O Maria Maris Stella

Die Marianische. Par SCHNEIDER ENJOTT. Comme la contrepartie de l'orgue Symphonie #1 Pater Noster (ED 9937), l'orgue Symphonie #2 offre plus douces et plus mystérieuses (mariales) sonores mondes, esquisse des étapes de la vie de Mary : une adoration Salve Regina se développe à partir de la source mystique, suivie pour Berceuse Marie comme une berceuse les événements de Noël. Le troisième mouvement Mater Dolorosa retombe sur la séquence de grégorien célèbre Stabat Mater, prenant la douleur de Mary à la Croix comme thème central. La finale traite l'Ave Maris Stella dans un crescendo de pp à ff de manière positive et solennelle, à la mémoire de l'hypothèse de Mary. Il est conseillé d'utiliser un orgue avec au moins trois manuels./ Répertoire / Orgue

Pawe ukaszewski's Ave Maris Stella for double SATB choir unaccompanied. Born in 1968 in Poland Pawe  ukaszewski is one of the younger generation of Polish composers specialisingin sacred and choral music. He studied composition with Marian Borkowski and cello with Andrzej Wrobel at the Fryderyk Chopin Academy of Music in Warsaw and in 2000 and 2007 he received a Ph.D and Ph.D Hab. respectively incomposition. 

Nova Genitura was composed by Per Nørgård in 1975. Scored for Soprano and Violin Recorder Gamba Lute and Harpsichord. Programme note: A universe of Marian gentleness heavenly beauty and redeeming joy typifies the vocal works of Per Nørgårds in the 1970s for example Nova Genitura for soprano and baroque ensemble. The composer writes: 'The concept of Mary has a depth that transcends all religious persuasions. All over the earth symbols of the gentle and maternal are known. But the word 'Maria' is also associated - in sound - with the Latin word for the sea mare and she thus becomes the Star of the Sea Maris stella. Their simplicity makes it possible to grasp the music's often complex interweaving of concurrent melodies and tempo layers.' 'Nova Genitura was composed directly in the context of the ending of the Third Symphony in 1975; it also incorporates melodic and harmonic themes from the symphony (the 'Maria' motifs of the second part). However the work is combined with a newly-created song (the Flosutrosa melody) whose Golden Section rhythms gave the melody a 'stamina' that carried it over into many later compositions.' The two Maria themes and the Flosutrosa melody are based on direct 'extracts' from the Nørgårdian infinity series. The arching Flosutrosa melody is developed further in seven later Nørgård work from the orchestral work Twilight (1976) through the choral song Flosutrosa floruit (1991) the choral work Ut Rosa (2001) and the piano piece A Rose Petal (2002) to the harp works Consolazione (2002) Harp Concerto no. 2 - Through Thorns (2000) and Flowering (2007). One of the 'Marian melodies' has now been included in the standard Danish hymnal Den Danske Salmebog (no. 720 - Somåretgår/The year goes by) and both have formed startingpoints for about 20 later - especially vocal - works to or based on texts by the Danish poet Ole Sarvig (1921-1981).

