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March 2005

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Below are items you may have seen this month in a certain monthly organ magazine.

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More Photos, Article, First Baptist Church, Hickory, North Carolina, Casavant


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Specifications, First Prebyterian Church, Washington, North Carolina, Goulding & Wood Inc.

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Ashbury United Methodist Church, Livermore, California, Wilhelm

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Kawaiaha'o Church, Honolulu, Hawaii, Meloni & Farrier


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Description, Specifications, More Photos, Gloria Dei Lutheran Church, Winnipeg, Manitoba, Casavant

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St. John's Roman Catholic Church, Fenton, Michigan, Wilhelm


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Description, Specifications, More Photos, Article, St. Katherine's Episcopal Church, Williamston, Michigan, Kegg


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Specifications, More Photos, Ter Coulsterkerk, Heiloo, The Netherlands, Pels & Van Leeuwen

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First Congregational Church, Chester, New Jersey, Meloni & Farrier

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St. David's School, New York, New York, Meloni & Farrier

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St. Joseph's Roman Catholic Church, New York, New York, Meloni & Farrier

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Article, St. John Lutheran Church, Williamsville, New York, Kegg

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The Bath Church (UCC), Bath, Ohio, Schantz


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Description, Specifications, More Photos, Article, St. John th Baptist Roman Catholic Church, Canton, Ohio, Kegg

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Zion Lutheran Church, Holidaysburg, Pennsylvania, Kegg

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Description, St. Paul's United Methodist Church, Houston, Texas, Schantz


cover An Annotated Bibliography of Church Music by Fang-Lan Hsieh


cover Bach's Well-Tempered Clavier: The 48 Preludes and Fugues by David Ledbetter
Bach's Well-Tempered Clavier (or the 48 Preludes and Fugues) stands at the core of baroque keyboard music and has been a model and inspiration for performers and composers ever since it was written. This invaluable guide to the 96 pieces explains Bach's various purposes in compiling the music, describes the rich traditions on which he drew, and provides commentaries for each prelude and fugue. In his text, David Ledbetter addresses the main focal points mentioned by Bach in his original 1722 title page. Drawing on Bach literature over the past three hundred years, he explores German traditions of composition types and Bach's novel expansion of them; explains Bach's instruments and innovations in keyboard technique in the general context of early eighteenth-century developments; reviews instructive and theoretical literature relating to keyboard temperaments from 1680 to 1750; and discusses Bach's pedagogical intent when composing the Well-Tempered Clavier. Ledbetter's commentaries on individual preludes and fugues equip readers with the concepts necessary to make their own assessments and include information about the sources when details of ornament, notation, and fingerings have a bearing on performance.

cover The Benedictine Gift to Music by Katharine Le Mee
Western music originates in the Gregorian chant sung in Benedictine monasteries as early as the sixth century. This fascinating book illustrates how this sung liturgy of prayer and praise, faithfully practiced daily in monasteries across Europe, developed into the complex polyphonic music we enjoy today. After establishing the Benedictine identity of chant, and its origins in the Mass and the Opus Dei, the author reveals the outstanding contributions of Benedictine musicians from the medieval abbey of Cluny to the modern French Abbey of Solesmes. And she explores how Mary, the mother of Jesus, inspired musical works such as the Stabat Mater and the Magnificat, and many hymns still sung today. Throughout, in an engaging, accessible style, Le Mée emphasizes the music as part of the contemplative tradition of the church that encourages order, spirituality, and peace.

cover Creating Uncommon Worship: Transforming the liturgy of the Eucharist by Richard Giles
Creating Uncommon Worship is a groundbreaking resource that can be put to immediate use in churches. Creating Uncommon Worship seeks to transform the way worship is conducted and experienced. Offering helpful suggestions on how to avoid the common problem of restricting liturgy to words being spoken in the front of the church, Creating Uncommon Worship is filled with ideas on how to enrich the liturgy by creating a context of action, movement, and symbolic expression involving the whole assembly. Creating Uncommon Worship is an essential theological companion that not only provides instruction and inspiration for the clergy and worship leaders, but also fully engages the laity in creating nurturing and challenging worship.

