Organ SKU: BR.EB-8511 Urtext based on the Reger Complete Edition. ...(+)
Organ
SKU:
BR.EB-8511
Urtext
based on the Reger
Complete Edition.
Composed by Max Reger.
Edited by Hans Haselbock
and Hans Klotz. Solo
instruments; Softcover.
Edition Breitkopf.
Breitkopf Urtext on
the basis of the Reger
Complete Edition ed. by
Hans Klotz, critically
examined by Martin Weyer
with an introduction by
Hans Haselbock
Romantic; Late-romantic.
Score. 24 pages. Duration
12'. Breitkopf and
Haertel #EB 8511.
Published by Breitkopf
and Haertel (BR.EB-8511).
ISBN 9790004178041. 9
x 12 inches.
A key
work in Reger's organ
production from the time
of its first publication
in 1902 up to today, the
famous F-minor
Passacaglia from Op. 63
has cast its spell on
generations of organ
lovers. The dark bass
strides quietly through
the depths, persistently
and secretly like time
itself; a ghostly breath
murmurs about the heights
and rustles through light
leaves; and from within
emerges a voice which
rises and falls in a
seemingly aimless manner,
and which speaks more
than it sings...
(Gustav-Robert Tornow on
the 8th variation of the
Passacaglia in his 1907
introduction to the
work).
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.
Solo Organ SKU: CA.5600300 Vol. II/2. Composed by Giacomo Puccini....(+)
Solo Organ
SKU:
CA.5600300
Vol.
II/2. Composed by
Giacomo Puccini. Edited
by Virgilio Bernardoni.
Complete editions /
Selected works: Edizione
Nazionale delle Opere di
Giacomo Puccini. Free
organ music. Full score
(complete edition /
selected edition). 148
pages. Carus Verlag #CV
56.003/00. Published by
Carus Verlag
(CA.5600300).
ISBN
9790007188047.
The
organ is the instrument
on which the young
Giacomo Puccini began his
career as a musician.
Through the rediscovery
of a considerable number
of hand-written pieces,
which he composed after
1870 as part of his
duties as organist in the
churches of Lucca,
several primary sources
are now available. These
give an insight into the
beginnings of his musical
activities which have
only been known about
from anecdotes from his
first biographers until
now. Puccini's organ
repertoire includes works
which were typical for
liturgical organ music at
that time: sonatas for
the main sections of the
mass, versets which were
substituted for Gregorian
chant, marches, which
were played after the
mass (exceptionally even
waltzes), and even a
pastorale for Christmas
time. This music was
written with the sound of
instruments made in
Tuscany in mind. These
have just one manual, a 8
foot Principale register
and a small pedalboard
always coupled to the
manual. In addition there
were several solo stops
divided into bass and
soprano.Puccini
contributed with
originality to the
renewal of Italian organ
practice, which began in
his day to discard its
operatic style in favor
of a style more suited to
the liturgy.
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.
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.
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.
SSA chorus, piano or organ SKU: CA.2790500 Kyrie, Gloria, Sanctus, Agn...(+)
SSA chorus, piano or
organ
SKU:
CA.2790500
Kyrie,
Gloria, Sanctus, Agnus
Dei. Composed by
Reiner Schuhenn.
Kölner Messe.
Gattungen vokal: Sacred
vocal music. Full Score.
Composed 2020. Carus
Verlag #2790500.
Published by Carus Verlag
(CA.2790500).
ISBN
9790007297978. Key: C
major.
Latin.
Reiner
Schuhenn’s mass
setting for mixed choir
only requires one
male-voice part. The
setting includes the
standard parts of the
mass: Kyrie, Gloria,
Sanctus, and Agnus Dei
(the Credo has been
omitted for liturgical
reasons, since this part
is intended for the
congregation). The power
of rhythm, fast time
signature changes, and
ostinati characterize the
Gloria and Sanctus
movements, whereas the
Kyrie and the Agnus Dei
are more melodically
orientated. Either an
organ or a piano can be
used as the accompanying
keyboard instruments,
while the Cologne Mass
can be performed without
an accompaniment at
all.
Confluence Orgue - Avancé MorningStar Music Publishers
Organ - Advanced SKU: MN.12-121 Composed by Joseph Willcox Jenkins. Non H...(+)
Organ - Advanced
SKU:
MN.12-121
Composed by
Joseph Willcox Jenkins.
Non Hymn-Based, Recital
Music. MorningStar Music
Publishers #12-121.
Published by MorningStar
Music Publishers
(MN.12-121).
UPC:
688670121210.
Confl
uence was commissioned by
the Organ Artist Series
of Pittsburgh in
celebration of its
twentieth anniversary in
1999. Christa Rakich gave
the premier at the
closing concert of the
season at Calvary
Episcopal Church by in
April of 1999. It has
been performed frequently
since that time. The
title was given to honor
the joining together or
confluence of the three
rivers of Pittsburgh: the
Allegheny, the
Monongalela, and the
Ohio. Confluence is a
curious hybrid related to
both the sonata and rondo
forms. It is of the ABABA
design with the final A
quite extended by
polyphonic games and a
very noisy and triumphant
epilogue. The first idea
is driving, rhythmic,
nervous and agitated. The
second is quiet, gentle
and pastoral, that slowly
moves in its mysterious
ways, closing with a
plaintive row of a dozen
different pitches. The
composer delights in the
challenge of making tone
rows as approachable and
sing-able as possible.
Both ideas make slightly
varied restatements. At
the end, fugal
exploitation of the first
idea is followed by that
row, entering with
stentorian grandeur in
full pedal, heralding the
triumphant close. This
row, like the month of
March is referred to
frequently as coming in
like a Iamb, going out
like a lion.
For Organ. Composed by Olivier Messiaen (1908-1992). Leduc. Post-1900, Sacred....(+)
For Organ. Composed by
Olivier Messiaen
(1908-1992).
Leduc. Post-1900, Sacred.
Softcover. 20 pages.
Alphonse
Leduc #AL19269. Published
by
Alphonse Leduc