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Der Herr Ist Mein Getreuer Hirt (BORNEFELD HELMUT)
24.60
Der Herr Ist Mein Getreuer Hirt (BORNEFELD HELMUT)
Orgue
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Carus Verlag
Choralpartita Ii. Par BORNEFELD HELMUT. movements: I. Trio, II. Pastorale, III. ...
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Choralpartita Ii. Par BORNEFELD HELMUT. movements: I. Trio, II. Pastorale, III. Giaconna / Hymnes et chorals / Répertoire / Orgue
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Krebs: Choralbearbeitungen. Erster Teil Der Clavier-Übung (KREBS JOHANN LUDWIG)
31.50
Krebs: Choralbearbeitungen. Erster Teil Der Clavier-Übung (KREBS JOHANN LUDWIG)
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Par KREBS JOHANN LUDWIG. Our Krebs is known to have been one of the best pupils ...
(+)
Par KREBS JOHANN LUDWIG. Our Krebs is known to have been one of the best pupils of Johann Sebastian Bach, consequently we made a play on words: In this great Bach [brook] only one single Krebs [crayfish] has been caught. In his organ compositions Krebs was essentially a follower of Bach, while in his clavier and chamber music the change of musical styles which occurred about 1750 is clearly evident. Characteristic of the pre-classical period is the juxtaposition and blending of old and new stylistic elements. Thus the music of Krebs represents the new courtly and sensitive spirit of that era. The Clavier-Übung I [chorale arrangements] is the first part of the four-part Clavier-Übung by Krebs and consistsof arrangements of 13 chorales./ Répertoire / Orgue
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Orgeltrios Der Belle Epoque
Orgue
Forberg
G.A.Thomas, C. Hess, A.Guilmant, C. Saint-Saëns, I. Faißt, J Renner, H.Parker,...
(+)
G.A.Thomas, C. Hess, A.Guilmant, C. Saint-Saëns, I. Faißt, J Renner, H.Parker, A.F.Hesse, H.Smart, C-A. Chauvert, G.Merkel, A.Schmitt / Orgue
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Komm, Gott Schöpfer, Heiliger Geist (BORNEFELD HELMUT)
26.40
Komm, Gott Schöpfer, Heiliger Geist (BORNEFELD HELMUT)
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Carus Verlag
Choralpartita Vi. Par BORNEFELD HELMUT. movements: I. Phantasie, II. Fuge / Hymn...
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Choralpartita Vi. Par BORNEFELD HELMUT. movements: I. Phantasie, II. Fuge / Hymnes et chorals / Répertoire / Orgue
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Orgelsinfonie #15
25.53
Orgelsinfonie #15
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Schott
Dieses Werk ist eine Hommage Schneiders an Max Reger: Die Orgelsinfonie Nr. 15 u...
(+)
Dieses Werk ist eine Hommage Schneiders an Max Reger: Die Orgelsinfonie Nr. 15 unterlässt es, die nicht-steigerbare und nicht-variierbare Regerstilistik zu adaptieren. Im Gegenteil. Mit einem ?glühenden Reduktionismus' werden Motive, Zitate, Fragmente wie einzeln funkelnde Edelsteine aus dem Kontext genommen und neu beleuchtet: Reger aus der Distanz betrachtet, um dem Mysterium dieses genialen Menschen etwas nahezukommen. (Enjott Schneider)Inhalt:?I Obsession and Kontrast?II Einsamkeit?III Fragmente des Fliehens?IV 'Seele, vergiss nicht die Toten!' / Orgue
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Orgelwerke (ZIPOLI DOMENICO)
20.90
Orgelwerke (ZIPOLI DOMENICO)
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Barenreiter
Par ZIPOLI DOMENICO. Content: Toccata d-mminor - 4 Verse d-minor - Canzona d-min...