cover Divining the Oracle : Monteverdi's Seconda prattica by Massimo Ossi
Claudio Monteverdi's historical position in music has been compared to that of Shakespeare in literature: almost exact contemporaries, each worked from traditional beginnings to transform nearly every genre he attempted. In this book, Massimo Ossi delves into the most significant aspect of Monteverdi's career: the development, during the first years of the seventeenth century, of a new compositional style he called the seconda prattica or "second manner." Challenged in print for the unconventional aspects of his music, Monteverdi found himself at the center of a debate between defenders of Renaissance principles and the newest musical currents of the time. The principles of the seconda prattica, Ossi argues in this sophisticated analysis of Monteverdi's writings, music, and approaches to text-setting, were in fact much more significant to the course of Monteverdi's career than previously thought by modern scholars-not only did Monteverdi continue to pursue their aesthetic and theoretical implications for the rest of his life, but they also affected his dramatic compositions as well as his chamber vocal music and sacred works. Ossi "divines the oracle" of Monteverdi's ambiguous theoretical concepts in a clear way and in terms of pure music; his book will enhance our understanding of Monteverdi as one of the most significant figures in western music history.

cover Emblems of Eloquence: Opera and Women's Voices in Seventeenth-Century Venice by Wendy Heller
Opera developed during a time when the position of women--their rights and freedoms, their virtues and vices, and even the most basic substance of their sexuality--was constantly debated. Many of these controversies manifested themselves in the representation of the historical and mythological women whose voices were heard on the Venetian operatic stage. Drawing upon a complex web of early modern sources and ancient texts, this engaging study is the first comprehensive treatment of women, gender, and sexuality in seventeenth-century opera. Wendy Heller explores the operatic manifestations of female chastity, power, transvestism, androgyny, and desire, showing how the emerging genre was shaped by and infused with the Republic's taste for the erotic and its ambivalent attitudes toward women and sexuality. Heller begins by examining contemporary Venetian writings about gender and sexuality that influenced the development of female vocality in opera. The Venetian reception and transformation of ancient texts--by Ovid, Virgil, Tacitus, and Diodorus Siculus--form the background for her penetrating analyses of the musical and dramatic representation of five extraordinary women as presented in operas by Claudio Monteverdi, Francesco Cavalli, and their successors in Venice: Dido, queen of Carthage (Cavalli); Octavia, wife of Nero (Monteverdi); the nymph Callisto (Cavalli); Queen Semiramis of Assyria (Pietro Andrea Ziani); and Messalina, wife of Claudius (Carlo Pallavicino).

cover The Enjoyment of Music: An Introduction to Perceptive Listening by Joseph MacHlis, Kristine Forney
With nearly three million copies sold over eight editions, The Enjoyment of Music is the best-selling music appreciation text of all time. Spanning the Middle Ages through the twenty-first century, the text offers a thorough introduction to the elements of music, a broad overview of the history of musical styles, and fascinating cultural contexts and perspectives. The Ninth Edition of this classic text features a stunning new design, exciting new repertory, and an unmatched ancillary and media package.

cover The Interrelatedness of Music, Religion, and Ritual in African Performance Practice by Daniel K. Avorgbedor


cover Machaut's Music: New Interpretations by Elizabeth Eva Leach (Editor)
Guillaume de Machaut (1300-1377) is regarded as the greatest French poet-composer of the middle ages, as he was during his lifetime. A trained secretary, with a passion for collecting, copying and ordering his own work, the number of surviving notated musical works attributed to him far exceeds that of any of his contemporaries. All the main genres of song - lais, virelais, balades, and rondeaux - together with Machaut's motets, and his famous I>Mass cycle are considered here from a variety of perspectives. These incorporate the latest scholarly understanding of both Machaut's poetry and music, and the material form they take when notated in the surviving manuscripts. The book thus presents a detailed picture of the current range of interpretative approaches to Machaut's music, focusing variously on counterpoint, musica ficta, text setting, musico-poetic meanings, citation and intertextuality, tonality, and compositional method. Several of Machaut's works are discussed by a pair of contributors, who reach conclusions at times mutually reinforcing or complementary, at times contradictory and mutually exclusive. That Machaut's music thrives on such constructive debate and disagreement is a tribute to his scope as an artist, and his musico-poetic achievement. Contributors: JENNIFER BAIN, MARGARET BENT, CHRISTIAN BERGER, JACQUES BOOGAART, THOMAS BROWN, ALICE V. CLARK, JANE E. FLYNN, JEHOASH HIRSHBERG, KARL KUEGLE, ELIZABETH EVA LEACH, DANIEL LEECH-WILKINSON, ETER M. LEFFERTS, WILLIAM PETER MAHRT, KEVIN N. MOLL, VIRGINIA NEWES, YOLANDA PLUMLEY, OWEN REES, ANNE STONE. ELIZABETH EVA LEACH lectures in music at Royal Holloway, University of London.

