Cityscape Orgue - Avancé MorningStar Music Publishers
Organ - Advanced SKU: MN.10-927 Composed by Morgan Simmons. Non Hymn-Base...(+)
Organ - Advanced
SKU:
MN.10-927
Composed by
Morgan Simmons. Non
Hymn-Based, Recital
Music. Instrumental part.
MorningStar Music
Publishers #10-927.
Published by MorningStar
Music Publishers
(MN.10-927).
Cityscape dates
from 1992 and was
composed for inclusion in
an organ recital of
Chicago composers as part
of the Fourth
Presbyterian Church's
annual Festival of the
Arts. The theme of that
year's festival was Faces
of the City. This three
movement work, which
depicts facets of the
city, is based on a
three-note descending
scale (C-B-A), the
opening notes of the
popular song, Chicago,
Chicago, that Toddlin'
Town. Coincidentally,
this same melodic
sequence marks the
beginning of OLD
HUNDREDTH, and a citation
of that melody occurs in
the third movement. The
Fourth Presbyterian
Church is located on the
part of North Michigan
Avenue which is known as
The Magnificent Mile.
Each of its Sunday
morning services begins
with the singing of OLD
HUNDREDTH, sung to the
text of the Doxology. The
first performance of
Cityscape was played by
David Schrader, to whom
it is dedicated.
Organ - Advanced SKU: MN.12-128 Composed by Harold Stover. Non Hymn-Based...(+)
Organ - Advanced
SKU:
MN.12-128
Composed by
Harold Stover. Non
Hymn-Based, Recital
Music. General.
Instrumental part.
MorningStar Music
Publishers #12-128.
Published by MorningStar
Music Publishers
(MN.12-128).
UPC:
688670121289.
The
three movements that make
up Nocturnes, Book I are
programmatic pieces that
take as their points of
departure a painting, the
rhythms of a great city,
and a poem. 1. The Starry
Night is a written down
improvisation based on
Vincent van Goghs famous
picture of the same name.
The tonal material is a
quite literal
transformation of the
visual elements of the
painting: the melismatic
cadenzas mirror van Goghs
swirling starlight, and
the powerful chords were
suggested by the sinister
trees that shoot upward
to puncture the skys
patterns. 2. Stovers Rag
is a product of the
ragtime revival of the
early 1970s, when many
composers tried their
hand at writing concert
rags. The New York night,
which was not without its
sinister element in those
days, is expressed in an
updating of the classic
ragtime format. The piece
looks backward as well,
with the old French
Baroque basse de
trompette making an
appearance in the trio
section. 3. The Song of
Shadows taps the
nostalgic mood typical of
the poetry of Walter de
la Mare. The poem of the
same name pictures a lone
musician on a winter
night, an dog sleeping
before a sinking fire,
and, at the end, the
spirits that are summoned
by music. The opening
melody, played on an 8
flute with tremulant,
suggests the blues-tinged
sound of an alto
saxophone, and throughout
the movement the organs
capacity for sustained
tone is used to suggest
and atmosphere of dreamy
timelessness. The pieces
were written in 1971 and
first performed on July
2, 1972 at the National
Shrine of the Immaculate
Conception in Washington,
DC, with the composer at
the console.
For Organ. Organ - Method or Collection. Alfred's Classic Editions. Sacred. Late...(+)
For Organ. Organ - Method
or Collection. Alfred's
Classic Editions. Sacred.
Late Intermediate / Early
Advanced. Book. 96 pages.
Published by Alfred Music
Publishing
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.
Carols A to Z Orgue - Intermédiaire Lorenz Publishing Company
(38 Organ Settings for Worship or Recital). Composed by Douglas E. Wagner. For o...(+)
(38 Organ Settings for
Worship or Recital).
Composed by Douglas E.
Wagner. For organ:
3-staff. Christmas.
Intermediate. Published
by Lorenz Publishing
Company
For voice and organ. Format: organ/vocal songbook (two copies needed for perform...(+)
For voice and organ.
Format: organ/vocal
songbook (two copies
needed for performance).
With vocal melody,
lyrics, organ
accompaniment and chord
names. Hymn. 132 pages.
9x12 inches. Published by
Hal Leonard.
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).
Organ SKU: GI.G-003037 Composed by Meirion Wynn Jones. Christmastide. Tun...(+)
Organ
SKU:
GI.G-003037
Composed
by Meirion Wynn Jones.
Christmastide. Tune Name:
Regent Square, Gloria,
The First Nowell, The
First Noel, In Dulci
Jubilo, Mendelssohn,
Carol, Antioch, Adeste
Fideles, Irby,
Greensleeves. Sacred. GIA
Publications #003037.
Published by GIA
Publications
(GI.G-003037).
UPC:
641151030609.
The
WLP Organ Library is
pleased to welcome Welsh
composer Meirion Wynn
Jones to the catalog
with Ten Christmas
Flourishes. This
collection of refreshing,
festive introductions to
familiar Christmas carols
will be a delight for
organists to play and
will both invite and
invigorate congregations
to sing their holiday
favorites! Includes:
“Joy to the
Worldâ€,
“Angels We Have
Heard on Highâ€,
“Angels from the
Realms of Gloryâ€,
“It Came Upon the
Midnight Clearâ€,
“The First
Nowellâ€,
“Good Christian
Men, Rejoiceâ€,
“Once in Royal
David’s
Cityâ€, “O
Come, All Ye
Faithfulâ€,
“What Child Is
Thisâ€, and
“Hark! the Herald
Angels
Sing.â€Â .
