François BENOIST (1794-1878) Critics PBM 26.96 • Pieces for Organ. Volume I 4 (out of print) 55,00 €
New edition in 4 volumes in progress – avalaible in 2007.
The two volumes contain the complete organ works of François Benoist: The Bibliothèque de l'organiste in 12 parts, Recueil of 4 Pieces, various pieces from La Maîtrise, some verses. The Benoist's taste is for widely ranging pieces and a “heroique” style, or expressive, even delicate tenderness and attractive phrasing. Without attaining the genius of Franck, this music, right to the shortest verse, bear witness to an appreciable sense of propiety and attention to detail that could not be applied to all French organists of the period…
A volume 225 x 310 in italian format. 230-page. Edition François Sabatier and Nanon Bertrand.
Foreword Michel Chapuis. Presentation and editorial notes in French, English. Close
Contents:
› Bibliothèque de l'organiste: Suite No. 1: Offertory 1 in C major, Offertory 2 in F major, Grand Chœur 1 in E minor; Suite No. 2: Offertory 4 in C major; Suite No. 3: Offertory 5 in E flat major, Offertory 6 in F major; Suite No. 4: Elévation 2 in E flat major, Elévation 3 in B flat major, Elévation 4 in G major; Suite No. 5: Piece 1 in C major, Elévation 5 in C major, Elévation 6 in C major; Suite No. 6: Piece 5 in G major, Introduction 11 in G major; Suite No. 8: Elévation 5 “Voix humaine” in C major, Elévation 6 “Solo de hautbois” in D major, Piece 12 in B flat major; Suite No. 9: Moderato in C major, Sortie in A major, Offertory in A major; Suite No. 10: Duo in C minor, Offertory in C major, Trio in E flat major; Suite No. 11: Communion in F major, Verse in F major, Verse in G major; Suite No. 12: Prelude in D minor, 1st Verse in D, 2nd Verse in D, 3rd Verse in D.
› Recueil de Quatre Morceaux: Andante in A major, Fugue sur le chant de Pange lingua, Marche religieuse in F major, Communion in G major.
› Various Pieces: 1st Prelude in F major, 2nd Prelude in G major, Kyrie “Orbis factor” (Chant à la basse, chant au soprano), Ave maris stella.
PBM 29.99 • Pieces for Organ. Volume II 4 (out of print) 55,00 €
Foreword Michel Chapuis. Presentation and editorial notes in French, English. Close
Contents:
› Bibliothèque de l'organiste: Suite No. 1: Offertory 1 in C major, Offertory 2 in F major, Grand Chœur 1 in E minor; Suite No. 2: Offertory 4 in C major; Suite No. 3: Offertory 5 in E flat major, Offertory 6 in F major; Suite No. 4: Elévation 2 in E flat major, Elévation 3 in B flat major, Elévation 4 in G major; Suite No. 5: Piece 1 in C major, Elévation 5 in C major, Elévation 6 in C major; Suite No. 6: Piece 5 in G major, Introduction 11 in G major; Suite No. 8: Elévation 5 “Voix humaine” in C major, Elévation 6 “Solo de hautbois” in D major, Piece 12 in B flat major; Suite No. 9: Moderato in C major, Sortie in A major, Offertory in A major; Suite No. 10: Duo in C minor, Offertory in C major, Trio in E flat major; Suite No. 11: Communion in F major, Verse in F major, Verse in G major; Suite No. 12: Prelude in D minor, 1st Verse in D, 2nd Verse in D, 3rd Verse in D.
› Recueil de Quatre Morceaux: Andante in A major, Fugue sur le chant de Pange lingua, Marche religieuse in F major, Communion in G major.
› Various Pieces: 1st Prelude in F major, 2nd Prelude in G major, Kyrie “Orbis factor” (Chant à la basse, chant au soprano), Ave maris stella.
