Nico Muhly's Patterns is a work in four sections for solo Organ. Patterns was commissioned by the American Guild of Organists for the 2014 Biennial National Convention in Boston Massachusetts U.S.A.'Patterns is composed in four sections each of which is sort of a rhythmic étude. The first (?Move Along?) is a perpetual motion machine with staggered and angular rhythms thrown between the pedals and the left hand. The second movement (?Palindromes?) is calmer and is centered around an idée fixe in the left hand while the right hand interjects and ornaments. The pedals here are a clumsy cousin constantly upturning the sense of rhythmic stability. The third movement (?Similar?) is all to do with ways to divide up the bar: seven eight six five four ? it?s all there. Then the finale (?Very Fast Music?) is a perpetual motion machine on its highest setting ? manic and hyper with hiccoughs offsetting the regularity of some of the rhythms.' - Nico MuhlyStephen Farr in the September/October 2015 issue of Choir & Organ writes that this work is 'full of filigree figuration and no little rhythmic complexity.'

Le oeuvre pour orgue par Franz Tunder (1614-1667) est publiés comme volume 17 de la série ' Meister der Norddeutschen Orgelschule '. Contenant des arrangements de chorale 9, 4 préludes et une note canzona ainsi qu'une introduction et éditorial, oeuvres complètes de Tunder pour orgue continuer le voyage à travers le monde très intéressant de l'école d'orgue allemande du Nord. / Orgue

Par PURCELL HENRY. Henry Purcell had a marvelous natural ability for counterpoint, which was especially evident when combining pungent English counterpoint with expressive, flexible, and dramatic word settings. His Organ Music is no less a showcase for his melodic abilities and, in this edition, a feast of intelligent keyboard writing lies. This compilation contains six works plus an appendix by John Blow, including the Voluntary in D minor for double organ. / Rép Classique / Répertoire / Orgue

Album for organ solo from the composer of the much-recorded 'Miroir?. The album consists of four pieces of between 2½ and 4 minutes' duration respectively. 'Play it cool!? was composed as the mandatory test piece in the 2012 First Breda International Organ Competition, with the Grote Kerk's four-manual Flentrop/Van den Heuvel instrument in mind. As the title suggests, the piece makes great play on syncopated, jazz- and rock-inflected figures. Suitable for advanced standard performers. 'The Messenger on the Hill?, while similarly syncopated and witty, is within easy reach of intermediate standard players. Laid out for two-manual instrument it features an almost continuous oscillating left-hand figure with right-hand melody and a very simple pedal part. 'Rejoice!? is an arrangement of a work for saxophone and organ, made at the request of, and in collaboration with, Thomas Trotter. A duo for contrasting manuals, with a simple, syncopated bass part in the pedals. Suitable for advanced standard performers. '­Passacaglia?, also for two-manual instrument, is composed almost entirely for the white notes. The simple passacaglia theme is repeated throughout on the pedals. Above this, melodic material derived from the theme is played in the right hand against a sustained, chordal left-hand accompaniment. Later on, there is dialogue between the hands, with some optional ornamentation in the right hand. Suitable for intermediate standard performers. / Orgue

Antiphons, psalms and hymn for soloists and double choir. The score is written for 3 Tenor Trombones, 1 Bass Trombone and strings with basso continuo. Edited by Denis Stevens, with piano accompaniment. / Orgue

The Keyboard compositions of John Lugge are being published here as a complete work for the first time. They consist of what appears to be a collection of Organ pieces at Christ Church Oxford (Ch. Ch. MS 49) and three pieces for the virginal - two of them in Paris at the Bibliotheque du Conservatoire de Musique (Bibliotheque Nationale MS Reserve 1186) and one at Christ Church Oxford (Ch. Ch. MS 431 f.5). We published the Volun­taries separately in 1956 (Novello & Company Limited) but in halved note-values as required at that time. The virginal pieces were published in 1957 (Schott & Company Limited) in the original note values.

Tarik writes: The word colimaçon is French for the spiral form of a snail?s shell and is most commonly found in the form escalier en colimaçon meaning a spiral staircase. Having first come across the expression in the work of Jacques Prévert the word obviously remained in my subconscious and I was reminded of its meaning when composing this piece for David (Titterington) in its circular form.

Lemmen’s Fanfare in D is frequently performed and recorded. This work the Triumphal March also in D features dramatic dynamic changes and thrilling passages of fingerwork making it an effective piece.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 from which this march has been extracted. He was instrumental in bringing the works of Bach to France and Belgium and was influential as an educator.

