The 'organ plus one? series was specially conceived for semi-professional church musicians and instrumentalists. It takes its bearings from the liturgical calendar and the pieces can be easily played in church services, evening recitals or small concerts.Included are pieces which are freely-composed or based on chorales, either original works or arrangements by the editor. In this volume the works relate to hymns of the Reformation, including some composed by Martin Luther.Enclosed in each edition are solo parts for C, B-flat, E-flat and F which can be played by violin, flute, oboe, clarinet, trumpet and horn in F. For use in church services, the chorale preludes are provided with accompaniments in the keys of the Lutheran hymnal. / Orgue

Par COLERIDGE-TAYLOR SAMUEL. The period of composition (ca. 1893) for the Suite de Pièces for violin and piano or violin and organ was especially productive for Samuel Coleridge-Taylor (1875-1912) in the realm of chamber music. Unpublished works include a piano quintet, clarinet sonata, nonet, piano trio, and a piano sonata. It is notable that the different versions of the Suite for piano and organ are so contrasting. Typically, pieces in this genre that exist in versions for piano and organ have little that separate them in terms of musical content. However, Coleridge-Taylor not only approaches each keyboard instrument quite differently but conceived the violin part with notable melodic differences. This can be considered exceptional as they were both issued by the same publisher within a close timeframe. Coleridge-Taylor would have been very familiar with the organ from his early church experience as a boy in addition to studies at the Royal College of Music with Walter Alcock. His writing is consistently idiomatic for the instrument. The few registrational directions in the first edition, assuming they are by Coleridge-Taylor, demonstrate an understanding of the need to balance the organ part with the violin part so that the organ is not too loud. Rather than numbering the manuals I and II, with II being the quieter manual, the score indicates Swell and Choir but there is no requirement for the Great to be used. There are also extended sections where no manual indication is given at all. Whether the registration markings were made by Coleridge-Taylor or an editor at Schott is unclear but the indication for a Choir manual suggests not so much the need for an organ of three manuals but an instrument with a range of foundational colours for writing that is often accompanimental in nature. / Date parution : 2023-06-01/ Répertoire / Violon et Orgue

Let the Trumpet Sound (Que la Trompette sonne !) est un recueil de 22 pièces signées des plus grands compositeurs, couvrant une période de trois siècles, de niveau facile à moyennement difficile, dans des arrangements pour Trompette et orgue réalisés par Jan van Beekum. Avec des ?uvres de Purcell, Telemann, Haendel, Bach et bien d?autres encore, cet ouvrage met clairement l?accent sur l?ère baroque. D?un caractère plutôt solennel, elles sont particulièrement bien adaptées à une interprétation en église, mais conviendront également pour les salles de concert et les récitals. Selon l?occasion, l?accompagnement à l?orgue de la partition peut être exécuté au piano. Le CD joint à cet ouvrage sera utile pour s?exercer ou lorsqu?un accompagnateur n?est pas disponible. Les 22 pièces sont toutes enregistrées en direct : en version complète avec Trompette et orgue, et en version avec l?accompagnement à l?orgue seul.

Notice
Le titre de l'oeuvre est emprunté au poème de Charles Baudelaire Le Voyage. Je ne commente pas Baudelaire mais, plus ou moins souterrainement, le poème a aussi servi d'engrais à la composition.
Et puis, et puis encore ? parcourt cinq étapes : Choeur à choeur, Double I, Tiento, Double II, Molto lento. Chacune d'elles se termine par une respiration calibrée et une double barre qui disent clairement sa place de maillon dans la continuité de l'ensemble. L'interprète joue toutes les étapes, ou quelques-unes seulement groupées alors selon l'agencement choisi dans la liste exhaustive que voici :

Le titre de l'oeuvre est emprunté au poème de Charles Baudelaire Le Voyage . Cette pièce parcourt cinq étapes : Choeur à choeur, Double I, Tiento, Double II, Molto lento. Chacune d'elle se termine par une respiration calibrée et une double barre qui disent clairement sa place de maillon dans la continuité de l'ensemble. / Classique / Partition /

Fifty best-loved classical themes skilfully arranged for all keyboards by Daniel Scott. Includes suggested registrations and rhythms. / Piano