SKU: BR.EB-9305
ISBN 9790004187692. 12 x 9 inches.
This edition is the result of Harald Vogel's many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17th- and 18th-century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the Einzelanmerkungen. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude's free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary).Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on Die Fuge um Bach. Besides the description of the inclusion of triple measures into the C notation and the irregularities of the voice mutation in the polyphonic structures, this also included a discussion about the justification of the inner textual criticism. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude's work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the indicators of the fantastic style is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude's work.In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude's organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands.pure source edition (no mixture of different transmissions); comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only)); good page turnsflexible division of voices (on 2 or 3 systems, good legibility); contains facsimiles. Contains the Critical Commentary of the subvolumes I/1 and I/2.
SKU: BR.EB-9304
ISBN 9790004187685. 12 x 9 inches.
This edition is the result of Harald Vogel's many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17th- and 18th-century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the Einzelanmerkungen. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude's free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary).Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on Die Fuge um Bach. Besides the description of the inclusion of triple measures into the C notation and the irregularities of the voice mutation in the polyphonic structures, this also included a discussion about the justification of the inner textual criticism. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude's work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the indicators of the fantastic style is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude's work.In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude's organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands.pure source edition (no mixture of different transmissions); comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only)); good page turnsflexible division of voices (on 2 or 3 systems, good legibility); contains facsimiles. The corresponding Critical Commentary is contained in Volume I/2 (EB 9305).
SKU: BR.EB-9306
ISBN 9790004187708. 12 x 9 inches.
This edition is the result of Harald Vogel's many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17th- and 18th-century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the Einzelanmerkungen. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude's free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary).Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on Die Fuge um Bach. Besides the description of the inclusion of triple measures into the C notation and the irregularities of the voice mutation in the polyphonic structures, this also included a discussion about the justification of the inner textual criticism. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude's work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the indicators of the fantastic style is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude's work.In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude's organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands.pure source edition (no mixture of different transmissions) comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only))good page turnsflexible division of voices (on 2 or 3 systems, good legibility)contains facsimiles.
SKU: BR.EB-9415
ISBN 9790004188897. 12 x 9 inches.
SKU: HL.49018182
ISBN 9790543505025. UPC: 841886032613. 12.0x8.75x0.32 inches. German - English - French - Dutch - Spanish - Portuguese - Italian.
Flor Peeters, born in Belgium in 1903, is one of the most important organists and organ composers of the 20th century. After completing his studies at the famous Lemmens Institute in Mechelen, he worked there as a teacher of organ and improvisation before becoming professor at and director of the Royal Flemish Conservatoire of Antwerp. Until his death in 1986, Peeters gave concerts all around the world, held numerous master classes and received several awards and prizes for his achievements as a composer, organist and teacher.In his successful three-volume educational work 'Ars Organi', Peeters combines theoretical knowledge and practical exercises on all aspects of organ playing, starting with basic information on the instrument, manual and pedal exercises, and two-part manual and pedal playing. While Vol. 2 contains exercises on three-part playing, Vol. 3 contains exercises on four and five-part playing as well as studies on demanding trio playing. Each learning stage is accompanied by pedal exercises and tips on articulation, touch, interpretation, registration and organ specifications - a valuable compendium for every organist.
SKU: SU.80101267
This collection contains a series of freely-composed organ pieces useful for service or recital. Contains: Mountain Air and Dance, Polymarch, Cycle of Five, October Gold, and Passage. Published by: Zimbel Press.
SKU: HL.49019879
ISBN 9790001196642. UPC: 888680885854. 12.0x8.75x0.462 inches.
Matthias Weckmann, born in Niederdorla near Muhlhausen (Thuringia) in 1616 and died in Hamburg in 1674, was trained as a musician by Heinrich Schutz in Dresden among others. He worked as an organist in Dresden (Schlosskirche) and Hamburg (St. Jakobi). It is particularly for the Jakobi organ that he wrote his elaborate and virtuoso organ works. Our new edition in the renowned series 'Masters of the North German Organ School' faithfully transfers the works which survived in letter tablature, providing a reliably edited urtext. Volume 1 contains the cantus firmus-based works, 8 authentic verse cycles with 2-7 movements each in which chorale melodies such as 'Es ist das Heil uns kommen her', 'Gelobet seist du, Jesu Christ)' or the 'Magnificat' are varied, as well as a cycle on 'Ach wir armen Sunder' attributed to Weckmann. Volume 2 proves him to a master of concertante organ music, containing 3 works with pedal (Fantasia, Fuga and Praeambulum in D) as well as several moderately difficult works to be played on manuals only (6 toccatas, 5 canzonas). Reliable standard edition of the music by one of the great (North) German organ masters.
