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: CA.1822000 17 new compositions for organ solo. Carus di...(+)
Organ
SKU:
CA.1822000
17 new
compositions for organ
solo. Carus digital:
Extra digital products.
Collection. Published by
Carus Verlag
(CA.1822000).
ISBN
9790007294441.
Edit
ed by the Deutscher
Musikrat (German Music
Council) with Richard
Mailander and Kord
Michaelis
Catholic
and Protestant churches
are familiar with the
tradition that in times
of crisis, new works are
composed to comfort the
faithful, and are
performed in worship.
Following in this
tradition, the project
Orgelmusik in Zeiten von
Corona (Organ Music in
Times of Corona) was
devised. 17 new
compositions were
commissioned which
reflect Corona times,
creatively confront the
past and the present, and
will enrich the
repertoire of organ music
in a lasting way. The
17 compositions depict a
wide range of styles
including avant-garde,
jazz and classical, and
some refer to music from
previous eras and church
music traditions. They
are conceived for
different levels of
difficulty, are for 2 or
3-manual organs, and last
between four and ten
minutes. They are
particularly suitable for
concerts, but can also be
played in church
services. * 17
thematic reflections on
the Corona pandemic: on
the horsemen of the
apocalypse, the Coeur
bleu, the thunder of
time, timelines, trust
and confidence, and many
more * compositions by
Timo Bocking, Kathrin A.
Denner, Barbara
Dennerlein, Dorothee
Hahne, Peter Michael
Hamel, Frank Heckel,
Dorothea Hofmann, Nicole
Johanntgen, Anna Korsun,
Roland Kunz, Eckhart
Kuper, Johannes M.
Michel, Iris Rieg,
Maximilian Schnaus,
Enjott Schneider, Dominik
Susteck, and Maximilian
Wallrath * stylistic
variety and breadth -
from
classically-influenced
compositions, through
jazz and pop, to
avant-garde and
experimental sounds *
different levels of
difficulty, for 2 or
3-manual organ, 4 to 10
minutes' duration *
suitable for concerts and
church services.
Osterdialog.
Concluding chorus.
Composed by Heinrich
Schutz. Edited by Helmut
Lauterwasser. Stuttgart
Urtext Edition: Schutz.
Basso continuo. Sacred
vocal music. Single Part,
basso continuo. Composed
1625. 4 pages. Carus
Verlag #CV 20.443/11.
Published by Carus Verlag
(CA.2044311).
Key: D
dorian. Language:
German.
Heinrich
Schutz's Osterdialog
(Dialogo per la Pascua)
SWV 443 for four voices
and basso continuo is
based on an episode from
the Gospel of St John, in
which the risen Jesus
appears before Mary
Magdalene in front of the
empty grave. Schutz had
also composed a setting
of this scene shortly
before in 1623 in his
Auferstehungshistorie
[Resurrection History].
For the first time this
edition contains an
attempt to reconstruct
the extensive final
chorus of the work, which
is missing except for the
basso continuo part, by
Helmut Lauterwasser. This
musical jewel by Schutz
represents a valuable
addition to the musical
repertoire for Easter,
which is smaller than the
Passiontide repertoire.
20.443/05: full score
without cover and without
final chorus 20.443/06:
choral score, only final
chorus. Score and part
available separately -
see item CA.2044300.
Osterdialog.
Concluding chorus.
Composed by Heinrich
Schutz. Edited by Helmut
Lauterwasser. Stuttgart
Urtext Edition: Schutz.
Sacred vocal music.
Choral Score. Composed
1625. 8 pages. Carus
Verlag #CV 20.443/06.
Published by Carus Verlag
(CA.2044306).
ISBN
9790007188672. Key: D
dorian. Language:
German.
Heinrich
Schutz's Osterdialog
(Dialogo per la Pascua)
SWV 443 for four voices
and basso continuo is
based on an episode from
the Gospel of St John, in
which the risen Jesus
appears before Mary
Magdalene in front of the
empty grave. Schutz had
also composed a setting
of this scene shortly
before in 1623 in his
Auferstehungshistorie
[Resurrection History].