cover Maurice Ravel: A Life by Benjamin Ivry
Thoroughly steeped in French culture, poet and translator Ivry has already written studies of Rimbaud and Poulenc. He comes to this brief but tightly compressed biography of Ravel with a thesisAthat the composer was "a very secretive gay man" whose works often displayed a tension between potent creativity and iron control, a duality that was also exemplified by his life. Ravel has always been a mysterious figure, with acquaintances (he had few close friends) willing to swear he was homosexual, heterosexual or simply asexual. This is not simply a matter of prurient interest, as Ivry makes clear, for Ravel's hidden sexuality showed itself in his music, which varied enormously from the early opera L'Heure Espagnole to the famous Bolero, perhaps the most ubiquitous symphonic score of the 20th century. (Ivry explains that Ravel is by far the most financially successful composer, classical or pop, that France has ever produced, with royalties still running at the rate of several million dollars a year.) A fervent belief in sorcery and the primitive powers of the ancient wood god Pan melded with Ravel's determined dandyism and his outspoken conviction that sincerity was the enemy of true art. Artifice, he felt, was all, and though his exquisitely crafted scores do not eschew emotion, a glittering surface seems to have been what he chiefly prized. (He despised Beethoven as "the big deaf one.") Ivry is particularly good at relating Ravel's work to his life, and if at the end of the book the composer remains a remote, somewhat chilly figure, that seems to have been Ravel's choice. Illustrations not seen by PW.

cover Mormonism and Music: A History by Michael Hicks
Music has flourished in the Mormon church since its beginning. In this book--now available in paperback--Michael Hicks examines the direction that music's growth has taken since 1830. He looks closely at topics including the denomination's first official hymnals; the views of Joseph Smith and Brigham Young on singing; the Mormon Tabernacle Choir; and the changing attitudes of church officialdom and laity toward popular and non-western music styles.

cover Music and Modern Art by James Leggio (Editor)
Music and Modern Art adopts an interdisciplinary approach to the relationship between these two fields of creative endeavor.

cover Music of the Renaissance by Giulio Ongaro
The Renaissance was not a spontaneous cultural explosion, but rather an evolution and cross-fertilization of artistic, philosophical, and scientific principles. This reference presents and examines the rich and varied world of music in Renaissance Europe. Giulio Ongaro offers an advanced technical knowledge of music, presented accessibly in a multidisciplinary approach.

cover Music to Your Ears: An Introduction to Classical Music by Richard L., Dr. McGee, Joan B., Dr. McGee


cover The Sheet Music of Irving Berlin by Thomas Inglis


cover The Societe des Concerts du Conservatoire 1828-1967 by D. Kern Holoman
This is the story of one of the world's great philharmonic societies, told by a distinguished conductor and writer whose command of the subject is nothing short of virtuosic. Established in 1828 with roots stretching back to the 1790s, the Societe des Concerts du Conservatoire reflected and in many ways encapsulated the development of French culture, and of Western music, in the nineteenth and twentieth centuries. D. Kern Holoman describes how in the 1820s and 1830s the potent forces of democracy, exclusivity, and revolutionary fervor that collided in and around the Conservatoire forged and then tempered an organization as flexible as it was strong. In elegant and spirited prose, accompanied by illustrations and a website with copious further documentation, Holoman chronicles the life of the Societe, from its day-to-day operations to its role in creating the canon of orchestral concert music in our culture. A testament to the Societe's power and importance, his book is itself a significant contribution to the history of Western music.

