Ul~I LLINO I SUNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN

PRODUCTION NOTE

University of Illinois atUrbana-Champaign LibraryBrittle Books Project, 2011.

COPYRIGHT NOTIFICATION

In Copyright.Reproduced according to U.S. copyright law USC 17 section 107.

Contact dcc(.!ibrary.uiuc.edu for more information.

This digital copy was made from the printed version heldby the University of Illinois at Urbana-Champaign.

It was made in compliance with copyright law.

Prepared for the Brittle Books Project,Preservation Department, Main Library,

University of Illinois at Urbana-Champaignby

Northern MicrographicsBrookhaven Bindery

La Crosse, Wisconsin

2011

istocal

- R e ci tals

Collected, Edited, and Annotated by

1N SIX VOLUMES

. Forerunners of BachHofhaimer to Du Mage

1 o.Johann Sebastian Bach

Ill. Masters of the 18th and early 19th Centuries.Handel, Mozart, etc.

IV. Three Composers of the Romantic Period:Schiu mann, Mendelssohn, and Liszt

V. Modern Composers: Franck to Reger

SVI. Old Spanish Masters: Cabez6n to Cabanilles

Price, each, $2.00(In U S. A,)

. SCHIRMER, INC. NEW YOR

L I A k<YOF THE

U N IV E RS I TYOf ILLINOLS

~wU. 4

l *' OFl ILLM01%

LIBRARY

A MON TRES CHER AMI

LE REVEREND PERE NEMESIE OTANOEMINENT APOTRE DE LA MUSIQUE D'ORGUE

03)l

)O

.1

PREFACEThis volume, the sixth in the Historical Organ Recitals, is devoted entirely

to the Spanish school from the 16th to the beginning of the 18th century. The

compositions that I have here been able to bring together again are of incom-

parable beauty. Some are grandly and profoundly mystical, or suffused with

powerful inspiration and truly romantic ardor; others have thoroughly classical

charm and purity or alluring vividness.

One's heart is wrung with sadness and anguish to think of the artistic

treasures destroyed along with the libraries in the course of the civil war in

Spain. Who will ever be able to say how many music manuscripts may have been

reposing in the churches awaiting publication to reveal to the world their glorious

and beneficent beauty, and are now-alas-but a heap of ashes?

Father Angl s tells us that "the Spanish cathedrals always took special

care of their archives of polyphonic vocal music, which they entrusted to the

master of the chapel. There was nothing of the same care, however, expended

on their organ music: this they neglected, as it was in the private and personal

possession of the organist. Therein lies the secret of the irreparable loss of so

much Spanish organ-music of the early period."'

Fortunately, beginning in 1895 Felipe Pedrell was able to publish in his

collection Hispaniae Schola Musica Sacra the works of Antonio de Cabez6n.

In 1914 Father Villalba, the master of the chapel at the Escorial, edited a small

Antologia de Organistas Cldsicos. Lastly, in 1997 Father Angles began the

publication of Cabanilles' complete organ works. One can judge of this music's

interest by the three Tientos included in the present volume. We hope most

sincerely that with God's aid and in better times this eminent musicologist,

Father Angles, can proceed with his project and bring it to a successful conclusion.

'Introduction to Musici Organici Johannis Cabanilles Opera Omnia, by Hyginii Angles Pbri. (Vol. I).

37 I38079

CONTENTS

ANTONIO DE CABEZON (1510-1566) Page

Canci6n Religiosa (Christmas Carol).................. ...... 3

Diferencias sobre la Gallarda Milanesa.......................... 6

Fuga a Cuatro (Double Canon)......... ......... 11

Ut Queant Laxis.. ........................ 14

FRAY TOMAS DE SANTA MARIA (15..-1570)

CIausulas de I Tono......................... 16

CIausulas de VIII Tono....................... 18

SEBASTIAN AGUILERA DE HEREDIA (1570-16..)

Obra de Octavo Tono Alto (Ersalada). ...... . ..........

FRANCISCO CORREA DE ARAUJO (1581?-1663)

Tiento de Quarto Tono por E la mi a modo de Canci6n..............30

JUAN BAUTISTA JOS3 CABANILLES (1644-171!2)

Tiento Lleno por B cuadrado... . ......... ....... 37

Tiepto de Falsas................................. ........ 40

Tiento 5 to Tono, de Falsas............... .................... 43

3j vii I38079

NOTES ON THE COMPOSERS AND THEIR WORKS

PUBLISHED IN THIS VOLUME

Antonio de Cabez6n, born at Castrillo de Mata-judios (Burgos) in 1510, blind from infancy; diedin Madrid in 1566 as organist and cembalist to KingPhilip II of Spain. Cabez6n was regarded as oneof the foremost and most illustrious organists ofhis time. In the vigor of his works, the nobility andausterity of his conceptions, we have a reflectionof the Spain of that epoch.

