Partition complète, 250 Easy Bénévoles et Interludes, 250 Easy Voluntaries and Interludes for the Organ, Melodeon, Seraphine, etc.

John Zundel

Description

Visionnez les partitions de la musique 250 Easy Bénévoles et Interludes partition complète, Bénévoles, de Zundel, John. La partition romantique dédiée aux instruments tels que:

• orgue solo

La partition aborde une sélection de mouvements: 250 et est classée dans les genres

• Bénévoles
• Interludes
• pour orgue
• partitions pour orgue
• pour 1 musicien

Découvrez dans le même temps d'autres musique pour orgue solo sur YouScribe, dans la rubrique Partitions de musique romantique.
Edition: Boston: O. Ditson & Co, 1851.

Sujets

• Romantique
• Solo (soft drink)
• Orgue
• Zundel

Informations

• Publié par: ZUNDEL
• Nombre de lectures: 35
• Licence : Libre de droits
• Langue: English
• Poids de l'ouvrage: 5 Mo

Extrait

CONTENTS
No . Page . VOLUNTARIES . ... ... ............................... 73- 77 .Key of D major ..Double Time 49 No .
. .............. .............. . 1 .... C major ...p age 11 ..Composed by J Zundel 7~ 84 .... D (: ..... Common Time ............................ 50
LL LL LL ................. 2 .... C " 14 ................ 8% 96 .... D Triple Time 51
lL . ............... A major .... .Double Time ........................ ; ...... 53 3 .... G major " 15 .Arranged from Muller 97-100 ....
. . 101-113 .... " A " ,.... Common Time 54 4 .... G minor " 16 .Composed by J Zundel . 116124 .... IL O I... ..Triple Time 57 5 G major " 17 .Arranged from Haydn
................ . . .... ................. P maj~tj~'. .... uvuole 1111lr .............................. OV 6 G major LL 18 J Zundel
.... . . F “..... Common Time ............................ 61 7 F " 21 J F " ..... Triple Time ............................... 62 8 .... b major " 23 J. Zundel . D minor .... .Double Time 63 9 G minor 27 Arr . from Mendelssohn .
................. ................ . D ..... Common Time ............................. 64 10 .... ~b major LL 29 J Zundel . D ". .... .Triple Time 64 11 .... ~b major LL 31 J . .
12 Eb " 33 J . Zundel . B major ... .Double Time .............................. 66
B ! LL ..... Common Time 67
INTERLUDES . ~b .... .Triple Time ............................... 68
No . Page .
G minor .... .Double Time 69 1- 7 ... .Key of C major .... .Double Time ................................ 35
G ..... Common Time ............................. 69 8-17+ ... " C LL ..... Common Time ............................... 36
G " .... .Triple Time 71 18-25t ... lL C LL .... .Triple Time ................................. 38 .. .Double Time 71 26-31$ ... " A minor ... .Double Time 40 ..... Common Time 73 33-35 .... A lL ..... Common Time 41 ... ..Triple Time 75 36-37 .... A Triple Time 42
C minor ... ..Double Time .............................. 77 38-44 .... G major .... .Double Time 42
C " ... ..Common Time ............................ 77 4+58 .... G " ..... Common Time 43
C ..... Triple Time ............................... 78 59-72 G Triple Time ........... .... .................. 46
A major ... .Double Time ................. ... ........ 80
* 6-12 to tune " AIlan. " "Cantica Laudis. " page 61. or others of a eimilar character . .... .Common Time 81 " t 18-21 " Mendon. " or others of a similar character .
A AI " ... ..Triple Time 8F t 264s "Romaine. " "Cantica Laudie. " page 64. or others. bc - -- . 7; as~o u! '8u!pua puooas fa~nssam aqq jo qwd qqmoj aqq qq!a aouam
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sneB~0 UO parmopad aq Ue:, TJOM S!q? U! 631XV&NJllOA DNlNKdO XHJ, PREFACE.
THE need of some work adapted to the wants of young organists has long been felt. last verse to be expressed by the interlude, and so confirmed as to prepare the mind
There are few collections of studies for the organ in this country, which are not both for the next verse. Our readers will easily perceive that the latter is the proper view
so expensive and so difficult as to place them beyond the reach of common players. of the case, yet, unhappily, it is for many reasons precisely this kindof interlude which
It is time this want should cease. It is time that something better should be heard in is most difficult, and most seldom heard. Too often have we been condemned to hear
our churches than scraps of waltzes or marches, or what is equally bad, the awk- not only players of small ability but even those of better attainments, seeking to display
ward attempts of half-formed players at extemporaneous playing. We have good their taste and dexterity, by snatches of opera or other fashionable music. It would
schools for singers, good collections of sacred music-it is time we were equally well indeed be unjust to blame all organists alike for this fault, since in many instances, they
provided with organists and organ music. The (' Organ-School" of Rink, republished yield to the force of a public taste (sometimes of a few prominent church members)
