SKU: FZ.5393
ISBN 9790540053932. 23.50 x 32.50 cm inches.
This facsimile of an original by Nicolas-Antoine Lebegue is part of our French classical music collection. Edition : Paris, (s. d. = 1685). Facsimile of a copy in the Troyes city library which, like the second book, probably belonged tothe Siret family. Preface by: Jean Saint-Arroman: the Troyes copy. Philippe Lescat: Nicolas Lebegue's obligations. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the Municipal Library of Troyes (France). Anne Fuzeau Classique propose period copies of classical music scores.
SKU: BR.EB-8293
ISBN 9790004176092. 9 x 12 inches. German.
The third Little Organ Book establishes thematic accents (Praise and Thanks - Trust and Prayer). We called upon the leading names of contemporary organ music such as Jurg Baur, Karl Holler, Jean Langlais, Hermann Schroeder and Wolfgang Stockmeier to arrange a selection of well-known hymns from the Catholic and Evangelical hymn books. As in the two volumes (Passion - Easter - Pentecost and Advent - Christmas) the Little Marienstatt Organ Book offers a Chorale prelude as well as a polyphonic organ setting of the respective church hymn, which are almost all firnt publications.Choral preludes and organ settings by various authors.
SKU: HL.14013003
ISBN 9780711934948. 11.75x8.25x0.06 inches.
Henryk Mikolaj Gorecki's career spans more than 40 years, dating from the post-Stalinist era of the mid 1950s and embracing a catalogue of more than 70 acknowledged works. It was not, however, until the phenomenal success of his third symphony, Symphony of Sorrowful Songs Op 36, which brought the composer world-wide renown through its numerous performances and recordings, that his music reached an extended audience outside his native Poland. Since then the directness and emotional impact of his music have established him as one of the major figures of contemporary music.
SKU: BR.EB-8339
ISBN 9790004176474. 9 x 12 inches.
The oldest extant organ music manuscripts in Transylvania date from the end of the 17th century and are attributableto Daniel Croner. During his student years, Croner compiled two organ tablature books, one in Breslau in 1681, theother in Wittenberg in 1682, a third, supposedly compiled in Kronstadt in 1675 and a fourth book, dating from 1685. The manuscripts are in good condition. They are written inGerman organ tablature and contain works by Croner as weil as by other contemporaries.
SKU: BT.EMBZ14775
Ern Dohnányi (1877 - 1960) composed his C minor fantasia in 1892, at the age of fifteen.This work, which is appearing in print now for the first time, is a real curiosity: apart from a few polyphonic stylistic exercises written while he was at the music academy, this is Dohnányi's only piece for organ. The composer later recalled his first acquaintance with that instrument thus: 'My experience with the organ actually dates back to when I was a third-year grammar school student, for beginning with that year I served as organist for the Sunday worship services in the grammar school's church. These were the first wages I ever earned through music.' The Fantasie wasprepared for publication on the basis of the composer's manuscript by the well-known Dohmányi researcher Deborah Kiszely. Ern Dohnányi (1877 - 1960) composed his C minor fantasia in 1892, at the age of fifteen. This work, now appearing in print for the first time, is a real curiosity: apart from a few polyphonic stylistic exercises written whilehe was at the music academy, this is Dohnányi's only piece for organ. The composer later recalled his first acquaintance with that instrument thus: 'My experience with the organ actually dates back to when I was a third-year grammarschool student, for beginning with that year I served as organist for the Sunday worship services in the grammar school's church. These were the first wages I ever earned through music.' The Fantasie was prepared forpublication on the basis of the composer's manuscript by the well-known Dohmányi researcher Deborah Kiszely.Ern Dohnányi (1877-1960) komponierte die Fantasie in c-Moll 1892 im Alter von fünfzehn Jahren. Das Werk, welches nun erstmalig in Druck erscheint, ist ein echtes Kuriosum: Abgesehen von ein paar wenigen polyphonen Stilübungen aus der Musikakademie ist es das einzige Orgelwerk des Komponisten. Dieser erinnerte sich später folgendermaßen an das Kennenlernen des Instruments: Meine erste Begegnung mit dem Orgel reicht bis zur dritten Klasse im Gymnasium zurück. Ab dieser Klasse nahm ich sonntags die Funktion des Kantors in der Kirche der Schule ein. Das war mein erstes Geld, was ich mit Musik verdiente. Die Fantasie wurde von der bekannten Dohnányi-Forscherin Deborah Kiszelynach dem Originalmanuskript herausgegeben.
SKU: HL.14018572
ISBN 9788759810606. International (more than one language).
The third installment of the huge organ trilogy Messis (Harvest) by Danish Composer Rued Landggard. At over two hours in length this one of the most extensive works in the organ repertoire.
SKU: HL.48180158
UPC: 888680948528. 9.0x12.0x0.15 inches.
Written for upper-advanced organ players, Three Preludes and Fugues is a work by Marcel Dupre. Dedicated to Rene Vierne, this Op. 7 uses complex figurations and pedals. With such challenging difficulty, the first and third preludes were pronounced?unplayable by Charles-Marie Widor due to their fast tempo, their figurations and the pedal chords. For a long time, Dupre himself was the only one able to play them. Marcel Dupre is a French organist who reviewed some works by J. S. Bach, including The little Organ Book. He composed numerous pieces such as Lamento, Scherzo and Titelooze Tombstone, among others.
SKU: HL.14029663
SKU: HL.14029664
SKU: HL.50514041
SKU: HL.48185421
UPC: 888680991944. 8.0x11.0x1.082 inches.