(+)
Par ZIPOLI DOMENICO. Content: Toccata d-mminor - 4 Verse d-minor - Canzona d-minor - 4 Verse C-major - Canzona C-major - 4 Verse F-major- Canzona F-major - 4 Verse e-minor - Canzona e-minor - 4 Verse g-minor - Canzona g-minor - All'Elevazione I F-major - Al post Comunio F-major - All'Elevazione II C-major - All'Offertorio C-major - Pastorale C-major - Preamble - Critical report (dt. /engl. /ital). / Répertoire d'Examen / Répertoire / Orgue
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Orgelmusik Europaischer Mesiter
17.21
Orgelmusik Europaischer Mesiter
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Heinrichshofen Verlag
Band I. / Recueil / Orgue
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Selected Works For Keyboard, Vol.I Hymnes And Versets
44.10
Selected Works For Keyboard, Vol.I Hymnes And Versets
Orgue
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Barenreiter
La cour d'organiste Antonio de Cabezón, qui a été nommé à la chapelle de la...
(+)
La cour d'organiste Antonio de Cabezón, qui a été nommé à la chapelle de la cour de la Reine Isabelle de Toledo à l'âge de 16 ans, a été considéré à juste titre par ses contemporains comme l'organiste espagnole leader et claviériste du 16 ème siècle. Ses hymnes et des versets sont basées sur courte, harmonisations décorée des tonalités psaume. Dans le tientos, la transformation du style motet vocal à un style d'écriture approprié pour les instruments à clavier est parfaitement exécuté.Cette édition Urtext contient une sélection des meilleurs Cabezon de travaux connus et se composera de quatre volumes. Il a été préparé par deux rédacteurs en chef travaillant dans les universités portugaises et espagnoles qui sont tous deux grands spécialistes des oeuvres de Cabezón et reflète les derniers résultats de recherche.- Première édition critique universitaire, des oeuvres sélectionnées par l'organiste leader espagnol- Reflète les derniers résultats de la recherche- Chaque volume avec une préface (Ger / Eng) avec des conseils sur la technique de rédaction, le commentaire critique (Ger / Eng) et l'indice de sources / Orgue, Piano, Clavecin
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Silberklänge Für Die Silbermann-Orgel (SZATHMARY ZSIGMOND)
25.46
Silberklänge Für Die Silbermann-Orgel (SZATHMARY ZSIGMOND)
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In Der St. Georgenkirche Rötha. Par SZATHMARY ZSIGMOND. The composition 'Silber...
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In Der St. Georgenkirche Rötha. Par SZATHMARY ZSIGMOND. The composition 'Silberklänge” was commissioned for the 2020 International Johann Sebastian Bach Competition in Leipzig. The composer noted: 'During my first visit to the Georgenkirche in Rötha, I was impressed by the immensely vibrant and noble sounds of the historic Silbermann organ (1721), the endless variety of possible timbre combinations, the stellar acoustics of the church, and the historic atmosphere, which shaped and tamed my musical thoughts, transporting me into my very own 'baroque' world.” This edition contains registration marks that reflect the soundscape the composer intended to achieve with this particular organ. Performing the work on an organ with different registration possibilities will open up a new spectrum of possible timbres./ Répertoire / Orgue
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Suite Für Orgel (BARTOK BELA)
24.60
Suite Für Orgel (BARTOK BELA)
Orgue
[Partition]
Carus Verlag
Nach Klavierstücken Aus Dem 'Mikrokosmos'. Reprint Der Erstausgabe. Par BARTOK ...
(+)
Nach Klavierstücken Aus Dem 'Mikrokosmos'. Reprint Der Erstausgabe. Par BARTOK BELA. Against the venture of making accessible to the organ piano compositions by Bartók one can, I admit, put forward not only the reasons which oppose any kind of transcript on whatsoever, but also those which have their origin in the imcompatibility of profane organ writing with the world of the organ. One must, however, not forget that all such transcriptions, no matter which way they go have suffered from the sam dilemma - and yet, they have fulfilled their purpose by helping to chose gaps in the repertory. Helmut Bornefeld/ Répertoire / Orgue
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Sämtliche Orgelwerke Band 8 (BACH JOHANN SEBASTIAN)
33.85
Sämtliche Orgelwerke Band 8 (BACH JOHANN SEBASTIAN)
Orgue
[Partition + CD]
Breitkopf & Härtel
Orgelchoräle Der Leipziger Handschrift. Par BACH JOHANN SEBASTIAN. Editorial Bo...