A volume 225 x 310 in italian format. 220-page. Edition F. Sabatier and N. Bertrand.
Presentation and editorial notes in French, English. Close
Contents:
› Bibliothèque de l'organiste: Suite No. 2: Offertory 3 in B flat major, Grand Chœur 2 in C major; Suite No. 4: Elévation 1 in D major, Offertory 7 in C major; Suite No. 5: Piece 2 in C major, Piece 3 in G major, Piece 4 in G major, Grand Chœur in D major; Suite No. 6: Piece 6 in G minor, Piece 7 in F major, Piece 8 in C minor, Piece 9 in D major, Piece 10 in B flat major; Suite No. 7: Offertory 8 in C, Offertory 9 in D major; Suite No. 8: Rentrée de procession in E flat major, Rentrée de procession in G major, Sortie in F major; Suite No. 9: Rentrée de procession in C major, “Solo de hautbois” in C major, Communion in F major, Rentrée de procession in G major, Verse in G major; Suite No. 10: 1st Prelude in C minor, 2nd Prelude in C major, 1st Verse in C minor, 2nd Verse in C major, Prelude in 5 parts-Andante, Little Verse in D major, Prelude-Amen, Communion in E flat major; Suite No. 11: Priere in F major, Communion in F major, Verse in G major, Priere in G major, Offertory in G minor, Duo in G major; Suite No. 12: Communion in E flat major, Prelude in F major, Communion in F, Verse in G, Cantabile in B flat major, Prelude in C major, Communion in C major.
› Various Pieces: Offertory 3 in D major, 2 Prieres in E flat major, Marche religieuse in C major.
“Solo de Hautbois” in C major
page 126 Zoom
Presentation and editorial notes in French, English. Close
Contents:
› Bibliothèque de l'organiste: Suite No. 2: Offertory 3 in B flat major, Grand Chœur 2 in C major; Suite No. 4: Elévation 1 in D major, Offertory 7 in C major; Suite No. 5: Piece 2 in C major, Piece 3 in G major, Piece 4 in G major, Grand Chœur in D major; Suite No. 6: Piece 6 in G minor, Piece 7 in F major, Piece 8 in C minor, Piece 9 in D major, Piece 10 in B flat major; Suite No. 7: Offertory 8 in C, Offertory 9 in D major; Suite No. 8: Rentrée de procession in E flat major, Rentrée de procession in G major, Sortie in F major; Suite No. 9: Rentrée de procession in C major, “Solo de hautbois” in C major, Communion in F major, Rentrée de procession in G major, Verse in G major; Suite No. 10: 1st Prelude in C minor, 2nd Prelude in C major, 1st Verse in C minor, 2nd Verse in C major, Prelude in 5 parts-Andante, Little Verse in D major, Prelude-Amen, Communion in E flat major; Suite No. 11: Priere in F major, Communion in F major, Verse in G major, Priere in G major, Offertory in G minor, Duo in G major; Suite No. 12: Communion in E flat major, Prelude in F major, Communion in F, Verse in G, Cantabile in B flat major, Prelude in C major, Communion in C major.
› Various Pieces: Offertory 3 in D major, 2 Prieres in E flat major, Marche religieuse in C major.
“Solo de Hautbois” in C majorpage 126 Zoom
New edition in 4 volumes in progress – avalaible in 2007.
The two volumes contain the complete organ works of François Benoist: The Bibliothèque de l'organiste in 12 parts, Recueil of 4 Pieces, various pieces from La Maîtrise, some verses. The Benoist's taste is for widely ranging pieces and a “heroique” style, or expressive, even delicate tenderness and attractive phrasing. Without attaining the genius of Franck, this music, right to the shortest verse, bear witness to an appreciable sense of propiety and attention to detail that could not be applied to all French organists of the period…
Léon BOËLLMANN (1862-1897) Critics PBM 34.01 • Twenty six posthumous Verses for Organ or Reed organ 4 27,00 €
A volume 215 x 297 in Portrait format. 52-page. Edition Thierry Adhumeau.
