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 from Organ Sonata No. 1 - MendelssohnAria - HandelAria semplice - Karg-ElertCantilena - RheinbergerFughetta - PachelbelFughetta in C - BuxtehudeFugue from Organ Sonata No. 6 -MendelssohnFugue in A minor - J. S. BachFugue in C - FrobergerFugue in C - PachelbelFugue in E minor - J. S. BachGagliarda - Karg-ElertMelodia monastica - Karg-ElertPastoral from Sonata No. 3 -RheinbergerPostludio - RinckPostludio festivo - Karg-ElertPraeludium in D minor - J. S. BachPreface - HessePrelude in E minor - J. S. BachPrelude in F - Adolf HessePrelude in F - Georg MuffatPreludein G - Gustav MerkelPreludio - RinckSketch for pedal piano (Op. 58) - SchumannSonatina - FinkTrio - RheinbergerVersetto - MuffatChorale preludesAch Gott und Herr - J. S.BachAllein Gott in der Höh sei Ehr - RegerAuf meinen lieben Gott - J. S. BachAus tiefer Not - RegerChriste du Lamm Gottes - J. S. BachChrist lag in Todesbanden - J. S. BachEine feste Burg - RegerEs istein Ros entsprungen - BrahmsGod s eternal grace unbounded - Karg-ElertGott durch deine Güte - J. S. BachHerr Jesu Christ - WaltherHerzlich thut mich verlangen - WaltherI ll ever love thee Strength and Stay -Karg-ElertMachs mit mir Gott - WaltherNach einer Prüfung - Karg-ElertNun danket alle Gott - RegerNun lasst uns Gott - PachelbelO wie selig - BrahmsSchmücke dich O liebe Seele - Brahms
SKU: BR.EB-8703
ISBN 9790004180686. 9 x 12 inches.
Please note: this edition has nothing to do with Arnold Schonberg! The Schonberg in question is a town near Kronberg in Germany's hilly Taunus region. Around the turn of the last century, the organist Ludwig Sauer (1861-1940) wanted to have a new organ built at his church there and came up with a novel way to finance it: he asked a number of composers to donate a musical piece. He eventually obtained 36 (!) pieces which he grouped together in the Organ Album for the Benefit of the New Organ in Schonberg by L. Sauer and had published in 1900 by Breitkopf & Hartel. Deserving particular mention is Max Reger's popular Introduction and Passacaglia in D minor, which was printed for the first time in that collection and which no doubt helped Sauer's project make organ history. The Schonberger Orgelalbum contains both free pieces and works based on chorales. Thanks to the brevity of the pieces, the book is ideal for use in teaching and in the religious service..
SKU: BR.DV-32027
ISBN 9790200425192. 9 x 12 inches.
Bicinia - unaccompanied duos - have been known to us from the fifteenth century onwards. So quite early on it was customary tu practise this type of musical exercise, which later, especially during the Romantic period, achieved great popularity as the duo or duett. Equal numbers of this sort of instrumental duo were composed for nearly all wind and string instruments. On the other hand, only a small amount of compositions for two trumpets have come down to us. In order to play any music which progresses beyond pure fanfare on a natural (valueless) trumpet, it is necessary to make use of the clarion register (the top third of the natural harmonic). And if such a melody is to be accompanied by a second part, only the few natural notes lying below it are left, or else this high register itself, which calls for great virtuosity on the part of the trumpeter. As well as this, we must remember the fact that trumpet-playing was only allowed for the trumpeters of a royal court, army, staff, or for the field-trumpeter of a prince, plus a few council, city, and church musicians, who were bound by strict guild and corporation rules. Thus in spite of the preference for its festive sound, the spread and handing down of trumpet music was almost reduced to nothing under these circumstances. As well as this, pride of place and profession rivalry and envy amongst musicians contributed in large part. In England the situation was somewhat freer. Here pretty little trumpet duos originated, including, amongst others, those written by Handel for his master-trumpeter Valentin Snow and the Royal Sergeant-trumpeters of the Shore family. An especially happy exception was the diocese of Olmiitz. Here there was a capable group of musicians of the chapel royal with the brilliantly talented group of trumpeters and the field-trumpeter Pavel Vajvanovsky, who also composed himself. These trumpeters in the