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

This volume, edited by Andreas Rockstroh, completes the organ music series for key times and occasions during the church year. As a collection of relatively easy 19th century works, it presents a rich assortment of compositions and arrangements for worship and concerts and is entirely oriented towards the actual practice of church music, addressing both part- and full-time organists.- Preface and biographical notes on composers (German/English)- Wide variety of both chorale-based and non-chorale based organ music from the 19th and early 20th centuries- High practical relevance - A treasure trove of inspiration that belongs on every organ stand! / Orgue

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.

Par SUZUKI SHINICHI. The first classical Organ method for children, the Suzuki Organ School is based on Dr. Shinichi Suzuki's Mother Tongue Method. The Suzuki Method® of Talent Education is based on Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Organ School . The student listens to the recordings and work with their Suzuki organ teacher to develop their potential as a musician and as a person. This Suzuki Book and CD is essential for Suzuki Organ lessons. In certain pieces, the authors have placed small phonetic signs above the notes to indicate differentiated non legato playing. In order to develop pedal technique, pedal melodies are included between every manual piece. The included performance CD for Volume 1 is a great tool for Suzuki Organ lessons, encouraging practice while featuring recordings by Lars Hagström. Titles: 'A Little Fairytale' (Rönnberg), 'Allegretto' (Czerny), 'Amaryllis' (Ghys), 'Chant Arabe' (Anonymous), 'Cuckoo' (German Folk Song), 'Go Tell Aunt Rhody' (Folk Song), 'Gossip Tune' (German Folk Song), 'Herdsman's Song' (Danish Folk Song), 'Hippopotamus' (Rönnberg), 'Hot Dog' (English Folk Song), 'Lightly Row' (German Folk Song), 'Little Playmates' (Chwatal), 'Little Snail' (Traditional), 'London Bridge' (English Folk Song), 'Lullaby' (German Folk Song), 'Mary Had a Little Lamb' (Folk Song), 'My School Day' (Folk Song), 'Paris' (French Folk Song), 'Piglet' (G. Rönnberg, 'Song of the Wind' (Folk Song), 'Spain' (Traditional), 'The Fly' (Traditional), 'The Musical Box' (Rönnberg), 'Twinkle, Twinkle, Little Star Theme and Variations' (Suzuki). 'Allegretto,' 'Go Tell Aunt Rhody,' and 'Lullaby' are National Federation of Music Clubs Festivals Bulletin 2016--2020 selections. The first classical Organ method for children, the Suzuki Organ School is based on Dr. Shinichi Suzuki's Mother Tongue Method. The Suzuki Method® of Talent Education is based on Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Organ School . The student listens to the recordings and work with their Suzuki organ teacher to develop their potential as a musician and as a person. This Suzuki Book and CD is essential for Suzuki Organ lessons. In certain pieces, the authors have placed small phonetic signs above the notes to indicate differentiated non legato playing. In order to develop pedal technique, pedal melodies are included between every manual piece. The included performance CD for Volume 1 is a great tool for Suzuki Organ lessons, encouraging practice while featuring recordings by Lars Hagström. / Méthode / Méthode / Orgue

Thomas Hewitt Jones' Carnival. Composed 2010. Written for Martin Neary President of the Organists Charitable Trust. These five short works are all extracted from the excellent Little Organ Book from the Organists Charitable Trust edited by Martin Neary and first published by Novello in 2010. This is a wonderful resource of 11 mainly new works by British composers all of moderate difficulty and well-defined character. Iain Farrington’s Bluesday is full of delicious harmonies with a bold climax framed by a gentle beginning and ending. David Bednall’s Fanfare is a joyful work that would bea good recital opener or festival voluntary with a chance to unleash the big reeds. The simplicity of the title of Howells’s Cradle Song belies a richness and warmth that make this a moving miniature. John Rutter’s evening prelude from 1979 on the plainsong hymn Te lucis ante terminum is tender and clear with some surprisingly plangent harmonies. Thomas Hewitt Jones’s Carnival is an outburst of festivity and bravura. All these pieces are very much worth playing though organists interested in more than two of them would be better served purchasing a copy of the original anthology which is still very well priced (Little Organ Book Novello 9781849386814 £9.95). - Sunday by Sunday

