Composed by Carl Piutti. Edited by Martin Weyer. Paperback. Band I. Performance score. Opus 34, 1-67. Baerenreiter Verlag #BA08488. Published by Baerenreiter Verlag (BA.BA08488).
ISBN 9790006527984. 9.45 x 12.01 inches.
Carl Piutti (1846–1902) was a teacher at the Leipzig Conservatory and an organist at St. Thomas ’s in Leipzig . He wrote many organ pieces in a late-romantic vein, including Two Hundred Chorale Preludes for Organ, op. 34. These organ preludes were among the most frequently heard liturgical organ music of the late 19th century. Their mixture of chorale elaboration, melodic figuration, striking harmony, toccata-like virtuosity and imitation was never an end in itself, but always subservient to the essence of the underlying hymn tunes.
Influences from Mendelssohn are evident in the melodic writing.
In a preface to the first edition the composer himself claimed: “The pieces in this collection are all written for worship in church. With few exceptions they can be used equally well as preludes or postludes. If the short ones are suitable only as plain introductions to congregational singing, the longer ones will find their places as postludes or festive preludes.
Most of the pieces are easy to play; none of them are truly difficult; a trained organist will be able to play many of them at sight after having skimmed the page.”
Unlike the first edition, the keys in this projected three-volume series have been adapted to conform with the Lutheran Hymnal and the Gotteslob .
Composed by Carl Piutti. Edited by Martin Weyer. Paperback. Band I. Performance score. Opus 34, 1-67. Baerenreiter Verlag #BA08488. Published by Baerenreiter Verlag (BA.BA08488).
ISBN 9790006527984. 9.45 x 12.01 inches.
Carl Piutti (1846–1902) was a teacher at the Leipzig Conservatory and an organist at St. Thomas ’s in Leipzig . He wrote many organ pieces in a late-romantic vein, including Two Hundred Chorale Preludes for Organ, op. 34. These organ preludes were among the most frequently heard liturgical organ music of the late 19th century. Their mixture of chorale elaboration, melodic figuration, striking harmony, toccata-like virtuosity and imitation was never an end in itself, but always subservient to the essence of the underlying hymn tunes.
Influences from Mendelssohn are evident in the melodic writing.
In a preface to the first edition the composer himself claimed: “The pieces in this collection are all written for worship in church. With few exceptions they can be used equally well as preludes or postludes. If the short ones are suitable only as plain introductions to congregational singing, the longer ones will find their places as postludes or festive preludes.
Most of the pieces are easy to play; none of them are truly difficult; a trained organist will be able to play many of them at sight after having skimmed the page.”
Unlike the first edition, the keys in this projected three-volume series have been adapted to conform with the Lutheran Hymnal and the Gotteslob .
Preview: Choralvorspiele, op. 34, 1-67
Tell A Friend
Tell a friend (or remind yourself) about this product. We'll instantly send an email containing product info and a link to it. You may also enter a personal message.
We do not use or store email addresses from this form for any other purpose than sending your share email.
After purchase, you can download your MP3 from your Sheet Music Plus Digital Library - no software installation is necessary! You can also listen to your MP3 at any time in your Digital Library.
Learn about Smart Music
After purchase, you can download your Smart Music from your Sheet Music Plus Digital Library - no software installation is necessary! You can also download at any time in your Digital Library.
Learn about Digital Video
After purchase you can download your video from your Digital Library. Your video is in XX format and is playable on most pre-installed video players.
