Choralbearbeitung des Norddeutschen Barocks
Artikelnummer
EB8534
Arrangör
Beckmann Klaus
280 kr
Steffens, Neunhaber, Hintz, Kortkamp, Flor, Radeck, Geist, Erich, Schieferdecker
Klaus Beckmann's "North-German Chorale Settings of the Baroque Era" is a truly impressive document of organ music. Far from dynamic musical centers like Hamburg and Luebeck, which Beckmann has already presented in numerous editions, organ music also flourished in other Northern cities such as Lueneburg, Kiel, Copenhagen and Danzig in the 17th century. Together with the "North-German Organ Pieces of the Baroque Era" (EB 8395), these 17 chorale settings convey a vivid picture of the forcefulness and originality of Baroque organ music in the Hanseatic cities.
We would like to underscore the significance of this new edition as a primary source by pointing out that some of the chorale settings are published here for the first time. Klaus Beckmann has edited them competently and with a sensitive understanding of organist's practical needs.
It is common knowledge that voice and guitar sound well together. But why should this combination remain the special reserve of singer-songwriters? We have decided to arrange a number of suitable songs from the Baroque, Classical and Romantic eras for this combination.
Klaus Beckmann's "North-German Chorale Settings of the Baroque Era" is a truly impressive document of organ music. Far from dynamic musical centers like Hamburg and Luebeck, which Beckmann has already presented in numerous editions, organ music also flourished in other Northern cities such as Lueneburg, Kiel, Copenhagen and Danzig in the 17th century. Together with the "North-German Organ Pieces of the Baroque Era" (EB 8395), these 17 chorale settings convey a vivid picture of the forcefulness and originality of Baroque organ music in the Hanseatic cities.
We would like to underscore the significance of this new edition as a primary source by pointing out that some of the chorale settings are published here for the first time. Klaus Beckmann has edited them competently and with a sensitive understanding of organist's practical needs.
It is common knowledge that voice and guitar sound well together. But why should this combination remain the special reserve of singer-songwriters? We have decided to arrange a number of suitable songs from the Baroque, Classical and Romantic eras for this combination.