SKU: BT.PMC3367
Each of the five connected movements in this choral cycle contains references to 'Light,' assembled from various sacred Latin texts. I composed Lux Aeterna in response to my mother's final illness and found great personal comfortand solace in setting to music these timeless and wondrous words about Light, a universal symbol of illumination at all levels - spiritual, artistic and intellectual. The work opens and closes with the beginning and ending of theRequiem Mass, with the central three movements drawn respectively from the Te Deum, O Nata Lux and Veni, Sancte Spiritus. The opening Introitus introduces several themes that recur later in the work and includes an extended canonon et lux perpetua. In Te, Domine, Speravi contains, among other musical elements, the cantus firmus Herzliebster Jesu (from the Nuremburg Songbook, 1677) and a lengthy inverted canon on fiat misericordia. O Nata Lux and Veni,Sancte Spiritus are paired songs, the former an a cappella motet at the center of the work and the latter a spirited, jubilant canticle. A quiet setting of the Agnus Dei precedes the final Lux Aeterna, which reprises the openingsection of the Introitus and concludes with a joyful celebratory Alleluia. --Morten Lauridsen.
SKU: HL.48184601
UPC: 888680853914. 9.0x12.0x0.288 inches.
Part of the Organ collection by J. S. Bach, this Volume IX Eighteen Chorals of Leipzig (BWV 651-668) was composed between 1740 and 1750, in Leipzig. This volume is now translated in English and French and features the annotation of Marcel Dupre, a French organist, to help the performer getting the most of the music sheet. This ninth book contains a set of eighteen religious preludes: 1. Come, Holy Ghost 2. Come, Holy Ghost 3. By the rivers of Babylon 4. Deck thyself, o my soul 5. Lord Jesus Christ, unto us turn 6. O stainless Lamb of God 7. Now thank we all our God 8. From God I will not turn 9. Come now, Saviour of the Heathen 10. Come now, Saviour of the Heathen 11. Come now, Saviour of the Heathen 12. Glory to God on high 13. Glory to God on high 14. Glory to God on high 15. Jesus Christ, our Saviour 16. Jesus Christ, our Saviour 17. Come, God, Creator, Holy Ghost 18. Before thy Throne, I now appear Some of this prelude contains toccatas, sarabandes, fugues, ritornellos and many ornaments. Quite varied, they can also be either joyful or full of lamentations. The preface of these Eighteen Chorals of Leipzig is well written, with explanations of the comments and descriptions of the techniques to use for a good interpretation of this work. .
SKU: HL.50577275
Faszination Orgel is a series especially designed for liturgical use. The first two volumes are dedicated to the parts of liturgy, whilst other volumes cover events and festivals during the church year. All volumes can be played by lesser skilled organists or sight-read by advanced musicians. This volume contains entrance and procession pieces by J. G. Walther, J.S. Bach, J. K. Kuchar, W. A. Mozart, L. Boellmann, E. Batiste, F. A. Guilmant, F. C. Th. Dubois, S. Karg-Elert, H. Schubert and G. Kaluza.Faszination Orgel is a series especially designed for liturgical use. The first two volumes are dedicated to the parts of liturgy, whilst other volumes cover events and festivals during the church year. All volumes can be playedby lesser skilled organists or sight-read by advanced musicians. This volume contains entrance and procession pieces by J. G. Walther, J.S. Bach, J. K. Kuchar, W. A. Mozart, L. Boellmann, E. Batiste, F. A. Guilmant, F. C. Th.Dubois, S. Karg-Elert, H. Schubert and G. Kaluza.Faszination Orgel ist eine speziell fur den Kirchengebrauch (ev. und kath.) konzipierte Reihe. Die ersten beiden Bande widmen sich den vom Organisten zu gestaltenden Teilen des Gottesdienstes, die weiteren Bande Themen und Festen des Kirchenjahres sowie jahreszeitlich nicht gebundenen Anlassen. Alle Werke sind im Schwierigkeitsgrad auch von weniger geubten Organisten machbar und fur Geubte vom Blatt zu spielen. Selbstverstandlich eignen sich die meisten Werke auch fur den Vortrag ausserhalb des Gottesdienstes. Der erste Band enthalt Werke fur Ein- und Auszug.
SKU: HL.49045845
UPC: 841886033801.
New music on old instruments and new organ literature in dialogue with historical Iberian works. The present edition contains a collection of works, composed for an authentically rebuilt historical Spanish organ and covering a wide range of styles, which adds new sounds to the purely Baroque repertoire. With works by Jose Blasco de Nebra, Francisco Correa de Arauxo, Antonio de Cabezon, Pedro de Araujo, Antonio de Cabezon and new compositions by Guy Bovet, Michael Kapsner, Pavel Klimashevsky, Zsigmond Szathmary and Alfred Muller-Kranich. The new Spanish organ of the Hochschule fur Musik Mainz as an authentically rebuilt historical instrument from the workshop of the organ builder Joaquin Lois from Tordesillas in Castile shall both adequately reproduce early music and be a source of inspiration for contemporary music. For this reason, the Hochschule fur Musik Mainz commissioned five composers to write modern compositions according to the motto 'Early music in dialogue with New Music' which are a valuable addition to the repertoire of historical instruments of the 'Siglo de Oro'. Certain specifications had to be taken into account: e. g. a limited pitch range, half stops for treble and bass registers, the short octave as well as a mean-tone temperament. In addition, each composition is based on a work of the Iberian organ literature; sometimes, the work found its way into the new composition, sometimes, it only served as an inspiration. The pieces can also be played on a modern organ, although there is a special charm in playing and hearing them played on an appropriate historical instrument. Encompassing a broad range of styles, the resulting collection adds new sounds to the purely Baroque repertoire.