Preface in French, English. Close
This Franck-like music is perfectly suited to the requirements of the harmonium, satisfying liturgical requirements in every key.
Verse 1 - page 13 Zoom
PBM 36.02 • Five Verses (on one theme) for the Magnificat on the fifth tone 4 15,00 €
Preface in French, English. Close
This Franck-like music is perfectly suited to the requirements of the harmonium, satisfying liturgical requirements in every key.
Verse 1 - page 13 Zoom
A volume 215 x 297 in Portrait format. 20-page. Edition Thierry Adhumeau.
Preface in French, English. Close
The Five Verses occupy a special place in the Boëllmann's prolific output. Written in the key of F major and registered for the great organ, they appear to be a unique example of 19th century Marianism.
Verse 1 - page 10 Zoom
Preface in French, English. Close
The Five Verses occupy a special place in the Boëllmann's prolific output. Written in the key of F major and registered for the great organ, they appear to be a unique example of 19th century Marianism.
Verse 1 - page 10 Zoom
Alexandre Pierre François BOËLY (1785-1858) Critics PBM 32.01 • Volume I. The Offertories 4 55,00 €
A volume 225 x 310 in Italian format. 118-page. Edition Nanon Bertrand, Henri de Rohan-Csermak and Georges Lartigau.
Foreword Brigitte François-Sappey. Presentation and Editorial notes in French, English. Close
Contents:
› 4 Offertories op. 9, Offertory from the Mass for Christmas Day op. 11, Offertory for Holy Thursday op. 40, Offertory for Easter Sunday op. 38, Easy Offertory op. 12, Short Offertory op. 41.
The present volume is the first text covering the complete Offertories of Boëly, and as such is an important collection in the history of a genre which has its moment of glory in the 17th and 18th centuries.
Offertory for Easter Sunday
page 99 Zoom
PBM 33.01 • Volume II. The Christmas Pieces 4 58,00 €
Foreword Brigitte François-Sappey. Presentation and Editorial notes in French, English. Close
Contents:
› 4 Offertories op. 9, Offertory from the Mass for Christmas Day op. 11, Offertory for Holy Thursday op. 40, Offertory for Easter Sunday op. 38, Easy Offertory op. 12, Short Offertory op. 41.
The present volume is the first text covering the complete Offertories of Boëly, and as such is an important collection in the history of a genre which has its moment of glory in the 17th and 18th centuries.
Offertory for Easter Sundaypage 99 Zoom
A volume 225 x 310 in Italian format. 148-page. Edition N. Bertrand, H. de Rohan-Csermak and G. Lartigau.
Foreword B. François-Sappey. Presentation and Editorial notes in French, English. Close
Contents:
› Mass for Christmas Day op. 11, including all the plainsong necessary for executing the mass in the context for what it was written.
› 14 Preludes on the Cantiques de Denizot: Seigneur Dieu ouvre la porte, D'où vient qu'en cette nuitée, Chantez mes vers ce jour, Esprits divins, Réveillez-vous pastoureaux, Quel étonnement, Ici je ne bâtis pas, Sus qu'on se réveille, Le vermeil du Soleil, Lyre ce n'est pas en ce chant, Voici la première entrée, Muses sœurs de la peinture, Sus bergers en campagne, Mon âme dormez-vous?
› 7 "Noëls": Une bergère jolie, Grâce soit rendue, [Untitled], Noël suisse, Vous qui désirez sans fin, Ô jour ton divin flambeau, Le roi des cieux vient de naître.
› 3 chorales: Bin ich gleich von dir gewichen, Ermuntre dich mein schwacher Geist, Was mein Gott will das g'scheh' allzeit.
While the pieces which make up the volume may seem rather varied, their common style provides us with such a strong sense of unity that is easy to believe that they were written with a view to one day forming the present collection presented here.