This series of national organ music collections showcases music from England France Germany and Italy. Each book contains 50 representative pieces especially suitable for Service use. The collections are compiled by ColinMawby.Adagio in A minor - CorelliAdagio in B minor - CorelliAdagio in G minor - CorelliAllegro Vivace - CapocciAve Maria - BossiAve Maris Stella First Verse - FrescobaldiAve Maris Stella FourthVerse - FrescobaldiAve Maris Stella Second Verse - FrescobaldiAve Maris Stella Third Verse - FrescobaldiCanzon Terza - GabrieliChant du Soir - BossiChriste - FrescobaldiCorrente Prima -FrescobaldiCorrente Seconda - FrescobaldiElevation - SabadiniFantasia on the Fourth Mode - GabrieliFinale - EspositoFinale - LeybachFirst Verset - PetraliGagliarda - ValenteGagliarda Terza -FrescobaldiGrave - CorelliIntermezzo for the Elevation - LeybachLargo - CorelliLargo - ZipoliMagnificat: Primi Toni - FrescobaldiMagnificat: Secundi Toni - FrescobaldiMagnificat: Sesti Toni -FrescobaldiMelodia - BottazzoMusette - RavanelloMusic for the Elevation - PetraliPostlude - LeybachPrayer - RavanelloPrelude - CorelliPrelude in D - LeybachPrelude in E minor -FrescobaldiPrelude in F - LeybachPrelude in G minor - FrescobaldiPreludio - BossiPresto - MarcelloRedemption - BossiResignation - BossiRicercare - GabrieliRicercare - PalestrinaSecond Verset -PetraliSunday Vespers Hymn First Verse - FrescobaldiSunday Vespers Hymn Third Verse - FrescobaldiThird Verset - PetraliToccata - FrescobaldiToccata for Sunday Communion - FrescobaldiToccata -ParadiesVoluntary in D - Scarlatti

Suitable for the seasons of Advent and Christmas or for any Marian feast this anthem takes as its starting point a reflective and compelling tune from Piae Cantiones a sacred collection from 1582. Daley successfully creates a fresh new sound however by using contemporary harmonies. An English singing translation is included.

Harp Solo-Consolation - Like A Roselike Flower (Consolazione - Flos Ut Rosa) for Harp solo by Per Nørgård (2002). Written for and dedicated to Tine Rehling. Programme note by the composer: The concept of Mary has a depth that transcends all religious persuasions. All over the earth symbols of the gentle and maternal are known. But the word ´Maria´ is also associated - in sound - with the Latin word for the sea mare and she thus become the Star of the Sea Maris Stella.  In my 3rd Symphony the Maria motif is used in a hymn section in the second and last part of the work. Thechoral song “Flos ut rosa floruit” was composed directly in the context of the symphony and the melody had a ´stamina´ that carried it over into many later vocal and choral compositions for instance the “Concerto for Harp No. 2 – through thorns” (2003) and the present Consolazione for harp solo both works dedicated to Tine Rehling. 

Hungary has a thousand-year-old tradition of reverence for the Virgin Mary. In the course of the centuries the Church has found more and more occasions for the celebration of Mary. The greatest is the celebration of Mary?s assumption into heaven which coincides with the anniversary of the death of Saint Stephen on August 15. The texts of these choral works originate from various supplicatory prayers from the office vocal texts and hymns. The six choral works don?t form a cycle since the texts are associated with different liturgies. The choruses: Regina caeli ? antiphon for Easter Sub tuum praesidium ? antiphon Maria Mater gratiae ? short hymn Ave Regina caelorum ?antiphon for Lent Ave maris stella ? Hymn to Mary Virgo parens Christi benedicta ? responsorium can be sung singly or in any combination.

La cour d'organiste Antonio de Cabezón, qui a été nommé à la chapelle de la cour de la Reine Isabelle de Toledo à l'âge de 16 ans, a été considéré à juste titre par ses contemporains comme l'organiste espagnole leader et claviériste du 16 ème siècle. Ses hymnes et des versets sont basées sur courte, harmonisations décorée des tonalités psaume. Dans le tientos, la transformation du style motet vocal à un style d'écriture approprié pour les instruments à clavier est parfaitement exécuté.Cette édition Urtext contient une sélection des meilleurs Cabezon de travaux connus et se composera de quatre volumes. Il a été préparé par deux rédacteurs en chef travaillant dans les universités portugaises et espagnoles qui sont tous deux grands spécialistes des oeuvres de Cabezón et reflète les derniers résultats de recherche.- Première édition critique universitaire, des oeuvres sélectionnées par l'organiste leader espagnol- Reflète les derniers résultats de la recherche- Chaque volume avec une préface (Ger / Eng) avec des conseils sur la technique de rédaction, le commentaire critique (Ger / Eng) et l'indice de sources / Orgue, Piano, Clavecin