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January 2007

Monthly Links Archive

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


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Specifications, Christ Church Episcopal, Cambridge, Massachusetts, Schoenstein


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Specifications, St. Stephen's Lutheran Church, Atkins, Iowa, Levsen


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Description, Specifications, More Photos, St. Stephen's Lutheran Church, Monona, Wisconsin, Parsons/Rosales


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More Photos, Article, Tulane University, New Orleans, Louisiana, Schantz

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First Christian Church, Omaha, Nebraska, Levsen


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Description, Specifications, More Photos, The Chapel of the Cross (Episcopal), Chapel Hill, North Carolina, Dobson

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St. Paul's Christian Church, Raleigh, North Carolina, Schantz

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Holy Rosary Roman Catholic Church, Burlington, Ontario, Casavant


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Description, Specifications, More Photos, Lutheran Church of the Good Shepherd, Lancaster, Pennsylvania, Dobson


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Description, Specifications, More Photos, Kimmel Center for the Performing Arts, Philadelphia, Pennsylvania, Dobson


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Specifications, Park Cities Presbyterian Church, Dallas, Texas, Schoenstein

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All Saint's Episcopal Church, Norton, Virginia, Dyer


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Description, Specifications, St. Barnabas Episcopal Church, Bainbridge Island, Washington, Bond


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Description, More Photos, First Congregational Church (UCC), Sheboygan, Wisconsin, Schantz


cover The Baroque Cello Revival: An Oral History by Paul Laird
Cellists play a variety of instruments that they call Baroque cellos, ranging from basically modern cellos with gut strings, a period bridge, and Baroque bow, to instruments where the entire set-up is altered. This is the first study in which the revival of a single period instrument has received such detailed consideration. Laird also offers many details concerning the history of the period performance movement in reference to famous ensembles and musicians.

cover Bruckner's Symphonies: Analysis, Reception and Cultural Politics by Julian Horton
Despite significant advances in Bruckner scholarship, many problems persist. Although the relationship between Bruckner's music, post-Wagnerian ideology and, ultimately, Nazism has been carefully reconstructed, questions of how such matters should condition our responses to the music remain unaddressed. This important study isolates problematic issues of interpretation, analysis, reception, and historical location, and offers potential solutions through case studies of individual works.

cover Chant Gregorien Et Musique Medievale by Michel Huglo
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cover Early Recordings and Musical Style by Robert Philip
Until recently, early recordings were regarded as little more than old-fashioned curiosities by musicians. Scholars and musicians now are beginning to realise their importance as historical documents which preserve the performance of composers and the musicians with whom they worked. In this fascinating study, Robert Philip argues that recordings of the early twentieth-century provide an important and hitherto neglected resource in the history of musical performance. The book concentrates on aspects of performance which underwent the greatest change in the early twentieth century, including rhythm, rubato, vibrato, and portamento. The final chapters explore some of the implications of these changes, both for the study of earlier periods and for the understanding of our own attitudes to the music of the past.

cover Evening in the Palace of Reason: Bach Meets Frederick the Great in the Age of Enlightenment by James R. Gaines
Johann Sebastian Bach created what may be the most celestial and profound body of music in history; Frederick the Great built the colossus we now know as Germany, and along with it a template for modern warfare. Their fleeting encounter in 1757 signals a unique moment in history where belief collided with the cold certainty of reason. Set at the tipping point between the ancient and modern world, Evening in the Palace of Reason captures the tumult of the eighteenth century, the legacy of the Reformation, and the birth of the Enlightenment in this extraordinary tale of two men.

cover Gabriel Faure by Jean-MicheI Nectoux
Jean-Michel Nectoux's important new biography of Gabriel Fauré is the most comprehensive study yet of this central figure of fin de siecle France. It traces the composer's life and the rich cultural milieu in which he lived and worked: the world also of Saint-Saens, Flaubert, Verlaine, Ravel, Debussy and Proust. A large part of the book considers Faure's music, with particular emphasis on his adjustment to the musical language of the twentieth century and the formation of his late style. Works in all genres are discussed in detail. The book is the fruit of over twenty years' research by Nectoux, the foremost authority on Gabriel Fauré. He has read more than 5000 previously unpublished letters and has unearthed more than 120 musical manuscripts in the process of writing this definitive study. The text is richly illustrated with rare photographs from Fauré's lifetime and contains an extended chronology of the composer's life, a complete chronological listing of all his own works and a detailed bibliography.

cover Giacomo Meyerbeer And Music Drama In Nineteenth-century Paris by Mark Everist
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cover J. S. Bach and the German Motet by Daniel R. Melamed
The motets of J. S. Bach are probably the most sophisticated works ever composed in the genre. Nevertheless, Daniel Melamed maintains, the view that they constitute a body of work quite separate from the German motet tradition is mistaken. He starts by considering the eighteenth-century understanding of the term itself and finds that Bach's own use does indeed agree with his contemporaries and that his motets are rooted in the conventions of the time, particularly in matters of musical construction, performing forces, and type of text. A fresh look at the repertory shows that Bach composed motets all through his career and an appreciation of the contemporary conception of the motet sheds light on questions of how and why Bach himself used the form. Professor Melamed also finds plenty of evidence that motets and motet style played an important role in Bach's exploration of the musical past.

