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Relevant bibliographies by topics / Organ music Analysis / Books

Books on the topic 'Organ music Analysis'

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Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

A guide to organ music. Portland, OR: Amadeus Press, 1986.

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2

Lukas, Viktor. A guide to organ music. Portland, Or: Amadeus Press, 1989.

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3

Twentieth-century organ music. New York, NY: Routledge, 2011.

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4

The organ works of Marcel Dupré. Stuyvesant, NY: Pendragon Press, 1999.

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5

Davidsson, Hans. Matthias Weckmann: The interpretation of his organ music. Stockholm: Gehrmans Musikförlag, 1991.

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6

Die Orgelwerke Max Regers: Ein Handbuch für Organisten. Wilhelmshaven: F. Noetzel Verlag, Heinrichshofen-Bücher, 1989.

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7

Kilian, Dietrich. Sechs Sonaten und verschiedene Einzelwerke: Kritischer Bericht. Kassel: Bärenreiter, 1988.

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8

Johann Nepomuk David, das Choralwerk für Orgel: Versuch einer hinführenden Analyse. Frankfurt am Main: P. Lang, 1994.

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9

Weyer, Martin. Die Orgelwerke Josef Rheinbergers: Ein Handbuch für Organisten. Wilhelmshaven: F. Noetzel, 1994.

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10

Harald, Schützeichel, ed. Die Orgelwerke Johann Sebastian Bachs: Vorworte zu den "Sämtlichen Orgelwerken". Hildesheim: G. Olms, 1995.

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11

Kehrer, Jodok. Joh. Seb. Bach als Orgelkomponist und seine Bedeutung für den kath. Organisten. Buren, the Netherlands: F. Knuf, 1986.

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12

Lukas, Viktor. Reclams Orgelmusikführer. 5th ed. Stuttgart: P. Reclam, 1986.

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13

Die Orgelwerke von Sigfrid Karg-Elert (1877-1933). Bonn: [s.n.], 1985.

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14

Löhlein, Heinz-Harald. Orgelbüchlein ; Sechs Choräle von verschiedener Art (Schübler-Choräle) ; Orgelpartiten: Kritischer Bericht. Kassel: Bärenreiter, 1987.

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15

Heinz-Klaus, Metzger, and Riehn Rainer, eds. Max Reger: Zum Orgelwerk. München: Edition Text + Kritik im Richard Boorberg Verlag, 2002.

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16

si, Wei lian, and Shi wei. Ba he guan feng qin yin yue. Shi jia zhuang: Hua shan wen yi chu ban she, 1999.

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17

"Le tout peuplé chants d'oiseaux: Registrering i Olivier Messiaens orgelmusik : instrument--koder--tillämpning. [Helsingfors]: Sibelius-Akademin, 1999.

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18

Albus, Manfred. Das Orgelschaffen Wolfgang Stockmeiers und die avantgardistische Orgelmusik. Kassel: Merseburger, 1994.

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19

BACH: Verarbeitungen eines Motivs in der Orgelmusik des 19. Jahrhunderts. Sinzig: Studio, 2004.

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20

Matthias, Schneider. Buxtehudes Choralfantasien: Textdeutung oder "phantastischer Stil"? Kassel: Bärenreiter, 1997.

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21

Semrau, Arno. Polyphone Orgelmusik von Johann Sebastian Bach bis Jürg Baur: Möglichkeiten und Grenzen einer Thematisierung im Musikunterricht der gymnasialen Oberstufe. Augsburg: Wissner, 2001.

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22

Gross-Hardt, Johannes. Die französische Orgelsymphonie des 19. und 20. Jahrhundert. Wiesbaden: Breitkopf & Härtel, 1991.

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23

Harmonik, Form, poetischer Inhalt: Untersuchungen zu Sonaten der Liszt-Schüler Reubke, Draeseke und Viole. Mainz: Are Music Verlag GmbH, 2013.

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24

Richard, Wagner. Tannhäuser: Und der Sängerkrieg auf Wartburg. Frankfurt am Main: Insel, 1999.

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25

Richard, Wagner. Tannhauser. London: J. Calder, 1988.

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26

Richard, Wagner. Tannhäuser. London: Published in association English National Opera and the Royal Opera (by) Calder, 1988.

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27

Richard, Wagner. Tannhäuser und der Sängerkrieg auf Wartburg. Mainz: Schott, 1989.

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28

Wagner, Richard. Tannhäuser: Con testo a fronte. Firenze: Le Lettere, 1998.

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29

Richard, Wagner. Tannhäuser: Texte, Materialien, Kommentare. Reinbek bei Hamburg: Rowohlt, 1986.

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30

Sigfrid Karg-Elert Und Seine Musik Fur Orgel. Orpheus-Verlag, 2002.

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31

Berlin, Staatsoper, and Wagner Richard. Tannhäuser und der Sängerkrieg auf Wartburg. Romantische Oper in drei Aufzügen. Insel, Frankfurt, 1999.

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32

Wolff, Christoph. Did J. S. Bach Write Organ Concertos? University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040191.003.0004.

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This chapter explores the prehistory of the cantata movements with obbligato organ and asks whether Johann Sebastian Bach wrote organ concertos by focusing on the sinfonias of his Cantatas 146 and 169. Bach presented church cantatas with concertato organ sinfonias several times between 1725 and 1728. This can only mean that neither the clergy, the congregation, nor anyone else objected to this innovative type of church music. This chapter analyzes the two first entries in the autograph manuscript P 234 (ca. 1738), the D-minor and E-major harpsichord concertos (BWV 1052–1053) and their related movements in cantatas 49, 146, 169, and 188, and challenges the notion that they are concertos for violin, oboe, or any other solo instrument. Instead, it argues that they are keyboard concertos in the same two keys and were designed for performance on either harpsichord or organ. The chapter concludes that Bach composed such works primarily for his own use, sketching out a solo part and making appropriate adjustments and improvisatory elaborations as needed at either harpsichord or organ.

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33

Stinson, Russell. Bach's Legacy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190091224.001.0001.

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This book examines how four of the greatest composers of the nineteenth and twentieth centuries—Felix Mendelssohn, Robert Schumann, Richard Wagner, and Edward Elgar—engaged with the legacy of the music of J. S. Bach. It investigates the various ways in which these individuals responded to Bach’s oeuvre, not as composers per se, but as performers, conductors, scholars, critics, and all-around ambassadors. In its detailed analyses of both musical and epistolary sources, the book sheds light on how Bach’s works were received within the musical circles of these composers. The book’s narrative also helps humanize these individuals as it reconstructs, with touching immediacy, and often by recounting colorful anecdotes, the intimate social circumstances in which Bach’s music was performed and discussed. Special emphasis is given to Mendelssohn’s and Schumann’s reception of Bach’s organ works, Schumann’s encounter with the St. Matthew and St. John Passions, Wagner’s musings on the Well-Tempered Clavier, and Elgar’s (resoundingly negative) thoughts on Bach’s vocal works.

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