Felipe Pedrell does not say definitely that theCanci6n Religiosa is Cabez6n's; but, as it formeda part of the Libro de Cifra Nueva collected andpublished by Venegas de Henestrosa in 1557, andas that collection was in great part made up ofworks by Philip II's organist, Pedrell does not denywith any greater definiteness that it is Cabez6n's.This Christmas carol sings with tenderness andexquisite charm of the descent to earth of Christ,born of the Virgin Mary, for the redemption ofmankind.

In the Differencias sobre la Gallarda Milanesawe recognize the vigorous and firm style of Cabez6nat his best. The emotion that he here attains is ofthe most powerful order. One can picture the sonof Charles V relaxing from the cares of state bylistening to pieces such as this played either in hisEscorial palace or during his extensive travels, onwhich he was usually accompanied by his favoritemusician.

The Fuga a Cuatro is in reality a double canonat the fourth below and at the octave-a composi-tion, as Andr6 Pirro says, "of extraordinary work-manship". To shed perfect light on all the voicesof the polyphony and to avoid confusing the innerones, we have placed them on the two manuals andpedal with different timbres. Some time after thispiece was composed Correa recommended in hisFacultad Orgdnica a similar procedure in the ex-ecution of certain of his pieces, and later still Nicolasde Grigny supplied the same kind of registrationhimself for the five-voiced fugues in his Livred'Orgue.

In the magnificent paraphrase of a Gregorianhymn, Ut Queant Laxis, Cabez6n shows his kinshipwith his illustrious contemporaries St. Theresa of

Avila, St. John of the Cross, and TomAs de Victoria.Here his music takes on accents of an ardentmysticism to which no listener can remain in-sensible.

The liturgical melody used in this piece reallybelongs to the hymn Iste Confessor. The hymnUt Queant Laxis was composed in honor of St.

John the Baptist by Paul the Deacon, a monk ofMonte Cassino and a friend of Charlemagne. Inthe 11th century the Benedictine monk Guidod'Arezzo observed that the notes sung on the initialsyllables of the half-lines formed the sequence of thefirst six degrees of the scale. He named each degreeby the corresponding syllable (ut, re, mi, fa, sol, la,si) and thereby greatly facilitated the study ofmusical intervals.

A Mode II

J ' 4" a -J Jallt. 1 1Ut que-ant la - xis Re- so- n- re fi-bris,

a_ N

Mi - ra ge-st6-rum Fa-mu-li tu- - rum,

S61- ve pol-li-ti L-bi-i re- a-tum, San-ete Jo-i-res.

The music of the Iste Conrfessor, to which the wordsof the hymn Ut Queant Laxis were afterwardsadapted, is as follows:

A Mode II

Is- te Con- fs - sor Do-mi-ni, co-l6n-tes

t L k. .

t)Quem pi - e lhu - dant p

6-pu- li per 6r-bem,

Iac di- e lae-tus m6-ru-it be -- tas Sean-de-re s6-des.

{[ viii 138079

It will be noted that in the treatment of thismelody Cabez6n, like the other polyphonic com-posers of his time, frees himself from the limitationsof the Gregorian modes. Modern tonality wasalready far along in its development at this time,and the demands of polyphony made him abandonthe old modality. Gregorian chant, moreover, hadlost much of its melodic purity in the 16th century,and was then clearly in decline. Only with theappearance of the studies undertaken in the 19thcentury by the Benedictines of Solesmes-and, sincethen, steadily pursued by them-could we see theGregorian melodies restored to their beautiful andtrue original form.

Fray Toma's de Santa Maria (15..-1570), aDominican of Castile, is the author of a keyboardmethod Arte de Tater Fantasia, assi para Tecla

como Vihuela2 (1565), in which he gives numerousrules of technique: the placement of the hands,attack, touch, fingerings, rhythm, ornaments, etc.His compositions, mostly in the ricercare form, arewritten with great purity of style and are markedby exquisite serenity.

Sebastian Aguilera de Heredia (1570-16..),priest and organist at the cathedral of Saragossa,educated at the cathedral of Huesca. . . "His com-

positions are remarkable not only for the masterythey display in the imitative and fugal style, butlalso for the good taste and elegance, of each melodyin the polyphonic ensemble.",'

The Obra de Octavo Tono _Ato, from the begin-ning, is distinguished by its ais of pride and nobility.The word Ensalada ("salad7 ') explains the form ofthis piece, composed as.,.'it is of themes varied incharacter and rhythm-a sort of harmoniousmelange, colorful and savory. The compositionproceeds with warm enthusiasm: notice measures93 ff. Thereafter sections in and 2, calmer andmore reflective, afford a highly successful contrast.A powerful and irresistible inspiration animatesthe last part, from a little before the 4 to the con-clusion of the work.