Rentrée de procession - page 53 Zoom
Cantique de Denizot VI - page 104 Zoom
Choral "Ermuntre dich mein schwacher Geist"
page 141 Zoom
PBM 35.02 • Volume III. Opus 18 4 55,00 €
Foreword B. François-Sappey. Presentation and Editorial notes in French, English. Close
Contents:
› Mass for Christmas Day op. 11, including all the plainsong necessary for executing the mass in the context for what it was written.
› 14 Preludes on the Cantiques de Denizot: Seigneur Dieu ouvre la porte, D'où vient qu'en cette nuitée, Chantez mes vers ce jour, Esprits divins, Réveillez-vous pastoureaux, Quel étonnement, Ici je ne bâtis pas, Sus qu'on se réveille, Le vermeil du Soleil, Lyre ce n'est pas en ce chant, Voici la première entrée, Muses sœurs de la peinture, Sus bergers en campagne, Mon âme dormez-vous?
› 7 "Noëls": Une bergère jolie, Grâce soit rendue, [Untitled], Noël suisse, Vous qui désirez sans fin, Ô jour ton divin flambeau, Le roi des cieux vient de naître.
› 3 chorales: Bin ich gleich von dir gewichen, Ermuntre dich mein schwacher Geist, Was mein Gott will das g'scheh' allzeit.
While the pieces which make up the volume may seem rather varied, their common style provides us with such a strong sense of unity that is easy to believe that they were written with a view to one day forming the present collection presented here.
Rentrée de procession - page 53 ZoomCantique de Denizot VI - page 104 ZoomChoral "Ermuntre dich mein schwacher Geist"page 141 Zoom
A volume 225 x 310 in Italian format. 120-page. Edition N. Bertrand and H. de Rohan-Csermak.
Foreword B. François-Sappey. Presentation and Editorial notes in French, English. Close
Contents:
› 12 Pieces for Organ or Pedal Piano : Andante con moto, Prelude d'orgue a 2 claviers separes et pedale obligee, Andante a 2 claviers, Canon perpetuel double a l'octave, Prelude d'orgue avec pedale obligee, Fantaisie and Fugue, Allegro non troppo in F minor, Fantasia in G, Scherzo a 5 voci, Allegretto in B minor, Canone all'ottava in E minor, Allegro moderato.
Published by Richault two years before Boëly's death, op. 18 is a collection of the longest and most accomplished works that the composer wrote for this instrument. The source material shows that the pieces are of diverse origins both regarding for which instrument (Organ or Pedal Piano) they are intended and as to their dates of composition.
Fantaisie and Fugue - page 68 Zoom
Allegro non troppo - page 78 Zoom
PBM 37.04-SMF19 04.01 • Volume IV. The Pieces for expressive or harmonium 4 55,00 €
Foreword B. François-Sappey. Presentation and Editorial notes in French, English. Close
Contents:
› 12 Pieces for Organ or Pedal Piano : Andante con moto, Prelude d'orgue a 2 claviers separes et pedale obligee, Andante a 2 claviers, Canon perpetuel double a l'octave, Prelude d'orgue avec pedale obligee, Fantaisie and Fugue, Allegro non troppo in F minor, Fantasia in G, Scherzo a 5 voci, Allegretto in B minor, Canone all'ottava in E minor, Allegro moderato.
Published by Richault two years before Boëly's death, op. 18 is a collection of the longest and most accomplished works that the composer wrote for this instrument. The source material shows that the pieces are of diverse origins both regarding for which instrument (Organ or Pedal Piano) they are intended and as to their dates of composition.
Fantaisie and Fugue - page 68 ZoomAllegro non troppo - page 78 Zoom
A volume 225 x 310 in italian format. 104-page. Edition N. Bertrand and H. de Rohan-Csermak.