cover Solutions for Singers: Tools for Performers and Teachers by Richard Miller


cover Worship Wars in Early Lutheranism: Choir, Congregation, and Three Centuries of Conflict by Joseph Herl
Sixteenth-century Lutherans sang hymns in church—-true or false? In this book, Joseph Herl draws on hundreds of liturgical documents, contemporary accounts of services, sermons, instructional and polemical writings on church music, and other sources to show that quite often the answer was "false." He then traces the path of Lutheran church music for the next two centuries to show how Lutherans acquired their reputation as the "singing church." This path was treacherous and fraught with conflict. In the sixteenth century, Lutherans were buffeted by Catholicism on one side and the Swiss Reformation on the other. In the seventeenth and eighteenth centuries, Lutheran churches were caught up in a debate over a new style of church music that many found more entertaining than devotional. This debate was to have a strong impact on musicians such as Johann Sebastian Bach and his contemporaries. By the end of the eighteenth century, Lutherans were trying to hold their own against a new secularism, and many clergy favored a wholesale revision or even abandonment of the historic liturgy in order to make worship more relevant in contemporary society. Herl paints a vivid picture of these developments, using as a backdrop the gradual transition from a choral to a congregational liturgy. The author eschews the usual analyses of musical repertoire and deals instead with events, people and ideas, drawing readers inside the story and helping them sense what it must have been like to attend a Lutheran church in the sixteenth through eighteenth centuries. Parallel developments in Catholic churches are discussed, as are the rise of organ accompaniment of hymns and various questions of musical performance practice. Although written with academic precision, the writing is clear and comprehensible to the nonspecialist, and entertaining anecdotes abound, including stories about the congregation that pelted the preacher with vegetables and the organist who had just three postludes: the hoppity, the skippity and the jumpity. The appendixes include translations of several important historical documents and a set of tables outlining the Lutheran mass as presented in 172 different liturgical orders. The bibliography includes 400 Lutheran church orders and reports of ecclesiastical visitations read by the author.