Francisco Correa de Araujo (15817-1663), a

Dominican, was organist of the Collegiate Churchof Seville. Some historians say that he subse-

2 "The Art of Improvising, both on Keyboard Instrumentsand on the Guitar".

3 Eslava, A pontes Biogrdficos in his Lira Sacro-Hispana.

38079

quently became Bishop of Segovia. Of the piecethat is published herewith, Pirro has written asfollows:

"A Tiento of the fourth tone shows us Correaas a serious composer. The laments therein areprofound and limitless, like the laments of theSpanish composers who preceded him. He likesdissonant chords and slow, breathless rhythms.The movement of his measure grows lively onlyto be broken by a heavier shock. Sometimes thesomber harmonies on which he lingers would besuitable accompaniment to the songs of captives,llenas de dolor y sentimiento ('full of pain andsorrow'), of which Calder6n speaks. It would seemthat the musician wishes to remind us that

Siempre traen paces juradasLa m'isica y la tristeza4

and, looking ahead, we may say that he justifiesTaine's remark about the Spanish people: 'Whatdistinguishes them from all others is the need they

feel for harsh and poignant sensation. Such is themood they prefer: other moods seem to them un-interesting.' This melancholy becomes feverishand leads to violence: the peroration of the Tientoa modo de Cancion is tumultuous and rude."i

This composition, calm and mystic at the begin-

ning, ends in feverish romanticism. It seems toleap through time and space, beginning with

Victoria and ending with Schumann.

It has not, to our knowledge, ever been pub-lished in its entirety since the edition in cifra

("tablature") that the composer presented in his

Facultad Orgdnica (1696). Pirro gives a few frag-ments of it among the musical examples in his

L'Art des Organistes.

The Spanish masters were the very first to pub-lish treatises on keyboard technique, long beforeDiruta's Transilvano (1597-1609). The followingare the titles and dates of their principal works ofan instructive nature known to us:

Fray Juan Bermudo (of the Minorite friars): De-claraci6n de Instrumentos Musicales (1555)

Fray Tomas de Santa Maria: Arte de TaherFantasia (1565)

Hernando de Cabez6n: Obras de Musica para Tecla,Arpa y Vihuela de Antonio de Cabezdn (1578)

Francisco Correa de Araujo: Facultad Orgdnica

(169 6)4"Music and sorrow are always united in the closest bond."

5 Andr Pirro, L'Art des Organistes in Encyclopddie . . . du(Jonservatoire, ed. Lavignac, e Partie, Vol. 2.

In the preface to the edition of the works of Antoniode Cabez6n (Proemio al Lector en Loor de la M'-,sica6), his son Hernando gives some indications "ofthe order to be followed in ascending and descend-ing the keyboard". Bermudo, Santa Maria, andCorrea discuss at length these questions of tech-nique, and already employ all five fingers on the key-board. One can scarcely imagine it possible,moreover, to execute the compositions of thisperiod, often written in five or six voices, withoutthe use of all five fingers.

Juan Bautista Jos6 Cabanilles (1644-1712) wasborn at Algesemi, near Valencia. He was a priestand organist at the cathedral of Valencia. Severalhistorians spell his name Cavanillas and Cabanillas,and have claimed that he was also ,organist of thecathedral church of Urgel. Father Angles, in thework cited, has restored to him his true name andfurnished proof of his constant attendance at theValencia post from 1665 until his death.

The Tientos ("preludes") published in the pres-ent volume are numbered II, XVI, and XVin the first volume of the Angles collection.

The Tiento in B is marked Lleno, whichmeans "Full" (Plein-Jeu, "Mixtures"). It is myduty to point this out so that fellow-organists may

"Prologue to the Reader in Praise of Music."

conform to the registration prescribed by the com-poser if they wish. Although it is my custom toremain scrupulously faithful to composers' inten-tions, I take the liberty of proposing a differentregistration for this work. In the first place, theregisters that I use in this circumstance belong tothe traditional classic organ. Also, I believe thatthe vividness and complete charm of this Tientoare thrown into sharper relief and enhanced by thisregistration. Lastly, in a recital of early Spanishmusic, the composition thus presented will afford anelement of variety and contrast that would other-wise be lacking.

