First complete Urtext edition now comes to a close. At the cutting edge of scholarship. Music in every key for church worship and concert performance. Detailed Foreword Critical Commentary (Fr/Eng/Ger) and facsimiles. Now available at a special set price. The set includes: Volume I: Early Works and Works with Minimal or Optional Use of the PedalsBA 8468 Volume II: Organist at the Church “La Madeleine”Douze Pièces pour Orgue ou Piano-Pédalier (1886)BA 8469 Volume III: Organist at the Church “La Madeleine”Trois Pièces pour Grand Orgue (1890) /Messe de Mariage.Cinq Pièces pour Orgue (1891)BA 8470 Volume IV: Organist at the Church 'La Madeleine'Douze Pièces nouvelles (1893) / Ascendit Deus(Offertoire pour la fête de L' Ascension) (1902)BA 8471 Volume V: His Last Organ WorksDix Pièces (nouvelles (1921) / Fantasietta avec Variations (1922)BA 9208 Volume VI: 42 Pièces pour Orgue sans Pédales ou HarmoniumBA 9209

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

Intonationen, Band I. Herausgegeben im Auftrag der Hochschule für Kirchenmusik der Evangelischen Landeskirche in Württemberg, Esslingen/ Répertoire / Orgue

Volume 2: Ten Christmas Melodies-10 interesting settings usable for preludes offertories and postludes including: Angels from the Realms of Glory £ Angels We Have Heard on High £ I Wonder As I Wander £ Infant Holy Infant Lowly £ and more.

Joan Cabanilles Selected Works for OrganVolume I: BA11228Volume II: BA11229Although quite some time has passed since the multifaceted organ music from Spain's Golden Age could be called an ?insider's tip? it had yet to attain popularity with any wide audience outside the countries of the Iberian Peninsula. The three-volume Urtext edition of selected works by Joan Cabanilles the cathedral organist from Valencia now has every chance of becoming a milestone in its own right. The Iberian organ tradition of the 17th century appears to have reached its climax in his tientos diferencias and versos. In the first two volumes the editors Gerhard Doderer and MiguelBernal Ripoll present a total of 22 of his most appealing and most significant tientos.Urtext edition based on the latest research findingsPreface by the editors (in German English and Spanish)

Content: Toccata d-mminor - 4 Verse d-minor - Canzona d-minor - 4 Verse C-major - Canzona C-major - 4 Verse F-major-  Canzona F-major - 4 Verse e-minor - Canzona e-minor - 4 Verse g-minor - Canzona g-minor - All'Elevazione I F-major - Al post Comunio F-major - All'Elevazione II C-major - All'Offertorio C-major - Pastorale C-major - Preamble - Critical report (dt./engl./ital).

Bach: Complete Organ Works Vol. 1 Preludes and Fugues I - with CD-ROM - ed. by David Schulenberg As close as possible to Bach In his ?Preludes and Fugues,? Johann Sebastian Bach made decisive contributions to the development of this genre tradition. The importance of this work group in his own organ oeuvre is confirmed by the many transmitted sources: hardly any autographs, but all the more copies. The genesis of the works and the question of versions associated with it are described at length in the introduction. In his new edition, editor David Schulenberg occasionally makes a new evaluation of the transmitted sources. To do so, he based himself as faithfully as possible on the manuscripts that can be traced back to Bach or to his circle. Here the American Bach expert generally chooses one source as his principal one. Divergences from other sources are documented in the Commentary. On the whole, the new Urtext edition sometimes also emends some long-cherished readings of ornaments, voice leading and notation. Also printed in Volume 1 is, for example, the early version of the C major Prelude BWV 545 as well as the inserted Trio movement of the three-movement version of this work. As with the previously published volumes, the CD-ROM enclosed in Volumes 1 and 2 contains dubious works and secondary versions for comparison with the principal versions. This time, the CD-ROMs are completely in German and English and feature the English version of the Commentary.

Organ Solo-Der Er SÃ¥ Favrt i Jelling At Hvile for Organ Solo was composed by Pelle Gudmundsen-Holmgreen in 2000.

'Avec leur arôme frais et pur, les feuilles de thé répondre l'eau fumante qui gargouille vers le bas dans la théière en argile pourpre. Les feuilles se mettent à danser un pas mystique, chanter une chanson historique, et de célébrer un grand moment avec leurs meilleurs amis. De banales bâtons minuscules, ils renaissent comme les elfes magnifiques. Ils étirent leurs organes, rouler vers le bas, et flotter jusqu'à la lèvre de la théière. Visé par leur bonheur, l'eau pousse un murmure doux, joyeux et joyeux. L'histoire peut être senti, observé et ressenti par coeur. 'Inspiré par l'histoire et la culture chinoise du thé, j'ai composé symphonique dans la Théière en 2005. Parce qu'il y avait des orgues à tuyaux très peu en Chine, ce travail a été initialement écrit pour orgue Electone, un instrument électronique avec orchestre et nouvellement développé des sons électroniques. En 2009, à la suggestion de Cherry Rhodes et Jean Guillou, je me suis arrangé cette pièce pour orgue et a joué la première européenne dans l'église Saint-Eustache à Paris. (Qi Zhang) / Orgue

