Organ - Level 4 - Digital Download SKU: A0.963864 Composed by A. A. Klengel (1783 - 1852). Arranged by Ann K. Holler. Concert,Romantic Period,Sacred. Score. 4 pages. Ann K. Holler #4756829. Published by Ann K. Holler (A0.963864). This fugue was originally written for piano as one in a set of Kanons und Fugen für das Pianoforte, Zweiter Band, pp. 24 - 25, published by Breitkopf & Härtel. The composer is A. A. Klengel, who lived from 1783 - 1852. I have transcribed this piano fugue for organ, giving the lowest of the four voices to the organ pedal, with the upper three voices played on one or more manuals.

Instrumental Solo,Organ - Level 4 - Digital Download SKU: A0.1472149 Composed by Guillaume de Machaut. Arranged by James M. Guthrie. Christian,Early Music,Historic,Medieval,Sacred. Individual part. 24 pages. Jmsgu3 #1049849. Published by jmsgu3 (A0.1472149). While the study score edition preserves the cross-voicing of the original four-voice score, the performance edition streamlines the cross-voicing to produce a far more accessible version for the organ. 1. Kyrie 2. Gloria 3. Credo 4. Sanctus 5. Agnus dei 6. Ite missa est Guillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon and a permanent clergy member. According to a rubric at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are pretty lengthy. Therefore, Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for its uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus, and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. Although the Gloria and Credo have no apparent chant basis, they are stylistically related. The mass is unified, meaning the composer selected relevant chants as the borrowed tenor for each section. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was a vital part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval and religious music.

Instrumental Solo,Organ - Level 4 - Digital Download SKU: A0.1471905 Composed by Guillaume de Machaut. Arranged by James M. Guthrie. Christian,Early Music,Historic,Medieval,Religious. Individual part. 23 pages. Jmsgu3 #1049538. Published by jmsgu3 (A0.1471905). 1. Kyrie 2. Gloria 3. Credo 4. Sanctus 5. Agnus dei 6. Ite missa est Guillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon and a permanent clergy member. According to a rubric at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are pretty lengthy. Therefore, Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for its uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus, and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. Although the Gloria and Credo have no apparent chant basis, they are stylistically related. The mass is unified, meaning the composer selected relevant chants as the borrowed tenor for each section. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was a vital part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval and religious music.

Organ - Digital Download SKU: A0.978420 Composed by Leonardo Antonio Di Chiara. Christian,Christmas,Contemporary,Easter. Score. 5 pages. LEONARDO ANTONIO DI CHIARA #6413731. Published by LEONARDO ANTONIO DI CHIARA (A0.978420). The melody cell of the first part of Elegy n.3 is mainly made up of a fifth and fourth descending leap supported by voices that proceed in descending chromatisms, amplifying the tension. The second part is formed by a chordal section with overlapping fifths and fourths that leads to a melody line with the same rhythmic sequence but supported by a vigorous chromatism. The third part uses the initial theme again only that it is treated in the opposite direction. I deliberately avoided indicating the choice of stops to use if the piece is played on the organ, thus leaving the performer free to choose. Despite this, it seemed appropriate to indicate the dynamics signs only as a point of reference, but obviously the performer is free to file the sound dynamics of the piece at will. Obviously, playing on the piano also requires the use of the resonance pedal that the performer will use at will.

Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1390106 Composed by Carson Cooman. 21st Century,Classical,Lent,Religious. Individual part. 7 pages. Carson Cooman #973618. Published by Carson Cooman (A0.1390106). Partita on “Herzliebster Jesu� (2023) is dedicated to Ralph Looij. It is a set of five variations on Johann Crüger’s classic Lenten/Passiontide hymn, appearing in English usually with the text “Ah, Holy Jesus, how hast thou offended.� In the typical manner, the variations present contrasting approaches to the chorale melody: the first, in three voices with a moving bass; the second, in three part retrograde canon; the third, in loose canon in two modes and speeds simultaneously; the fourth, under an ostinato rhythm; and the fifth, in chorale rhythm with a new harmonization.

Organ - Level 3 - Digital Download SKU: A0.898551 Composed by Matthew Alan Edwards. Arranged by Matthew Alan Edwards. Baroque,Christmas,Concert,Renaissance,Sacred. Score. 6 pages. Matthew Alan Edwards #4266213. Published by Matthew Alan Edwards (A0.898551). Now offering 25% off my SMP price at MatthewAlanEdwards.com/op-7 !Canzona alla terza Verbum supernum prodiens was composed late one night after I was inspired by the chant melody as found in the Hymnal 1982, hymn 63. Rather than compose on the computer as I usually do, I wrote by hand as I determined the best four-part canonic treatment for each of the phrases of the chant. Composing this was akin to assembling a puzzle, both in mindset (this note fits best here) and addictive quality (need to finish this now!). Originally conceived as a short organ piece, I quickly chose to add the English text from the Hymnal 1982 then text directly from the Liber Usualis, a Catholic book of Gregorian chants commonly used until the reforms of the Second Vatican Council (Vatican II). This piece is similar in style to an Italian Renaissance canzona or early German Baroque kanon. It should be performed with performance practice of those eras in mind, including lifts after dotted notes, metric accents, and minimal vibrato, especially at cadences. It may be performed in alternatum with one of the choral versions (SATB English, SATB Latin, SSA/TTB Latin, or SSA/TTB English) or with a soloist(s) on the chant or as an organ solo. I have provided the first line of chant below and all six verses in Latin with translations on the next page. The SSA Latin version was adapted from the original SATB version for the women of the Hillcrest High School choral program under the direction of Dr. Khristi Motley in Tuscaloosa, Alabama. It reduces the original four-voice setting to three voices without sacrificing any canonic entrances. Either the two-staff or single-staff version may be performed by solo organ. In the single-staff version, stem direction decisions were made primarily for readability, not to show voice leading. Refer to the four-part, two-staff version for voice leading questions.Also available as SSA/TTB in Latin or English. SATB Latin/English versions coming soon!

Organ - Level 4 - Digital Download SKU: A0.951046 Composed by Philipp Nicolai. Arranged by Scott Roberts. Christian,Christmas,Contemporary,Sacred. Score. 30 pages. Scott Roberts #4641963. Published by Scott Roberts (A0.951046). A four-movement work based on the tune, Wachet auf, for organ solo. Moderately difficult. Suitable for prelude, postlude, offertory, recital.I. A voice calls to us (4'). A forceful opening movement in overture style.II. Rejoice, O Zion (3'20). A light, playful, 6/8 movement with double pedal serving as melody and bass, accompanied by two lively voices in the manuals.III. Meditation (9'). A quiet movement in which the melody soars via a 2' flute above a string celeste accompaniment.IV. Glory to God (3'30). A fugue whose theme is based on the opening and closing phrases of the tune.A live recording of all four movements is available at https://soundcloud.com/user-580092868/sets/reflections-on-wachet-auf-scott-roberts

Instrumental Solo,Organ - Level 5 - Digital Download SKU: A0.1375430 By Michael Robert Harding. By Michael Robert Harding. 21st Century,Classical,Contemporary. Individual part. 7 pages. Michael Robert Harding #960002. Published by Michael Robert Harding (A0.1375430). 'Prelude' for Organ is an approximately nine minute long work that harkens back to the twentieth century French organ tradition. Using an eight-note mode based in F# major, the work is split into four sections: a very slow meditative passage in five voices, a moderately fast development that culminates in a powerful crescendo before a recapitualtion of the beginning sees the piece out. This work is of advanced difficulty, and would suit a programme of contemporary works.