The theme of the Tiento in D minor foreshadowsthat of the Fugue in C# minor in Johann SebastianBach's Well- Tempered Clavichord, Book I, that ofLiszt's Fantasy and Fugue in C minor (Ad nos),and that of Cesar Franck's symphony. We noticehere the exposition of the fugue with its four regularentries: tonic, dominant, tonic, dominant. Thedevelopment in this work is magnificent, the falsas("dissonances") lending it a sublime and profoundlymoving character, as in the concluding Tiento5to Tono. The latter is, however, sharply dis-tinguished from the preceding by its air of pride andenergy. Like the stones of the Escorial and of theToledo cathedral, each chord rises towards heaven.It is the song of the real, enduring Spain. Themark of time disappears from this incomparablework: it is music of eternity.

38079

3

Cancion religiosa"'De la Virgen que pari6" y del Niiio que naci6,"

"De la Vierge qui enfanta et de l'Enfant qui naquit"

Cliristmas Carol

Swell:Great:Choir:Pedal:

Flutes 8", 4,'

Gedeckt, or soft Flute s'Flutes S8, 2'

No stop, Sw. and Gt. to Ped. onlySw. 'to G t.

Edited by Joseph Bonnet

Manuals (

PedalV

Ch.-RjeR c.

C) j I.

JUL

Re'cit. : Bourdon 8, Flageolet 2Positif : Bourdon 8, Fifites 8 et 4Grand Orgue: Bourdon 8Pe'dale : Tirasses G. 0. et Positif seules

Positif accouple' au G. 0.

Antonio de Cabezo"n1(1510-1566)

ante cofl moto J = 80

ot.G. 0.

'-p

£1. _ .~ j-

Gt.G. 0.

[-I

1 j1. 1

I I I

Copyright, 1940, by G. Schirmer, Inc.International Copyright Secured

Printed in the U. S. A.38079C

I - I

I IILAI

4

38079

Ch.R 6c.

I . .I I , . - I

Gt.GO 0

I II

5

Chi.R'c.

r~i Ci1I -I - - T

Ped. soft 16', uiqcoupledPed. Soubasse 16, sanis tirasses

38079

1 JaRCli

IINlk I 1 1, ---- L.

t-1-- J- ]-

6

Diferencias sobre la Gallarda MilanesaVariations on the Milanese Galliard

Variations sur la Gaillarde Milanaise

Swell:Great:Cbioir:Pedal:

Full, (box closed)16', 8S, 4', 2'8',) 4',1 2'32, 16,', 8',4'Sw., GIt. and Ch. to Ped.Sw. and Ch. to Git.

Re~cit.PositifGrand Orgue:Pe'dale

Edited by Joseph Bonnet

TManuals

Pedal

AiMaestoso J: 6

fi t .

f.0

I I I v

1 I

(c,)

rrr

Grand Choeur. (Boite ferme'e)Fonds 8, 4, 2, Nazard 2<2.

Fonds 16, 8, 4, 2Fonds 32, 16, 8, 4Tirasses G. 0., Pos. et Re'c.Accouplements Re'c. au G. 0.et Pos. an G. 0.

Antonio de Cabezo~n(1510-1566)

II I

-.D 0

ILI""

Sw.Re~e.

4 9 JU

Aft)I I I

-~

I If I 6,m - I - rr7

G.0

-A I - I

11

k3 w I I

U A

A U -4A

-- 3-

I'L -~_

"30 I]

A-l%

I FrI

38079

I I

I I

7

38079

(~)

Oh.Pos.

___ II'llW ~ " rgI

r

II1~ ~m

8

K3-

HI-mGt.G.

rng

S8079

0

A 4 1 77 wompow"Wool

is . is -01 -P -P An

DAM

AIM AAIMAds[ mw

vw qwh did a i L

JUL ell, a

mw

AMNL-X

jai AV" Ar%. LL 1

W- TI1PI

Sw.R p

M 4Lb

10- 1

ddw

"Nei

m ------

4L it'sw A4.r

TI

JUL -01 AM AM

Ate I

L ' -J*111

38079

I mm II f , M -. Am-

.,II

prepare Gt. and Ch. M ixtures and Ped. Reedspreparez Plein-Jeux Pos. et G. 0. et Anclies Pe'd.

I'

(~)

I LIIM'

38079

10

2Gt.ffG.O.

if

- I

--

_ I I

42

5 1 60,01

doL

1.1

Fuga a cuatroDouble Canon

Swell: Soft Trumpet 8'Great: 8'r 4' (and Nazard 2,23- if available)Choir: Corno di Bassetto 8',Pedal: Soft Bourdon 16', Chi. to Ped.

Edited by Joseph Bonnet

Andante J:OO

e-w

mfoCa.G. 0.

-44 rFImf

Sw.Pos. mf

Reit. : Trompette 8Positif : Cromorne 8Grand Orgue: Bourdon 8, Prestant 4, Quint 2 -,

Doublette 2, Tierce 11,

Pedale : Soubasse 16, Tirasse Recit.

