Toccata and Lament was composed on commission in 2008 to inaugurate the large new organ in the Christ Church Cathedral Rochester NY USA. This instrument is a detailed reconstruction of a late Baroque organ of 1776 from Vilnius in Lithuania. The point of departure a clash of contrasting eras and musical cultures on two continents already bodes excitement. Martin Herchenröder a composer and professor of music theory has incorporated these contrasts in his roughly eight-minute composition. The result is a musical idiom of rare distinction universal in its musical resources and alternating between tonal triads and extremely dissonant clusters. The heart of the pieceis a dirge which using the Baroque doctrine of the affections relates to Eastern European cultural history in and around Vilnius a history marked by the predations of 20th-Century war.Expressive and effective contemporary organ musicAmalgam of musical traditions from the 18th to 21st CenturyExplanatory foreword by the composer (Ger/Eng)

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

Konzertante Orgelmusik aus vier Jahrhunderten - Concert Organ Music from four Centuries-Conceived by Martin Weyer this edition ranges in style from 17th century Portuguese Organ music to French and American works of the 19th century. It also contains a selection of German Organ music including lesser-known works by Bach and other pieces from Robert Schumann to Ernst Pepping.In addition to the original compositions Organ arrangements have also been included. A detailed Foreword offers information on the music-historical context of each work and suggestions for its performance.- Original pieces and attractive arrangements for Organ.- Easy to moderately difficult concert music for Organ.- Includes a broad rangeof styles.From the contents:Braga ?Batalha sexti toni? / Bach ?Concerto in F major after Vivaldi? (BWV 978) and six Organ chorales (transposed to keys of the Lutheran hymnal) / Hoyer ?Fughetta no. 2 in C major? from op. 62 / Arnold Mendelssohn ?Partita ?Wir Christenleut?? from op. 104 / Pepping from ?Bohemian Organ Book II: Christus der uns selig macht? / Degen two preludes from the ?Oberrheinisches Orgelbuch? / Micheelsen ?Toccata? from ?Holstein Little Organ Book? / Yon ?Humoresque? / Rogers ?Toccatina? / Parker ?Risoluto? op. 68 no. 1 / Rogers ?Carillon? (finale from ?Sonatina in D major?)

Neue Ausgabe sämtlicher Werke 5 2-At the cutting edge of scholarship.Detailed explanatory notes.Johann Jacob Froberger who lived from 1617 to 1667 developed a style of composition representing a synthesis of Italian French and English influences thereby setting new standards at that time. Only Jan Peterszoon Sweelinck can match Froberger in terms of significance for 17th century keyboard music.The text to each volume of the complete edition of Froberger?s Organ and Keyboard music is published in German and English comprising a critical commentary as well as a detailed foreword explaining the scope and subdivision of the edition and the editorial techniques.Also information on performance practice on instruments of the time and on ornamentation is included as well as details on Froberger?s biography.Volume V.2 like the previously published volume V.1 contains the musical text from an anonymous 17th century copy which was returned to the Berlin Singakademie from Kiev in 2001. It is divided into works of definitive authenticity new readings and two appendices containing works of doubtful authenticity and spurious arrangements.

The Three Sets of Eight Interludes were published between 1946 and 1952 and display Thiman’s early 20th century tunefulness and grace. Eric Thiman was a 20th century composer teacher and Organist who was also an advocate of amateur music-making. He was a prolific composer of church music and Piano and Organ works and his craftsmanship and gift for melody were much admired. He was director of music at the City Temple in London. As an educator he was a professor at the Royal Academy of Music and he wrote many books on harmony counterpoint and musical form.

Freie Orgelwerke - BuxWV 136-153, 158. Par BUXTEHUDE DIETERICH. 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 17 th - and 18 th -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 Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (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. / Date parution : 2022-10-12/ Recueil / Orgue

Mendelssohn produced an early work for Organ in 1837 but it was a London music publishing firm who commissioned the first of his mature Organ works. The second half of the commissioned pieces are published in this volume. Mendelssohn himself saved all his manuscripts and they have survived in libraries in Berlin and Krakow providing the subtitle of this book.Eleven movements are included here all written in 1844 and 1845. What were originally commissioned as ‘Voluntaries’ were changed at the composer’s request to ‘Sonatas’. Whether one considers these movements as drafts and sketches or as distinct musical entities in their own right the works are not identical tothe final printed versions. For those who appreciate or study the Mendelssohn Organ oeuvre this volume is of immense interest.While the Organ never completely fell from grace as the instrument of church and religious music it is the editor’s belief that in the century dividing JS Bach from these works of Mendelssohn fashion and church practice had greatly diminished its importance and few works of real note were produced. Mendelssohn was introduced to the Organ early in his prodigious career and found a warm audience for his Organ performances in Engand to which he returned nine times over nearly twenty years.

