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

The Fountain Reverie features soft rippling arpeggios with a contrasting middle section. As with the Festival Toccata published at the same time the brilliance of Fountain Reverie disguises the fact that one does not need to be a virtuoso to play it well and effectively and it plays well on many different Organs.Percy Fletcher was an English composer conductor and Orchestrator of prodigious output who made his career in the lively world of the London music theatre of the years of the late 19th and early 20th century. He was music director at many theatres including His Majesty’s Theatre for the last seventeen years of his life. He was the Orchestrator and conductorfor the big budget spectacular theatre piece Chu Chin Chow which ran for five years a record that remained unbroken for forty years. In addition to his myriad works of light music Fletcher also wrote a serious church cantata The Passion of Christ as well as the delightful children’s work The Walrus and the Carpenter.

Coronae-Philipp Maintz‘ Werk für die neue Orgel in der Jesuitenkirche St. Michael in München bezieht sich auf Bachs wunderschönes Choralvorspiel zu O Mensch bewein dein Sünde groß aus dem Orgelbüchlein: „Ich wollte eine Musik schreiben die in ihm wurzelt ihr Material aus ihm bezieht und sich durchaus seinem Gestus verpflichtet fühlt und ihm nachspürt – eben wie die Sonnenkorona die Sonne umgibt und in alle Richtungen strahlt.'- Anspruchsvolles Werk für eine symphonisch disponierte moderne Konzertorgel- Anregende Literatur für Orgel-Orchestrationskünstler-Fortführung der geistig-religiösen klanglichen Welt von Skrjabin Tournemire Messiaen und Jean-Louis Florentz

(Eng.) Organ Vocal Score (3-stave) This score presents the vocal parts, with organ either as the sole accompaniment in place of an orchestra, or for use together with such parts of a full orchestra that may be available /

Coronation Anthem for Mixed Choir and Orchestra-Zadok The Priest HWV 258 (BA10258) and The King Shall Rejoice HWV 260 (BA10259) are the best-known of the four coronation anthems that Handel wrote for the crowning of George II in London (1727). HWV 258 accompanied the king’s anointment HWV 260 his actual coronation. Thanks to their festive and majestic structure befitting the occasion as well as their spacious scoring for Large Choir and Orchestra it comes as no surprise that motifs from Zadok the priest have found their way into the official hymn of the UEFA Champions League. The present editions by the authoritative Handel scholar Stephan Blaut are the first to offerthese two anthems based on the Urtext from the Halle Handel Edition. Bilingual Forewords (Ger/Eng) Idiomatic Piano reductions Based on the Halle Handel Edition Full score parts and vocal score available for sale

Arrangeur : Schubert, Giselher / for organ and chamber orchestra / organ and chamber orchestra

With more enthusiasts than ever since its heyday the Harp is an instrument which has successfully demonstrated its staying power and its important role both in music and beyond! John Marson’s Book of the Harp is a uniqueand definitive work distilled from a wealth of experience: a lifetime's study and research and an outstanding professional career. He traces the development of the harp from its earliest origins thousands of years B.C. to theinvention of the pedal harp in the eighteenth century and the harps of the twenty first century. He examines the writings of many forgotten exponents of the harp including inventors players and composers and provides a fullycomprehensive view of every model make and modification to the present day!The Book of the Harp is a rich source of information entertainment and anecdote on everything from strings tuning principles offingering and tone production historical influences designs techniques and methods to the harp's literary associations and those with the theatre and cinema its Celtic and religious symbolism virtuoso players and itsappearance in the poetry of Milton and novels of Jane Austen. Both historical and practical The Book of the Harp is an authoritative source of entertainment and a fascinating study for student professionalmusician and interested reader alike. John Marson has enjoyed a glittering career during which he has been principal harpist of the London Symphony Orchestra the BBC Symphony Orchestra Professor of Harp at the Royal College ofMusic and soloist and freelance.

Kaija Saariaho’s Maan Varjot was jointly commissioned by Orchestre Symphonique de Montreal Orchestre National de Lyon Southbank Centre and the Philharmonia Orchestra. The world premieretook place in Montreal on 19 May 2014 given by the Orchestre Symphonique de Montreal with Olivier Latry (Organ) conducted by Kent Nagano. The French premiere took place during June 2014 given by the Orchestre National de Lyonwith Olivier Latry (Organ). The UK premiere took place at the Southbank London on 26 June 2014 given by the Philharmonia Orchestra with Olivier Latry (Organ) conducted by Esa-Pekka Salonen.