Foreword B. François-Sappey. Presentation and Editorial notes in French, English. Close
Contents:
› 12 Morceaux op. 14, Prelude and 2 Fantasias op. 57.
Rousseau says that “music, in imitating the variety of accents and sounds, should imitate the intensity or the calm nature of words, speaking softly at times, loudly at others and sometimes in a subdued voice”. The style of the pieces op. 14 is rather more of a compromise between piano abd organ idiom. The “expressive” dimension is is taken taken to great lengths in the Fantaisies, containing many indications of dynamics, accents and even crescendo markings on held notes.
Foreword B. François-Sappey. Presentation and Editorial notes in French, English. Close
Contents:
› 12 Morceaux op. 14, Prelude and 2 Fantasias op. 57.
Rousseau says that “music, in imitating the variety of accents and sounds, should imitate the intensity or the calm nature of words, speaking softly at times, loudly at others and sometimes in a subdued voice”. The style of the pieces op. 14 is rather more of a compromise between piano abd organ idiom. The “expressive” dimension is is taken taken to great lengths in the Fantaisies, containing many indications of dynamics, accents and even crescendo markings on held notes.
PBM 46.08-SMF19 08.12 • Messe solennelle pour l'Orgue extraite de plusieurs auteurs anciens 4 (new) 27,00 €
In progress :
PBM 39.06-SMF19 06.08 • Volume V. Opus 10 and 12
A volume 225 x 210 in italian format. 52-page. Edition N. Bertrand.
Presentation E. Lebrun.
Works by Bach, Boëly, F. and L. Couperin, Händel, J. Kirnberger. Close
We find the Messe solennelle on the manuscript ms. 169, preserved at the Bibliothèque Municipale at Versailles. This constitutes triple evidence, at the same time invaluable and moving, because it shows the singular course of the musician; he proposes an elegant “Faux-bourdon” on the Plainsong Mass “Cunctipotens”, imparted to the tenor voice, giving us a modern example of the interpretation of early music in 1830. This mass is built on the principle of alternation, so dear to French composers of the 17th and 18th centuries and which was still in use during many subsequent decades. The odd verses are played on the organ while the even verses are sung by the Choir. (after E. Lebrun)
Christe - page 5 Zoom
Presentation E. Lebrun.
Works by Bach, Boëly, F. and L. Couperin, Händel, J. Kirnberger. Close
We find the Messe solennelle on the manuscript ms. 169, preserved at the Bibliothèque Municipale at Versailles. This constitutes triple evidence, at the same time invaluable and moving, because it shows the singular course of the musician; he proposes an elegant “Faux-bourdon” on the Plainsong Mass “Cunctipotens”, imparted to the tenor voice, giving us a modern example of the interpretation of early music in 1830. This mass is built on the principle of alternation, so dear to French composers of the 17th and 18th centuries and which was still in use during many subsequent decades. The odd verses are played on the organ while the even verses are sung by the Choir. (after E. Lebrun)
Christe - page 5 Zoom
In progress :
PBM 39.06-SMF19 06.08 • Volume V. Opus 10 and 12
Antoine CALVIÈRE (1685-1755)
PBM 25.95 • Piece for organ (attributed to) 4 10,00 €
PBM 25.95 • Piece for organ (attributed to) 4 10,00 €
A volume 215 x 297 in french format. 12-page. Edition François Sabatier.
Presentation in French, English, Japanese. Close
Written in three parts, this piece is 41 bars long and alternates gracefully between Récit de hautbois and Cromorne en taille… Most musicologists agree that the work seems far too advanced for its time to be definitely attributed to Calvière. According to this, it might be a pastiche.
Presentation in French, English, Japanese. Close
Written in three parts, this piece is 41 bars long and alternates gracefully between Récit de hautbois and Cromorne en taille… Most musicologists agree that the work seems far too advanced for its time to be definitely attributed to Calvière. According to this, it might be a pastiche.