For the first time this
edition contains an
attempt to reconstruct
the extensive final
chorus of the work, which
is missing except for the
basso continuo part, by
Helmut Lauterwasser. This
musical jewel by Schutz
represents a valuable
addition to the musical
repertoire for Easter,
which is smaller than the
Passiontide repertoire.
20.443/05: full score
without cover and without
final chorus 20.443/06:
choral score, only final
chorus. Score available
separately - see item
CA.2044300.
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.
Composed by Mark Hayes. Arranged by Marvin Gaspard. Sacred, Contemporary Wors...(+)
Composed by Mark Hayes.
Arranged by Marvin
Gaspard.
Sacred, Contemporary
Worship, General. Lorenz
Publishing Company
#70/2093L. Published by
Lorenz Publishing Company
Organ SKU: BT.EMBZ14775 Composed by Ernst Von Dohnanyi. Book Only. Compos...(+)
Organ
SKU:
BT.EMBZ14775
Composed
by Ernst Von Dohnanyi.
Book Only. Composed 2012.
12 pages. Editio Musica
Budapest #EMBZ14775.
Published by Editio
Musica Budapest
(BT.EMBZ14775).
Ern Dohnányi
(1877 - 1960) composed
his C minor fantasia in
1892, at the age of
fifteen.This work, which
is appearing in print now
for the first time, is a
real curiosity: apart
from a few polyphonic
stylistic exercises
written while he was at
the music academy, this
is Dohnányi's only
piece for organ. The
composer later recalled
his first acquaintance
with that instrument
thus: 'My experience with
the organ actually dates
back to when I was a
third-year grammar school
student, for beginning
with that year I served
as organist for the
Sunday worship services
in the grammar school's
church. These were the
first wages I ever earned
through music.' The
Fantasie wasprepared for
publication on the basis
of the composer's
manuscript by the
well-known Dohmányi
researcher Deborah
Kiszely.
Ern
Dohnányi (1877 - 1960)
composed his C minor
fantasia in 1892, at
the age of fifteen. This
work, now appearing in
print for the first time,
is a real curiosity:
apart from a few
polyphonic stylistic
exercises written whilehe
was at the music academy,
this is Dohnányi's
only piece for organ. The
composer later recalled
his first acquaintance
with that instrument
thus: 'My experience with
the organ actually dates
back to when I was a
third-year grammarschool
student, for beginning
with that year I served
as organist for the
Sunday worship services
in the grammar school's
church. These were the
first wages I ever earned
through music.' The
Fantasie was
prepared forpublication
on the basis of the
composer's manuscript by
the well-known
Dohmányi researcher
Deborah
Kiszely.
Ern
Dohnányi (1877-1960)
komponierte die Fantasie
in c-Moll 1892 im Alter
von fünfzehn Jahren.
Das Werk, welches nun
erstmalig in Druck
erscheint, ist ein echtes
Kuriosum: Abgesehen von
ein paar wenigen
polyphonen Stilübungen
aus der Musikakademie ist
es das einzige Orgelwerk
des Komponisten. Dieser
erinnerte sich später
folgendermaßen an das
Kennenlernen des
Instruments: Meine erste
Begegnung mit dem Orgel
reicht bis zur dritten
Klasse im Gymnasium
zurück. Ab dieser
Klasse nahm ich sonntags
die Funktion des Kantors
in der Kirche der Schule
ein. Das war mein erstes
Geld, was ich mit Musik
verdiente. Die Fantasie
wurde von der bekannten
Dohnányi-Forscherin
Deborah Kiszelynach dem
Originalmanuskript
herausgegeben.
String Orchestra Soprano
Alto SATB Oboe Trumpet
Organ
SKU:
HL.14035114
By Jasmin
Cameron. By Antonio
Vivaldi. Music Sales
America. Classical.
Score. Music Sales
#NOV078980. Published by
Music Sales
(HL.14035114).