cover Kirchenmusik im 20. Jahrhundert Erbe und Auftrag by Albert Gerhards
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cover The MacDowell Colony: A Musical History of America's Premier Artists' Community by Bridget Falconer-Salkeld
Presenting a musical history of the MacDowell Colony in the fullest sense, this work also contains new discoveries in several areas. It is a survey of 19th and early 20th century art colonies in the United States, and, with reference to a French exemplar, provides a context for the founding of the MacDowell Colony in 1907. The various formative pressures, influences, and motivations of the colony are explored, and its philosophical basis is identified and discussed.

cover Max Bruch : His Life and Works by Christopher Fifield
Max Bruch (1838-1920), the German composer best known for his Violin Concerto in G minor, was in his day, a famous conductor and teacher as well as a prolific composer; yet he has been sadly neglected, perhaps in comparison to his contemporary Brahms. In this book - the only full-length study of Bruch - the author provides a richly documented account of Bruch's career as music director and conductor, including a spell with the Liverpool Philharmonic Society from 1880-1883, and as a teacher at the Royal Academy of Arts in Berlin from 1892 until his retirement in 1911, where Vaughan Williams was one his pupils; he paints a picture of a proud and sensitive man, whose talents were perhaps left behind at a time of rapid musical development. The book also offers a musical analysis of his one hundred published works, including three operas. CHRISTOPHER FIFIELD is foremost a conductor, but also a writer on music history (Grove, DNB, Viking Opera Guide, Oxford Companion to Music), the author of a biography of Hans Richter, the editor of the letters and diaries of Kathleen Ferrier, and a recent history of the music agents Ibbs and Tillett.

cover Musica Christi: A Lutheran Aesthetic by Marion Lars Hendrickson
Theological aesthetics is a rapidly expanding subject in the field of religious humanism that, until now, has not had a participating Lutheran voice. Musica Christi: A Lutheran Aesthetic fills this void by approaching the rich tradition of music and theology in the Lutheran Church through Christology. Furthermore, this study shows Christ’s full participation in and by music. Selections from Lutheran works in Danish, German, Latin, Norwegian, and Swedish are offered in English translations for the first time by the author. Marion Lars Hendrickson is a pastor in The Lutheran Church-Missouri Synod, and teaches religion and music at Concordia University Wisconsin. With advanced degrees in music and theology, Hendrickson received his Ph.D. in theology from the University of Durham and is also a performing musician. He is the author of Behold the Man!, a book on the Christologies of John Macquarrie and Wolfhart Pannenberg.

cover Reflections On Liszt by Alan Walker
"Liszt was first presented to Beethoven by his teacher Carl Czerny, while he was a boy of eleven. . . . At the end of the meeting, Beethoven bestowed the famous ‘kiss of consecration’ on the boy’s forehead, which Liszt thereafter regarded as a benediction on his career. In later life, he often spoke of this meeting, the memory of which was a powerful stimulus to the further study and performance of Beethoven’s music."—from Chapter Two. In a series of lively essays that tell us much not only about the phenomenon that was Franz Liszt, but also about the musical and cultural life of nineteenth-century Europe, Alan Walker muses on aspects of Liszt’s life and work that he was unable to explore in his acclaimed three-volume biography of the great composer and pianist. Topics include Liszt’s contributions to the Lied, the lifelong impact of his encounter with Beethoven, his influence on students who became famous in their own right, his accomplishments in transcribing and editing the works of other composers, and his innovative piano technique. One chapter is devoted to the Sonata in B Minor, perhaps Liszt’s single most celebrated composition. Walker draws heavily on Liszt’s astonishingly large personal correspondence with other composers, critics, pianists, and prominent public figures. All the essays reveal Walker’s broad and deep knowledge of Liszt and Romantic music generally and, in some cases, his impatience with contemporary performance practice.

cover Sourcebook for Research in Music by Phillip D. Crabtree, Donald H. Foster, Allen Scott
"This bibliography of bibliographies will be valuable as a classroom text and research tool."--American Music Teacher. "The Crabtree and Foster citations . . . offer a welcome new perspective on the field of music research methods and bibliography, under new and timely headings."--Fontes Artis Musicae. This bibliography of bibliographies lists and describes sources, from basic references to highly specialized materials. Valuable as a classroom text and as a research tool for scholars, librarians, performers, and teachers.

cover Ways of Listening: An Ecological Approach to the Perception of Musical Meaning by Eric F. Clarke
In Ways of Listening, musicologist Eric Clarke explores musical meaning, music's critical function in human lives, and the relationship between listening and musical material. Clarke outlines an "ecological approach" to understanding the perception of music, arguing that the way we hear and understand music is not simply a function of our brain structure or of the musical "codes" given to us by culture, but must be considered within the physical and social contexts of listening.

