Modern and Contemporary Music. Par . Now finally in English too: The third part of the organ method Historical Performance Practice in Organ Playing follows on from part two with contributions by Guy Bovet (on Jehan Alain), Hans-Ola Ericsson, Anders Ekenberg, Markus Rupprecht (Olivier Messiaen), Hans Fagius (Maurice Duruflé), Jeremy Filsell (Marcel Dupré), Bernhard Haas (Arnold Schönberg, Ernst Krenek, John Cage, György Ligeti, and others, plus the latest developments) and Armin Schoof (neoclassicism). As in the first two parts of the organ method, here too a representative selection of composers is discussed. Alongside mainly personal recollections (e.g. from Hans Fagius) there are analytical essays (including by Jeremy Filsell). Bernhard Haas has organised one section of his text as an introduction to the playing techniques and aesthetics of new music, beginning with pieces which are easy to play. This English edition contains new chapters by Kevin Bowyer (The Development of New Organ Music in Britain / Contemporary Organ Music in North America). Laukvik?s organ method Historical Performance Practice in Organ Playing has now become established as a standard work. It is aimed at organists who want to incorporate the latest thinking on historical performance practice into their interpretations of works. The three volumes provide a practical introduction in a detailed, scholarly and comprehensible form, by giving organists as precise a picture of the interpretative traditions and aims of previous and modern/ contemporary eras as possible. The editions are aimed not only at organists, but also at organ teachers who are looking for a manual to use in their teaching. / Date parution : 2022-05-03/ Recueil / Orgue

The three-movement piece refers to Bruckner's music in different ways: in the first movement, Hummel used the initials A-B and the beginning of the main theme from Symphony #8- in the second movement, the first four tones of the 'Adagio' from Symphony #9 play a major role, and the third movement, a toccata-like finale, gets its life from further tone sequences and motifs of Bruckner. The work ends in a majestic climax. This piece is a rather demanding, yet rewarding piece for any interpreter, and its performance in the church is extremely effective. / Orgue

Fantaisie sur un chant populaire basque. Par ROTH DANIEL. “The pretty Basque song “Iru erége”, which tells of the three wise men from the Orient travelling to Bethlehem to worship the baby Jesus, gave me the idea for a musical interpretation of this astonishing event (Gospel according to Matthew II, 1-12). In registering the work for the wonderful organ in Santa Maria del Coro I wished to pay homage to the great organ-builder Aristide Cavaillé-Coll, who died a century ago. The performer should aim to reproduce the wonderful sound qualities of that organ as closely as possible on the instrument available to them, or else find their own solutions in the spirit of this piece.” Daniel Roth/ Répertoire / Orgue

Par SCHROEDER HERMANN. Concerto da chiesa' is the last organ work by Hermann Schroeder (1904-1984). It was 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 work marks the end of a tirelessly prolific life with more than one hundred organ works of various characters, genres and possibilities of use in liturgy and concerts. The title 'Concerto da chiesa' reveals that this is a work for concerts, not for being used in services. 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./ Répertoire / Orgue

Twenty-one essential anthems, chorales and marches, arranged and engraved in three staves for two manuals and pedals. Edited by Stephen Duro. / Orgue

Par MARTIN MATTHEW. This work for organ in three movements was commissioned by the St Albans International Organ Festival and premiered by all competitors./ Répertoire / Orgue

Par COOMAN CARSON. These five works of extroverted character are all suitable for use as service voluntaries or in recitals. The two toccatas are very fast and driving, whereas the three flourishes are more stately and ceremonial. Contains: Toccata in A, Toccata in C, Flourish in C, Flourish in D, and Flourish in G. / Musique contemporaine / Répertoire / Orgue

Bach: Complete Organ Works Vol. 7 Orgelbüchlein - with CD-ROM - ed. by Sven Hiemke Of great practical value ?This edition has everything it takes to replace the Griepenkerl edition for practical music-making,? opined Rainer Goede (in ?kirchmusik.de?) immediately after the release of Volumes 5 and 6. If such a high degree of practical value is attested to these two volumes, then Volume 7 can proudly claim to have the highest practical value of all, since it has the greatest scope of all the volumes. After all, no organist can do without the basic repertoire of the 45 chorale preludes. Edited by Sven Hiemke, the book offers the best possible prerequisites for everyday use. The musical text is as faithful to the sources as possible, and it preserves Bach?s graphic idiosyncrasies in the beaming of eighth notes and sixteenth notes. Furthermore, the chorales are reproduced on three staves, which is fully in keeping with the practice of the Bach era ? but not with the source, however, since the composer himself notated the pieces of the ?Orgelbüchlein? on two staves, either for reasons of economy or for lack of space. The enclosed CD-ROM contains early versions and anonymous arrangements which should encourage organists to explore this repertoire in greater depth.

Although quite some time has passed since the multifaceted organ music from Spain's Golden Age could be called an 'insider's tip?, it had yet to attain popularity with any wide audience outside the countries of the Iberian Peninsula. The three-volume Urtext edition of selected works by Joan Cabanilles, the cathedral organist from Valencia, now has every chance of becoming a milestone in its own right. The Iberian organ tradition of the 17th century appears to have reached its climax in his tientos, diferencias and versos. In the first two volumes, the editors Gerhard Doderer and Miguel Bernal Ripoll present a total of 22 of his most appealing and most significant tientos.- Urtext edition based on the latest research findings- Preface by the editors (in German, English and Spanish) / Orgue

While organ music of the 19th century was not highly regarded in Germany a few years ago [with the exception of a few outstanding works], our understanding of it has grown during recent years. In other countries 19th century organ music has retained its place in the repertoire to a far greater extent. This three-volume collection presents playable organ works of high quality for both liturgical and concert use. Most of the pieces have not yet been available in new editions [at the time of publication], and are made accessible to a wider public for the first time. The first two volumes contain pieces which were composed in, or introduced to, the German-speaking area of Europe between1800 and 1900; some of them point back stylistically to the 18th century. The focus of the third volume is on works by French, British, and American composers. There are also organ pieces from Bohemia, Belgium, Denmark, and even Brazil./ Répertoire / Orgue

While organ music of the 19th century was not highly regarded in Germany a few years ago [with the exception of a few outstanding works], our understanding of it has grown during recent years. In other countries 19th century organ music has retained its place in the repertoire to a far greater extent. This three-volume collection presents playable organ works of high quality for both liturgical and concert use. Most of the pieces have not yet been available in new editions [at the time of publication], and are made accessible to a wider public for the first time. The first two volumes contain pieces which were composed in, or introduced to, the German-speaking area of Europe between1800 and 1900; some of them point back stylistically to the 18th century. The focus of the third volume is on works by French, British, and American composers. There are also organ pieces from Bohemia, Belgium, Denmark, and even Brazil./ Répertoire / Orgue

Par HARWOOD BASIL. Rhapsody, Op. 38 In an old abbey, Op. 32 Wedding March, Op. 40 Three Preludes on Anglican Chants, Op. 42 Voluntary in D flat, Op. 43 Processional, Op. 44/ Répertoire / Orgue