Psalm 150 - Organ

Les éditions Bärenreiter sont les détentrices des droits de la partition Selected Organ Works, Volume 1-10 de Pachelbel Johann qui fait partie du style Classique et contentera toutes les personnes pratiquant Orgue. / Orgue

Colin Mawby's setting for Unison Soprano or Treble voices with Organ accompaniment of Psalm 23 'The Lord Is My Shepherd'.

This School of Organ Playing presupposes a certain technical facility on the piano. The pedal exercises at the beginning are rudimentary and should be practiced in all keys, gradually accelerating the tempo. The studies are graded according to their polyphony, beginning with simple two part exercises, followed by those in three and more parts. This acquaintance with the strict principles of polyphonic music, and the introduction to effective part writing, with a knowledge of harmonic form and architectonic values, provide the essential background for the correct performance of polyphonic music, especialle the fugue. The most important musical forms have been used to illustrate the various possibilites of registration and its relationship to style (colourful, individualistic and smooth playing). The studies are so arranged that earlier technical points, etc. are constantly reviewed, through comparison of style and form, in order to fix, or refreshen, the ideas in the student's mind. It is very important that the evolution of organ music from vocal music should be made clear to the student the very beginning, both musically and intellectually. He will be shown the technical evolution of organ music during the centuries and thus prepared for an artistic execution and interpretation of old and new words, especially for the incomparable art of our great Johann Sebastian Bach.

The importance of Jan Pieterszoon Sweelinck (1562?1621) to the clavier music of the baroque era can hardly be overestimated. This scholarly performance edition by Siegbert Rampe is the first to present all of his keyboard works while distinguishing between?works of certain authenticity?, ?works of uncertain authenticity? and ?works of doubtful authenticity.?

The seven volumes of this edition, with commentary in German and English, stand at the cutting edge of musical scholarship. Volumes III.1 and III.2 contain, for the first time, all the chorale settings attributed to Sweelinck or handed down under his name.

Volume III.1 presents ten additional chorale and psalm settings and many facsimiles.

A detailed preface covers the sources, the music, the choice of instruments, and questions related to performance practice.


- Definitive complete Urtext edition in seven volumes
- Based on the latest findings of scholarship
- Detailed prefaces and critical report (German and English) as well as list of sources in each volume
- Notes on ornamentation


?All eight volumes inclu de commentaries in German and English and reflect the latest scholarly research. Highly recommended.?
(The American Organist August 2010)

?Anyone interested in scrutinizing the musical text, scouring for alternative versions, and thoroughly examining the sources should buy Rampe?s edition.?
(Musik und Kirche)

?? Bärenreiter?s offering will provi de you with an authoritative treasury of Sweelinck?s work.?
(Church Music Quarterly, 3-2007)

??a must for even serious organ student .?
(The Organ no. 336 ? May?June 2006) / Classique / Partition / Broché /

Par SCHUTZ / MARIER. Composed by Heinrich Schutz, Psalm 150, SWV 38 is taken from ; Psalmen Davids, Dresden 1619 and is a piece for Double Chorus, Double Brass Choir and Organ. This Baroque Dramatic Concertato is one of the first choral compositions by the author which was initially in German. This religious piece features both German and English lyrics and is also titled ; Praise ye the Lord. Heinrich Schutz (1585-1672) was a German composer and Organist, often regarded as the greatest composer before J. S. Bach./ Répertoire / Partie de Choeur

Vintersalme-Musik (1980) - Choral prelude for Organ. Orig. title: Vintersalme. Programme note: When in 1975 I had finished composing my 3rd Symphony (begun in 1973) I wrote three simple melodies for two psalm texts by Ole Sarvig “The Year” and “Choral Hymn”. One of these was later included in the Danish Hymnbook under the title “Året – Som året går” (The Year).  These three “Sarvig tunes” were derived from the same material as the second movement of the symphony and could be harmonized together in several different temporelationships at the same time - like fractals. This inspired me to write several choral and instrumental works in the following decade based on these melodies: for instance “Frost Psalm” “Winter Cantata” “Cycles” “Cantica” and this piece for organ all coloured by the Nordic and mythic poem by Sarvig the beginning of which goes:  The passing year will pass its deep  So shall our mind reach winter´s sleep.  And as the tree stands leafles bare   Is winter´s realms: our minds aware.  Per Nørgård 

Thea Musgrave's Psalm 147 - The Orgelbiichlein Project for solo Organ. Commissioned by Graeme Kay Premiered by Martin Baker in the Grand Organ Festival at Westminster Cathedral on 29 November 2017.

In the Variations on Old Psalm-Tunes for Organ Dyson fully explores the composer’s chosen sources: ‘Hard the glad sound’ from Ravencroft’s Psalter (1621) Orlando Gibbons’s Song 24 ‘O word Immortal’ and Song 5 ‘O Prince of Peace ’ and ‘I was glad’ from the Scottish Psalter (1615). These works are popular for service voluntaries.Twentieth century composer and educator George Dyson was a writer of ambitious and critically well-received works that due to their unfashionably accessible late Romantic style were allowed to languish and are now in the process of reassessment and renewed performance. However Dyson’s works for unison Voice and church music in particular histwo settings of the Magnificat and Nunc Dimittis have remained active in the Anglican repertoire.

Cheryl Frances-Hoad's Psalm No. 1 for SATB and Organ.Commissioned by Gonville & Caius College and the University of Cambridge to celebrate the 800th anniversary of the University. First performed by the Choir of Gonville & Caius College Cambridge directed by Geoffrey Webber with Annie Lydford (organ) in Caius College Chapel on Sunday 17th May 2009.