Herbert Howells: Sine Nomine Op.37 (Vocal Score)

Vocal Score of Herbert Howells' Sine Nomine Op.37 for Soprano and Tenor Soloists, SATB chorus and Orchestra. With Piano Reduction of Orchestral Score.

Felix Mendelssohn: Complete Organ Works Volume I

Edited in five volumes by Wm. A. Little. Three Preludes and Fugues Opus 37, Duets, and other Preludes and Fugues.

Felix Mendelssohn: Three Preludes And Fugues Op.37 (Organ)

Chopin Souvenir De Paganini Piano

Souvenir De Paganini (B. 37) was written in 1829, shortly after the phenomenal violinist Niccolo Paganini had amazed the Warsaw Musical world with a series of concerts. It is a set of Variations in A major on the theme Carnival of Venice (Paganini Op. 10), however, it never erupts in showy virtuosity, instead retaining a delicate simplicity that is perhaps even harder to master. Frédéric Chopin (1710-1849) was a Polish composer and virtuoso pianist, whose compositional career was spent mostly in Paris. He only wrote music for the Piano, and is best known today for his 12 Etudes and 24 Preludes, a key part of any pianist’s repertoire.

John McCabe: Esperanza for Organ

Commissioned for the 26th International Organ Festival at St Albans 2011 and funded by the RVW Trust.Duration: 7.45Performance notesRegistration: the performer is free to determine the entire registration scheme except at bar 60 where a solo reed is mandatory.Pitch: manual passages at bars 25, 32, 38 are written for a solo 4' stop (s). The Pedal is at 16' (ad lib 32') unless otherwise indicated (bars 31, 37 where a solo 8' is required).III - Sw.II - Gt.I - Pos/ChComposer's noteEsperanza is named after Camp Esperanza (Camp Hope), the location of the mission to rescue the thirty-three miners trapped underground for seventy days in 2010 at the San Jose Mine in Chile, a rescue that was televised live and was one of the most moving, and inspiring, things I have ever seen. By the most extraordinary coincidence, I had already done a good deal of sketching for this Organ piece before this all happened and had determined on a 'darkness-to-light' kind of piece - so the coincidence, as well as my feelings of elation, were both too strong to ignore.The piece persues a course from a fairly knotty slow beginning (heralded by a few chords that recur at the very end), full of rising themes (another coincidence - the material had already been sketched before the miners were trapped underground), and reaching a loud climax, the quick, toccata-like second section bursting vigourously out of the tension which is created at the beginning of the work.