Few baroque
composers were ever able
to create work as sunny,
as joyous as Vivaldi did
in this beloved Gloria.
The contrast of mood
throughout the work as it
moves through the drama
of the Mass to its
satisfying double final
movement shows the
composer at the height of
his powers.Vivaldi
composed this work in
Venice in about 1715,
during his fruitful time
at the Ospedale della
Pieta. In his lifetime
this priest, composer and
virtuoso Violinist
achieved enormous musical
success. Considering his
great popularity in the
modern era, it is
difficult to believe that
public appreciation of
his work declined after
his death and that the
Gloria languished
undiscovered
forcenturies. It wasn't
until 1957 that the
restored work was heard
again in its entirety.
Since that time, this
moving and joyous Gloria
has been recorded more
than one hundred times
and perennially appears
on concert series around
the world.
The Grand Fantasia (The Storm) uses the drama of a physical storm to represent a...(+)
The Grand Fantasia (The
Storm) uses the drama of
a physical storm to
represent an emotional
one. The opening ominous
chords lead to thundering
chords and a programmatic
representation of a storm
that could fill every
corner of a cathedral
with reverberation. The
storm is quelled by a
Chorale section entitled
'Prayer', followed by a
swelling finale of
grandeur and peace.Jaak
Nikolaas [Jacques
Nicolas] Lemmens was a
Belgian Organist and
composer of the 19th
century. He was widely
acknowledged to be the
best Organist of his
time, with particularly
beautiful legato and
pedal technique, some of
which can be discerned
from his compositions for
his work Organ School. He
wasinstrumental in
bringing the works of
Bach to France and
Belgium, and was
influential as an
educator
Orchestra Solo Voices, SATB Chorus, Orchestra, Organ SKU: CA.2709213 Comp...(+)
Orchestra Solo Voices,
SATB Chorus, Orchestra,
Organ
SKU:
CA.2709213
Composed
by Anton Bruckner. Edited
by Knut Breyer. Single
Part, viola. WAB 26.
Duration 45 minutes.
Carus Verlag #2709200.
Published by Carus Verlag
(CA.2709213).
ISBN
9790007248758. Key: D
minor. Latin.
Anton
Bruckner composed his
first mass, the Mass in D
minor, in 1864 in just
four months. It was not
ready in time for the
Kaiser Franz Joseph I's
birthday, as planned, but
was first performed on 20
November at the Feast of
St Cecilia in Linz
Cathedral - with great
success. The mass is one
of the first works by
Bruckner to be written in
his characteristic
symphonic style. It was
revised several times and
first published in 1892.
This edition is based on
a critical evaluation of
all the relevant sources,
and offers an improved
musical text. Score and
part available separately
- see item
CA.2709200.
Orchestra Solo Voices, SATB Chorus, Orchestra, Organ SKU: CA.2709209 Comp...(+)
Orchestra Solo Voices,
SATB Chorus, Orchestra,
Organ
SKU:
CA.2709209
Composed
by Anton Bruckner. Edited
by Knut Breyer. Set of
Orchestra Parts. WAB 26.
Duration 45 minutes.
Carus Verlag #2709200.
Published by Carus Verlag
(CA.2709209).
ISBN
9790007248727. Key: D
minor. Latin.
Anton
Bruckner composed his
first mass, the Mass in D
minor, in 1864 in just
four months. It was not
ready in time for the
Kaiser Franz Joseph I's
birthday, as planned, but
was first performed on 20
November at the Feast of
St Cecilia in Linz
Cathedral - with great
success. The mass is one
of the first works by
Bruckner to be written in
his characteristic
symphonic style. It was
revised several times and
first published in 1892.
This edition is based on
a critical evaluation of
all the relevant sources,
and offers an improved
musical text. Score and
parts available
separately - see item
CA.2709200.
Orchestra Solo Voices, SATB Chorus, Orchestra, Organ SKU: CA.2709249 Comp...(+)
Orchestra Solo Voices,
SATB Chorus, Orchestra,
Organ
SKU:
CA.2709249
Composed
by Anton Bruckner. Edited
by Knut Breyer. Single
Part, organ. WAB 26.
