Jehan Alain left numerous manuscripts representing several versions of each organ pieces. For ten years, the author comparatively studied the various versions and documents, and has compiled a book which follows the harmonic and rhythmic evolution of the young composer and his concern for tonal color as expressed in evolving registrations. The performer may remain faithful to the music and also choose among the variants suggested by the composer.

This volume explores twentieth-century organ music through in-depth studies of the principal centers of composition, the most significant composers and their works, and the evolving role of the instrument and its music. The twentieth-century was a time of unprecedented change for organ music, not only in its composition and performance but also in the standards of instrument design and building. Organ music was anything but immune to the complex musical, intellectual, and socio-political climate of the time. Twentieth-Century Organ Music examines the organ's repertory from the entire period, contextualizing it against the background of important social and cultural trends. In a collection of twelve essays, experienced scholars survey the dominant geographic centers of organ music (France, the Netherlands, Scandinavia, the United States, and German-speaking countries) and investigate the composers who made important contributions to the repertory (Reger in Germany, Messiaen in France, Ligeti in Eastern and Central Europe, Howells in Great Britain). Twentieth-Century Organ Music provides a fresh vantage point from which to view one of the twentieth century's most diverse and engaging musical spheres.

This is the first book on the French composer Jean Langlais to be published in English and also the first to provide complete information on all of his published works plus 86 unplubished compositions, and eleven orchestral works. This book traces Langlais' development from his early years of study at the National Institute for the Young Blind, through his long and active career as composer, church musician, and concert organist, and explores the impact that Langlais' hard work, determination, and talent have had on the musical world. It is divided into five major sections, including a biography, interviews, works and performances, a discography, and a bibliography. Listing 240 compositions written between 1927 and 1987, and containing a complete discography of both commercially produced and privately released recordings, the major portion of this volume is an annotated bibliography of writings by and about Langlais, with 536 entries, covering the years from 1926 to 1987, when he celebrated his eightieth birthday. Categories include general references, individual compositions, improvisations, reviews of recordings, nonprint sources, and archive information. There is valuable information on premieres, reactions to Langlais' works and performances, recital programs, and correspondence. The opus numbers, recently completed by Marie-Louise Jaquet-Langlais, the composer's wife, are published here for the first time in a chronological list of compositions, and the index section covers works, authors and translators, and general information.

Offering comprehensive coverage of classical music, this guide surveys more than eleven thousand albums and presents biographies of five hundred composers and eight hundred performers, as well as twenty-three essays on forms, eras, and genres of classical music. Original.

Maurice Duruflé (1902-1986) is best known as composer of the hauntingly beautiful and moving Requiem of 1947, and as organist during his long tenure at the church of Saint-Etienne-du-Mont in Paris. He studied composition and organ with Tournemire, Vierne, Gigout, and Dukas among others, and became well known outside France through tours and conferences, often attended with his wife, the late Marie-Madeleine Chevalier. Ebrecht has brought together in this centenary tribute a fine collection of articles on Duruflé's life and work that will enthrall all those who have come under the spell of this great master of French Impressionism. About the contributors: Marie-Claire Alain the renowned French organist, recording artist, and teacher was one of Duruflés first harmony students at the Paris Conservatoire. James Frazier has studied liturgy and music at several universities, and was a Fulbright scholar in France, where he studied privately with Madame Duruflé. Maria Rubis Bauer concluded her doctoral dissertation on Duruflé at the University of Kansas. Jeffrey Reynolds is Associate Professor of Humanities and chair of the music department at the University of Alabama, Birmingham. Herndon Spillman's landmark recording of the complete works of Duruflé won him a Grand Prix du Disque in 1973. He is Professor of Music at Louisiana State University. Eliane Chevalier was the sister of Marie-Madeleine Duruflé, with whom she shared a passion for music. Ned Tipton is Director of Music of the American Cathedral in Paris.

"This book presents music titles in which the organ is part of a chamber ensemble. Alphabetized by composer, entries contain the bibliographical information for each title and a brief commentary or description, as well as information on the level of difficulty, timing, mood, fingerings/pedalings, and other performance aids. The selections are suitable for concerts and religious services and are written in a variety of styles, from Baroque to contemporary." "This catalogue will be of interest to church organists searching for a piece for organ and brass appropriate for Easter, visiting instrumentalists choosing music for a Sunday service, teachers introducing their organ students to the experience of accompanying a violin, and instrumentalists seeking a composition to play with the organ, among many others."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved