Martin Luther. Par SCHNEIDER ENJOTT. 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'.'/ Répertoire / Orgue

Kantate Zum Erntedankfest (Tempore Messis) Und Andere Dankfeiern. Par TELEMANN GEORG PHILIPP. Telemann's cantata cannot be assigned to any of the composer's known annual cycles of cantatas. The given designation 'Tempore Messis', which appears in the title in the sole surviving source, suggests it was composed on the occasion of a harvest thanksgiving festival, but the neutrality of the text means that other occasions for performance such as New Year, Reformation Day, church or organ consecrations and weddings are conceivable./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière (Flû

Kantate Zum Erntedankfest (Tempore Messis) Und Andere Dankfeiern. Par TELEMANN GEORG PHILIPP. Telemann's cantata cannot be assigned to any of the composer's known annual cycles of cantatas. The given designation 'Tempore Messis', which appears in the title in the sole surviving source, suggests it was composed on the occasion of a harvest thanksgiving festival, but the neutrality of the text means that other occasions for performance such as New Year, Reformation Day, church or organ consecrations and weddings are conceivable./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière (Flû

Kantate Zum Erntedankfest (Tempore Messis) Und Andere Dankfeiern. Par TELEMANN GEORG PHILIPP. Telemann's cantata cannot be assigned to any of the composer's known annual cycles of cantatas. The given designation 'Tempore Messis', which appears in the title in the sole surviving source, suggests it was composed on the occasion of a harvest thanksgiving festival, but the neutrality of the text means that other occasions for performance such as New Year, Reformation Day, church or organ consecrations and weddings are conceivable./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière (Flû

Kantate Zum Erntedankfest (Tempore Messis) Und Andere Dankfeiern. Par TELEMANN GEORG PHILIPP. Telemann's cantata cannot be assigned to any of the composer's known annual cycles of cantatas. The given designation 'Tempore Messis', which appears in the title in the sole surviving source, suggests it was composed on the occasion of a harvest thanksgiving festival, but the neutrality of the text means that other occasions for performance such as New Year, Reformation Day, church or organ consecrations and weddings are conceivable./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière (Flû

Par SHEPPARD JOHN. Edited by David Chadd The music of John Sheppard, who was about ten years younger than Tallis, dates from the uncertain times of the Reformation and the reigns of Edward VI and Mary. Perhaps his most impressive work is to be found in his cantus firmus responds, which reflect the considerable musical importance that some choral foundations attached to Matins and Vespers on special feast-days in the last decades of the Sarum rite./ Recueil / Chorale

Mass in Time of War. Par HAYDN FRANZ JOSEF. Haydn was in England, in 1795, when he received word from his new Prince, Nicolaus II Esterházy, that the Esterházy orchestra was to be reformed, and Haydn was to serve again as active Capellmeister. Prince Nicolaus II demanded little from his Capellmeister, except the usual routine of administration; but Haydn was to compose, every year, a new Mass for the name day of the Princess Josepha Maria, which was celebrated the Sunday afterwards in the Bergkirche at Eisenstadt. It is known that a new Haydn mass was performed before a packed congregation in the Piaristenkirche in Vienna on St. Stephen’s Day (26 December) 1796. The writer of these notes examined – when preparingthis edition – the music archives of the church, and found contemporary parts on the Missa in tempore belli in the church; and it seems certain that this (and not the Heiligmesse) was the work performed on that occasion, and thus also the work which Haydn had just finished and performed in Eisenstadt. Urtext from Joseph Haydn Werke Full score, parts (BA4652), vocal score (BA4652-90) and study score format 22. 5 x 16. 5cm (TP94) available for sale/ Répertoire / Partition de Poche

Oper in Funf Akten Version 1756. Par RAMEAU JEAN-PHILIPPE. Richer than ever ? Rameau?s ?Zoroastre? in the version of 1756. Opera in five acts. Rameau?s revised version of his opera ?Zoroastre?, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today?s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau?s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime ?Hymne à la Lumière?, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with ?Zoroastre? the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck?s opera reform by many years. - One of Rameau?s main works for the stage, now available with all its versions - With a straight-forward piano reduction in the vocal score by François Saint-Yves - Available on sale full score (B0A8867-01) and vocal score (BA08867-90) - Performance material available for hire BA08867-72 - Jean-Philippe Rameau - Opera Omnia (OOR) IV/26 / Date parution : 2022-07-30/ Répertoire / Chant et Piano

Plus de 100 tunes, édité et annoté par Robin Williamson. Facile à avancé. Pour mandoline, banjo, flute, etc.. Avec les accords de guitare. Un enregistrement de CD de 15 tunes, joués par Williamson, est inclus pour la démonstration. / Accordéon