Alexis CHAUVET (1837-1871) Critics PBM 18.94 • 20 Pieces for Organ 4 38,00 €
A volume 225 x 310 in Italian format. 122-page. Edition François Sabatier and Nanon Bertrand.
Presentation and Editorial notes in French, English. Close
Contents:
› Grand Chœur in C major, A 2 claviers in B flat major, Andantino in E major, A 2 claviers in F major, Largo in C major, Solo de clarinette, Grand Chœur in E flat major, Verse in D, Andantino in G major, Grand Chœur in G minor, Andantino in D minor, Grand Chœur in E flat major, Moderato “sur les fonds” in A major, Verse in A, Office des morts, Allegro moderato in B flat major, Verse in A, Andantino in B minor, Verse in C, Procession du Saint-Sacrement.
The pre-symphonic period which extends from Romanticism to the final years of the Second Empire still remains littleknown today when this almost seventy years’period is marked by a considerable expansion in organ buildings, and by the birth of a real school of virtuosos. The 20 Pieces, since they make up an essential milestone between Boëly’s still classical art and that of C. Franck; are the best music in adequacy with the French instrument in full transformation in the 1860s.
Piece no. 13 - page 72 Zoom
PBM 19.94 • XV Preparatory Studies to Bach's works 4 21,00 €
Presentation and Editorial notes in French, English. Close
Contents:
› Grand Chœur in C major, A 2 claviers in B flat major, Andantino in E major, A 2 claviers in F major, Largo in C major, Solo de clarinette, Grand Chœur in E flat major, Verse in D, Andantino in G major, Grand Chœur in G minor, Andantino in D minor, Grand Chœur in E flat major, Moderato “sur les fonds” in A major, Verse in A, Office des morts, Allegro moderato in B flat major, Verse in A, Andantino in B minor, Verse in C, Procession du Saint-Sacrement.
The pre-symphonic period which extends from Romanticism to the final years of the Second Empire still remains littleknown today when this almost seventy years’period is marked by a considerable expansion in organ buildings, and by the birth of a real school of virtuosos. The 20 Pieces, since they make up an essential milestone between Boëly’s still classical art and that of C. Franck; are the best music in adequacy with the French instrument in full transformation in the 1860s.
Piece no. 13 - page 72 Zoom
A volume 210 x 297 in french format. 30-page. Edition F. Sabatier.
Presentation in French, English. Close
The XV Studies mark a particular stage in the great return to early music which began in France in the early 19th century. Chauvet proposes a tool intended for intellects still unprepared for the polyphonic character of the 18th century music, which he wants to lead smoothly to its perfect mastery.
PBM 28.97 • 9 Graded Offertories for Advent and Christmas-tide — Various Pieces 4 38,00 €
Presentation in French, English. Close
The XV Studies mark a particular stage in the great return to early music which began in France in the early 19th century. Chauvet proposes a tool intended for intellects still unprepared for the polyphonic character of the 18th century music, which he wants to lead smoothly to its perfect mastery.
A volume 225 x 310 in Italian format. 130-page. Edition F. Sabatier and N. Bertrand.
Presentation and Editorial notes in French, English. Close
Contents:
› [Untitled], Li a proun de gént, Or dites-nous Marie, Noël cette journée, À la venue de Noël, Chantons de voix hautaine, Une bergère jolie, Vous qui désirez sans fin, Grâce soit rendue au Dieu de la sus.
› Various Pieces: Rentrée de procession, Offertory in G major, Offertory in D major, Elévation 1 in F major, Elévation 2 in D major, Offertory in A minor, Elévation ou Communion in A major; Prelude in G minor; Prelude in C, Elévation ou Communion in F major, Offertory in C major; 90 shorts Verses.
