Brahms's 11 Chorale Preludes, Mendelssohn's 6 Sonatas and Schumann's 6 Fugues on the Name BACH, all reprinted from the authoritative Breitkopf & Härtel complete-works editions.
Author: Johannes Brahms
Publisher: Courier Corporation
Masterly compositions in late Baroque style by 3 great Romantic composers. Brahms's 11 Chorale Preludes, Mendelssohn's 6 Sonatas and Schumann's 6 Fugues on the Name BACH, all reprinted from the authoritative Breitkopf & Härtel complete-works editions.
Leupold , Anton W. M An Organ Book 160 20 / ORG 603 E Chorale Preludes for Organ / 19 49 / KK 340 * Livingston ... E Seasonal Chorale Preludes for Manuals Only M Ausgewählte Choralbearbeitungen für Orgel M Eleven Chorale Preludes E ...
Author: Dennis Schmidt
Publisher: Church Publishing, Inc.
A listing of organ settings, descants, and alternative harmonizations for the tunes of The Hymnal 1982 along with their publishers, volume location in a multi-volume work, or selection location in a collection, and level of difficulty. This book does not contain the music itself. The listings in this volume are of those titles published since the compilation of Volume I.
Taken from the last group of Brahms' compositions before his death, Eleven Chorale Preludes, Opus 122, for organ. These retrospective works lend themselves wonderfully to the wind band medium.
Publisher: Alfred Music
Taken from the last group of Brahms' compositions before his death, Eleven Chorale Preludes, Opus 122, for organ. These retrospective works lend themselves wonderfully to the wind band medium. A terrific recording is also available through Ludwig Music.
Preface. Part I:. 1. The Organ in the Life of Brahms. 2. Bach, Counterpoint, and Chorales. 3. Brahms as Revisor. Part II:. 4. The Early Works. 5. The Eleven Chorale Preludes. 6. Interpretation. Appendix A: Editions.
Author: Barbara Owen
Publisher: Oxford University Press on Demand
The organ works of Johannes Brahms are a beautifully-crafted and much-cherished component of the repertoire of church and concert organists across the world. A central and long renowned figure in the organ field, Barbara Owen is proposing the first in-depth study of this corpus, consideringBrahms's organ works in relation to his background, methods, and overall artistic development. Precisely because the collection of organ works is not extensive, the pieces--composed periodically throughout Brahms's lifetime--map his path as a composer, pinpointing various stages in his artisticdevelopment. Brahms's early preludes and fugues for the organ, for example, foreshadow his fascination with, and developing skills in, counterpoint, which surface notably in later motets, chamber works, and larger compositions such as the piano variations, Deutsches Requiem, and Fourth Symphony.The chorale preludes not only display a mastery of counterpoint, but a wealth of signature "Brahmsian" characteristics in miniature--carefully sculpted melodic lines, chained thirds, inversions, polyrhythms, hidden symbolism, and occasional hints of atonality. The Organ Music of Johannes Brahms offers a detailed examination of Brahms's contacts with organs and organists, and analyses of each specific work and its place in Brahms's career. The body of the manuscript is devoted to the history and analysis of Brahms's individual organ works and theirinterpretation, focusing on the importance of his predecessors and contemporaries in the composition and performance of these pieces. Blending unique insights into composition and performance practice, this book targets the large, intellectually-minded community of organists (20,000 members in theAmerican Guild of Organists), and will be appreciated by performers, students, and scholars of the organ, Brahms, and Nineteenth Century music.
Brahms owned this edition of Corelli's chamber music, which was pre— pared by his friend Joseph Joachim, but made nary a mark in it.95 BRAHMS AS SCHOLAR—COMPOSERZ THE ELEVEN CHORALE PRELUDES, OP. 122 Brahms's response to Bach's organ ...
Author: Russell Stinson
Publisher: Oxford University Press on Demand
In this penetrating study, Russell Stinson explores how four of the greatest composers of the nineteenth century--Felix Mendelssohn, Robert Schumann, Franz Liszt, and Johannes Brahms--responded to the model of Bach's organ music. The author shows that this quadrumvirate not only borrowed from Bach's organ works in creating their own masterpieces, whether for keyboard, voice, orchestra, or chamber ensemble, but that they also reacted significantly to the music as performers, editors, theorists, and teachers. Furthermore, the book reveals how these four titans influenced one another as "receptors" of this repertory and how their mutual acquaintances--especially Clara Schumann--contributed as well. As the first comprehensive discussion of this topic ever attempted, Stinson's book represents a major step forward in the literature on the so-called Bach revival. He considers biographical as well as musical evidence to arrive at a host of new and sometimes startling conclusions. Filled with fascinating anecdotes, the study also includes detailed observations on how these composers annotated their personal copies of Bach's organ works. Stinson's book is entirely up-to-date and offers much material previously unavailable in English. It is meticulously annotated and indexed, and it features numerous musical examples and facsimile plates as well as an exhaustive bibliography. Included in an appendix is Brahms's hitherto unpublished study score of the Fantasy in G Major, BWV 572. Engagingly written, this study should be read by anyone at all interested in the music of Bach or the music of the nineteenth century.