(+)
Orgelchoräle Der Leipziger Handschrift. Par BACH JOHANN SEBASTIAN. Editorial Board: Werner Breig/ Pieter Dirksen/ Reinmar Emans music text faithful to the sources and reflecting the current status of Bach research developed for musical practice through the cooperation of scholars and performers contains all of Bach's keyboard works that require an independent pedal manual contains all authentic early versions and fragmentarily transmitted or dubious works that can be attributed to Bach with a fair amount of certainty features comprehensive introductions, extensive source descriptions and text-critical notes features supplementary material illustrated synoptically on CD-ROM (in printable quality) brochure, in large format (32 x 25 cm) and compact music engraving, clear, easy to read, with convenient page turns 'The Breitkopf edition is obviously preferable if you're buying new copies. The series so far has been most impressive.' (Clifford Bartlett, Early Music Review) Subscription Conditions A subscription is only possible for the complete collection. The subscription price of the volumes is 20% lower than the final sales price. A subscription can begin at any time. The subscription obliges the subscriber to purchase the entire collection. The New Edition of Bach's Complete Organ Works With repertoire works, musicians often have the choice between editions conceived for practical music-making and others that are more scholarly in concept. This also applies to the organ works of Johann Sebastian Bach, which are available today in various editions. Among them is that of Heinz Lohmann, which Breitkopf and Härtel began publishing in 1967 and whose concept strove for an amalgamation of practice and Urtext. Current Urtext status, historically informed, edited with performers in mind: More than 40 years later, the demands made on a new Urtext edition of Bach's organ works are as stringent as ever before. Next to the results of scholarly research on Bach and the sources, aspects of a historically informed performance practice are increasingly claiming our attention today. Also important for study, teaching and concert performance are, in addition to the above-mentioned demands, such external criteria as format, paper, convenient page turns and an easily legible layout that helps the user quickly grasp the musical context. The new edition, beginning in 2010, also contains all keyboard works with pedal and the 'dubious works' that are hardly dubious anymore The edition of Johann Sebastian Bach's organ works which Breitkopf and Härtel is beginning to publish in fall 2010 wants to do justice to these demands. Next to the core contents of the repertoire, it will also feature all of the master's 'clavier' works which require an independent pedal. Moreover, it will include all authentic early versions as well as the fragmentarily transmitted works. As to the dubious works, it will contain those which can be attributed to Bach today with considerable certainty. It offers incerta, early, and alternative versions on CD-ROM In this work group, the new edition uses for the first time the modern forms of editorial technique with which the synoptical depiction of various versions is made possible on CD-ROM. Thanks to the collaboration with the EDIROM project, which is a leader in the field of digital scientific editorial technique, the edition offers new types of solutions. Incerta, early, and alternative versions that cannot be included in the printed volumes for reasons of size or problems of authenticity, are published on CD-ROM, supplied with comments, and depicted synoptically. Thus, after comparing the versions, the player can decide upon a different version than the one printed in the volume, and can make a high-quality print-out of it. The texts and comments customary to the 'Breitkopf Urtext' editions comprehensive introductions, extensive source descriptions and text-critical observations can be found in the printed version of the volumes. Edited by a competent team: With Werner Breig (Erlangen), Pieter Dirksen (Culemborg/Netherlands) and Reinmar Emans (Bochum), a.o. we have brought together a team that guarantees the highest expertise in various domains. Further Bach experts such as Sven Hiemke (Hamburg), David Schulenberg (Boston) and Jean-Claude Zehnder (Basel) were also enlisted for the edition of single volumes. Werner Breig (* 1932) studied Evangelical church music in Berlin as well as musicology in Erlangen and Hamburg. He obtained his doctorate in 1962 and completed his habilitation (postdoctoral lecturing qualification) in 1973. He then devoted himself to musicology at the Universities of Freiburg i. Br, Karlsruhe, Wuppertal and Bochum. Since his retirement in 1997 he has been living in Erlangen. Between 1997 and 2007 Breig was appointed General Editor of the complete edition of Richard Wagners letters. He is the author of many publications and editions, particularly of early clavier and organ music by Heinrich Schütz and Johann Sebastian Bach, but also of Richard Wagner and Arnold Schoenberg. Furthermore he is the author of the Bach article in the dictionary Die Musik in Geschichte und Gegenwart (MGG, 2nd edition). Pieter Dirksen (* 1961) studied organ, harpsichord