Antonio de Cabezo~n(1510 -1566)

K IF KF

I I I I

I I . I .I I i I I

rvrI K K-JIFI1a

I I I I I

K F

I I

(1~)

I I I I

38079UOF ILLLIR.

manuals

Pedal

-6-

I I

-T---r- I -F

12

38079

13

:r:rrI I I

r H7 H- - K

88079

I I

I I

143

14

U.t queant laxis

Manuals: Diapasons 16', 8',14'

Pedal :32r, 16', 8', 4'Sw. and Chi. to Cit.Sw., Gt. and Ch. to Ped.

Edited by Joseph Bonnet

Lento e sostenuto J =5

Manuals f'Gt.

Pedal

Claviers re~unis: Fonds 16, 8, 4

Pedale: Fonds 32, 16, 8, 4Tirasses

Antonio de Cabezon(1,510 - 1566)

_ I II

r F*-FI 7l I -- -- I

4rr~ r~ rrC)

$8079

I I................ .......... I I =

rK I1" F K1 11rr ( r r Ir7r FrF19' *IP

C 420

38079

I I

om Li

-T-----T,

Clausulas de Jo Tono

Manuals: Bourdon s, Small Open Diapason s'Octave or Flute 4', Nazard 22'-

Pedal : Bourdon 16,, Flutes 8' and 4',

Edited by Joseph Bonnet

Andai

Manuals m

Pedal

r F

Claviers reunis: Bourdons 8, Montre douce 8,Prestant 4, Nazard 2%

Pedale Soubasse 16, Flukites 8 et 4

Fray Tomas de Santa Maria, 0. P.(15.. -1570)

r I

38079

- I

38079

)P1~7

I I I I

is

Cl'uuls e II00on

Swell:Choir:Pedal:

Vox humana, tremulantDulciana s,,, Flute 8'

Soft 16' and 8rSw. to Ped.Sw. to Ch.

Edited by Joseph Bonnet

Adagio e sostenuto J 5,2

Swy.ReC.

P

Re~cit. :Regale 8, ou Voix humaineet Tremblant

Positif: Bourdon s et Fifite 8sPe'dale: Soubasse 16, Bourdon 8

Reic. et Pos. aecouple'sTirasse Re'e.

Fray Tomas de Santa Maria, 0. P.(15. . -1570)

Sw.Re. j

rManuals

Pedal

38079

I I i I

0i

38079

I I I I

19

I F r I I I F-0 r

7 7 7--

20

Obra de Octavo Tono AltoEnsalada

Swell:Great:Choir:Pedal:

Full without 16r16', 8',14', Mixtures and Reeds 8', 4'Full without 16'16P 8',4f, Reeds 16', 8', 4rSw. and Ch. to Gt.Sw. to Ch.Sw. Ch. and Git. to Ped.

Edited by Joseph Bonnet

Allegro risoluto ed energico

:rr

1 I

(k)

Re"cit. : Grand Chocur sans 16Positif : Grand Choenr sans 16Grand Orgue: Fonds 16, 8, 4, 2. Plein-Jeux,

Comnets et Anches 8, 4Padale Fonds et Anches 16, 8, 4

Claviers accoupl's, Tirasses

Sebasti an Aguilera de Heredia(1570-16..)

rrI

I I

38079

---------------- - I

.1

I~ 7 1

21

38079

~)-~I ~ IVt K I

1* 0-0.* 0--n. a

I &I -k-

I I

I I

rrr ( %3w w wmr

I II

.l XISw.Pos.

I I - I

38079

F'TI*0

vKr

11 I

'-p

Ch

Sw.Pos.-s6

Gt.

I I

A--- L

" e

.0 -po- -fag'

23

38079

24

i=58

38079

)

JULAl2 0 .0. JU

25

icii- -I

II.k L L~i

r. h.m.d.." 0

Ti

(G.O0.

38079

T41

add w. ixtuessnd-GI 2,Sof-16

+-Ple-Je 1'. it .+Dubete . et G O-16_AIr

Ped. off 3 2"Ped. O'tez 32

L II I

add Oh. or Gt. Mixture+ Plein Jeu Pos.

38079

26

jet.

I I

Il I

ad4 Gt. 16,'+ Fonds 16 G. 0.

rr F 7 r

27

'Sw.Pos.

I I I

38079

1w W -OL W

-r--T

7 fl 7 7

28

tempo, liaesloso e inarcalo '50

+ Anches 8, 4 G. 0.

3-WN3

Anclies 16, 8, 4 Ped.-1if- I

I - I I k I I

k'1i

K sempre marcato ed energico 'j, 63

Sw.