Duration 45 minutes.
Carus Verlag #2709200.
Published by Carus Verlag
(CA.2709249).
ISBN
9790007296667. Key: D
minor. Latin.
Anton
Bruckner composed his
first mass, the Mass in D
minor, in 1864 in just
four months. It was not
ready in time for the
Kaiser Franz Joseph I's
birthday, as planned, but
was first performed on 20
November at the Feast of
St Cecilia in Linz
Cathedral - with great
success. The mass is one
of the first works by
Bruckner to be written in
his characteristic
symphonic style. It was
revised several times and
first published in 1892.
This edition is based on
a critical evaluation of
all the relevant sources,
and offers an improved
musical text. Score and
part available separately
- see item
CA.2709200.
Orchestra Solo Voices, SATB Chorus, Orchestra, Organ SKU: CA.2709212 Comp...(+)
Orchestra Solo Voices,
SATB Chorus, Orchestra,
Organ
SKU:
CA.2709212
Composed
by Anton Bruckner. Edited
by Knut Breyer. Single
Part, violin 2. WAB 26.
Duration 45 minutes.
Carus Verlag #2709200.
Published by Carus Verlag
(CA.2709212).
ISBN
9790007248741. Key: D
minor. Latin.
Anton
Bruckner composed his
first mass, the Mass in D
minor, in 1864 in just
four months. It was not
ready in time for the
Kaiser Franz Joseph I's
birthday, as planned, but
was first performed on 20
November at the Feast of
St Cecilia in Linz
Cathedral - with great
success. The mass is one
of the first works by
Bruckner to be written in
his characteristic
symphonic style. It was
revised several times and
first published in 1892.
This edition is based on
a critical evaluation of
all the relevant sources,
and offers an improved
musical text. Score and
part available separately
- see item
CA.2709200.
Orchestra Solo Voices, SATB Chorus, Orchestra, Organ SKU: CA.2709214 Comp...(+)
Orchestra Solo Voices,
SATB Chorus, Orchestra,
Organ
SKU:
CA.2709214
Composed
by Anton Bruckner. Edited
by Knut Breyer. Single
Part, violoncello. WAB
26. Duration 45 minutes.
Carus Verlag #2709200.
Published by Carus Verlag
(CA.2709214).
ISBN
9790007248765. Key: D
minor. Latin.
Anton
Bruckner composed his
first mass, the Mass in D
minor, in 1864 in just
four months. It was not
ready in time for the
Kaiser Franz Joseph I's
birthday, as planned, but
was first performed on 20
November at the Feast of
St Cecilia in Linz
Cathedral - with great
success. The mass is one
of the first works by
Bruckner to be written in
his characteristic
symphonic style. It was
revised several times and
first published in 1892.
This edition is based on
a critical evaluation of
all the relevant sources,
and offers an improved
musical text. Score and
part available separately
- see item
CA.2709200.
Orchestra Solo Voices, SATB Chorus, Orchestra, Organ SKU: CA.2709211 Comp...(+)
Orchestra Solo Voices,
SATB Chorus, Orchestra,
Organ
SKU:
CA.2709211
Composed
by Anton Bruckner. Edited
by Knut Breyer. Single
Part, violin 1. WAB 26.
Duration 45 minutes.
Carus Verlag #2709200.
Published by Carus Verlag
(CA.2709211).
ISBN
9790007248734. Key: D
minor. Latin.
Anton
Bruckner composed his
first mass, the Mass in D
minor, in 1864 in just
four months. It was not
ready in time for the
Kaiser Franz Joseph I's
birthday, as planned, but
was first performed on 20
November at the Feast of
St Cecilia in Linz
Cathedral - with great
success. The mass is one
of the first works by
Bruckner to be written in
his characteristic
symphonic style. It was
revised several times and
first published in 1892.
This edition is based on
a critical evaluation of
all the relevant sources,
and offers an improved
musical text. Score and
part available separately
- see item
CA.2709200.
