example, his larger late collections). The indication ,,Neumeister-Sammlung should facilitate the attribution. Those works requiring further research, besides of some versions, are presented online, since their profile reveals less evidence of the true author. Breitkopf has given the world a splendid edition of the organ works of Bach. These final two volumes offer a wealth of chorale-based music benefiting from the very latest research. Aside from the edition's obvious scholarly merit, a practicing church organist will love the convenience and variety of these volumes. Recommended without hesitation.(Jonathan B. Hall, The American Organist).

SKU: HL.48184602

UPC: 888680853921. 9.0x12.0x0.204 inches.

Part of the Organ collection by J. S. Bach, this first book of the Volume X Three Chorals Transcriptions, Three partitas and canonical variations, book 1 (BWV 645, 646, 647, 766, 767, 768) contains six pieces and is completed by the second book. The six pieces that feature in this book are three choral-transcriptions and three chorals with variations: 1. Awake, The Watchmen ery out 2. Whither shall I flee 3. He that suffereth God to guide him 4. Partite on ?Christ, Thou who Art the light of the day? 5. Partite on ?O God, Thou Holy God? 6. Partite on ?Hail to Thee merciful Jesus? This volume is translated in English and French and features the annotation of Marcel Dupre, a French Organist, to help the performer get the most our of the sheet music. The preface is also well written, with explanations of the comments and descriptions of the techniques to use for an accomplished interpretation of this work. .

SKU: SU.80101402

Rhapsody in A (2017) is dedicated to organist Alessandro Bianchi and was written for premiere performance on the 1904 Lewis & Co. organ in Ayr Town Hall, Ayr, Scotland, in celebration of the 10th anniversary of the organ concert series there. The title refers both to the tonal/modal center of A and to the first letters of both Alessandro and Ayr. The rhapsody is entirely based on the unaccompanied melody first heard at the outset. This melody serves as the basis of the following contrasting sections; it is used both motivically and to determine the harmonic excursions. The music ends jubilantly. Instrumentation: Organ Duration: 8' Composed: 2017 Published by: Zimbel Press.

SKU: PL.PPM02197M

In the tradition of French toccatas, David Halls has written a brilliant showpiece for concert or voluntary. A contrasting central section is rich harmonically and contrasts with the flow of sixteenths in the outer sections. Demands a fine technique, but worth the practice!