POS.

r~t 7(G. 0. (~)rrr~

I I I r - - I I I I II

38079

3

1 7,qw 11

-r---T 6;; --Immmw

I I I I I

I I " - I

9) _

~jj .~j I I1~-FJ

I I

I I I

I I I

if/f

*In the original, from this measure to the end of the composition, the Manual is written an octave lower than it stands here.

*A partir de cette mesure jusqu'a la fin le manual est 6crit une octave plus bas dans l'original.

38079

29

I I I

.I II I

I I ' I I

O

30

Tiento de quarto tono por E la mia modo de Canci6n

Solo : Corno di Bassetto (or Cor Anglais)Swell: 8' and 4' Diapasons and FlutesGreat: Flutes 8' and ', Open Diapason 8' (SChoir: Gedeckt, Flute 8, Flute 4, Nazard 2

Flute 2r Tierce itPedal: 16', 8' (no Strings)

Sw. to Gt., Sw. and Gt. to Ped.

Edited by Joseph Bonnet

Andan

Manuals GA.G. C

mfPedal

Solo

mall or mf):3%,

Recit.Positif

Grand OrguPedale

: Ranquette 8(ou Cor de Basset 8, on Cor Anglais 8)

: Fonds 8 et 4 (sans Gambe): Bourdon 8, Fifte 4, Nazard 2%j,

Quarte de Nazard 2, Tierce 1--: Fonds 8, 4 (sans Gambe)

Fonds 16, s et 4 ITirasses G. 0. et Recit.Recit. accouple au G. 0.

Francisco Correa de Araujo(1581?- 1663)

38079

31

3807-9

Maestoso e marcat0 :96

if C'

11

( ) r

addFul SwllGt. 16,8', 4', 2' to Mixturesajoutez le Grand Choeur du Re'cit.,Fonds 16, 8, 4, 2 et Plein-Jeux du G. 0.

Ped. 32' 16,'8Sr4C Reeds 16,,, 8" 4'Ped. Fonds-3 2, 16, 8, 4. Anclies 16, 8, 4.

88079

32

original edition

I- ~--I-

7~ 17rI**

fr /m*

F'IAIL

-Wo

(~)

I I

38079

33

t) t) ) q~) ~

ri.

I I I-

>-

I I

.i I I

" 7 rT

Andantino J:8oSolol -,7 I - n .i l~

ChfPo.M

(reduce Sw. to Flutes 8, 4V and Diapasons 8,,) (reduce Gt. to Flutes 8', and small-Open Diapason 8')preparez au Re'cit.: Fonds 8, 4 et au G. 0.: Fonds 8 mf

off Gt. to Ped.- Tirasse G.

(~)

34

16

)Vfsemza rigoreFI

38079

1 777 ...1

Allegro energico J 84

II Ohl I

!Km um.n mw TI, W mmv low

Ti

f-4E* 0 :P a

I I I I I II -I A i

I I I 1 .L I I I i i

r1 7 1 1 1 7 ' P 7rr7r7- radd Full Sw.; Gt. 16" 8', 4', 2' to Mixtures. Oh. to Gt.ajoutez le Grand Clioeur du IR cit., Fonds 16, 8, 4,12 et Plein-Jeux G. 0. 'Accoup. Re. au Pos. et Pos. au G. 0.

f 11.--

Ped. 32',"16" 8) 4'

off Gt. to Ped.Tirasse G. 0.

38079

36

( Gt..)

* G. 0

low

Sw.Pos.

GtfO

G. 0.d A& Id d

Gt. ReedsLO Wo ? A M

AncheCPos(ou". 0.

cit. to Ped.Tirasse G. 0.

ifPed. ReedsAnches Ped.

88079

A

V-6

37

Tilento lieno por B cuadradoOne Manual Reed (Corno di Bassetto s; or Oboe.8'

with Quint 223or Orchestral Oboe)Another Manual: Cornet 5 Rks (or Gedeckt 81 Flute 4

Nazard 2', Flute 2' Tierce :-)Great : &edeckt 8, Flute 4'

(Nazard 22, if available)Pedal : Bourdon 16; soft Flute 8 No couplers.

Edited by Joseph Bonnet

Andantino con moto J: 100

IReed r.h.f romorne mrn d.

t~

I I I

I, 17

I 1

AL

II I~--F-----F

Sur un clavier : Cornet 5 RgsSur un autre clavier: Cromorne 8, on Hautbois 8

et Quinte 2!,,Grand Orgue, : Bourdon 8, Prestant 4

et Quinte 233 (on Nazard)Pe'dale : Soubasse 16, Bourdon s

Claviers separe~s

Juan Cabanilles(1644-1712)

I I K I

-E- ~ _

\ I I

I T

j

I I r -

77.

