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

Par BACH JOHANN SEBASTIAN. The now-published volumes 9 and 10 have presented a special challenge, for particularly in the field of the chorale arrangements the transmissions are more complex than in any other group of works. This ties in with the crucial question of Bach?s authorship, which has been the subject of much controversy in the past. There were heated discussions about it even just prior to our edition, and editors and publisher are aware that the present selection is a thoroughly debatable snapshot. More on this in the volumes? text sections. The situation of the chorale partitas is not quite so dramatic, whereby these holdings also had to be subdivided for reasons of transmission into mainsection, appendix, and online presentation. The so called ?Neumeister-Choräle? are incorporated in the group of the separately transmitted chorale settings in alphabetical order, because the compilation of the pieces does not follow any collection idea of Bach (such as, for example, his larger late collections). The indication ?Neumeister-Sammlung? should facilitate the attribution. Those works requiring further research, besides of some versions, are presented online, since their profile reveals less evidence of the true author. / Date parution : 2021-11-25/ Recueil / Orgue

70 enormously popular pieces-The bestselling original has been revised and enlarged with 10 more popular pieces that are requested for weddings funerals and other special occasions offering a bumper total of 70. A fabulous resource for the parishorganist.Adagietto from Symphony No. 5 - MahlerAdagio for strings - BarberAdagio from Violin Concerto No. 1 - BruchAir bourrée and coro from The Water Music -HandelAir from Suite No. 3 - BachAlleluia from Exultate Jubilate - MozartAndante from Piano Concerto No.21 - MozartAndante tranquillo - WarlockArioso -BachArrival of the Queen of Sheba - HandelAutumn from The Four Seasons - VivaldiAve Maria - GounodAve Maria - SchubertAve Verum Corpus - MozartBehold a roseis blooming - BrahmsBist du bei mir - BachBlessed are ye faithful souls - BrahmsCanon in D - PachelbelCantique de Jean Racine - FauréChanson de matin -ElgarChorus of the Hebrew Slaves from Nabucco - VerdiCujus animam - RossiniDance of the blessed spirits from Orpheus - GluckFinale from Music for the Royal Fireworks -HandelFirst movement from Eine kleine Nachtmusik - MozartGavotte - BoyceGavotte from French Suite No. 5 - BachGavotte from Suite No.3 - BachGymnopédie No.1 -SatieHallelujah Chorus from Messiah - HandelI know that my Redeemer liveth from Messiah - HandelIntermezzo from Cavalleria Rusticana - MascagniJerusalem - ParryJesu joyof man?s desiring - BachKomm s?sser Tod - BachLand of hope and glory - ElgarLargo from Concerto in D minor - VivaldiLargo from Serse - HandelLaudate Dominum

Description Widely regarded as the culmination of French romanticism on the organ, Widor's symphonies include some of the most frequently performed and recorded works in the modern organ repertoire. Most of these symphonies - so called to emphasise the orchestral wealth of timbres offered by the new French organs - were written specifically to exploit the capacities of the modern Cavaille-Coll organ, especially the rich-toned five-keyboard instrument at St-Sulpice in Paris. Presented here in two inexpensive (this being the first), well-made volumes they offer a splendid resource for organists and all music lovers. Songlist Adagio Allegro Allegro Cantabile Allegro Vivace Andante (Sonata G.1) [Torelli, Giuseppe] Andante Cantabile Andantino Quasi Allegretto Finale Fugue Intermezzo Op.1 No.2 [Borodin, Aljeksandr Porfirjevic] Marche Pontificale Marcia Meditation Minuetto Pastorale [Pace] Prelude Scherzo [Goldschmidt, Berthold] Symphony No. 1 In C Minor, Op. 13, No. 1: Symphony No. 2 In D Major Op. 13, No. 2: Symphony No. 3 In E Minor, Op. 13, No. 3: Symphony No. 4 In F Minor, Op. 13, No. 4: Symphony No. 5 In F Minor, Op. 42, No. 1: Toccata

In all ages organists have known how to transcribe popular pieces for their instrument from the entire spectrum of music and to play effectively to the gallery. The repertoire of concert organists was therefore far-reaching and not restricted by any connection with the church. This volume of transcriptions holds a few surprises: one encounters plush and pomp, the deeply serious and the glamor ous, works for the church and for the circus, for the organist playing them and for the whole world./ Répertoire / Orgue

Kompositionen von Bizet, Gluck, Lortzing, W. A. Mozart, Offenbach, Verdi, Wagner und Weber. / Recueil / Orgue Electronique

Par ROTHENBERG PETER. Format: New Edition portrait/ Répertoire / Orgue Electrique

Texte und Melodien zu diesem Album in EN 1707 Volkslieder. / Recueil / Orgue Electronique