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Historical Performance Practice in Organ Playing : Part 1. Baroque and Classical Era

Volume 1 is organized into two main sections: Part A treats general technical and musical principles, while Part B explores the stylistic differences of interpretation between music of the early and high Baroque eras, the organ music of J. S. Bach and the late Baroque, as well as the organ music of the Classic era. The enclosed volume of music contains a selection of the works referred to in the book. Jon Laukvik’s Historical Performance Practice in Organ Playing has become a standard work. It is addressed to organists who wish to integrate the latest knowledge of historical performance practice into their playing today. The insights of this three-volume series are the resultof practical and scholarly research which present to the performer in a detailed, easily understandable form a precise view of the customs and goals of performance in previous eras. These volumes are directed not only to organists, but also to organ teachers who are looking for a guide for use in their instruction.

Historical Performance Practice in Organ Playing : Part 2. Der Romantic Era

Volume 2 presents a detailed interpretation of the organ music of Germany and France between 1800 and 1930. With the Romantic style of composition there arose a change from the technical style of playing, characterized by the differentiated non-legato of the Baroque and Classic eras to a fundamental style of legato playing in the romantic era. In addition, between 1830 and 1845 the first truly “romantic” organs were constructed, through which their builders [primarily Walcker and Cavaillé-Coll] opened up a completely new sound perspective to organists and composers alike. Jon Laukvik’s Historical Performance Practice in Organ Playing has become a standard work. It isaddressed to organists who wish to integrate the latest knowledge of historical performance practice into their playing today. The insights of this three-volume series are the result of practical and scholarly research which present to the performer in a detailed, easily understandable form a precise view of the customs and goals of performance in previous eras. These volumes are directed not only to organists, but also to organ teachers who are looking for a guide for use in their instruction.

Sgambati: Messa da Requiem

“Through the fine performance in this production, a work unjustly forgotten becomes a lasting experience“.

Concerti con varii strumenti. Dresdner Konzerte : FBO

“ … An interpretative bull’s eye.” “The fanciful concertos of Pisendel receive here, in terms of quality, a very outstanding performance.”

Bach: Solokantaten und Oboenkonzert [FBO]

“… what tone coloring and what emotional involvement by Emma Kirkby. The sensitive performance by the Freiburger Barockorchester plays a large part.”

Orgelwerke des 16.-18. Jahrhunderts

Music for Jon Laukvik’s Historical Performance Practice in Organ Playing: An Introduction based on selected organ works of the 16th 18th centuries.

Pastoral Mass in F major : Op. 147

Diabelli’s church music has unjustly largely fallen into oblivion. In his "Pastoral Mass in F", the Austrian composer of the Biedermeier period succeeded in achieving a balance between artistic aspirations and a form suitable for practical performance. With a duration of about 30 minutes, the work is of easy to medium difficulty, and is therefore extremely suitable for amateur choirs with orchestra. The "Pastoral Mass" is suitable for performance both at Christmas time and beyond.

Pastoral Mass in F major : Op. 147

Diabelli’s church music has unjustly largely fallen into oblivion. In his "Pastoral Mass in F", the Austrian composer of the Biedermeier period succeeded in achieving a balance between artistic aspirations and a form suitable for practical performance. With a duration of about 30 minutes, the work is of easy to medium difficulty, and is therefore extremely suitable for amateur choirs with orchestra. The "Pastoral Mass" is suitable for performance both at Christmas time and beyond.

Pastoral Mass in F major : Op. 147

Diabelli’s church music has unjustly largely fallen into oblivion. In his "Pastoral Mass in F", the Austrian composer of the Biedermeier period succeeded in achieving a balance between artistic aspirations and a form suitable for practical performance. With a duration of about 30 minutes, the work is of easy to medium difficulty, and is therefore extremely suitable for amateur choirs with orchestra. The "Pastoral Mass" is suitable for performance both at Christmas time and beyond.

Pastoral Mass in F major : Op. 147

Diabelli’s church music has unjustly largely fallen into oblivion. In his "Pastoral Mass in F", the Austrian composer of the Biedermeier period succeeded in achieving a balance between artistic aspirations and a form suitable for practical performance. With a duration of about 30 minutes, the work is of easy to medium difficulty, and is therefore extremely suitable for amateur choirs with orchestra. The "Pastoral Mass" is suitable for performance both at Christmas time and beyond.

Pastoral Mass in F major : Op. 147 - Orchestral Parts

Diabelli’s church music has unjustly largely fallen into oblivion. In his "Pastoral Mass in F", the Austrian composer of the Biedermeier period succeeded in achieving a balance between artistic aspirations and a form suitable for practical performance. With a duration of about 30 minutes, the work is of easy to medium difficulty, and is therefore extremely suitable for amateur choirs with orchestra. The "Pastoral Mass" is suitable for performance both at Christmas time and beyond.

Pastoral Mass in F major : Op. 147 - Harmony Parts

Diabelli’s church music has unjustly largely fallen into oblivion. In his "Pastoral Mass in F", the Austrian composer of the Biedermeier period succeeded in achieving a balance between artistic aspirations and a form suitable for practical performance. With a duration of about 30 minutes, the work is of easy to medium difficulty, and is therefore extremely suitable for amateur choirs with orchestra. The "Pastoral Mass" is suitable for performance both at Christmas time and beyond.

Pastoral Mass in F major : Op. 147

Diabelli’s church music has unjustly largely fallen into oblivion. In his "Pastoral Mass in F", the Austrian composer of the Biedermeier period succeeded in achieving a balance between artistic aspirations and a form suitable for practical performance. With a duration of about 30 minutes, the work is of easy to medium difficulty, and is therefore extremely suitable for amateur choirs with orchestra. The "Pastoral Mass" is suitable for performance both at Christmas time and beyond.