Original version: low notes J. instead of (bars 25, 29,33,37)

*Version originale: basses J.- an lien de (inesures 25, 29, 33, 37)

38079C

K-i ~i

II

~"1

I I

I I

mot :t .1

r

I

a tempo38

88079

legalo

4 1

Cornet

I1L,, I I I I

a-

\ I I I I

J.1

39

rr-- Ir J~

38079

i i F

a

I - I I -r-

[1

Ii ff! An -

40

Tiento de falsas

Manuals: Diapasons s8 and 4'Pedal : 16', s', 4'

Edited by Joseph Bonnet

Andante serioso J_ 56

Manuals mf Gt.

Pedal

Claviers reunis: Fonds 8 et 4Pedale : Fonds 16, 8 et 4

Juan Cabanilles(1644-1712)

38079

P- r -r-19L2 * , in

r r ;r

38079

41

7Li

'3

I I I I -A-I I I I I I

' I I

I __ - -~ ~

rit.

rr( _ _ _ _- _ _ _(__ _ _

15 Zd .. v

38079

~rr

CL

i w I I

I I

TV-

4~3

Tilento 5 tp0 tono, de falsas

Manuals: 161r, 8'), 4', 2', MixturesPedal : 32'; 16', 8', 4', Reeds and Mixtures

Edited by JosephI Bonnet

,Grave J =5

Claviers re~unis: Fonds 16, 8, 4, 2.Plein-Jeux et Cymbales

Pedale *Fonds 32, 16, 8, 4.Mixtures et Anches 16, 8, 4

Juan Cabanilles(1644-1712)

Manuals

Pedal

M I I

Fd r'r

F

ri'I I I I

17 11

r)

I I

-r ~~1

38079

I I

,0,10 a :et at AM

I I

44

Or(T j)r

-. O-F

Ll L r

Tl r

e:? -1. P, - -,e: (~)

I -~ ~

TI I I I I -

38079

T~1 I I

I I

I I -L I I

r I "T(I I n nrrr r-'

(~)

38079

-T----r

I r'

46

-6-

77 1 - Ii

I - I I

IFKKr F [F

t-!D on 1

C ) = W T w I- -rn jo

( ~)

,--w Gj 4 " m**8

I I

38079

I I I

-MIL

I I I

-

I I I I

r 7 1 .7-

II -~ -~ ~ -~ -~ -~ -~ -~ -~ -~

CHI RMER' S L BRARY

COMPOSITIONS FOR HARMONIUMHARKER'S HARMONIUM COLLECTION. 43 pieces.

Operatic airs, national hymns, and selections fromthe great masters [ 1242]............ .... . 0.* 1.00

RICHARD WAGNER ALBUM. A collection of 23-pieces. (Harker) [1283] ....................... 1.25

COMPOSITIONS FOR PIPE ORGANALKAN, C. V.

Preludes and Prie'res. 10 pieces selected from Op.64 and 66. (Franck-Boyd) [1469].............1.50

BACH, J. S.Eight Little Preludes and Fugues of the first

master-period. (Widor-Schweitzer) [1456] .... 1.00

BATISTE, E.Quatre Grandes Offertoires de Sainte-Cecile,

Op. 7, 8, 9, 10. (Rogers) [891]...............1.00

CLARK, S.Fifteen Marches (with pedal obbligato). (Smith)

[474]..........................1.75

DUBOIS, T.Ten Pieces. (Harker). With additional registration

for the Hammond Organ by C. F. Paul [1479] .. 1.00CONTENTS: I. Entree (Prelude); II. Entree, En Formede Carillon (Prelude) ; III. Offertoire; IV. Offertoire;V. Pl-vation; VI. ]lkvation; VII. Communion; VIII.Communion; IX. Sortie (Fughetta) ; X. Sortie.

Twelve Pieces. (Morse) [649]................1.25CONTENTS: 1. Prelude in F; 2. Off ertoire in E; 3. Toc-cata in G; 4. Processional in D; 5. Offertoire in Eb ;6. Choral-Prelude in Am.; 7. Fantaisic in E; 8. Medi-tation in El,; 9. March of the Magi Kings in E; 10. Of-fertoire in El,; 11. Cantilene Nuptiale (Nuptial Song)in Al,; 12. Grand Chorus in Bb.

EYKEN, J. A. VANThree Sonatas (Cm., Din., Am.) (White) [252] 1.25

FRANCK, C.Selected works. 10 pieces (Barnes) [ 1491].2.50

CONTENTS: Andantino in Gm.; Cantabile in Bin.; Fan-taisie in A; Fantaisie in C; Final in Bl,; Grande PieceSymphonique in F#-minor; Pastorale, in E; PieceH16roique in Bin.; Pre~lude, Fugue et Variation in Bin.;Prie're in Cs-minor.