Brahms's prelude based on the Passion chorale , “ O Traurigkeit , o Herzeleid ” ( WoO 7 ) , was composed in the 1850s ... This work is less well known , but no less beautiful , than the group of Eleven Chorale Preludes for Organ ...
Author: Michael Marissen
Publisher: U of Nebraska Press
This volume examines a fascinating dimension of J. S. Bach’s music: the crucial influence it has exerted upon the musical works of many other composers. In a series of articles by distinguished musicologists, compositions by Mozart, Beethoven, Brahms, Hindemith, and others are considered in light of the ways in which they bear Bach’s unmistakable imprint. Ludwig Finscher opens with a survey of Bach’s influence through several centuries, examining his sway over composers from Mozart and Beethoven to Schumann, Wagner, and Reger. Thomas Christensen shows that various of Bach’s early disciples claimed authority from their master for opposing assessments of music and musical theory. Robert L. Marshall argues that Mozart’s intense involvement with Bach’s music probably occurred much earlier in his career than has generally been thought. William Kinderman demonstrates that Beethoven’s assimilation of Bach also occurred very early in his career and that all aspects of Beethoven’s mature style are heavily indebted to Bach. Walter Frisch reveals how Brahms’s absorption in Bach’s work involves a fruitful relation to cultural tradition. Steven Hinton traces Hindemith’s evolving—yet essentially consistent—understanding of Bach’s music. A work that subtly yet decisively traces Bach’s presence in the ongoing history of composition, this volume is an important contribution to our understanding of Bach and of his many eminent successors.
Author: Professor Emerita of Musicology at the Eastman School of Music University of Rochester and Senior Researcher Kerala J SnyderPublish On: 1994
In the final analysis it is indeed doubtful that the organ ever played more than a subsidiary role in Brahms ' s ... Because the Eleven Chorale Preludes that make up Opus 122 were the very last works written before the composer ' s ...
Author: Professor Emerita of Musicology at the Eastman School of Music University of Rochester and Senior Researcher Kerala J Snyder
Publisher: Pendragon Press
Russell Saunders, professor of organ at the Eastman School of Music, died suddenly and unexpectedly on December 6, 1992. He was generally acknowledged to be the foremost teacher of organ in the United States, if not the world, and a most important link between the worlds of scholar and performer. This volume, planned by his colleagues as a Festschrift in honor of his seventieth birthday, is now a memorial.
... 273 , 307 Op . 102 Double Concerto , 108 , 178 , 191 , 235-7 , 271 , 308 Op . 103 Eleven Zigeunerlieder for voice ... 310 Op . 122 Eleven Chorale Preludes for Organ , 241 , 245–6 , 273 , 310 Works without opus number Arrangements of ...
Author: Michael Musgrave
Publisher: Oxford University Press
Michael Musgrave presents a contemporary view of Brahms 150 years after his birth, seeing him not simply as the conservative figure so often stressed in the past, but as one who creatively reinterpreted a wider range of historical elements than any composer of his time. Brahms absorbed his studies directly into his music making and composition and in so doing helped to evolve not merely a personal language which was regarded as progressive and sometimes difficult by a range of contemporaries and successors, but also helped to establish an ethos of historical reference which anticipates the twentieth century. The Music of Brahms concentrates on the music, with Brahms's life discussed briefly in the introduction. The works are considered in four phases according to genre, with an emphasis on connection and on the development and elaboration of a unified language. The list of works includes recent discoveries and a calendar outlines the pattern of his musical life, including relevant information concerning performances.
Author: Corliss Richard ArnoldPublish On: 1995-01-01
... p120 Ein' feste Burg, inOrg Mus Serv Thanks, p6 Eleven Chorale Preludes, in Masterpieces Org Mus, Folio 41 Fuga (Eflat), in Orgelmusik Gottesd, v 1 p 81 In Gottes Namen fähren (Diessind dieheilige Zehn Gebot), in Choralvorspiele, ...
Author: Corliss Richard Arnold
Publisher: Scarecrow Press
This third edition is a basic textbook on the development of pipe organ composition in geographically diverse schools. Its nineteen chapters include charts of organ composers and a historical background of contemporary events and figures for each organ composition school. Chapter bibliographies cover readings published in the seventies, eighties, and early nineties. A listing of Bach organ compositions with pagination of various editions is also included.