and musicology. His 1996 doctoral thesis on Sweelinck's keyboard music was awarded the Praemium Erasmianum. Dirksen has since published many studies on, and editions of, several masters of the 17th century (Sweelinck, Bull, Cornet, Scheidt, Scheidemann, Buxtehude, Luebeck, Johann Christoph Bach) as well as Johann Sebastian Bach. In collaboration with Harald Vogel, he edited Sweelinck's Complete Works for Keyboard Instrument (4 volumes, Breitkopf and Härtel). Dirksen is a member of the academic board of the Bach-Jahrbuch as well as a sought-after harpsichordist, organist and continuo player in international ensembles. Dirksen issued a number of much-acclaimed solo recordings (Sweelinck, Scheidemann, Boehm, Louis Couperin, Bach-Vivaldi, Bachs Art of Fugue and Goldberg Variations). Edison Winner 2003. Reinmar Emans (* 1953) studied musicology in Bonn and wrote his doctoral thesis on the cantatas and canzonettas of Giovanni Legrenzi in 1982. From 1983 to 2008 he was an academic staff member of the Johann-Sebastian-Bach-Institut Göttingen, and temporarily deputy of the managing director. He has taught in Bochum, Marburg, Detmold, Cologne and Hamburg, and has been a freelance contributor to various music periodicals. In 2000 he was responsible for the conception and direction of the Thuringian state exhibition 'Der junge Bach: Weil er nicht aufzuhalten' in Erfurt. He has conducted research and produced publications on opera and the cantata in 17th-century Italy, on stylistic development in the music of Johann Sebastian Bach, and on editorial philology./ Répertoire / Orgue
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Orgelbuch I
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Doblinger
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Mit Fried Und Freud Ich Fahr Dahin (BORNEFELD HELMUT)
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Mit Fried Und Freud Ich Fahr Dahin (BORNEFELD HELMUT)
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Choralpartita Iv. Par BORNEFELD HELMUT. movements: I. Meditation, II. Canzone / ...
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Choralpartita Iv. Par BORNEFELD HELMUT. movements: I. Meditation, II. Canzone / Hymnes et chorals / Répertoire / Orgue
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Metodo Facile Per Armonio (POZZOLI ETTORE)
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Metodo Facile Per Armonio (POZZOLI ETTORE)
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Per Armonio. Par POZZOLI ETTORE. Ettore Pozzoli (1873-1957) fu un grande didatta...
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Per Armonio. Par POZZOLI ETTORE. Ettore Pozzoli (1873-1957) fu un grande didatta, uno dei maggiori che l’Italia abbia avuto nel Novecento. Sono monumentali i suoi lavori sulla teoria e il solfeggio, il corso di studi di difficoltà graduata, l’educazione all’armonia e al contrappunto ai quali si affiancano infinite pagine di brani per la ricreazione pianistica Dodici bozzetti per pianoforte, Pagine minuscole, Impressioni, Riflessi del mare. Nonostante il trascorrere dei decenni e il succedersi di nuove tendenze, scuole, generi e modi esecutivi, molte raccolte e testi per l’insegnamento primario della musica che Pozzoli ideò e compose nei primi decenni del secoloscorso mantengono un’indiscussa validità. / Niveau : Facile / Méthode / Orgue ou Harmonium
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Pelle Gudmundsen-Holmgreen: Still. Leben: Organ: Instrumental Work
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Pelle Gudmundsen-Holmgreen: Still. Leben: Organ: Instrumental Work
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Wilhelm Hansen
STILL. LEBENOrganist Eva Feldbc:ek had been asking me for a long time to write f...
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STILL. LEBENOrganist Eva Feldbc:ek had been asking me for a long time to write for the organ without the use of iron blocks extra stopping assistants etc .... unusual difficulties that belonged to my earlier organ music. I setmyselfthe task of Miting a ''handier'' kind of music for the organ.Once I had finished STILL. LEBEN I didn't think I had achieved what I was looking for. True the two movements did not involve odd things but 'handy' isn't really the word for them either. So I wrote the three movements in COUNTERMOVE to tidy up even more.And since I didn't think that was enough either I wrote the really simple pieces under the title IN TRIPLUM.Thethree series (eight pieces in all 2 + 3 + 3) sound very different but they all take their point of departure from the nature and tonal resources ofthe organ.Everywhere there is polyrhythm or hierarchical layering polychromaticism diatonics and melody (the last of these only sparingly and in some of the movements).Pelle Gudmundsen-Holmgreen
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Bent Fabricius-Bjerre: Salmeforspil og Koralbearbejdelser: Organ: Instrumental
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Bent Fabricius-Bjerre: Salmeforspil og Koralbearbejdelser: Organ: Instrumental
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Wilhelm Hansen
Organ Solo-Salmeforspil og Koralbearbejdelser af Bendt Fabricus (2018). Forord: ...
