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

Full Score. Par BEETHOVEN LUDWIG VAN. Beethoven described his grandly conceived 'Missa solemnis” as 'my greatest work” and sold manuscript copies to some of the subscribers even before it had appeared in print. This Urtext edition takes into account all the sources including the old and the new complete editions whose relationship is clearly explained in a stemma. In several passages the renowned Beethoven specialist Barry Cooper has arrived at variant readings, such as in the 'Sanctus”, where the choir enters instead of the soloists, rather than coming in at 'Pleni sunt coeli”. No less worthy of mention is the addition of the soloists to the choir in most of the 'Credo”. These matters and many other editorial decisions are documented in the detailed Critical Commentary (Eng). The appendix contains Beethoven's arrangement of the Gregorian chant 'Tantum ergo” for the first time. This was composed at the same time as the 'Missa solemnis” and most probably stands in a close relation to it. This edition is designed for everyone seeking a combination of a reliable musical text and well-founded editorial suggestions for a successful performance of this masterpiece./ Répertoire / Voix et Orchestre

Beginning pianists of all ages will cherish this excellent compilation of classics. Each piece was carefully selected and simplified to help students develop their skills. Many of the greatest composersâ??J. S. Bach Beethoven Brahms Mendelssohn Mozart Rimsky-Korsakov Rachmaninoff Tchaikovsky and othersâ??are represented by several pieces each some newly adapted for the piano. Composers and works not usually featured in beginner's books include pieces by Borodin Gluck Rameau and Tallis.Well-known classics include Bach's Brandenburg Concerto No. 3 Debussy's Claire de Lune Moussorgsky's Pictures at an Exhibition Satie'sGymnopedie No. 1 Schumann's Child Falling Asleep and 'Spring' from Vivaldi's Four Seasons. Several orchestral pieces have been newly adapted for the piano including 'Dance of the Swan' from Swan Lake 'Aquarium' from Carnival of the Animals 'Largo' from Xerxes and 'Waltz of the Flowers' from The Nutcracker.Dover Original.

Un pare-chocs cueillette de 88 processions et recessionals, qui seront une ressource in­valuable pour tout organiste. Combien de fois avez-vous trouvé vous-même despe­r­ately la recherche de la bonne pièce jouer au begin­ning ou à la fin d'un service ? Avec ce livre, vous sont gâtés de choix. Et le bonus supplémentaire est qu'il est disponible dans deux éditions - un pour orgue, l'autre pour les manuels seulement. / Orgue

Par PART ARVO. Arvo Pärt wrote the prayer of peace 'Da pacem Domine' to fulfil a commission from Jordi Savall. He began to set this ninth-century Gregorian antiphon two days after the Madrid bombings on 11 March 2004 as his personal tribute to the victims. Since then Da pacem Domine has been performed every year in Spain to commemorate the victims of this terrorist attack. Even while originally composing this four-voice piece, Pärt made allowances for variable scorings. As a result, it exists in several versions, not only for voice but also entirely for instruments. Wolfgang Sandner Da pacem Domine in diebus nostris quia non est alius qui pugnet pro nobis nisi tu Deus noster. Give peace, O Lord, in our time because there is no one else who will fight for us if not You, our God./ Répertoire / Choeur SATB et Orchestre

Gregorian chant is one of the earliest forms of notated music using free flowing rhythms and simple melody. In Old Churches composer Michael Colgrass uses these elements to create an aura of voices echoing in themonastery. Using easy graphic notation students have a fun and creative way to explore sound production along with the compositional process. (Includes score and parts.) (5:20)CD-ROM Now Available!Designed toenhance the musical experience the CD-ROM for Michael Colgrass' Old Churches includes video clips of the St. John's Abbey monks singing photos of various sacred spaces such as Ayer's Rock in Australia as well as ahistory of standard Western notation. In addition this CD-ROM enables students to explore graphic notation and composition with built-in notation software Finale Notepad®. Guaranteed to engage your students and provide addedinsight into this unique work.04002010/$14.99 (CD-ROM)04002702/$60.00 (Band set with CD-ROM)

Prima Luce (First Light) was commisioned by the Holy Angels Elementary School located in Aurora (USA). The name of the town (which means dawn) the town’s great religious history and the fact that this town was one of the first in the USA to have streetlights were the inspiration for this Gregorian influenced atmospheric composition.

