While Darke composed extensively for Choir and Organ he wrote many fewer works for solo Organ. The first of the set St Peter dedicated to Herbert Howells is the best known of the three atmospheric and improvisational and Orchestral in style. The second prelude a fantasia on Darwell’s 148th is a virtuosic piece that retains its musical integrity. The final on a theme by Tallis begins by tranquilly setting out its theme before moving into romantic Orchestral style. Harold E. Darke was an English composer and Organist of international renown. In 1916 he established the Monday lunchtime Organ recitals at St Michael’s Cornhillwhich continue to this day the longest-running such series in the world. His setting of Christina Rosetti’s poem In the Bleak Midwinter created a melody and lilting Organ accompaniment that have never fallen from favour. It is regarded as one of the greatest Christmas carols and is still sung at the service of Nine Lessons and Carols.

Par BUNK GERARD. As a 20th century composer, Gerard Bunk developed a distinctive musical style comparable perhaps to that of Max Reger or Sigfrid Karg-Elert. In addition to Bunk?s large-scale organ work ?Legende? Op.29 and its symphonic version Op.29II, there is a further well-known ?Legende? Op.55b written for organ and string orchestra (or string quartet) which was composed in 1945. This edition offers the earlier version of this work, dating from 1914, in its original instrumentation for organ and brass quartet. In order to facilitate performance, the sketchily notated score is carefully supplemented by performance markings from the string version. What Albert Schweitzer praised in the earlier ?Legende?, ?the calm and vivid layout of the complete work?, is also recognisable in Bunk?s later composition: the catchy, modestly beautiful theme alongside the clear musical form of this ?Legende? for organ and brass quartet. - Scored for 2 Flugelhorns, French horn, Trombone - Attractive chamber music for brass with organ - Edited by the composer?s grandson - Also suitable for amateur ensembles / Date parution : 2022-07-30/ Répertoire / Orgue et Quatuor de Cuivres

Chapple's Praeludiana is an extended 'celebration' of Chopin's well-known prelude in C minor. First, a fast, flashing sequence of chords moves from manual to manual: next a Stravinskyan barrage of brass fanfares alternates with soft clusters. The following Andante section poses soft staccato groups against live legato lines and culminates in an ascending passage punctuated by gruff exclamations. After a pause, the Stravinskyan motif reappears but extended and leaping to a climax which fires off the final statement of the Chopin theme. / Orgue

Preface: 'The Bells of Vestervig' was originally commissioned for carillon and organ. It was first performed by Peter Langberg and Ivar Mæland in connection with the re-inauguration of the organ in Vestervig Church in Denmark February 27th 2011. The version for organ solo differs somewhat from the original version without the main structure or the theme being altered. The ?premiere? of the organ version was performed by Flemming Dreisig March 10th 2012 in The Church of Our Lady Copenhagen. Each movement may be used independently liturgically or in concert. If one wishes to perform them as one piece then it would be recommended to play them in the given order. Kvinesdal mars 2012; Sverre Eftestøl.

Bach: The Art Of Fugue And A Companion To The Art Of Fugue features sheet music for the complete score of J. S. Bach's Die Kunst der Fuge (The Art of Fugue) in this editionprepared by Donald Francis Tovey. Originally published by Oxford University Press in 1931 Tovey's edition presents the fourteen fugues plus the four canons in open score allowing readers to follow eachindividual voice. Furthermore Tovey completed the unfinished final fugue reintroducing the principal theme of the work's opening fugue to create a quadruple fugue.In addition to the complete score this editionfeatures Tovey's extended commentary on each of the fugues. Entitled A Companion to 'The Art of Fugue ' Tovey's commentary was originally published separately from the score; this editionincludes the commentary within the same volume as the music. The commentary outlines the contrapuntal devices employed in each of the fugues as well as keen observations on J. S. Bach's technicalcraftsmanship.In addition Tovey offers insights into the performance of these fugues and suggestions for their programming.Pianists organists and all lovers of chamber and Baroque music will appreciatethis inexpensive single-volume edition of one of Bach's finest works and a classic commentary.

Une clinique de créatifs pour tous-organe technique sur les accords, enregistrement, effets spéciaux, en développement effectuant des compétences et organiser. Comprend une variété de pièces. / Orgue / Partition

Josef Rheinberger (b. 1839 d. 1901) was a prolific composer in almost every field but he found in the Organ the medium best fitted to his genius and temperament. This seems to be proved by the fact that his reputation as an Organ composer has grown and is now firmly established whereas his position in other branches has declined. His twenty sonatas and his numerous shorter pieces (about a hundred) make up one of the most important contributions to the Organ repertory. It may indeed be claimed that in the maintenance of a high level of quality and interest throughout a long series of works of both large and small scale his position as an Organ composer issecond only to that of Bach. Sonata No. 19:The G minor Sonata is one of a small proportion of the twenty - No. 15 in D is another - concerning whose merits players are divided. It does not meet one half-way. It is the longest of the twenty: some monotony inevitably results from the use of the key of G for all its movements : its difficulties are of the ungrateful type : and the vigour of its first movement is often rough-even harsh. Yet it appears to be among the favourites of those who know it well; the late Dr. G. J. Bennett (a pupil of Rheinberger's and a devotee of the Sonatas) placed it among the best of the later numbers. Sonata No. 20:In spite of some inequalities No. 20 makes a worthy end to a fine series. Rheinberger's failing health at the time of its composition is no doubt responsible for a few moments of indecision especially in the Finale. The invention shows little if any falling off. In all the sonatas there are few better themes of the broad diatonic type than that which opens the first movement ; and the pleasant tunes of the Intermezzo and Pastoral and the swinging subject of the Finale are in the true Rheinberger vein. But the lack of a substantial fugal section is felt: it might well have come as a central portion of the Finale which

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.

Une collection de thèmes classiques préférés, tous en simples arrangements appropriés pour les organes, les pianos et claviers électroniques. Comprend la valse des fleurs, chanson Toreador et Jesu, Joy Of désireux de l'homme. / Chant Et Guitare