The 9 Offertories are related to a French tradition going back to the Livres d’Orgue in the 17th century. The pieces from the Musée de l’Organiste date from the same period and those from the 20 Pieces (1863). The most remarkable piece from this volume is the Prelude in G minor composed for the Cavaillé-Coll of the villa Maracci: this is one of Chauvet’s first works to be truly conceived in the Cavaillé-Coll aesthetic. As to the 90 Petits Versets, they were composed with a very functional aims and they offer the complete range of the writing possibilities of the time.
Various Pieces - page 78 Zoom
Various Pieces - page 79 Zoom
Presentation and Editorial notes in French, English. Close
Contents:
› [Untitled], Li a proun de gént, Or dites-nous Marie, Noël cette journée, À la venue de Noël, Chantons de voix hautaine, Une bergère jolie, Vous qui désirez sans fin, Grâce soit rendue au Dieu de la sus.
› Various Pieces: Rentrée de procession, Offertory in G major, Offertory in D major, Elévation 1 in F major, Elévation 2 in D major, Offertory in A minor, Elévation ou Communion in A major; Prelude in G minor; Prelude in C, Elévation ou Communion in F major, Offertory in C major; 90 shorts Verses.
The 9 Offertories are related to a French tradition going back to the Livres d’Orgue in the 17th century. The pieces from the Musée de l’Organiste date from the same period and those from the 20 Pieces (1863). The most remarkable piece from this volume is the Prelude in G minor composed for the Cavaillé-Coll of the villa Maracci: this is one of Chauvet’s first works to be truly conceived in the Cavaillé-Coll aesthetic. As to the 90 Petits Versets, they were composed with a very functional aims and they offer the complete range of the writing possibilities of the time.
Various Pieces - page 78 ZoomVarious Pieces - page 79 Zoom
Sigismond NEUKOMM (1778-1858)
PBM 30.99 • 25 Voluntaries for Organ 4 60,00 €
PBM 30.99 • 25 Voluntaries for Organ 4 60,00 €
A volume 225 x 310 in Italian format. 244-page. Edition François Sabatier and Nanon Bertrand.
Presentation and Editorial notes in French, English. Close
Contents:
› Maestoso in C major, Andantino in C major, Andantino in F major, Maestoso in A minor, Andante sostenuto in C major, Andantino in A major, Andante in F major, The Last Judgement, Pastoral, Maestoso in C major, Andante in G major, Maestoso in D major, Vivace in D minor, Andantino in G major, Adagio in D minor, A Concert on a Lake Interrupted by a thunder-storm, Andantino in G minor, Andantino in D major, Adagio in G minor, Maestoso in D major, Andantino in C major, Vivace assai in E minor, Andante in C major, Funeral March, Moderato assai in C major.
Apart from any stylistic consideration, the 25 Voluntaries, composed from 1832 to 1834, are made more interesting by the fact that they constitute an original departure in a genre which, while already well developped for the piano, had not been yet caught on for the organ.
The pieces contained in this edition are stored in the National Library in manuscript form and in the New York Public Library in printed form.
The music will sound well on all Cavaillé-Coll’s instruments (a craftsman staunchly supported by Neukomm), and other symphonic instruments and on any neo-classical organ.
Study no. 15 - page 165 Zoom
Presentation and Editorial notes in French, English. Close
Contents:
› Maestoso in C major, Andantino in C major, Andantino in F major, Maestoso in A minor, Andante sostenuto in C major, Andantino in A major, Andante in F major, The Last Judgement, Pastoral, Maestoso in C major, Andante in G major, Maestoso in D major, Vivace in D minor, Andantino in G major, Adagio in D minor, A Concert on a Lake Interrupted by a thunder-storm, Andantino in G minor, Andantino in D major, Adagio in G minor, Maestoso in D major, Andantino in C major, Vivace assai in E minor, Andante in C major, Funeral March, Moderato assai in C major.
Apart from any stylistic consideration, the 25 Voluntaries, composed from 1832 to 1834, are made more interesting by the fact that they constitute an original departure in a genre which, while already well developped for the piano, had not been yet caught on for the organ.