Orchestra Solo Voices, SATB Chorus, Orchestra, Organ SKU: CA.2709215 Comp...(+)
Orchestra Solo Voices,
SATB Chorus, Orchestra,
Organ
SKU:
CA.2709215
Composed
by Anton Bruckner. Edited
by Knut Breyer. Single
Part, double bass. WAB
26. Duration 45 minutes.
Carus Verlag #2709200.
Published by Carus Verlag
(CA.2709215).
ISBN
9790007248772. Key: D
minor. Latin.
Anton
Bruckner composed his
first mass, the Mass in D
minor, in 1864 in just
four months. It was not
ready in time for the
Kaiser Franz Joseph I's
birthday, as planned, but
was first performed on 20
November at the Feast of
St Cecilia in Linz
Cathedral - with great
success. The mass is one
of the first works by
Bruckner to be written in
his characteristic
symphonic style. It was
revised several times and
first published in 1892.
This edition is based on
a critical evaluation of
all the relevant sources,
and offers an improved
musical text. Score and
part available separately
- see item
CA.2709200.
Orchestra Solo Voices, SATB Chorus, Orchestra, Organ SKU: CA.2709219 Comp...(+)
Orchestra Solo Voices,
SATB Chorus, Orchestra,
Organ
SKU:
CA.2709219
Composed
by Anton Bruckner. Edited
by Knut Breyer. Set of
Orchestra Parts. WAB 26.
Duration 45 minutes.
Carus Verlag #2709200.
Published by Carus Verlag
(CA.2709219).
ISBN
9790007248710. Key: D
minor. Latin.
Anton
Bruckner composed his
first mass, the Mass in D
minor, in 1864 in just
four months. It was not
ready in time for the
Kaiser Franz Joseph I's
birthday, as planned, but
was first performed on 20
November at the Feast of
St Cecilia in Linz
Cathedral - with great
success. The mass is one
of the first works by
Bruckner to be written in
his characteristic
symphonic style. It was
revised several times and
first published in 1892.
This edition is based on
a critical evaluation of
all the relevant sources,
and offers an improved
musical text. Score and
parts available
separately - see item
CA.2709200.
SSTBar choir, organ - Level 2 SKU: CA.2044305 Osterdialog. Compose...(+)
SSTBar choir, organ -
Level 2
SKU:
CA.2044305
Osterdialog.
Composed by Heinrich
Schutz. Edited by Helmut
Lauterwasser. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Schutz. German
title: Osterdialog Weib,
Was Weinest Du. Sacred
vocal music, Easter and
Eastertide. Choral Score.
Composed 1625 (terminus
post quem). SWV 443. 12
pages. Carus Verlag #CV
20.443/05. Published by
Carus Verlag
(CA.2044305).
ISBN
9790007036416. Key: D
dorian. Language:
German.
Heinrich
Schutz's Osterdialog
(Dialogo per la Pascua)
SWV 443 for four voices
and basso continuo is
based on an episode from
the Gospel of St John, in
which the risen Jesus
appears before Mary
Magdalene in front of the
empty grave. Schutz had
also composed a setting
of this scene shortly
before in 1623 in his
Auferstehungshistorie
[Resurrection History].
For the first time this
edition contains an
attempt to reconstruct
the extensive final
chorus of the work, which
is missing except for the
basso continuo part, by
Helmut Lauterwasser. This
musical jewel by Schutz
represents a valuable
addition to the musical
repertoire for Easter,
which is smaller than the
Passiontide repertoire.
20.443/05: full score
without cover and without
final chorus 20.443/06:
choral score, only final
chorus. Score available
separately - see item
CA.2044300.
Organ - advanced SKU: HL.49045437 For Organ. Composed by Enjott Sc...(+)
Organ - advanced
SKU:
HL.49045437
For
Organ. Composed by
Enjott Schneider. This
edition: Saddle
stitching. Sheet music.
Organ Large Works.
Classical. Softcover.
Composed 2016. 48 pages.