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Organ Solo-Salmeforspil og Koralbearbejdelser af Bendt Fabricus (2018). Forord: Denne lille samling af forspil og koralbearbejdelser er et udpluk afsatser opstået gennem godt 30 års virke som organist i folkekirken. Samlingen er først og fremmest tænkt som et brugbart arbejdsredskab til alle mine kolleger rundt om på de danske orgelbænke. Der er satser der egner sig til det lille ét-manuals orgel i landsbykirken og andre der er tænkt til koncertorglet i den store bykirke. Nogle satser er lette at gå til og med en enkelt og traditionelt opbyggetstruktur mens andre både harmonisk og rytmisk byder på større kompleksitet og sværhedsgrad. Stort set alle de satser der er komponeret for to manualer og pedal kan også lade sig realisere på orgler der kun har ét manual og pedal. Hvad registreringsanvisninger angår er mine angivelser kun tænkt som en vejledning til det klanglige udtryk i en given sats idet det naturligvis står enhver frit for at finde lige præcis den registrering der skønnes passende på det aktuelle instrument. Det er mit ønske at alle organister kan få glæde af samlingen og at den vil vise sig som et brugbart og gavnligt supplement i det daglige arbejde. Bendt Fabricius
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Bach, Johann Sebastian : Préludes, Toccatas, Fantaisies, Fugues (?uvres pour orgue, Volume 5) / Preludes, Toccatas, Fantasias, Fugues (Organ Works, Volume 5)
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[Präludien, Toccaten, Fantasien und Fugen I (Orgelwerke, Band 5)] / Classique /...
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[Präludien, Toccaten, Fantasien und Fugen I (Orgelwerke, Band 5)] / Classique / Editeur : Dietrich Kilian / Partition / Cartonné / Plats de carton / Edition Urtext
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Bach J.s. - Organ Works Vol.6 - Preludes, Toccatas, Fantasias and Fugues
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Bach J.s. - Organ Works Vol.6 - Preludes, Toccatas, Fantasias and Fugues
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Barenreiter
Bach, Johann Sebastian Organ Works, Volume 6 Preludes, Toccatas, Fantasias and F...
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Bach, Johann Sebastian Organ Works, Volume 6 Preludes, Toccatas, Fantasias and Fugues II / Early Versions and Variants to I (Volume 5) and II (Volume 6) Editor Kilian, Dietrich / Wollny, Peter Johann Sebastian Bach: Complete Organ Works in revised editions Any complete scholarly critical edition of the works of Johann Sebastian Bach must incorporate new research findings in the interest of scholars and performers alike. Now all of Bärenreiter's new performing editions of Bach's organ works are being revised to reflect the current state of scholarship and to convey maximum fidelity to the sources by being linked to 'Bach digital'. The present volume is an updated edition of Series IV, Volume 6 of the 'New Bach Edition' (NBA), prepared by Dietrich Kilian in 1964. The discovery of new sources and a reassessment of existing handwritten copies have brought about changes to the contents of the volume, which now includes the 'Fantasia in C minor' (BWV 1121), the 'Fantasia in G major' (BWV 571), the 'Fugue in G major' (BWV 577) and the C major version of the 'Toccata and Fugue in E major' (BWV 566). On the other hand, the 'Prelude in G major' (BWV 568) as well as the alternative versions of the 'Fugue in C minor' (BWV 574a) and the 'Prelude in A major' (BWV 536a) have been discarded as presumably spurious. Besides the new compilation and corrections of the musical text, the volume also contains a detailed Foreword by Peter Wollny with observations on each work and the extant sources. Page turns have been re-examined and improved. In collaboration with the Bach Archive Leipzig and its 'Bach' digital database, links are provided to all the major sources. The website http://links.baerenreiter.com enables readers to access the relevant page in the source simply and conveniently via short URLs. The