service of his prince-bishop played many sacred and secular pieces, all for several instruments. It was for them also that Heinrich Ignaz Franz Biber wrote the 12 double trumpet sonatas we present here. On the other hand, the representatives of the authorities in Germany ensured strict observation of all edicts and regulations. Even the celebrated Bach-trumpeter and towm-piper Gottfried Reiche was never allowed to be portrayed with a proper trumpet due to the priveleges of court and field trumpeters. In order to represent him as one of the greatest masters of his time and art, however, the painter placed an instrument similar to a corno-di-caccia in his hand, together with a sheet with a small piece for virtuoso clarion. When we try in spite of these difficulties and adverse circumstances to gather a collection of musically valuable and characteristic examples of popular pieces for two trumpets from the seventeenth and eighteenth centuries, it is in the first, place in order to acquaint modern trumpeters with something of the wealth of music, which can also be well played on a modern trumpet with valves. The originally used trumpets correspond to modern ones in the keys of C and D, but this does not mean that many of the pieces cannot be transposed to a more comfortable register. On top of this, we have tried to give a picture of the baroque court and field trumpeter, as well as of the mysterious clarion trumpeter, with the help of musically popular material. The origin of most of the pieces used is no longer clearly discernable. In most cases we possess second- or third-hand copies which have been handed down, and show signs of frequent use. A few cases where modernization of the second part obviously did not take place until the invention of stops, have been re-shaped into their supposed original form. A series of further dynamic details were left, and marked as optional suggestions in brackets. Kurt Janetzkyz.T. mit Pauken und B.c.
SKU: BT.DHP-1043706-010
Remembrance Day (Totengedenken) is a chorale-like piece in memory of those who have died in service. Jacob de Haan composed this work for a concert by the symphonic wind orchestra Symphonic Winds, which he conducted in Germany on Volkstrauertag (national remembrance day). The composition is based on a text from Totengedenken (Commemoration of Those Who Have Died). This narrative text is provided in four languages, and is intended to be spoken (using a microphone) ad libitum during the performance. Choir parts are also available to complement the performance.Remembrance Day ist ein choralartiges Stück zum Angedenken an die Verstorbenen. Die Komposition basiert auf einem Text aus Totengedenken, herausgegeben vom Volksbund deutsche Kriegsgräberfürsorge. Ein beiliegender Text kann zur angegebenen Zeit während der Aufführung gesprochen werden. Das Ganze kann ad libitum durch einen gemischten Chor, der lange Töne ohne Text singt, vervollständigt werden. Remembrance Day ist ein recht langsames, erhabenes Werk zur würdevollen Umrahmung von Trauer- oder Gedenkfeiern, zum Volkstrauertag und ähnlichen feierlichen Anlässen. Textauszug A Remembrance DayWir denken heute an die Opfer von Gewalt und Krieg, Kinder, Frauen und Männeraller Völker. Wir gedenken der Soldaten, die in den Weltkriegen starben, der Menschen, die durch Kriegshandlungen oder danach in Gefangenschaft, als Vertriebene und als Flüchtlinge ihr Leben verloren. Wir gedenken derer, die verfolgt und getötet wurden, weil sie einem anderen Volk angehörten, einer anderen Rasse zugerechnet wurden oder deren Leben wegen einer Krankheit oder Behinderung als lebensunwert bezeichnet wurde. Wir gedenken derer, die ums Leben kamen weil sie Widerstand gegen die Gewaltherrschaft geleistet haben, und derer, die den Tod fanden weil sie an ihrer Überzeugung oder an ihrem Glauben festhielten. Wir trauern um die Opfer der Kriege und Bürgerkriege unserer Tage, um die Opfer von Terrorismus und politischer Verfolgung. Wir gedenken heute auch derer, die in diesem Jahr bei uns durch Hass und Gewalt gegen Fremde und Schwache Opfer geworden sind. Wir trauern mit den Müttern und mit allen, die Leid tragen um die Toten. Aber unser Leben steht im Zeichen der Hoffnung auf Versöhnung unter den Menschen und Völkern, und unsere Verantwortung gilt dem Frieden unter den Menschen zu Hause und in der Welt.