Duration 24'. Schott
Music #ED 22668.
Published by Schott Music
(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.'.
Organ SKU: HL.14011002 Composed by Franz Liszt. Music Sales America. 20th...(+)
Organ
SKU:
HL.14011002
Composed
by Franz Liszt. Music
Sales America. 20th
Century. Book
[Softcover]. 17 pages.
Music Sales #NOV590180.
Published by Music Sales
(HL.14011002).
UPC:
884088433741.
8.5x11.0x0.079 inches. C.
H. Trevor -
Author.
The
B.A.C.H. motif
has been known and used
for centuries, but
enjoyed a great revival
in the late 19th century
as composers paid homage
to the composer J.S.
Bach. It derives from the
German nomenclature, and
is expressed in standard
notation as
Bb-A-C-B.
The
Fantasia And
Fugue On
B.A.C.H. is one
of the most famous Organ
works of Franz
Liszt (1811-1886).
The piece was intended
for the inauguration of
the famous Ladegast Organ
at Merseburg Cathedral,
but sadly, it wasn't
finished in time.
Liszt then
revised the work in 1870
and produced the version
that survives today. A
well-loved piece, no
organist's library
iscomplete without it.
SA vocal soli, SATB choir, 2 violins, viola, cello/contrabass, organ SKU: CA....(+)
SA vocal soli, SATB
choir, 2 violins, viola,
cello/contrabass, organ
SKU: CA.3207619
Composed by Wilhelm
Friedemann Bach. Edited
by Peter Wollny. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Wohl dem, der den Herren
furchtet. Sacred vocal
music. Set of Orchestra
Parts. Composed 1752.
BR-WFB F 19. Duration 15
minutes. Carus Verlag #CV
32.076/19. Published by
Carus Verlag
(CA.3207619).
ISBN
9790007138974. Language:
German.
The cantata
is one of the few
surviving vocal works
which Wilhelm Friedemann
Bach composed during the
eighteen years which he
spent as organist and
director of music at the
Marktkirche in Halle
(1746-1764). This
cantata, published here
for the first time in
more than 250 years, was
written to introduce the
autumn sermons in 1752. A
musically and technically
demanding composition, it
consists of two
substantial choral
movements, partly
concertante and partly
polyphonic, based on two
biblical utterances. They
surround a sensitive,
while at the same time
strictly contrapuntal,
duet for soprano and alto
with basso continuo in
which God's sweet
teaching for the soul is
described as the true
manna of the faithful,
forming a link with the
sermons which are to
follow. In the
compactness of the
musical construction and
its intensity of
expression W. F. Bach was
clearly following in the
footsteps of his father
in this work. Score and
parts available
separately - see item
CA.3207600.
Composed
by Charles Francois
Gounod. Edited by Barbara
Grossmann. This edition:
urtext. Stuttgart Urtext
Edition: Urtext Editions;
French Sacred Music.
Requiem (Gounods Letztes
Werk). Sacred vocal
music, Requiem, End of
the church year,
Mourning, death. Single
Part, Double Bass. CG op.
Posth. 8 pages. Duration
35 minutes. Carus Verlag
#CV 27.315/15. Published
by Carus Verlag
(CA.2731515).
ISBN
9790007201739. Key: C
major. Language:
Latin.
Charles
Gounod composed this
Requiem under the impact
of the death of his
four-year-old grandson,
Maurice. According to
information handed down,
while finishing the
details of this work he
was overtaken by death.
It was published
posthumously in various
constellations by his
pupil, Henri Busser, but
the only complete version
from the pen of Gounod is
the version for large
orchestra, which is
published here for the
first time in a critical
edition. Gounod's
Requiem, unlike many
contemporary settings of
the Mass of the Dead, is
not characterized by
darkness and terror.
Rather, with all of its
trepidation - expressed
through a marked
chromaticism - an
atmosphere of hopeful
expectation, of trust in
the grace and equity of
the divine judge
predominates. This
confidence finds its
expression in the choice
of the fundamental key of
C major, which is rather
unusual for a requiem.