Fantasy in D minor (No. 1) was written in 1957 by one of the most effectual composers of the twentieth century Miloslav Kabelá (1908–1979) on the initiative of the prominent Czech organist Ji í Reinberger (1914–1977). It was the composer’s first work for solo organ and he later confessed that “… my love of the organ began with this Fantasy and did not end.”He composed Fantasy in D minor in the same year that he completed his cult classics Mysterium asu (Mystery of Time) and Symphony No. 3 (with organ) and the piece soon became a staple of organ repertoire at home andabroad. The following year he composed Fantasy in G minor (No. 2) by commission for the 1st International Organ Competition of Prague Spring 1958.Although Kabelá joined both fantasies into one opus 32 they had as yet been published separately. The present edition is the first to include the whole of Op. 32 in one volume. It is part of the Complete Critical Edition of the Works of Miloslav Kabelá and edited by Jan Hora (1936) a leading Czech organist and expert on Kabelá ’s organ works which he recorded in their entirety.- Permanent repertoire piece for organists all over the world- First edition to include both fantasies of Op.32 in one volume- Part of the Complete Critical Edition V/12 edited by eminent Czech organist Jan Hora

The Oxford Book of Organ Music by Women Composers presents a comprehensive survey of historical organ pieces by women composers alongside six newly commissioned works. The music is stylistically varied and encompasses secular and sacred repertoire from a range of periods. In addition to original organ repertoire, the collection also contains several organ transcriptions in new arrangements for the instrument. ? 42 pieces for manuals and pedals, in a variety of musical forms, suitable for use at church services or as recital repertoire ? Original music for the instrument, spanning the sixteenth century to the present day, including compositions by Amy Beach, Clementine de Bourges, Nadia Boulanger, Jeanne Demessieux, Cecilia McDowall, Clara Schumann, and Ethyl Smyth, plus commissions from Kristina Arakelyan, Miriam Carpinetti, Ghislaine Reece-Trapp, Isabelle Ryder, Amy Summers, and Rebecca Groom te Velde ? Standalone miniatures, movements from organ sonatas and symphonies, transcriptions of piano, harpsichord, and flute pieces, and an orchestral opera overture ? A variety of difficulty levels, from ABRSM Grades 2-3 through to Diploma standard, with a graded index provided

Eleven pieces for solo Organ from the 19th to the 21st century. Selected and edited by Martin Neary. 'An imaginative kaleidoscope of attractive pieces. There is much to enjoy in this wide-ranging collection.' - John Scott LVO Organist and Director of Music Saint Thomas Church Fifth Avenue New York 'A valuable collection for organists. The fact that it is published in aid of such an important cause makes it all the more appealing.' - James O'Donnell Organist & Master of the Choristers Westminster Abbey Visiting Professor of Organ Royal Academy of Music 'Containing stimulating music for professional and amateur alike thisbeautifully produced volume is one of the highest quality and useful Organ albums to have been released in years. You should buy a copy - you won't regret it.' - Jonathan Vaughn (Choir & Organ - March/April 2011) Produced in association with the Organists Charitable Trust with the support of the Ralph Vaughan Williams Trust this is a collection of 11 pieces for solo organ (ABRSM Grade 6-7). Featuring previously-unpublished works by Howells and Rutter and new works by Philip Moore and three 'rising stars' David Bednall Iain Farrington and Thomas Hewitt Jones. Selected and edited by Martin Neary.  

Caleb Henry Trevor (1895-1976) was a British organist editor and pedagogue known simply as 'CH' to his friends. Primarily self-taught he studied at Oxford before spending 8 years in the army. From 1936-1964 he was Professor of Organ at the Royal Academy of Music where he taught many of the best organists of the last century including Simon Preston and and Barry Rose. He is best remembered for his educational volumes such as the Oxford Organ Method and also for his many volumes of music for Manuals. The Organ Miscellany is a collection of popular classic works for Organ which have been easily arranged by C. H.Trevor.