 Les cinq pièces qui composent Orchésographie ont été écrites de 2008 à 2012, Elles sont dédicacées à Pascale ROUET,Après avoir placé la plupart de mes précédents cycles pour orgue dans une tonalité sombre, grave et tourmentée, j'ai voulu écrire une série de pièces plus intimistes, optimistes, et nostalgiques, empreintes - j'espère l'avoir réussi - de fraîcheur et de sérénité, J'ai puisé librement mon inspiration dans les danses de la Renaissance, que j'aime particulièrement jouer à l'orgue et dont j'ai essayé de restituer l'esprit, dans la mesure où celui-ci correspondait très bien à ce projet,Le cycle reprend le très beau titre d'Orchésographie, que le chanoine de Langres Jehan Tabourot a donné en 1589 à son ' Traicté en forme de dialogue par lequel toutes personnes peuvent facilement apprendre and practiquer l'honneste exercice des dances ', sous le pseudonyme de Thoinot Arbeau, anagramme de son nom, Il s'agit du premier manuel qui précise les pas à exécuter en regard de la partition musicale dans les multiples danses d'origine médiévale, qui connaîtront un succès phénoménal chez les musiciens des siècles suivants (Passe-pieds, branles, pavanes, tourdions, voltes et autres gavottes ?),Dans cet esprit, ces pièces conviennent donc particulièrement à un petit orgue ancien, Le langage n'est en rien changé par l'esthétique ancienne d'un instrument, dans la mesure où, dans ma musique, il n'est pas de contrainte grammaticale dont le sens et la cohérence soient susceptibles d'être altérés par le tempérament de l'orgue ou le changement de diapason, Je dirais même que certaines de mes pièces acquièrent davantage de ' caractère harmonique ' par la variation de ces deux paramètres - d'autant plus d'ailleurs que ma musique revendique souvent une connivence d'intention avec les pièces des époques anciennes (durée relativement courte de chaque pièce, registration presque unique, virtuosité sans difficulté, abstraction placée au service d'épanchements émotifs et sensibles, aspect essentiellement rhétorique, refus de la lourdeur harmonique au profit de lignes mélodiques travaillées et ornées),Interpréter ces pièces sur un orgue moderne est possible, La cohérence des accords n'en est en rien changée, Mais j'ai tendance à vivre cela comme un appauvrissement du caractère rugueux et âpre qui me plaît beaucoup lorsque l'on dispose d'un orgue ancien, I, Estampie 3' 25''II, Basse Danse 4' 25''III, Saltarello 3'IV, Pavane 4'V, Gaillarde 5' / Orgue

Etudes pour orgue - Cristal de temps pour saxophone soprano et orgue - 4 préludes éphémères pour orgue - 4 improvisations Ghislain Leroy (orgue) Antonino Mollica (saxophone) Thomas Lacôte (orgue) Martin Tembremande (orgue) Angèle Dionnau-Kasser (orgue) Contenu I. The Fifth hammer (à quatre mains) (11') - II. Quilisma (8') - III. Etude de transparence (à quatre mains) (5')

Complete Organ Works Volume III: Organist at the Church ?La Madeleine?: Trois Pièces pour Grand Orgue (1890) Messe de Mariage:Cinq Pièces pour Orgue (1891)During his tenure at ?La Madeleine? in Paris Théodore Dubois composed a large number of Organ works. Volume III together with the already published Volumes II and IV brings Barenreiter's first complete Urtext edition of this body of music to a close. It contains Trois Pièces (Praeludium-grave Adoratio et Vox Angelica Hosannah) and the well-known and frequently performed wedding piece Messe de Mariage (Entrée du Cortège Bénédiction nuptiale Offertoire Invocation Laus Deo [Sortie]).Like thetwo previous volumes this volume contains many facsimile pages a Critical Commentary (Fr/Eng/Ger) a catalogue of sources and a detailed Foreword that sheds light on the composer?s life instrument-specific issues and performance practice.First complete Urtext edition of Théodore Dubois? Organ worksBased on the latest research findingsSuitable for church worship and concert performanceDetailed Foreword Critical Commentary (Fr/Eng/Ger) and facsimile pagesAlready published:Théodore Dubois: Complete Organ WorksVolume I: Early Works and Works with little or facultative pedal use BA8468Volume II: Organist at the Church ?La Madeleine?: Douze Pièces pour Orgue ou Piano-Pédalier (1886) BA8469 Volume IV: Organist at the Church ?La Madeleine?: Douze Pièces nouvelles (1893) / Ascendit Deus (1902) BA8471Volume V: His Last Organ Works: Dix Pièces (nouvelles) (1921) / Fantasietta avec Variations (1922) BA9208

Haendel a composé la Suite Fireworks pour un feu d'artifice à Green Park, Londres en 1749. La partition originale indique 18 cuivres et 37 instruments à vent, mais il est parfaitement adapté comme une transcription pour orgue. Contient: Bourée, Menuet I, La Paix, La Réjouissance et Menuet II. / Orgue / niveau : Elémentaire - Moyen / Recueil

Für Orgel. Par JOST CHRISTIAN. There is no other work more closely associated with the organ than Johann Sebastian Bach’s Toccata in D minor. During my compositional preparation, I repeatedly found myself returning to this work. I had a number of different formal models in mind, but felt myself gravitating towards the rhapsodic character of toccata form so that my new composition for organ ultimately became a toccata developing from a pedal point on the fundamental note ’D’. As is appropriate to the volume of a large modern organ, my concept focuses on symphonic tonal layers whose suggestive maelstrom originates from the inner strength of repeating elements and their register- like augmentation, culminating in the unleashing of polyrhythmic progressions. (Christian Jost)/ Répertoire / Orgue