The work was given an
impressive performance on
the occasion of the first
anniversary of Gounod's
death in the Parisian
church of
Sainte-Madeleine under
the direction of Gabriel
Fauré and it was
highly acclaimed by the
contemporary press. Score
and part available
separately - see item
CA.2731500.
Composed
by Charles Francois
Gounod. Edited by Barbara
Grossmann. This edition:
urtext. 1x 27.315/21
flute 1, 1x 27.315/22
flute 2, 1x 27.315/23
oboe 1, 1x 27.315/24 oboe
2, 1x 27.315/25 clarinet
1, 1x 27.315/26 clarinet
2, 1x 27.315/27 bassoon
1, 2x 27.315/28 bassoon
2, 1x 27.315/31 horn 1,
1x 27.315/32 horn 2, 1x
27.315/33 horn 3, 1x
27.31. Stuttgart Urtext
Edition: Urtext Editions;
French Sacred Music.
Requiem (Gounods Letztes
Werk). Sacred vocal
music, Requiem, End of
the church year,
Mourning, death. Set of
Orchestra Parts. CG op.
Posth. 104 pages.
Duration 35 minutes.
Carus Verlag #CV
27.315/09. Published by
Carus Verlag
(CA.2731509).
ISBN
9790007201685. Key: C
major. Language:
Latin.
Charles
Gounod composed this
Requiem under the impact
of the death of his
four-year-old grandson,
Maurice. According to
information handed down,
while finishing the
details of this work he
was overtaken by death.
It was published
posthumously in various
constellations by his
pupil, Henri Busser, but
the only complete version
from the pen of Gounod is
the version for large
orchestra, which is
published here for the
first time in a critical
edition. Gounod's
Requiem, unlike many
contemporary settings of
the Mass of the Dead, is
not characterized by
darkness and terror.
Rather, with all of its
trepidation - expressed
through a marked
chromaticism - an
atmosphere of hopeful
expectation, of trust in
the grace and equity of
the divine judge
predominates. This
confidence finds its
expression in the choice
of the fundamental key of
C major, which is rather
unusual for a requiem.
The work was given an
impressive performance on
the occasion of the first
anniversary of Gounod's
death in the Parisian
church of
Sainte-Madeleine under
the direction of Gabriel
Fauré and it was
highly acclaimed by the
contemporary press. Score
and parts available
separately - see item
CA.2731500.
Composed
by Charles Francois
Gounod. Edited by Barbara
Grossmann. This edition:
urtext. Stuttgart Urtext
Edition: Urtext Editions;
French Sacred Music.
Requiem (Gounods Letztes
Werk). Sacred vocal
music, Requiem, End of
the church year,
Mourning, death. Single
Part, Viola. CG op.
Posth. 12 pages. Duration
35 minutes. Carus Verlag
#CV 27.315/13. Published
by Carus Verlag
(CA.2731513).
ISBN
9790007201715. Key: C
major. Language:
Latin.
Charles
Gounod composed this
Requiem under the impact
of the death of his
four-year-old grandson,
Maurice. According to
information handed down,
while finishing the
details of this work he
was overtaken by death.
It was published
posthumously in various
constellations by his
pupil, Henri Busser, but
the only complete version
from the pen of Gounod is
the version for large
orchestra, which is
published here for the
first time in a critical
edition. Gounod's
Requiem, unlike many
contemporary settings of
the Mass of the Dead, is
not characterized by
darkness and terror.
Rather, with all of its
trepidation - expressed
through a marked
chromaticism - an
atmosphere of hopeful
expectation, of trust in
the grace and equity of
the divine judge
predominates. This
confidence finds its
expression in the choice
of the fundamental key of
C major, which is rather
unusual for a requiem.
The work was given an
impressive performance on
the occasion of the first
anniversary of Gounod's
death in the Parisian
church of
Sainte-Madeleine under
the direction of Gabriel
Fauré and it was
highly acclaimed by the
contemporary press. Score
and part available
separately - see item
CA.2731500.