Part of the Treatise on rhythm, colour and ornithology written in French by Olivier Messiaen, this third volume talks about symmetric permutations, the ?out of tempo? and analyses'Four rhythm studies', the 'Organ Book', 'Time-colour' for Orchestra, 'Amen visions' for two Pianos and 'Harawi for Piano and Voice. This treatise depicts the full theory behind Messiaen?s compositions and how he composed music, including his conception of rhythms, his incorporation of birdsong and his relation to sound and colours. While most of the composers struggle to explain their composition, Messiaen has managed to write a Treatise in 7 volumes to explain all the important aspects of his work. Olivier Messiaen (1908-1992) was a French organist and composer passionate about Ornithology and one of the most important composers of his century. Inspired by Japanese music, he had a very special way of composing and his work can be identified by its complexity, its diatonic aspect, its harmony with limited transposition, its colour and its additive rhythms. He composed many works related to ornithology and birdsong, including the 'Bird Catalogue' in 7 volumes..
SKU: CA.6001100
English.
Now finally in English too: The third part of the organ method Historical Performance Practice in Organ Playing follows on from part two with contributions by Guy Bovet (on Jehan Alain), Hans-Ola Ericsson, Anders Ekenberg, Markus Rupprecht (Olivier Messiaen), Hans Fagius (Maurice Durufle), Jeremy Filsell (Marcel Dupre), Bernhard Haas (Arnold Schonberg, Ernst Krenek, John Cage, Gyorgy Ligeti, and others, plus the latest developments) and Armin Schoof (neoclassicism). As in the first two parts of the organ method, here too a representative selection of composers is discussed. Alongside mainly personal recollections (e.g. from Hans Fagius) there are analytical essays (including by Jeremy Filsell). Bernhard Haas has organised one section of his text as an introduction to the playing techniques and aesthetics of new music, beginning with pieces which are easy to play. This English edition contains new chapters by Kevin Bowyer (The Development of New Organ Music in Britain / Contemporary Organ Music in North America). Laukvik's organ method Historical Performance Practice in Organ Playing has now become established as a standard work. It is aimed at organists who want to incorporate the latest thinking on historical performance practice into their interpretations of works. The three volumes provide a practical introduction in a detailed, scholarly and comprehensible form, by giving organists as precise a picture of the interpretative traditions and aims of previous and modern/ contemporary eras as possible. The editions are aimed not only at organists, but also at organ teachers who are looking for a manual to use in their teaching.
SKU: GI.G-RCP57
Edited by Edward Tambling Thomas Tomkins wrote no fewer than seven services: three full and four verse settings. The first two full services, as numbered in the posthumous publication of ‘Musica Deo Sacra’ (1668), are straightforward settings in the central Elizabethan style. The First Service is in the major mode, and the Second Service in the minor: the Third Service is a radical departure in style from these settings and is presented as a ‘Great Service’ in homage to Tomkins’ ‘ancient and much reverenced master, William Byrd’. The Fourth and Fifth are verse services, and a further two are present only in manuscript sources: the Sixth Service received its first modern publication in this series (CP17), edited and reconstructed by Peter James. The Seventh to date is unpublished, and survives only in the form of an organ part, the vocal parts having been lost to history. This numbering system of one to seven is misleading, however, as it confuses the chronology of the compositions: some attempt to clarify this ordering is given in a table at the end of this edition in order to address this matter. Tomkins’ relatively late death places him well into the seventeenth century, at a time when musical fashions were changing and the Civil War was altering the course of British History. However, it is correct to describe him as ‘the last Elizabethan’, as his style remained conservative, as did the genres with which he worked and cultivated. ‘Musica Deo Sacra’ is supposed to have been supervised by his son Nathaniel, and collates much of Tomkins’ music not found in other sources. As such, it is a valuable resource for the material it contains, and is also a landmark in music publishing, in that it presents the first known printed organ book set in moveable type on two staves, an unrewarding process which seems to have caused considerable trouble for its printer, William Godbid. Even John Barnard in preparing his ‘First of Selected Church Musick’ (1641) did not go to the trouble of printing an organ part to supplement his vocal partbooks, instead providing his customers with a blank manuscript book into which the already ubiquitous organ parts could be copied by hand. As a result, Tomkins’ source as a whole contains a number of errors, but all of which can be corrected without distortion to the musical text, and the composer’s intention can be realised without too much difficulty.  In addition to the note on the ordering of the various services by Tomkins, I have endeavoured to give some brief information concerning the pitch of church music of this period with regards to the organ part, a subject much misunderstood and obfuscated by variously contradictory information.  It is hoped that this new edition of Tomkins’ First Evening Service will fill a need for short, attractive settings of the canticles for Evensong, furthering an appreciation of the music of the last great composer of the Renaissance era in Britain.
SKU: ST.Y236
ISBN 9790220221934.
1st complete perf: Catherine Gordeladze, The Gasteig, Munich (Winners & Masters Series), 21 April 2007 Ideal for confident young pianists keen to explore cutting-edge new music, the second book of Strides by Morgan Hayes adds five more distinctively original miniatures to the three 'fugitive visions' already published in Strides Book 1. Propulsive rhythm and melody mark out turbid expressive territory in the first two pieces, while the third Stride explores 'glacial' octaves, and the fourth and fifth add new fantasy to a Bach sarabande and a chaconne. Specific technical challenges in each piece test the reflex and stamina of players of Grade 6 standard and above, who will also enjoy the impressive virtuoso impact Strides deliver in performance.