links stored there are examined for their validity on a regular basis. Contents: BWV 551, 563-566 (version in E major), 569-571, 573-575, 577-579 and 1121 / Early versions and variants to I (Vol. 5) and II (Vol. 6): BWV 532a, 533a, 535a, 543a, 545a, 549a, 566 (version in C major) and 574b ' New detailed Foreword (Ger/Eng) by Peter Wollny on the works and their sources ' New contents reflecting the current state of source evaluations ' Links to sources in 'Bach digital' ' Complete new engraving and revised page-turns · Composer / Author: Bach, Johann Sebastian Toccata in C BWV 564 · Composer / Author: Bach, Johann Sebastian Fantasia in C BWV 570 · Composer / Author: Bach, Johann Sebastian Fantasia in c BWV 1121 früher BWV Anh. 205 · Composer / Author: Bach, Johann Sebastian Fantasia in C BWV 573 Fragment · Composer / Author: Bach, Johann Sebastian Fuga in c BWV 574 über ein Thema von Giovanni Maria Bononcini · Composer / Author: Bach, Johann Sebastian Fuga in c BWV 575 · Composer / Author: Bach, Johann Sebastian Toccata con Fuga in d BWV 565 · Composer / Author: Bach, Johann Sebastian Toccata in E BWV 566 · Early Versions and Variants to I (Volume 5) and II (Volume 6): · Composer / Author: Bach, Johann Sebastian Praeludium con Fuga in C BWV 545a · Composer / Author: Bach, Johann Sebastian Toccata Fassung in C zu BWV 566 · Composer / Author: Bach, Johann Sebastian Fuga in c BWV 574b über ein Thema von Giovanni Maria Bononcini · Composer / Author: Bach, Johann Sebastian Fuga in D BWV 532a · Composer / Author: Bach, Johann Sebastian Praeludium ô Fantasia in d BWV 549a · Composer / Author: Bach, Johann Sebastian Praeludium in e BWV 533a · Composer / Author: Bach, Johann Sebastian Praeludium con Fuga in g BWV 535a · Composer / Author: Bach, Johann Sebastian Praeludium in a BWV 543a · Composer / Author: Bach, Johann Sebastian Fantasia in G BWV 571 · Composer / Author: Bach, Johann Sebastian Fuga in G BWV 577 · Composer / Author: Bach, Johann Sebastian Fuga in g BWV 578 · Composer / Author: Bach, Johann Sebastian Praeludium in a BWV 569 · Composer / Author: Bach, Johann Sebastian Praeludium con Fuga in a BWV 551 · Composer / Author: Bach, Johann Sebastian Fantasia in h BWV 563 · Composer / Author: Bach, Johann Sebastian Fuga in h BWV 579 über ein Thema von Arcangelo Corelli
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Sacred Moments: Piano: Mixed Songbook
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Sacred Moments: Piano: Mixed Songbook
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Hal Leonard
E-Z Play Today Volume 75-30 songs including: I Love to Tell the Story • L...
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E-Z Play Today Volume 75-30 songs including: I Love to Tell the Story • Love Lifted Me • Oh How I Love Jesus • On Christ the Solid Rock I Stand • Send the Light • Tell Me the Old Old Story • There Is Power in the Blood • 'Tis So Sweet to Trust in Jesus.
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Bill Gaither Gloria Gaither: The Gospel Songs of Bill and Gloria Gaither: Piano:
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Bill Gaither Gloria Gaither: The Gospel Songs of Bill and Gloria Gaither: Piano:
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E-Z Play Today Volume 120-67 favorites in all including: Abide in Me • Be...
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E-Z Play Today Volume 120-67 favorites in all including: Abide in Me • Because He Lives • Get All Excited • He Touched Me • I Walked Today Where Jesus Walks • I've Been to Calvary • Jesus I Believe What You Said • Precious Jesus • The Family of God • Next Time We Meet • This Is the Day That the Lord Hath Made • Upon This Rock.
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Peter Dickinson: Blue Rose Variations: Organ: Instrumental Work
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Peter Dickinson: Blue Rose Variations: Organ: Instrumental Work
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The Blue Rose Variations is one of several works in which the composer has drawn...