Dans ce concerto, les 3 masses orchestrales, orgue, cordes et trompettes ont une même avaleur expressive. Elles se séparent et se réunissent au gré des instrumentistes qui doivent toujours leur conserver le maximum d'expression individuelle d'abord, de masse ensuite, afin de parvenir à un effet général à la fois contrasté et unifié, et surtout très poétique. / Orgue

From The Symphonie #6 - Allegro Molto Vivace. Par TCHAIKOVSKI PIOTR ILITCH. Le troisième mouvement (Allegro molto vivace) de 'Symphonie pathétique' Tchaïkovski est - mais pas spécialement désignés comme tels - un scherzo typique et, ce qui est plus, c'est effectivement l'un des plus brillants pièces orchestrales. L'organiste français Jean Guillou, qui est un excellent virtuose dans son propre droit a fait une pièce magnifique concert pour orgue. Une pièce encore efficaces pour les organistes virtuoses !/ Répertoire / Orgue

Il y a très peu de gens qui ne sont pas familiers avec le Boléro de Maurice Ravel - c'est un fait saillant classique, un gem orchestrale d'unparalelled. Créé comme musique de ballet pour le danseur Ida Rubinstein en 1928, il est vite devenu populaire partout dans le monde, même si le compositeur français ne puisse pas comprendre son succès: ' J'ai écrit mais un chef-d'oeuvre : le Boléro. Malheureusement, il ne contient aucune musique ', il a dit à ses collègue compositeur Arthur Honegger. Pour transférer les variations sur le Boléro stable rythmique avec son crescendo d'au moins quinze minutes à un instrument comme l'orgue est une tâche fascinante, mais délicate. Klaus Uwe Ludwig a tenté cette expérience et présente aujourd'hui un arrangement agréable de la Bolero : une réalisation convaincante et mélodieuse pour la Reine des instruments - une expérience sonore brillante pour chaque salle de concert ou de l'église. / Orgue

Organ Coro II-The Missa in F of 1734 for two or four choirs is probably Pergolesi’s most important work for choir and orchestra. The nickname 'Missa Romana' was added later in reference to a performance given in Rome during Pergolesi’s lifetime.This Urtext edition presents the work for the first time in the four-choir version that Pergolesi wrote for the above mentioned performance in Rome. Choirs III and IV are reproduced in smaller type and are added to the version for double choir in order to intensify the overall sound. This allows the work to be performed not only with two choirs but also in the delightful enlarged version for fourchoirs. Rounding off the edition are an informative Foreword (Eng/Ger) and a Critical Commentary (Eng).First publication with choirs III and IV.Can be performed with both two or four choirs.Idiomatic well-presented Piano reduction.Full score performance material (BA8958) and vocal score (BA8958-90) available for sale.

Antonio Vivaldi probably composed his famous Gloria in 1725. Although the exact circumstances of its origin remain a riddle it was definitely conceived as a self-contained concert piece rather than as part of a complete setting of the Mass.The compositional fabric the festive character of the outside movements and the predominance of the strings in the middle movements make this masterpiece of Venetian sacred music a natural choice for an arrangement for solo voices choir and organ. Rather than imitating the orchestral writing Martin Focke?s arrangement offers a self-contained version tailor-made for this combination of instruments thereby making a pinnacleof European church music accessible to the often more modest resources of today?s churches.Standard work of the oratorio repertoireSelf-contained version for solo voices (SSA) choir (SATB) and organHighly supportive easy-to-play organ partIdeal for use in church servicesDuration: c. 30 mins.The Bärenreiter Choir & Organ Series presents great choral works in arrangements for soloists choir and organ; no orchestra is needed.The original orchestral parts have been transcribed into easy-to-play organ reductions whereby the contemporary tradition of such arrangements has been taken into consideration. In some cases the original organ versions by the composer were used. The organ parts are presented on three staves. The choir and solo parts always remain true to the original. You need only one edition for soloists singers and organist alike.

Cantata for soloists choir and orchestra-Lobe den Herrn meine Seele (Praise thou the Lord o my spirit) BWV 143Little is known about the genesis of “Lobe den Herrn meine Seele” (Praise thou the Lord o my spirit BWV 143.A transcription from the 19th century was for a long time considered the only source; the musical text of the “New Bach Edition” was based on this material.  Recently however a copy of the score from 1762 has become available.  It offers a more reliable musical text rendering a complete revision of the cantata necessary.On the basis of this new source the work is presented here as part of the“New Bach Edition – Revised” in what is presumably its original form in C major with three trumpets.  This orchestration is more typical of Bach’s writing than the version for three horns in the surviving B-flat major version. Revised Urtext edition of the Weimar Cantata Urtext of the New Bach Edition Performance material (BA10143) vocal score (BA10143-90) & study score format 22.5 x 16.5cm (TP1143) available for sale