cover Benjamin Britten: The Spiritual Dimension (Oxford Studies in British Church Music) by Graham Elliott
Since Britten's death in 1976, numerous articles and books have been written about his life and work. Much has been made of the strong influences of his pacifism and his homosexuality. It is often suggested that Britten felt himself to be an outsider from 'normal' society, and that this accounts for the his concern to portray the 'outsider' in his operas. There is no doubt that this is an important aspect of Britten's art, but the present work attempts to show that his music embraces much wider and more universal concerns, and in addressing those concerns there is a clearly defined pattern of spiritual influence. Part One of the book examines Britten's early life, and the strong presence which the Church had in his childhood and adolescence. It explores the way in which certain spiritual influences were first manifested, and how, like the more specifically musical 'themes' which Donald Mitchell has noted, they can be traced throughout Britten's life and work. The author was privileged to have conversations with two clergymen who were influential in Britten's life, as well as gathering valuable insights through a long series of conversations with Sir Peter Pears. Part Two examines a wide range of the composer's music in which a spiritual dimension can be traced. The specifically liturgical music has received rather less critical notice than Britten's larger works. The music is discussed here, and shown to possess musical characteristics in common with the larger works. Britten could not be described as a conventional Christian; still less is it true to describe him, as Eric Walter White has done, as 'keen, wherever possible, to work within the framework of the Church of England'. Nevertheless, his spirituality was rooted in the religious experience of his childhood. This book seeks to demonstrate that Britten retained a sense of the Christian values absorbed in childhood and adolescence, and that these - along with the specifically Christian heritage of plainsong - were strongly influential in his choice and treatment of themes.

cover Gerald Finzi: His Life and Music by Diana McVeagh
Gerald Finzi is one of the best-known modern English composers. While he is especially famous as a song-writer, for his sensitive settings of poets such as Hardy and Wordsworth, he also wrote in other genres; notable works include the exquisite cantata Dies Natalis, and his cello concerto. He also exerted a major influence in the musical world as a whole, championing the neglected Ivor Gurney and reviving eighteenth-century composers with the amateur orchestra he founded.In this lively and sensitive study of his life and works, Diana McVeagh, the renowned Elgar and Finzi scholar, has made use of interviews with the main figures in his life, correspondence with contemporaries such as Vaughan Williams, Edmund Blunden, Arthur Bliss, Edmund Rubbra, Howard Ferguson and Herbert Howells, and her access to previously unpublished material in the form of his widow, Joy's, unpublished journal. The Finzi that emerges is a multi-faceted and complex character. The author shows how he developed from a solitary, introverted youth into a man with strong views and a myriad of interests: everything from education, pacifism, vegetarianism, to the Arts and Crafts movement, the English pastoral tradition, English apple varieties, and the significance of ancestry, friendship and marriage in an artist's life. She also discusses every work within the narrative of Finzi's life, and shows what makes his output so outstanding.

cover The Reception of Bach's Organ Works from Mendelssohn to Brahms by Russell Stinson
Bach's music has made an indelible mark on all those who compose for the organ, and in the nineteenth century, Bach's music was revived, revered, and brought to life for a musical public. In this fascinating study, Bach scholar and organist Russell Stinson examines how four major composers of the nineteenth century--Felix Mendelssohn, Robert Schumann, Franz Liszt, and Johannes Brahms--responded to the model of Bach's organ music. Whether for keyboard, voice, orchestra, or chamber ensemble, these composers not only borrowed from Bach's organ works in creating their own masterpieces, but also reacted significantly to the music as performers, editors, theorists, and teachers. 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.


La Passione di Gesu Cristo By Antonio Salieri. Full score. Published by Carus Verlag (German import). (4094200)
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La Passione di Gesu Cristo By Antonio Salieri. Piano-vocal score. Published by Carus Verlag (German import). (4094203)
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cover Hommage à Jean-Jacques Grunenwald
On this CD:
Composer: Louis-Nicolas Clerambault, Marcel Dupre, Jean-Jacques Grunenwald, Charles-Marie Widor
Performer: Françoise Renet, Jean-Jacques Grunenwald

cover Christmas on Fifth Avenue
On this CD:
Composer: James Bassi, Harold Edwin Darke, John Linton Gardner, Henry John Gauntlett, Herbert Howells, et al.
Conductor: John Scott
Performer: Curtis Streetman, Woodrow Bynum Bynum, Jeremy S. Bruns, Brian Register, Gregg M. Carder

cover Frauenkirche Dresden: Organ Music by Bach & Duruflé
On this CD:
Composer: Johann Sebastian Bach, Maurice Durufle
Performer: Samuel Kummer


cover Complete Organ Works 5
On this CD:
Johann Ludwig Krebs and Gerhard Weinberger

Monthly Links Archive