Par PRAETORIUS JACOB. freie Orgelmusik, Magnificat - Verwendung / Kirchenjahr: Wei cor achten - Langue : o Spr/ Répertoire / Orgue

Par STADLER MAXIMILIAN. Praeambulum primi/secundi/tertii/quarti/quinti/sexti/septimi/octavi toni/ Répertoire / Orgue

Par ROGG LIONEL. / Niveau : Moyen / Contemporain / Date parution : 2004-04-01/ Répertoire / Orgue

Par WIDOR CHARLES-MARIE. Charles-Marie Widor 's Symphonies for Organ, Op. 42 No. 2. Charles-Marie Widor (b. Lyons 1844, d. Paris 1937) first began his studies in his hometown, but later pursued them in Brussels, taking lessons with Nicolas-Jacques Lemmens on the Organ, and composition lessons with François-Joseph Fetis. In 1868, he inaugurated the Organ at Notre-Dame Cathedral in Paris. He also deputized for Saint-Saë ns at the Organ of La Madeleine, and then in 1870 he was provisionally nominated organist at Saint-Sulpice. It was not until 1933 that he relinquished this post in favour of his pupil Marcel Dupre. Followingthe death of Cesar Franck in 1890, it was Widor who was requested to direct Organ studies at the Paris Conservatoire, and he followed this by taking charge of the composition class in 1896. Among his very many students were figures such as Louis Vierne and Charles Tournemire. Widor was a founder member of the Casa Velasquez in Madrid and the American Conservatoire in Fontainbleu. He was an exceptional virtuoso who could be heard in concerts in France and throughout the whole world. He left numerous works, but it is above all his Organ music that is most performed today./ Répertoire / Orgue

Baroque And Classical Period. Par LAUKVIK. Volume 1 is organized into two main sections: Part A treats general technical and musical principles, while Part B explores the stylistic differences of interpretation between music of the early and high Baroque eras, the organ music of J. S. Bach and the late Baroque, as well as the organ music of the Classic era. The enclosed volume of music contains a selection of the works referred to in the book. Jon Laukvik’s Historical Performance Practice in Organ Playing has become a standard work. It is addressed to organists who wish to integrate the latest knowledge of historical performance practice into their playing today. The insights of this three-volume series are the resultof practical and scholarly research which present to the performer in a detailed, easily understandable form a precise view of the customs and goals of performance in previous eras. These volumes are directed not only to organists, but also to organ teachers who are looking for a guide for use in their instruction./ Répertoire / 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

per organo. Par VASKS PETERIS. Peteris Vasks has written a large number of pieces for the organ, both original works and arrangements of his own pieces which had originally been written for strings. The Riga-based composer created his ideal sound image after listening to the famous organ of the Cathedral of Riga. The basic idea of the organ work 'Cantus ad pacem' is, as with almost all of his compositions, the personal understanding of nature: the beauty of nature, on the one hand, and the destruction of nature by man, on the other hand. Not presenting any great difficulties, Vasks' organ music displays an impressive variety of sounds, from the most intimate, restrained sounds to powerful chordal outbursts./ 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

per organo. Par VASKS PETERIS. Peteris Vasks has written compositions for organ again and again, whether original works or arrangements of his own works for strings. He drew his ideal sound image and his inspiration from the famous organ of the Cathedral in Riga where the composer has been living for a long time. Like in almost all his compositions, the basic idea of 'Musica seria' is the personal human examination of Creation: on the one hand the beauty of Nature, on the other hand the destruction of Nature by man. Vasks' organ music does not provide any great difficulties but rather displays an impressive tonal variety of the most intimate, held back sounds to tremendous chordal eruptions./ Répertoire / Orgue

The organ book contains a treasure of works from all eras, among them pieces which are little known and hard to find that will expand and enrich the repertoire of every organist. The works of easier and medium difficulty will be welcomed by beginning organ ists, but also more experienced players will discover little-known gems of organ music. In addition to the main volume, a second volume includes intonations for the acclamation before the Gospel and processional music; a CD is also available./ Répertoire / Orgue

(Ausgewahlte Orgelwerke, Band 1). Par SCHROEDER HERMANN. Hermann Schroeder's abundant oeuvre in the field of chorale-bound organ music is much less known among organists than his free - especially the concertante - organ works, although Hermann Schroeder as an organist felt particularly bound to liturgy and liturgical singing. And according to him, any liturgical organ music should always bear a direct relation to singing. The purpose of the present anthology is to provide the player a representative selection of Schroeder's chorale arrangements. Most of these chorales are relatively short and of medium difficulty at most. The chorale melody can be heard well most of the time so that the pieces are ideal for being used in church services. In the alphabetical index, the beginnings of song titles are accompanied by the corresponding number from Gotteslob (GL) or the Protestant Hymnal for better orientation./ Répertoire / Orgue