The Last-Second Organist

SKU: HL.48180889

UPC: 888680857776. 8.0x11.5x0.228 inches.

Counterpoin t Lesson by Marcel Dupre is a theory book written in French in 58 pages, focusing on the basics of counterpoint. This book includes some exercises and is written in three main parts. The first part consists of the different variations of counterpoint, in two, three and four voices, the second is about imitations and the last one is about invertible counterpoint. It is a great book for musicians who are involved in composition works. Marcel Dupre is a French organist who edited some works by J. S. Bach, including the The Little Organ Book. He has also composed numerous pieces such as Lamento, Scherzo and Titelooze Tombstone among others.

SKU: HL.48180923

UPC: 888680907976. 9.0x12.0x0.092 inches.

Composed by Jehan Alain, Three Pieces is a set of upper intermediate / advanced works for organ, with pedal-use. The first piece, ?Variations sur un theme de Clement Jannequin (Variations on a Clement Jannequin's Tune), should be played?in the same way as Couperin's Preludes: freshly and softly. It contains four distinctive parts: Affetuoso, Maggiore, Fuggato and Grave. The second piece is called ?Le jardin suspendu (The hanging garden) and features three different parts that can't be played separately. The last piece, Litanies, is quite religious and consists of the repetition of lamentations. Its introduction in vivo is played only by the right hand, then followed by a?Lirico ma sempre vivo part. These are followed by switches between the main tempo and some vivacissimo parts, sounding declamatory. This third piece ends really harmoniously. Jehan Alain is a French organist who became famous with his Suite for Organ. Student of Marcel Dupre and Roger Ducasse among others, he kept composing all his life. One of his most famous international pieces is Litanies.

SKU: BA.BA10303-01

ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann.

The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.

I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.

You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...

No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.

On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:

Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.

As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.

It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.

When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.

In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
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SKU: FG.55009-510-6

ISBN 979-0-55009-510-6.

Taneli Kuusisto (1905-88) was a versatile influence in Finnish musical life: composer, pianist, organist, church musician, writer on music, and Rector of the Sibelius Academy. Of the more than 120 solo songs penned by him, Suomalainen rukous (A Finnish Prayer), a setting of a poem by Uuno Kailas composed in 1939 on the eve of the Winter War, has acquired a status all of its own. The solo songs of Taneli Kuusisto are published in two volumes edited by Ismo Lahdetie. The second Kuusisto album for voice and piano includes 28 folk song arrangements with Finnish textsand some of them have a German translation. Contents: Apilan kukka * Ei tule suvi * Eiha se paiva aina paista * Eihan ne kaikki puolanmarjat * Eloni kertoa tahdon * Elamanlanka se kukkia kasvaa * Ennen ne Kerimaen kirkonkellot * Etelasta lenti se pikkunen lintu * Harvoin ne tytot lauluja laulaa * Heilani kammarin ikkunan alla / Unter der Liebsten Kammerfenster * Heilani souteli venehella * Kaikista Suomen parhaista pojista * Kataja on matala * Kehtolaulu / Wiegenlied * Kevattuuli lounaisesta puhalteli hiljaa * Kivaari ol' kirkas * Kulkuripoika / Wanderbursch * Kullervon, Kallervon poigu * Kultani on Saimaan rannalla * Kun ystavain minun heitti * Linnan silta on sininen * Lahdetaanpas niitylle * Mene pois, sina ylpia poika * Mika siina lie? * Millapa lienen, kullapa lienen * Mita sina tulit narraamaan * Muistatkos, poika, senkin illan * Mull' on kulta entinen * Maen laitaan / Am Abhang * Naapurin poika se pellollansa * Neiot laulaa ringin keskella * Niin hellasti, niin vienosti * Nyt aion vahan laulella / Jaakon ja Marian laulu * Nyt on poika yksin jaanyt * Ois mulla sullen, tytto nuori * Onko, poika, paperisi kastunna * Pienet linnut ne lehtipuuss' * Piirilaulu / Reigenlied * Pikku lintu eramaassa * Pikkune lintu se illan tulle * Pyhajarvi se lainehtii * Rakkauden takia * Ruskei neitsyt, valgei neitsyt * Soi, soi, minun lehmani / Paimentyton valitus * Taivaalla, taivaalla, taivaan rannalla * Tie meni sinne ja tie meni tanne * Tuu, tuu, tuomenkukka * Tama rinki on varustettu * Vanha loikko * Vierivan virran reunalle * Voi kuinka pitkalta jaatyna on * Yksin istun, yksin laulan * Yksin taytyy mun taalla olla * aiti tuutii poikiansa * aanen kuulin, tulevan luulin.

SKU: HL.48185342

UPC: 888680837099. 10.5x13.5x0.51 inches.

Illuminatio ns on the Afterlife - Part 2, VII to XI is the second part of this religious orchestral piece by Olivier Messiaen composed between 1987 and 1991. This conductor edition features the movements VII to XI of the orchestra. VII. Et Dieu essuiera toute larme de leurs yeux? (And God will dry the tears from their eyes) VIII. Les etoiles et la Gloire (Stars and Glory) IX. Plusieurs oiseaux des arbres de vie (Birds from trees of life) X. Le chemin de l?Invisible (Path to the Invisible) XI. Le Christ, lumiere du Paradis (Christ, light of the Paradise) The full orchestra lasts approximately one hour and was commissioned by the New York Symphonic Orchestra. It incorporates some birdsong from Oceania and some modes of limited transposition. 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 and the 'Treatise on rhythm, colour and ornithology' in 7 volumes..

SKU: FG.042-09103-6

ISBN 979-0-042-09103-6.

Eero Sipila was an organist by training. His liking for Gregorian chant left its mark on his compositions in the form of stylistic borrowings or at least reflections. In one of his letters Sipila mentioned as his main work the quartet that was to be the last thing he wrote. The name Lux aeterna is a reference to the section in the Gregorian mass, melodic motifs from which dominate the entire quartet. There is no trace of the modernistic tendencies of the works composed in the 1960s, but the pungent seconds harmonies characteristic of Sipila are all there.

SKU: HL.48183263

UPC: 888680872465. 9.0x12.0x0.071 inches.

“Three Movements is a piece for Flute and Organ by Jehan Alain. Initially composed for Flute and Piano, it was adapted by Marie-Claire Alain. Lasting 5 minutes 45 seconds, this work would be perfect for upper-intermediate players. The Flute has a key of 4 sharps and the Organ scores include some Pedals This piece is divided into three parts: 1. Andante, 2. Allegro con grazia and 3. Allegro Vivace. Jehan Alain is a French organist who became famous with his Suite for Organ. A Student of Marcel Dupré and Roger Ducasse among others, he kept composing all his life. One of his most famous international pieces is 'Litanies'.”.