Pastoral Mass in F major : Op. 147

Diabelli’s church music has unjustly largely fallen into oblivion. In his "Pastoral Mass in F", the Austrian composer of the Biedermeier period succeeded in achieving a balance between artistic aspirations and a form suitable for practical performance. With a duration of about 30 minutes, the work is of easy to medium difficulty, and is therefore extremely suitable for amateur choirs with orchestra. The "Pastoral Mass" is suitable for performance both at Christmas time and beyond.

Historical Performance Practice in Organ Playing : Modern and Contemporary Music

Du sonnige wonnige Welt. Gesänge für Männerstimmen

The Singphoniker are among the finest vocal ensembles worldwide. On their new CD "Du sonnige wonnige Welt" the six singers present Rheinberger's humorous and witty works for men's voices. The soloistic performance creates an immediacy and purity of sound which makes the well-crafted detail of their musical setting clearly audible a performance practice which might well have pleased the composer and is suited to presenting these works in their best light. A lot of these compositions are recorded here for the first time, including "Der Jonas kehrt im Walfisch ein", "Jagdmorgen" or "Vollmondzauber".

Vesper Voluntaries : Op. 14

With his Vesper Voluntaries, Edward Elgar composed a wealth of organ pieces for performance in church services and concerts. The wonderful miniatures, composed in song form, two to three minutes in length, can be performed individually or as a complete cycle. They are of moderate difficulty and intended for manuals, but they can optionally also be played with pedal. This Urtext edition is based on the first printed edition edited by Elgar himself, which has been carefully checked through. Useful suggestions on performance in the foreword complete the new edition.

Orgelschule zur historischen Aufführungspraxis : Teil 3. Die Moderne

Volume 3 [in German] contains articles by different authors on the interpretation of organ music of the 20th century [ranging from the early modern era to the avantgarde]. The chapters are not structured based on a pre-existing mould or pattern. Rather they display stylistic diversity personal recollections appear together with analytical studies. Jon Laukvik’s Historical Performance Practice in Organ Playing has become a standard work. It is addressed to organists who wish to integrate the latest knowledge of historical performance practice into their playing today. The insights of this three-volume series are the result of practical and scholarly research whichpresent to the performer in a detailed, easily understandable form a precise view of the customs and goals of performance in previous eras. These volumes are directed not only to organists, but also to organ teachers who are looking for a guide for use in their instruction.

Bach for Brass 1: Kantaten I

Bach for Brass contains Bach’s complete brass parts in seven volumes, set in generously engraved short scores designed for practical performance. The parts include measure numbers, helpful cues, timpani parts if applicable, as well as the most important information concerning origins, original instrument names in the sources, and much more. An instructive foreword in English and facsimiles complete the picture. These volumes, prepared by experienced musicologists and performers for the first time from the original scores and parts, aim to provide today’s musicians striving for an authentic interpretation of Bach’s works with reliable material for study, instruction, andconcert performance.

Bach for Brass 2: Kantaten II

Bach for Brass contains Bach’s complete brass parts in seven volumes, set in generously engraved short scores designed for practical performance. The parts include measure numbers, helpful cues, timpani parts if applicable, as well as the most important information concerning origins, original instrument names in the sources, and much more. An instructive foreword in English and facsimiles complete the picture. These volumes, prepared by experienced musicologists and performers for the first time from the original scores and parts, aim to provide today’s musicians striving for an authentic interpretation of Bach’s works with reliable material for study, instruction, andconcert performance.

Vom Goldenen Horn. Weltliche Chormusik

The focus of this CD is a performance of the Turkish Singspiel Vom Golden Horn, whose tender character is idyllically interpreted by Rheinberger. In addition, his secular songs place great demands on choirs, especially in the shaping of the sound. The Freiburger Vokalensemble masterfully meets these challenges.

Missa Nr. 9 : Te Deum Rademann

”Heinichen’s Mass employs especially the capabilities of the brass to achieve a festive majesty in sound. A four-voiced trumpet choir in combination with the double choir layout lend Zelenka’s Te Deum a festive character. Hans-Christoph Rademann brings choir, orchestra and soloists to their highest level of performance.“

König Keks : Eine Musicaloper in zwei Akten

Courage, tolerance and conciliation this is the message of a sweet and sharp, thrilling love story. Based loosely on Shakespeare and his famous tragedy "Romeo and Juliet," a prince, smitten with love, and a courageous baroness bring foreign cultures and two hostile families together in a dramatic happy end. Musically, König Keks thrives on contrasts: Whereas the music of Krokantia borrows from the world of operetta, the music of the Chili islands is fiery and rhythmic. On the one hand, a small salon orchestra, and on the other a band produce a diversified sound. An experienced pianst can accompany a performance of the piece alone. König Keks offers ample musical as well asscenic performance possibilities for people of all ages.

Marienvesper [Vespro della Beata Vergine] : Marienvesper

As with scarcely any other work of the 17th century, Monteverdi’s Vespers has found its way into today’s repertoire. Nevertheless, the Vespers still leaves open many questions. The new edition, with its critical examination of the sources, takes up these oft-discussed issues concerning scoring possibilities, performance practice, transpositions and liturgical unity. It is based on all of the surviving copies of the print of 1610 and the earliest handwritten entries have also been critically examined and evaluated. Performance material is organized in a flexible manner to allow for the use of different instruments in those movements without obbligato instruments in order to reinforcethe vocal parts and thus invites an individual musical approach to the challenge presented by Monteverdi’s Vespers.