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The Blue Rose Variations is one of several works in which the composer has drawn on ragtime and blues. The organ work is based on two transformations of the popular piano piece To A Wild Rose (Woodland Sketches Op.51 No.1) by the American composer Edward MacDowell (1860-1908). During the course of the Variations To A Wild Rose appears as a blues and also as a classical rag often as both together.The sections are Theme: a quiet blues; Variation I: a pedal solo in varied metres based on the blues in fast tempo; Variation II: the first appearance of the rag as a background to the blues as a 2' pedal solo; Variation III: a version of Variation I nowinvolving manuals too; Variation IV: another blues solo against the rag; Variation V: another version of Variation I with the pedal solo almost entirely transferred to the manuals; Variation VI: a final confrontation between the blues and the rag now much decorated. First performed in New York in April 1986. Duration c.15 mins.
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Rick Parks: Organ Exaltation - revised edition: Organ: Instrumental Album
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Contents include: Praise to the Lord the Almighty; How Firm a Foundation Breth...
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Contents include: Praise to the Lord the Almighty; How Firm a Foundation Brethren We Have Met to Worship; Come Thou Fount of Every Blessing; When I Survey the Wondrous Cross; Love Divine All Loves Excelling; There Is a Fountain; Swing Low Sweet Chariot; O Jesus I Have Promised; I Lay My Sins on Jesus; and In Heavenly Love Abiding.
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John McCabe: Esperanza for Organ: Organ: Instrumental Work
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John McCabe: Esperanza for Organ: Organ: Instrumental Work
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Novello & Co Ltd.
Commissioned for the 26th International Organ Festival at St Albans 2011 and fun...
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Commissioned for the 26th International Organ Festival at St Albans 2011 and funded by the RVW Trust.Duration: 7.45 Performance notes Registration: the performer is free to determine the entire registration scheme except at bar 60 where a solo reed is mandatory.Pitch: manual passages at bars 25 32 38 are written for a solo 4' stop (s). The Pedal is at 16' (ad lib 32') unless otherwise indicated (bars 31 37 where a solo 8' is required).III - Sw.II - Gt.I - Pos/Ch Composer's note Esperanza is named after Camp Esperanza (Camp Hope) the location of the mission to rescue the thirty-three miners trappedunderground for seventy days in 2010 at the San Jose Mine in Chile a rescue that was televised live and was one of the most moving and inspiring things I have ever seen. By the most extraordinary coincidence I had already done a good deal of sketching for this Organ piece before this all happened and had determined on a 'darkness-to-light' kind of piece - so the coincidence as well as my feelings of elation were both too strong to ignore.The piece persues a course from a fairly knotty slow beginning (heralded by a few chords that recur at the very end) full of rising themes (another coincidence - the material had already been sketched before the miners were trapped underground) and reaching a loud climax the quick toccata-like second section bursting vigourously out of the tension which is created at the beginning of the work.
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David Heath: Gottlieb And Rhapsody Of The Spheres: Organ: Instrumental Album
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Camden Music
Gottlieb And Rhapsody Of The Spheres are two works for solo Organ. Gottlieb was ...
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Gottlieb And Rhapsody Of The Spheres are two works for solo Organ. Gottlieb was first performed in 2000 by Simon Neiminski at St Mary's Cathedral Edinburgh. Rhythmically there is a strong influence of Rave music and harmonically I turned the blues upside down often using minor triads in the left hand with major triads in the right hand.Gottlieb is dedicated to Sydney Gottlieb.'Rhapsody of the Spheres: Reading something John Coltrane said on his album 'A Love Supreme' that 'all vibrations lead to God' got me thinking maybe music is the best form of describing what is going on at an atomic and subatomic level: that the great composersand musicians take you to Heaven rather than try to describe it in words.With that in mind I wrote this piece-a prayer to the Moon and the Stars-where I wanted by using the most majestic instrument of all the organ to describe the beauty of existence. This is a one movement piece slow-fast-slow and is dedicated to my eldest son Sean.'David Heath
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Poul Ruders: Symphony No. 4: Orchestra: Score and Parts
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Poul Ruders: Symphony No. 4: Orchestra: Score and Parts
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Wilhelm Hansen
The organ part and reduced score Symphony No. 4 - An Organ Symphony (2008) by Po...
