The Planets-Written in 1995 as one part of Lorentzen's 'Suite of Seven Pieces for organ' Mercurius is a symbol of merchants trade and thiefs traditionally depicted with wings on his heels forever restless scurrying about. The music is divided into sequences of four resulting in a sense of weightlessness and hurried urgency. The first complete performance of 'The Planets' took place in 1996 and was given by Jens E. Christensen.

Verschiedene (S. Einzeltitel). Meuser, Michael / Degott, Matthias / Koch, Georg / Kohlmann, Mathias / Berning, Thomas (Trad.) -/ Répertoire / Orgue

?Ouvrage publie? sous la direction artistique et scientifique de Yannick MerlinEn 1988, Jean-Franc?ois Tapray apparai?t furtivement dans Jean Saint-Arroman en qualite? de compositeur de VI Concerti per cembalo o per l'organo con tre violini ed un violoncello obligati, Il apparai?t tout aussi furtivement dans Philippe Lescat2 pour son oeuvre pe?dagogique visant les progre?s techniques au clavier, En 1992, Catherine Gas-Ghidina entreprend une recherche encyclope?dique sur l'influence de Tapray et son ro?le dans l'e?volution musicale, Enfin, en 2001, Michel Chapuis enregistre deux de ces noe?ls : Une Vierge Pucelle et L'Ange du Ciel, Et il se?lectionne Une Vierge Pucelle pour faire valoir son originalite? de composition : l'oeuvre est construite autour d'un tapage, ce vacarme soudain et furtif qui contraste avec la douceur de la me?lodie du noe?l, Chapuis suppose que cette forme musicale traduit l'opposition entre l'acclamation de la foule et son recueillement pour accueillir la naissance du Sauveur, Ce genre de clameur subite dans l'e?criture d'une oeuvre d'orgue demeure, a? ce jour, rare et peu documente?, / Orgue

La réflexion théologique, ou plutôt la méditation existentiellement vécue sur des questions théologiques, a toujours beaucoup occupé l'esprit de Gérard Hilpipre. Ceci s'est souvent traduit dans sa création musicale, et c'est particulièrement le cas pour ces Trois Méditations. La musique, parce qu'elle transcende parole et pensée et qu'elle est organiquement liée à l'idée même de mystère,est seule à même d'en exprimer directement l'essence. C'est là encore un mystère, et néanmoins une réalité. / Orgue

Following the success of Hymn Miniatures 1 Rebecca Groom te Velde presents a second collection of twenty-eight practical arrangements for organ. These short pieces each based on a well-known hymn tune are ideal for use as service interludes hymn introductions communion meditations and short preludes offertories and postludes. Suitable for use throughout the year te Velde's accessible arrangements will prove invaluable to the church musician looking for fresh repertoire to enhance services.Austrian Hymn - TrioAbbot's Leigh - IntradaAsh Grove - DeclamationBesançon - DanceCarlisle - DeclamationCrucifer -FanfareDarwall's 148th - MeditationDivinum mysterium - MeditationEbenezer - TrioEngelberg - FanfareGelobt sei Gott - IntradaFoundation - MeditationGrande Isle - MusetteHanover - MeditationIn Babilone - PastoraleIn dulci jubilo - MusetteLaudate Dominum - MeditationLlangloffan - MeditationLyons - TrioMonkland - DuoMorning Hymn - DuoPuer nobis nascitur - PastoraleSt. Columba - MeditationSt. Denio - MeditationSt. George>'s Windsor - MeditationSt. Peter - MeditationTruro - IntradaUnser Herrscher - Meditation

7 Pieces For 7 Decades-The Ebor Organ Album celebrates the 70th Anniversary of the York & District Organists' Association with seven pieces from seven decades including: 'Dance For Joy' 'Intrada On York' 'Arietta' 'Postlude On York' 'Prelude On Horsley' 'Bagatelle' and 'Carillionette On Merton'.

Brass and Percussion Parts-Includes: 1. Royal Fanfare-4tpt 3tbn Btbn And Timp.2. Intrada A Fanfara-4tpt 2tbn Btbn Timp Cymbal And Organ.3. Fanfare For Europe-3tpt 3tbn Btbn And Timp.4. Solemn Fanfare No. 1-4tpt 3tbn And Btbn.Includes: 4tpt 2tbn Bass Tbn Timp And Cymbal.

Twentieth century English composer and teacher Christopher Steel followed the progress of many tonal composers of the last century: initial prominence followed by a passage into obscurity followed by renewed posthumous appreciation. Steel was a composer of integrity and creativity who left a body of work of variety and quality. These Organ works date from the earlier part of his life and comprise Intrada Flourish Nocturne Dance Meditation and Postlude.

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

Martin Luther. Par SCHNEIDER ENJOTT. On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of 'faith' ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the 'Luther rose' which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, 'white' is the colour of angels and ghosts, 'black' stands for the pain of crucification: 'The just shall live by faith, but by faith in the Crucified.' But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The 'Danse macabre' was a popular motif in those years. Luther's chorale 'Mitten wir im Leben sind / mit dem Tod umfangen' from 1524 ('Enchiridion' from Erfurt) is based on the Gregorian chant 'Media vita in morte sumus' created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, 'I stand here and can say no more. God help me. Amen', are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a 'perpetuum mobile', i.e. a dogged, ostinato and never-ending musical air. 5th movement: The 'Mighty Fortress', on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the 'Marseille anthem of the Reformation', Friedrich Engels the 'Marseillaise of the Peasants' Wars'. This disputability is not thought through to the end but rather interrupted: With a jubilant 'birdcall version' of the melody, the finale shows a rather chamber-music-like side of the 'ideals of freedom of Christians'.'/ Répertoire / Orgue

A l'occasion d'un concours, Strophe a été composée en 2002 pour l'orgue Dom Bedos de Ste-Croix de Bordeaux : un repère dans l'histoire de la facture d'orgue, comme dans l'histoire des restaurations d'instruments anciens, Ecrite dans un langage contemporain, elle se fonde sur l'hymne célèbre Ave maris stella, et rend hommage autant aux sonorités traditionnelles qu'aux formes musicales de l'orgue baroque français, / Orgue

Par CHOLLEY PIERRE. Concetti - 9 pièces pour grand-orgue sur des comptines ou chansons traditionnelles françaises Sur le pont d'Avignon - Que n'ai-je la fougère - Alouette - A la claire fontaine - Nous n'irons plus au bois - Adieu Madras - J'ai descendu dans mon jardin - Colchique dans les prés -Petit prince/ Répertoire / Orgue

Kénose : mot à mot, 'action de rendre vide, d'anéantir ?. Terme spécialisé du langage théologique pour dire l'anéantissement dont il est question à propos du Christ dans le passage de l'Epître aux Philippiens : 'Il s'est vidé de lui-même??. vDans l'oeuvre musicale inspirée par ces lignes, l'accent a été mis sur ' l'expérience humaine déchirante '. Expérience ultime du Christ sur la Croix, dans ce paroxysme de la Kénose. En fait, il s'agit d'une tentative musicale d'envisager les souffrances de la Crucifixion, non pas de l'extérieur, à travers les douleurs physiques du Corps du Christ - comme dans les Chemins de Croix traditionnels -, mais de l'intérieur, dans Sa suprême expérience de la conscience humaine se croyant abandonnée de son Créateur. / Violoncelle Et Orgue