Format : Sheet music
Symphony No 2 In F
SKU: HL.14035728
UPC: 884088816018. 8.5x11.0x0.417 inches.
Music from the acclaimed organist and composer Guy Weitz.
SKU: HL.14042519
ISBN 9788759826935.
Jordens Vej for SA Choir and Organ by Per Nørgård (1981). Text by Ole Sarvig.
Manuscript copy.
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”. These three tunes were derived from the same material as the second movement of the 3rd Symphony and could be harmonized together in several different tempo relationships at the same time - like fractals – which inspired me to write several choral and instrumental works in the following decade based onthese melodies: “Frost Psalm”, “Winter Cantata”, “Cantica” a.o. One of these ‘Sarvig melodies’ is now in the Danish Hymnbook, nr. 720, under the title 'Året'(The Year). Jordens vej for choir and organ was the basis of the work Korsalme (1982) for mixed choir and instruments (ad lib.). Per Nørgård
SKU: HL.14023610
UPC: 884088812379. 14.5x10.0x0.053 inches.
Arranged for organ. Duration 10 minutes. Commissioned by Symphony Hall Birmingham 2001.
SKU: HL.14042524
ISBN 9788759826928.
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
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?
MUSICOLOGICALLY 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 - Superior paper and binding
SKU: SU.80101404
Organ Symphony No. 2 (2017) was written for and is dedicated to German organist Philip Hartmann. In all of my works that employ larger-scale forms (not just organ compositions), I am continually looking for different ways of providing the form and structure. My first organ symphony (2013) comprised three larger movements that charted a progression from dark to light. By contrast, this second organ symphony comprises 12 shorter movements that together build a larger structure out of varied emotional states. Although the movements are different in character, there are connections of harmony and motive across them. One goal behind this work is that it be suitable for effective performance on almost any organ, small or large. Most organ symphonies require a large instrument. By contrast, this piece can be played effectively on even a small organ with a limited number of stops (even a one manual organ with an octave pedal board). It can also be very effective on a large symphonic organ with many different colors and a huge tutti. Registration is left to the performer's discretion, and the organist is strongly encouraged to use the full extent of whatever resources are available. Instrumentation: Organ Duration: 34' Composed: 2017 Published by: Zimbel Press.
SKU: BA.BA07896-85
ISBN 9790006563395. 32.5 x 25.5 cm inches. Key: C minor.
In this work I gave everything I had to give. [...] What I did here I will never do again.Camille Saint-Saens was justifiably proud of his Symphony No. 3 in C minor op. 78, dedicated to the memory of Franz Liszt. Like Beethoven's Ninth, this so-called Organ Symphony was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886.In this first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected.The edition of Symphony No. 3 marks the launch of a large-scale project: the publication of Camille Saint-Saens - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series.* First scholarly-critical edition of this famous symphony based on Camille Saint-Saens aEUR Complete Edition of the Instrumental Works* Now with separate parts for all winds* Orchestral parts in a large format (25.5 cm x 32.5 cm).
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from Bärenreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
SKU: BA.BA07896-74
ISBN 9790006563357. 32.5 x 25.5 cm inches. Key: C minor.
SKU: BA.BA07896-65
ISBN 9790006563418. 32.5 x 25.5 cm inches. Key: C minor.
SKU: BA.BA07896-79
ISBN 9790006563371. 32.5 x 25.5 cm inches. Key: C minor.
SKU: BA.BA07896-82
ISBN 9790006563388. 32.5 x 25.5 cm inches. Key: C minor.
SKU: BA.BA07896-75
ISBN 9790006563364. 32.5 x 25.5 cm inches. Key: C minor.
SKU: SU.80101405
Organ Symphony No. 3, Portals (2017) was written for organist Philip Hartmann in celebration of the 90th anniversary of the Martin-Luther-Kirche in Ulm, Germany. Over the five entrances of the church appear five Biblical inscriptions. These scripture passages serve as the inspiration for the five contrasting movements of this work: 1) One Teacher (Matthew 23:8b); 2) With Thanksgiving (Psalm 100:4a); 3) Humble Yourselves (James 4:10); 4) Speak, and Do Not Be Silent (Acts 18:9c); 5) Sing Joyfully (Psalm 81:1) Instrumentation: Organ Duration: 24' Composed: 2017 Published by: Zimbel Press.