in this country, contains a tolerably copious collection of easy pieces ; yet they are all which they dare not brave. Again, there are many organs which mar all the efforts
either too short, or ill adapted to the stops of American-built organs, and the work of the player, and finally extinguish every genial inspiration; and last, not least, there
itself is too expensive. Not that we would undervalue or seek to rival that work, but are many tunes brought out which are at best destitute of devotional feeling, if not posi-
rather to furnish somewhat whereby beginners may be enabled to appreciate that great tively frivolous. Under such disadvantages, how can the organist, if ever so willing,
production of our former master. Most heartily would we desire to increase the num- be expected to improvise a good interlude ?
ber of his admirers, while we are constrained to confess that something is needed more In such cases, the new beginner will rejoice to have a collection of interludes of
adapted to the quality and size of American organs, and to the taste of the American elery variety from which to select, and even the good player may occasionally find
public. it to his advantage to employ them.
Our present work contains 12 Opening Voluntaries, and 239 Interludes.
The OPENING VOLUNTARY is always expected to be solemn and grave, calm, and
full of dignity, and altogether in keeping with the sacred view of the Sabbath and the
A BRIEF HISTORY OF THE ORGAN.
sanctuary. None but a devotional minded player can improvise a good opening Volun-
Of all musical instrnments, the ORGAK is the largest, the most complicated, the most tary, and not even he, unless he he a master of the instrument and a good thorough-bass
harmonious. and the most capable of producing an almost endless variety of combina- scholar.
tions and effects. It may be called the King of Instruments, as it imitates and includes INTERLUDES are short sentences of organ music, commonly of eight measures' length,
them all. Hence, a place has been universally assigned to it in our churches, as played between two verses of a hymn. -.
Different ideas prevail with regard to Interludes. Some oppose them altogether. being, from its unquestionable superiority, the instrument most suitable to the m:.jesty
Some demand only a few chords to give the choir time to recover breath, or perhaps of divine worship. A large and powerful organ, in the hands of a master, in one of
regain the pitch; others expect a display of sweet and soft melodies, savoring strongly his best moments of musical inspiration, is inferior to no source of the sublime m
of the Italian operas ; and finally, there be those who wish the feelings excited by the absorbing the magination. The rush and concourse of sound has been not inaptly 6 PREFACE.
compared to the full and even volume of a mighty river, flowing onwards, wave after is the description of an organ (in an epigram, A. D. 360) said to have been in the
wave, occasionally dashing against some rock, till, sweeping with momentarily increas- possession of Jdian the Apostate, who lived in the fourth century. Du Cange concluded
ing vehemence, to the brow of a precipice, it rushes down, a wide-spreading and over- that it was not an hydraulic instrument, but that it very much resembled the modern
whelming flood. pneumatic organ. The description Cassiodorus has given of an organ, in his explana-
Notwithstanding much laborious research, the origin of the organ 1s atill enveloped tion of the 150th Psalm, is more applicable to a small hydraulicon than to our modem
in obscurity. Some of the instruments so called were acted upon by the force of water, instruments.
whilst to others the application of bellows is mentioned. The only difference between The barbarism which spread amongst the people of Europe after the time of Cassi-
them, however, was in the mode of introducing the air into the pipes; and their com- odorus, was not only destructive to the arts and sciences, but also to many of the work8
mon origin may probably be referred to the ancient Syrinx or Pan's pipe, made of reeds. of art; and it seems that the Organ, such as it then was, shared the same fate. St.
It must soon have been observed that there were other means of producing sounds Jerome mentions one which had twklve pairs of bellows and fifteen pipes, and was
from a pipe than by the mouth; also that the air might be confined in close cavities, heard at the distance of a mile; and another at Jerusalem which was heard at the
and afterwards emitted at pleasure by means of openings of different dimensions. This Mount of Olives.
was applied to united pipes like the Syrinx, or to a simple flute ; and subsequently a spe- The date of the introduction of the Organ info the churches of Western Europe is
cies of bagpipe was invented. By pursuing