Ausgewahlte Orgelwerke IV - Selected Organ Works IV - Oevres choisies pour orgue IV Bearbeitungen nach deutschen protestantischen Choralen, geistliche Charakterstucke, Werke im Stil von Johann Sebastian Bach und Georg Friedrich Handel - Arrangements based on German Protestant Hymns, sacred Character Pieces , Works in the style of Johann Sebastian Bach and George Frederick Handel - Arrangements d'apres des Chorals protestants allemands, Pieces sprituelles de caractere, Oevres dans le style de Johann Sebastian Bach et Georg Friedrich Haendel. By Guilmant, Felix-Alexandre. Edited by Kalipp, Wolf. For Organ. Urtext Edition (paperbound). Published by Baerenreiter-Ausgaben (German import). (BA8410)
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Organ Music of Alexandre Guilmant / Volume 1 - sheet music at www.sheetmusicplus.com Organ Music of Alexandre Guilmant / Volume 1 By Alexandre Guilmant. Edited by Gail Lew. Classical and sacred organ. Level: volume 1. 116 pages. Published by Warner Brothers. (DM00240)
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Samtliche Werke fur Clavier (Orgel), Band 1 - Complete Works for Keyboard (Organ), Volume 1 Erstausgabe - First Edition. By Muffat, Georg; Ebner, Wolfgang. Edited by Rampe, Siegbert. For Piano, Harpsichord, Organ. Samtliche Werke fur Clavier (Orgel), Band 1. (paperbound). Published by Baerenreiter-Ausgaben (German import). (BA8419)
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Samtliche Orgel- und Clavierwerke, Band I.2: Toccaten (Teil 2) - Complete Organ and Keyboard Works, Volume I.2: Toccatas (Part 2) By Sweelinck, Jan Pieterszoon. Edited by Rampe, Siegbert. For Organ/ Harpsichord/ Piano. Urtext Edition (paperbound). Published by Baerenreiter-Ausgaben (German import). (BA8474)
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Works For Organ And Keyboard - sheet music at www.sheetmusicplus.com Works For Organ And Keyboard By Jan Pieterszoon Sweelinck. Keyboard. Size 9 x 12. 272 pages. Published by Dover Publications. (6-249352)
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A Stanford Anthology By Stanford. Arranged by Dibble. For (Choral Collection) Mixed Choir. Published by Oxford University Press. (3866404)
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Come, Christians, Join to Sing (6-PACK) By Robert Hobby. unison/2-part, SATB, congregation, trumpet, organ. Hymns of Faith. Octavo. Published by Chorister's Guild. (CGA1003) 6-PACK includes six original copies of this piece.
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Exsultate By Anthony Iannaccone. Published by Tritone Press and Tenuto Publications. (392011450)
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For The Beauty Of The Earth (6-PACK) By Bradley Ellingboe. Msc Church Yr. Level: Grade 3. Choral octavo. Published by Neil A. Kjos Music Company. (9010) 6-PACK includes six original copies of this piece.
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How Firm A Foundation (6-PACK) By Vincent Ryan. Msc Church Yr. Level: Grade 2.5. Choral octavo. Published by Neil A. Kjos Music Company. (5769) 6-PACK includes six original copies of this piece.
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I'm So Glad Jesus Lifted Me (6-PACK) By John Helgen. Msc Church Yr. Level: Grade 2.5. Choral octavo. Published by Neil A. Kjos Music Company. (5771) 6-PACK includes six original copies of this piece.
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Let the Children Come (6-PACK) By Helen Kemp. unison. Octavo. Published by Chorister's Guild. (CGA1000) 6-PACK includes six original copies of this piece.
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My Chains Fly Off (6-PACK) By Mark A. Miller. For alto, SATB, piano. Published by Abingdon Press. (712406760) 6-PACK includes six original copies of this piece.
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O Sacrum Convivium (6-PACK) By Dicie. For Mixed Choir Unacc. Published by Oxford University Press. (3867095) 6-PACK includes six original copies of this piece.
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O Take My Hand, Dear Father By Friedrich Silcher. Arranged by Henry Kihlken. Published by Coronet Press. (392424180)
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One Nation (6-PACK) Reflections On the Pledge of Allegiance. By Ellen Taaffe Zwilich. Arranged by Erik Lamont. For SATB, keyboard. Duration 5 Mins., 10 Sec. Published by Theodore Presser Company. (342401910) 6-PACK includes six original copies of this piece.
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Serenity Prayer (6-PACK) By Lloyd Pfautsch. For SATB, organ. Published by Abingdon Press. (712406790) 6-PACK includes six original copies of this piece.
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Sing Praise By Sandra T Ford. Published by Abingdon Press. (712407060)
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Thanks Be to Thee, Almight God By Gottfried A. Homilius. Arranged by John Simonds. Published by Coronet Press. (392424200)
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The Church's One Foundation (6-PACK) By Brubaker. For Mixed Choir, Brass & Organ: Choral Score. Published by Oxford University Press. (386729X) 6-PACK includes six original copies of this piece.
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Three Romantic Choruses #1: Begin, My Tongue, Some Heav'nly (6-PACK) By Swenson. For Mixed Choir & Piano. Published by Oxford University Press. (3867516) 6-PACK includes six original copies of this piece.
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The Three Romantic Choruses #2: Lord's My Shepherd (6-PACK) By Swenson. For Mixed Choir & Piano. Published by Oxford University Press. (3867524) 6-PACK includes six original copies of this piece.
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Three Romantic Choruses #3: Where Cross The Crowded Ways (6-PACK) By Swenson. For Mixed Choir & Piano. Published by Oxford University Press. (3867532) 6-PACK includes six original copies of this piece.
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Through Every Age, Eternal God (6-PACK) By Alice Parker. For Voices: SATB. Piano reduction. Level: easy. 7 pages. Published by GIA Publications. (G-5090) 6-PACK includes six original copies of this piece.
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Truly the Lord Is in This Plac By Hal H. Hopson. Published by Abingdon Press. (712407120)
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We Shall Overcome (6-PACK) General Anthem and African American Spiritual. By Dana Mengel. For SATB, solo, congregation, keyboard. Published by Abingdon Press. (712407150) 6-PACK includes six original copies of this piece.
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cover Great European Organs No. 68
On this CD:
Performer: Keith John



cover Die Gottfried Silbermann-Orgeln
On this CD:
Performer: Dietrich Wagler

1. Chorale prelude for organ ("Komm, Gott Schöpfer, heiliger Geist"), BWV 667
2. Chorale prelude for organ ("Allein Gott in der Höh sei Ehr"), BWV 675
3. Chorale fughetta for organ ("Allein Gott in der Höh sei Ehr"), BWV 677
4. Prelude and Fugue for organ in B minor, BWV 544
5. Prelude and Fugue for organ in B minor, BWV 544 Fuge
6. Chorale prelude for organ ("Kyrie, Gott Vater in Ewigkeit"), BWV 669
7. Chorale prelude for organ ("Christe, aller Welt Trost"), BWV 670
8. Chorale prelude for organ ("Kyrie, Gott heiliger Geist"), BWV 671
9. Chorale prelude for organ ("Schmücke dich, o liebe Seele"), BWV 654
10. Trio sonata for organ No. 2 in C minor, BWV 526
11. Prelude and Fugue for organ in E minor ("Wedge"), BWV 548
12. Prelude and Fugue for organ in E minor ("Wedge"), BWV 548

Monthly Links Archive