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The organ part and reduced score Symphony No. 4 - An Organ Symphony (2008) by Poul Ruders. Full score: WH31186 Orch. parts are available on hire: hire@ewh.dk Preface / Programme Note When introducing a large-scale symphonic work not only as a symphony but as an organ symphony it would be impossible not to think of and perhaps compare it with Camille Saint-Saëns’s famous SYMPHONY NO. 3 popularly known as the Organ Symphony. Well that is a risk I am prepared to take – and live with the consequences.Saint-Saëns however listed his work as a symphony avec/withorgan. The organ only appears in two out of the four sections of thepiece. In my symphony the instrument plays a far more significant part and is featured in all four movements. But it is not a concerto for organ and orchestra rather a symphony with organo obligato - a symphony with an organ part of a soloistic nature. So an Organ Symphony it is. The first movement PRELUDE is exactly that: a foreplay to what is in store for the rest of the symphony. It is slow (very slow!) and predominantly hushed: the organ and the orchestra wake up side-by-side getting to know one another.The second movement CORTÈGE is a slowly moving processional and it evokes extreme solemnity and austerity. Later on the music takes flight and the atmosphere lightens considerably a far more playful music emerging.This leads to the third movement ETUDE an exercise in instrumental virtuosity and technical challenge.The fourth and last movement is called CHACONNE but I could just as well have named it passacaglia (the definition of those two terms seems to blur even among the learned). Bearing in mind the last movement of Johannes Brahms´s SYMPHONY NO.4 which is universally agreed on as being a passacaglia I chose to avoid the Wrath of the Gods and opted for
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Francis Jackson: Three Pieces (Procession Arabesque Pageant): Organ:
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Francis Jackson: Three Pieces (Procession Arabesque Pageant): Organ:
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Composer's Note: In writing these pieces I had in mind certain difficulties whic...
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Composer's Note: In writing these pieces I had in mind certain difficulties which worry most organists from time to time; and in order to combine as it were business with pleasure I thought it worthwhile to concentrate upon one aspect of organ technique in each piece even at the risk of making them a little more difficult than others in this series. In Procession the main difficulty lies in the pedals Arabesque on the other hand could hardly have had a simpler pedal part: its object is to exercise the left hand in producing a smooth running semi-quaver pattern Pageant with its cross-rhythms is designed to produce well-disciplinedhands and feet that can when required work in conflicting rhythms. I have kept the registration schemes as simple and straightforward as possible.
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Andrew D. Gordon: Gospel Riffs God Would Love To Hear- Organ: Organ:
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Andrew D. Gordon: Gospel Riffs God Would Love To Hear- Organ: Organ:
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ADG productions
Gospel Riffs God Would Love To Hear- Organ. Gospel Riffs God Would Love To Hear ...
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Gospel Riffs God Would Love To Hear- Organ. Gospel Riffs God Would Love To Hear for Organ by Andrew Gordon is a compendium of 33 Contemporary Gospel riffs for organists to learn the art of Gospel stylings. There are also arrangements of some traditional Gospel songs including Amazing Grace and When The Saints Go Marching In showing how to incorporate the riffs in the book into these well known Gospel songs. Play in the styles of Ray Charles, Dr. John, Billy Preston, Leon Russell, and Andre Crouch and see how Blues, Jazz and other contemporary styles are associated with the Gospel sound Customer Comment About This Book: Gospel Riffs God Would Love To Hear I love Gospel music, and so far with Andrew Gordon's books I haven't been disappointed. This book was no exception. And even though I thought
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Gabriel Jackson: St Asaph Toccata: Organ: Instrumental Work
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Gabriel Jackson: St Asaph Toccata: Organ: Instrumental Work
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Oxford University Press
St Asaph Toccata was commissioned by Symphony Hall Birmingham as part of the B...
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St Asaph Toccata was commissioned by Symphony Hall Birmingham as part of the Bach to the Future Series. The composer writes: 'The original title for the piece was Toccata Machine as I had an image of the gigantic Symphony Hall organ as some kind of mad machine uncontrollably spewing out manic toccata figuration. Except for a short oasis of calm two-thirds of the way through the piece is very loud and has millions of notes in it. The eventual title refers to the street in South London where I live rather than the Welsh Saint Asaph'.
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