French born harpist and composer Marcel Grandjany (1891-1975) studied at the Paris Conservatoire before spending much of his working life in America. His Rhapsodie For Harp was composed in 1921 and is a sublime addition to the Harp's repertoire. Grandjany was a teacher of Harp at the Juilliard School for 37 years whilst also composing and transcribing many works for the instrument. Rhapsodie For Harp is based on a theme of a Gregorian Easter chant intended to be accompanied by Orchestra. Exploiting the Harp to a virtuosic level  Rhapsodie ForHarp by Grandjany makes for a thrilling performance for advanced harpists.

Long esteemed as counterpoint's greatest master, Johann Sebastian Bach created harmonizations of chorales that have served as voice-leading models for generations. This affordable volume features 371 of the composer's harmonized chorales, presented in closed score for easy study as well as play. These traditional liturgical melodies in four-voice arrangements comprise Gregorian chant melodies that survived the Reformation to form part of Protestant worship as well as traditional German melodies that found their way into services. A staple of every music program, Bach?s chorales spell out the rules of music theory that remain the cornerstones of modern composition. These closed score arrangements, ideal for playing at the piano, offer keyboardists an opportunity to practice their sight-reading skills. Students of counterpoint and harmony will find this collection of enormous theoretical importance, and all will appreciate the practical value of its modest price.

A work for Soprano Woodwind 2 Horns and Strings.Duration: circa 15 minutesProgramme Note: 'This work was commissioned as a possible companion piece to Mozart?s Exsultate Jubilate and the decision was quickly made to write something as a complete contrast. The poems chosen one anonymous from the early 16th century the other two by the famous Scottish poet William Dunbar [1460? 1513?] describe the promise of salvation after life?s dark passage. Each of the three poems echo this thought: ?In celum ther is joy with Thee? ?A short torment for infinite gladness? and ?Since erdly joy abides never Work for the joy thatlastès ever?. Thus in each poem the poet can overcome the fear of his inevitable death with the certainty of salvation: this work also has its ?dark? moments but the overall mood is one of calmness and peace. As with the words there are several musical motives that link the three songs. The musical motive for the refrain ?Terribilis mors conturbat me? in the first macaronic poem [also a salute to Mozart since the Exsultate is in Latin] returns a little higher and more despairingly in each verse until the last verse where it is played a whole octave higher. This motive reappears [played mostly by the oboes] in the last song but now the pitch of each repeat goes in reverse that is from high to low. The famous motive of the Gregorian chant Dies Irae [representing death] is used to accompany the prayer of the second song. A musical motive for the joy of Paradise appears in the second song ?A free choice given to Paradise or Hell?. There is also a ubiquitous 3-note chordal cluster which is used to illustrate the words: sometimes as a colour and

Set of Parts-The Moment (Op. 52 1962) takes its text from a poem of the same title by the English poet and scholar Kathleen Raine (1908-2003). It has been set to music by the Norwegian composer Knut Nystedt (1915-2014) scored for a chamber ensemble of Soprano Celesta and Percussion. Knut Nystedt studied under Aaron Copland among others and spent a long and distinguished career composing arranging conducting singing and playing the organ adapting to changing musical styles without sacrificing his own distinctiveness. He often drew inspiration from medieval music and Gregorian chants. He is remembered for having made an indelible contributionto Norwegian music and culture.

The Swiss composer Franco Cesarini has waited a long time to write his first symphony and after years of considering and drafting this Archangels Symphony Symphony no. 1 is a vast composition consisting of highly dramatic language intense thematic developments and frequent polyphonic elaborations.The thematic material is taken from old Gregorian melodies that form the basis for the entire work which is despite the title a non-programmatic work. It consists out of 4 movements: Gabriel the gentle archangel; the supreme healer Raphael; the energetic archangel Michael the Prince of the heavenly host; and surprisingly the archangel Urile the?forgotten? archangel.A true masterpiece and a fantastic musical challenge!