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

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

This School of Organ Playing presupposes a certain technical facility on the piano. The pedal exercises at the beginning are rudimentary and should be practiced in all keys, gradually accelerating the tempo. The studies are graded according to their polyphony, beginning with simple two part exercises, followed by those in three and more parts. This acquaintance with the strict principles of polyphonic music, and the introduction to effective part writing, with a knowledge of harmonic form and architectonic values, provide the essential background for the correct performance of polyphonic music, especialle the fugue. The most important musical forms have been used to illustrate the various possibilites of registration and its relationship to style (colourful, individualistic and smooth playing). The studies are so arranged that earlier technical points, etc. are constantly reviewed, through comparison of style and form, in order to fix, or refreshen, the ideas in the student's mind. It is very important that the evolution of organ music from vocal music should be made clear to the student the very beginning, both musically and intellectually. He will be shown the technical evolution of organ music during the centuries and thus prepared for an artistic execution and interpretation of old and new words, especially for the incomparable art of our great Johann Sebastian Bach.

d'après The Turn of the Screw d'Henry James. Par GUILLOU JEAN. Though the work bearing this title is a portrait of childhood, it is a childhood quite different from the purely gameplaying and dreamlike childhood that is customarily represented. The childhood described here is carrying the seed, in all its purity, of all positive and negative qualities to be found the fully-grown men: a childhood both angelic and diabolical, and indeed very close to Henry James' 'The Turn of the Screw' which was the direct inspiration for this monodrama. Its growth follows the innumerable sudden changes, turns and contrasts of the unsophisticated spirit. There is hardly any development at all, as each idea gives birth to the next or rejects the previons one, being object to every impulse, every tempest, every flux, every fear and delight. After a dreamlike introduction, in which two simple melodies stand out, comes a sudden awakening, Allegro, stamped all over with lavish and forever regenerating dynamism. A sudden halt leads a kind of outburst from the most simple folklore is singing, in regular, repeated notes. Again the question mark leads us to another melody, Tranquillo, of a sweet tempo, but brilliantly decorated with counter-point, its cursive traits leading this time to a kind of roguish march (Vigoroso). Yet soon there emerges a melancholic chant, Largo, in the Cromorne's timbre, and then, in the highest register of the Trumpet there reappears like a metamorphosed memory, the theme of the second movement. Passing other episodes, we come to Tempo giusto, insistent and glorious, interrupted by other passionate figures, cut off by unsettling silent moments and taken up again in always accelerating volleys./ Répertoire / Orgue

Par SUZUKI SHINICHI. The first classical Organ method for children, the Suzuki Organ School is based on Dr. Shinichi Suzuki's Mother Tongue Method. The Suzuki Method® of Talent Education is based on Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Organ School . The student listens to therecordings and work with their Suzuki Organ teacher to develop their potential as a musician and as a person. This Suzuki Book and CD is essential for Suzuki Organ lessons. In certain pieces, the authors have placed small phonetic signs above the notes to indicate differentiated non legato playing. In order to develop pedal technique, pedal melodies are included between every manual piece. The included performance CD for Volume 8 is a great tool for Suzuki Organ lessons, encouraging practice while featuring recordings by Lars Hagström and Jeremy Chesman. / Méthode / Méthode / Orgue

Par SUZUKI SHINICHI. The first classical Organ method for children, the Suzuki Organ School is based on Dr. Shinichi Suzuki's Mother Tongue Method. The Suzuki Method® of Talent Education is based on Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Organ School . The student listens to therecordings and work with their Suzuki Organ teacher to develop their potential as a musician and as a person. This Suzuki Book and CD is essential for Suzuki Organ lessons. In certain pieces, the authors have placed small phonetic signs above the notes to indicate differentiated non legato playing. In order to develop pedal technique, pedal melodies are included between every manual piece. The included performance CD for Volume 3 is a great tool for Suzuki Organ lessons, encouraging practice while featuring recordings by Lars Hagström. / Méthode / Méthode / Orgue

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

Orgue / Die Ausgabe enthält festliche, stille oder meditative Orgelkompositionen, vor allem aber beliebte, für Orgel bearbeitete Vokal- und Instrumentalwerke Vorwort / Popular Organ music for weddings in easy arrangements for organ with and without pedalboard