21 Chorals du Dogme Prélude et Fugue en Mib-As one of the most famous contributors to classical music ever to have lived Johann Sebastian Bach's (1685-1750) catalogue is extensive. Moreover being an organist himself his Organ works are significant and remain ever-popular to this day. When French organist Marcel Dupr? (1886-1971) compiled the series of Bach's Complete Organ Works it was well-received and to this day remains popular with all organists. The eighth volume includes a favoured selection of Bach's works including 21 chorales and his Prelude and Fugue in E flat. In addition Dupr?'s annotations in CompleteOrgan Works comprise fingerings rules on technique and instructions on ornamentation among other aspects. This compilation of J. S. Bach's most loved compositions for the Organ cannot be missed by aspiring performers of the instrument.

Par GRAY ALAN. The four organ sonatas of Alan Gray (1855-1935) stand as one of the largest contributions to the sonata repertoire by an English composer. Published around 1890, they also mark an advancement in the repertoire of potential concert works. Gray had not studied abroad and his sonatas demonstrate a compelling emergence of a distinctly English style of organ sonata after almost half a century of continental influence. All four sonatas show a strong command of not only writing for the instrument but also the art of registration. Gray?s indications are clear, logical, and practical. He writes for a symphonic organ of at least three manuals but many of the pieces could be played on an instrument of only two manuals. The use of contrasting manual colours between phrases and the incorporation of solo stops is notable for conveying Gray?s views on interpretation and his strong understanding of the instrument. / Date parution : 2022-05-31/ Recueil / Orgue

Fantasien und Fugen/Einzelwerke - mit CD-ROM-Although the “fantasia” was already considered as old-fashioned around 1700 this genre exerted a particular fascination on the very young Bach – he had since relocated to Köthen – and the experienced composer as well.Volume 3 the latest installment in the Complete Organ Works gathers together all transmitted organ fantasias by Bach the fragments of the fugues belonging to them and all individual fugues as well. They include for instance the Fantasia in C BWV 570 undoubtedly the master’s oldest free organ work.The most notable works in this edition are the celebrated Fantasia in g minor BWV 542/1 and the Fuga in g BWV 542/2. DidBach actually intend a combination of the two pieces as a joint composition? This and other intriguing questions concerning versions sources and genre history are examined by editor Pieter Dirksen in the introduction and comments which contain a synopsis and a wealth of transposed and ornamented versions of the works which supplement the edition on the enclosed CD-ROM.

 Péface d'Eric Lebrun, conseils de Pascale Rouet Les trois suites qui composent Dactylopraxie se rapportent au genre de la Partita qu'affectionnaient les compositeurs italiens et allemands des XVIIème et XVIIIème siècle, Comme leurs aînées, chacune d'entre-elles consiste en une succession de pièces brèves et de caractère contrasté, reliées entre elles par un propos fédérateur, cherchant à mettre en valeur une large palette des sonorités de l'instrument, Comme autant d'hommages à des compositeurs à la personnalité attachante, le cycle est parsemé ça et là de clins d'oeil variés dans l'espace et dans le temps : la musique de Bartók ou de Satie, un ' thème ' de Bruce Mather, les turpitudes métriques de Régis Campo, les tambourins de Corrette, les pièces pour horloges à flûtes de Haydn, les partitas de Pachelbel ou encore l'esprit de la ' courbure du temps ' de la grammaire musicale de François Leclère, Si le recueil vise à faire progresser l'acquisition des principaux réflexes digitaux pour des organistes commençants, un instrumentiste plus confirmé pourra aussi y trouver des miniatures sonores et colorées, simples à déchiffrer et écrites dans un langage d'aujourd'hui, - DACTYLOPRAXIE Micro-Suite pour explorer le clavier      03'11''- DACTYLOPRAXIE Variations sur dix notes fixes      05'- DACTYLOPRAXIE Partitta quand la dernière comprend l'ensemble      06'31'' / Orgue

Edition : Paris, C. Ballard, 1700.Présentation de Jean Saint-Arroman : Notation - La table d'agrémentation - L'agrémentation.Ces deux livres comptent parmi les chefs-d'oeuvre de la musique d'orgue classique - : beauté et parfois hardiesse de l'harmonie, élégance et expressivité mélodique. Le traité d'accompagnement de Boyvin accompagne son second livre. / Orgue / 136 pages / niveau : 1 / Fac-Similés - Format: 23.5 X 31.5