Orgelsinfonie #15

SKU: HL.49018082

ISBN 9790001168809. UPC: 884088535094. 9.0x12.0x0.2 inches.

Each organ symphony by Enjott Schneider has its own colour and its own theme. Organ Symphony No. 7 'Von Ewigkeit zu Ewigkeit' is dominated by the theme of 'time': from the flowing rumbling of time in ancient beginnings ('In principio' - 1st movement) and periodic to the intellectually incomprehensible revolving ('Zeit der Sterne' - 2nd movement). After the third movement ('Zeit des Menschen'), a valse triste, infused by an almost humorous hectic atmosphere, the symphony ends with a kind of 'Amen!' in the fourth movement. Schneider sums it up: 'It is good as it is, we do not understand the course of time anyway.' With regard to style, his composition is based on elements of minimal music which he combines with the tradition of the European organ composition; it is at the same time a testimony to the composer's flexibility and versatility.

SKU: HL.49017947

ISBN 9790001157933. 9.0x12.0x0.216 inches.

With his organ symphonies, the composer Enjott Schneider (born 1950) from Munich has been a profound sensation in recent years and seen world premieres at major European organ events. The Organ Symphony No. 6 'Te Deum' (premiered at Bruckner's St. Florian above Bruckner's tomb in 2008 and recorded there on CD) adopts the five-part structure and several motifs from Bruckner's 'Te Deum', thus becoming a forceful compact work pervaded by the Gotteslob. 1: 'Te Deum' is based on Bruckner's original figuration of fifths and eighths which is connected with the Latin Te Deum; 2: 'Te Ergo' is a 'preghiera' with pleading and praying gestures; 3: 'Aeterna fac' is an extremely virtuoso perpetuum mobile; 4: 'Salvum Fac' a basso ostinato and finally 5: 'In te, Domine speravi' a toccata which, after taking many detours, inevitably leads to the C major.

SKU: HL.49016185

ISBN 9790001145411. UPC: 884088202507. 9.0x12.0x0.141 inches.

As a counterpart to theOrgan Symphony No. 1 Pater Noster (ED 9937), the Organ Symphony No. 2 offers softer and more mysterious (Marian) sound worlds, sketching stages of Mary's life: an adoring Salve Regina grows from the mystic source, followed by Berceuse pour Marie as a lullaby of the Christmas events. The third movement Mater Dolorosa falls back on the well-known Gregorian sequence Stabat Mater, taking Mary's pain at the cross as its central theme. The finale treats the Ave Maris Stella in a crescendo from pp to ff in a positive and solemn manner, in memory of Mary's assumption. It is advisable to use an organ with at least three manuals.

SKU: HL.49045437

ISBN 9790001162715. UPC: 841886029088. 9.0x12.0x0.168 inches.

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.'.

SKU: HL.49045242

ISBN 9790001161749. UPC: 841886028562. 9.0x12.0x0.168 inches.

This work is an homage of Schneider to Max Reger:Organ Symphony No. 15 does not attempt to adapt Reger's style, which could hardly be made more intense or varied. On the contrary, with 'ardent reductionism' motifs, quotations and fragments are taken out of context like individually dazzling gems and illuminated anew: Reger is considered from a distance in order to approach the mystery of such a genius. (Enjott Schneider).

SKU: BT.AMP-281-130

9x12 inches. English-German-French-Dutch.

In 2006, a long-time dream of Philip Sparke finally became reality: to compose a set of variations on the famous chorale from Saint-Saëns’ renowned Organ Symphony. In 2009 the composer reworked the piece for brass band. The resulting Saint-Saëns Variations has been simplified, shortened and in many places completely recomposed, to distill the essence of the symphony even further and allow younger bands to enjoy the power of Saint-Saëns’ masterpiece in an approachable, yet completely faithful, work.

2006 erfüllte sich Philip Sparke den lang gehegten Wunsch, eine Reihe von Variationen über den berühmten Choral aus Saint-Saëns’ Orgelsinfonie zu schreiben. Die 2009 daraus entstandenen Saint-Saëns Variations sind vereinfacht, gekürzt und an manchen Stellen auch völlig neu komponiert, um die Essenz der Sinfonie noch besser herauszukristallisieren und tiefer besetzten Brass Bands einen gut spielbaren und dennoch im Kern originalgetreuen Zugang zu dem kraftvollen Meisterwerk von Saint-Saëns zu ermöglichen.