SATB Choir and Organ SKU: HL.14041484 Composed by John Tavener. Choral. S...(+)
SATB Choir and Organ
SKU: HL.14041484
Composed by John Tavener.
Choral. Sacred. Octavo.
Composed 2006. Chester
Music #CH70411. Published
by Chester Music
(HL.14041484).
UPC:
884088593384.
6.75x9.75x0.025
inches.
Work for
unaccompanied SATB from
Tavener's The Veil Of
The
Temple.
The
Veil of the Temple was
commissioned by the
Temple Music Trust. The
world premiere took place
on 27th June 2003 at the
Temple Church,
London,performed by the
Choir of the Temple
Church and the Holst
Singers, with Patricia
Rozario (soprano),
conducted by Stephen
Layton, as part of The
City of London Festival,
2003. The anthem Awed by
the beauty was arranged
in 2005.Byzantine text,
translated by Mother
Thekla. 'Oh' should be
sung as in the 'o' of
'log'. Breathe when
necessary, but not
simultaneously. ?? and
???? represent
microtones, the
characteristic 'breaks in
the voice' of Eastern
chant.
SATB Choir and Organ SKU: HL.14041481 Composed by John Tavener. Choral. S...(+)
SATB Choir and Organ
SKU: HL.14041481
Composed by John Tavener.
Choral. Sacred. Choral
Score. Composed 2006. 8
pages. Chester Music
#CH70422. Published by
Chester Music
(HL.14041481).
UPC:
884088593353.
6.75x9.75x0.04
inches.
Work for
SATB chorus with Organ,
from Tavener's Veil
Of The
Temple.
T
he Veil of the
Temple was
commissioned by the
Temple Music Trust. The
world premiere took place
on 27th June 2003 at the
Temple Church,London,
performed by the Choir of
the Temple Church and the
Holst Singers, with
Patricia Rozario
(soprano), conducted by
Stephen Layton, as part
of The City of London
Festival, 2003. The
anthem O Mary Theotokos
was arranged in2005.
Worship Hymns for Organ Series. Arranged by Carolyn Hamlin. Fred Bock Publica...(+)
Worship Hymns for Organ
Series. Arranged by
Carolyn
Hamlin. Fred Bock
Publications. Softcover.
24
pages. Fred Bock Music
Company #BGK1084.
Published
by Fred Bock Music
Company
For Organ. Arranged by Jerry Westenkuehler. Organ - Method or Collection. H. W. ...(+)
For Organ. Arranged by
Jerry Westenkuehler.
Organ - Method or
Collection. H. W. Gray
Organ. Christmas; Sacred;
Winter. Book. 24 pages.
Jubilate Music Group
#00-GBM0101. Published by
Jubilate Music Group
Chamber Music Solo Organ SKU: PR.143400020 Megalith III. Composed ...(+)
Chamber Music Solo Organ
SKU: PR.143400020
Megalith III.
Composed by Sydney F.
Hodkinson. With Standard
notation. Duration 9:30.
Theodore Presser Company
#143-40002. Published by
Theodore Presser Company
(PR.143400020).
UPC:
680160024308.
The
third in a series of
works for organ by the
contermporary American
composer, Sydney
Hodkinson. It is a
powerful, stunning work
for two organs ( the
second organ may be live
or recorded, and if so, a
few electronic
manipulations of the
sound are employed).
TALAYOT-Megalith III
(Talayot is a large
prehistoric stone hut
consisting of many small
rocks ) was commissioned
by William Albright who
premiered it in 1975. The
composer comments about
TALAYOT, Since 1968, I
had been interested in
both the simplest
reduction of pitch
materials and the
employment of staticity
within a given
time-span... The aural
effect striven for was
not at all unlike walking
around a Calder steel or
a monolithic stone
sculpture: huge, never
changing, yet constantly
different. For studios,
colleges, professional,
libraries. Difficult.
Organ - intermediate to advanced SKU: HL.49017039 For Organ. Compo...(+)
Organ - intermediate to
advanced
SKU:
HL.49017039
For
Organ. Composed by
Hermann Schroeder. Edited
by Clemens Ganz. This
edition: Saddle
stitching. Sheet music.
Piano. Classical.
Composed 1984. 24 pages.
Duration 11'. Schott
Music #ED 20205.
Published by Schott Music
(HL.49017039).
ISBN
9790001148504. UPC:
841886009141.
9.0x12.0x0.175
inches.
The three
movement Concerto da
chiesa is the last organ
work by Hermann Schroeder
(1904-1984), composed a
few months before his
death. The premiere was
performed by Clemens
Ganz, then organist at
the Cathedral of Cologne,
in memory of the esteemed
teacher and college
colleague. The
three-movement
composition is an
unmistakable 'Schroeder'
work: emphasis of
linearity according to
high baroque standards,
conciseness and sometimes
impulsive gestures of the
themes and rhythms,
layers of parallel chords
within a freely tonal
modern harmony, not
forgetting the plasticity
of form and the motor
functions which are
surprisingly energetic
for an
eighty-year-old.