The pieces contained in this edition are stored in the National Library in manuscript form and in the New York Public Library in printed form.
The music will sound well on all Cavaillé-Coll’s instruments (a craftsman staunchly supported by Neukomm), and other symphonic instruments and on any neo-classical organ.
Study no. 15 - page 165 Zoom
Louis NIEDERMEYER (1802-1861) Critics PBM 27.97 • Pieces for Organ 4 35,00 €
Un volume 225 x 310 in Italian format. 116-page. Edition François Sabatier and Nanon Bertrand.
Presentation and Editorial notes in French and English. Close
Contents:
› Offertory in A flat major, 2 Anthems, Sortie in C major, Offertory in F major, Trio, Priere in E minor, Fuga in A minor, Prelude in D major, Priere in A, Marche religieuse in D major, Communion in G minor, Fuga in D minor, Communion in A major, Pastoral, 4 Verses, Priere in C minor, Communion in D major, 2 Anthems, 2 Verses, Communion in A, Prelude in A minor, Canzone, Marche religieuse in E major.
The thirty pieces comprising Niedermeyer’s organ music were entirely published in the journal La Maîtrise. Virtually all the genres of the organ music of the time are represented here ranging from a liturgy without plainsong, the para-liturgical and pieces of purely musical works which are nevertheless suitable for liturgical use.
While Niedermeyer often gives in to the conventions of the time, he occupies nevertheless a significant place in the period before Franck. He composed organ music of average difficulty which are perfectly suited to the instrument.
Communion - page 80 Zoom
Presentation and Editorial notes in French and English. Close
Contents:
› Offertory in A flat major, 2 Anthems, Sortie in C major, Offertory in F major, Trio, Priere in E minor, Fuga in A minor, Prelude in D major, Priere in A, Marche religieuse in D major, Communion in G minor, Fuga in D minor, Communion in A major, Pastoral, 4 Verses, Priere in C minor, Communion in D major, 2 Anthems, 2 Verses, Communion in A, Prelude in A minor, Canzone, Marche religieuse in E major.
The thirty pieces comprising Niedermeyer’s organ music were entirely published in the journal La Maîtrise. Virtually all the genres of the organ music of the time are represented here ranging from a liturgy without plainsong, the para-liturgical and pieces of purely musical works which are nevertheless suitable for liturgical use.
While Niedermeyer often gives in to the conventions of the time, he occupies nevertheless a significant place in the period before Franck. He composed organ music of average difficulty which are perfectly suited to the instrument.
Communion - page 80 Zoom
René VIERNE (1878-1918) Critics PBM 38.06-SMF19 06.07 • Vol. 1. The Pieces for Great Organ 4 30,00 €
A volume 225 x in italian format. 48-page.
Preface Brigitte De Leersnyder. Presentation and Editorial notes in French, English. Close
Contents:
› Méditation, Prélude grave, Canzona, Intermezzo and the Sept Pièces pour les Vêpres du commun des Saints (the full text of the antiphons has been reproduced, providing the performer with an opportunity of observing R. Vierne’s setting of them).
This volume includes the full catalogue of the works by R. Vierne, the youngest brother of the organist of Notre-Dame, Louis Vierne.
A kind of miniature compendium, fit for recital and church alike…
Vêpres - page 39 Zoom
Preface Brigitte De Leersnyder. Presentation and Editorial notes in French, English. Close
Contents:
› Méditation, Prélude grave, Canzona, Intermezzo and the Sept Pièces pour les Vêpres du commun des Saints (the full text of the antiphons has been reproduced, providing the performer with an opportunity of observing R. Vierne’s setting of them).
This volume includes the full catalogue of the works by R. Vierne, the youngest brother of the organist of Notre-Dame, Louis Vierne.
A kind of miniature compendium, fit for recital and church alike…
Vêpres - page 39 Zoom