SKU: CA.2731149
ISBN 9790007201593. Language: Latin.
The Requiem of Gabriel Faure is now available in two versions: in the symphonic version which was completed in 1900 and in a version with small orchestra of 1889. The symphonic version of Gabriel Faure's Requiem, published in 1901, was the product of a 13-year compositional process. Starting from the original five-movement form for strings, harp and organ, the composer wrote two additional movements, one after the other, and expanded the instrumentation in various stages for later performances. The present reconstruction of a version with small orchestra differs from other such attempts in that for the first time it presents the work not in a mixed version, but rather in the unified form from 1889. This is distinguished from the final version both in musical terms, as well as through the fact that it forgoes the use of flutes, clarinets and bassoons, while employing only two horns instead of four. With a critical Report with information about the source situation and the edition, and containing the individual readings (alternative readings, etc.). Since in 1889 the Offertoire was still without the choral section the present edition contains the Offertoire of the final version as appendix. Now available in carus music, the choir app. Score and part available separately - see item CA.2731100.
SKU: SU.80101363
This exceptionally useful collection contains 20 short and easy organ pieces, highly suitable as preludes, interludes, and postludes for services. Canales's appealing romantic style draws especially on Spanish influences, which is very rare in the organ literature. Ranging from the dazzling Flamenco Postlude in E to the tender and mystical Ascension Postlude in D, this volume will provide distinctive and engaging organ literature for service playing. Instrumentation: Organ. Composed: 2012-14 Published by: Zimbel Press.
SKU: HL.49017948
ISBN 9790001147439. UPC: 884088585631. 9.0x12.0x0.314 inches.
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.
SKU: SU.80101448
This is a collection of 17 short organ pieces of varied characters that were composed over a period of years. Some works are contemporary views of early music styles and forms, and a number can be played on a positive organ or with manuals only. All are useful as service voluntaries or as recital selections. Contains: Bryn Mawr Voluntary, Cornet Voluntary, Partita semplice, Pastorella acustica, Canto e Fugato, Canto quieto, Deux petits preludes, Lighthouse Song, Passacaglia semplice, Kleine Spielmusik, Diapason Voluntary, Preludio, Rondelet, Roundelay, Paulus-Praeludium, Tambourin, and Three Enigmas. Instrumentation: Organ Duration: 2012-19 Composed: 75' Published by: Zimbel Press.
SKU: SU.80101473
This anthology contains 12 varied works for organ useful for service or concert. Includes: Spirituals Variations I (on three early American hymns), Spiritual Variations II (Where I May Wander), Spiritual Variations III (I'm Gonna Live So God Can Use Me), Chanson Variations, Prelude on Add One More Seat to the Table, Chorale Prelude and Fugue on a Lullaby, Offertorium, Postludium, Golgotha, Fantasy on Rondeau Carol, and Three and a Half Little Carol Settings. Two of the works are based on original hymn tunes by the composer, and the hymns are included for congregational use. Instrumentation: Organ Composed: 2008-2020 Published by: Zimbel Press.
SKU: AU.9781506448084
ISBN 9781506448084.
Augsburg Organ Library: Christmas, contains 36 pieces for worship or recitals based on Christmas hymn tunes. The Augsburg Organ Library is a highly acclaimed multi-volume series that reflects the twentieth century renewal of the organ and its music.
SKU: HL.49017956
ISBN 9790001158404. UPC: 841886013698. 12.0x8.75x0.187 inches.
The composer and organist Paul Siefert, baptized in Gdansk on 28 June 1586 and died there on 6 May 1666, belongs to the 'North German organ school'. Thanks to a grant of the town council of Gdansk, Siefert spent the years from 1607 until probably late 1610 studying in Amsterdam where he got important ideas and suggestions as a pupil of Sweelinck. After his return he became deputy organist in Gdansk. From 1611 to 1616 he worked as an organist first at the church in the old town of Konigsberg, then at the Warsaw court orchestra. On 23 September 1623 he was appointed organist at the Marienkirche of Gdansk in succession to Michael Weyda where he worked until the end of his life. This edition of his organ works contains 13 fantasias, two chorale preludes and a motet as well as a detailed description of the work in the preface and in the critical report.