HARKER'S ORGAN COLLECTION. 27 pieces, 2 vols.[1243/1244] .......................... each 1.00

CONTENTS: Vol. I: Best-March (For a Church Fes-tival) ; Bibl-Pastorale, Op. 64, No.. 4; Calkin-Min-uetto; Cal laerts-Me'ditation, Op. 20, No. 2; Debat-Ponsan-Andante Se'raphique; Franck- Cantabile;Hird-Theme in A (with Variations) ; Hollins-Pre-lude in G; Lacroix-Grand Chceur (Grand Chorus) ;Mail ly-Me'ditation, and Toccata in Din.; Merkel-Idylle, Op. 88, No. 3; Wesley-Holsworthy ChurchBells.

All Schirmer Library volumes may be obtained in

COMPOSITIONS FOR PIPE ORGAN(Continued)

HARKER'S ORGAN COLLECTION (Continued)CONTENTS: Vol. II: Best-Fantasia; BihI-Vision, Op.64, No. 5; Callaerts-Pastorale, Op. 20, No. 1 ; Devred-Prie're-Offertoire, Op. 8; Gigout-Grand Chceur Dia-logue' (Grand Responsive Chorus) ; Grison - Com-munion, Andante Religioso, Op. 11; Hollins-Preludein C; A read elt-Li szt--Ave Maria; Mail ly-Cantile'ne,Christmas Musette, and Marche Solennelle; Marchant-Cantile'ne in Fm.; Merker-Shepherd's Song, Op. 88,No. 2; Seifert-Festival Postlude, Op. 32.

LEF11BURE-WI'LY, L. J. A.Six Offertories. (Harker) [904] .5

LEMAIGRE, E.Twelve Pieces. (Morse) [650] ................ 1.25

CONTENTS: Marche Solennelle in Dl,; Meditation inAl; Pastorale -in D; Alla Fuga in C; Elegy in Cm.;Capriccio in F; Andante Religioso in G; Melody in El,;Prayer in Gl; Two Preludes (No. 1 in E, No. 2 inAm.); In Canonic Form in F; Scherzo in G.

MENDELSSOHN, F.Three Preludes and Fugues, Op. 37; and, Six

Sonatas, Op. 65.Warren edition [227]. .................. 1.50Lemare edition [976J ..................... 1.50

MERKEL, G.Album for Organ. 10 pieces (Boyd) [ 1488] 1.50

CONTENTS: Adagio (From the Second Sonata for Or-gan), Op. 42; Variations on a Theme by Beethoven,Op. 45; Christmas Pastorale, Op. 56; Allegretto in A,Op. 117; Andante in Am., Op. 122, No. 2; Postlude in C,Op. 134, No. 1; Pastorale, Op. 135, No. 1; Adagiomolto, from the Sonata in Em., Op. 137; Prelude inD, Op. 156, No. 7; Adagio, from the Fantasie in Di.,Op. 176.

RHEINBERGER, J.Pastoral Sonata, in G. Op. 88 (Lemare) [960]. .75Sonata, in Am. Op. 98 (Lemare) [961]......... 1.00Sonata, in Db. Op. 154 (Lemare) [962].........0a 01.25

SCHNEIDER, J.Forty-Four Studies, with especial regard to obbli-

gato pedal-playing. Op. 48. (Warren) [210] ....

DICTIONARY OFHAMMOND-ORGAN STOPS

An introduction to playing the HammondElectric Organ and a translation of pipe-organ stops into Hammond-Organ numberarrangements

by STEVENS IRWINEndorsed by the HAMMOND ORGAN COMPANY

Price, $1.50

cloth bindings. Prices 'will be quoted on request.

.75

DESIGH COPYRIGHT, 1939, BY G. SCHIRMER, INC.

I..

S

G. SCHIRMER, I NCO NEW YORKfertir InEb h 76A-974J II LII~ 11 ~ LLLV L I1I)J v

of Musica classicsThe Library Number is given in brackets: [1242]

I1

b

PI

4

jl

OITS5;e-((Gi~rcla~ilitSe

or

ie(~TSLSt(:ioinIn

el,Cneu

rJTS

I

S29

1

orQr:caj rneife

i7~1ic

le

i :OrirIC

lr

ecec

Oi:

ArA

;I1.50

This book is a preservation facsimile produced forthe University of Illinois, Urbana-Champaign.

It is made in compliance with copyright lawand produced on acid-free archival

60# book weight paperwhich meets the requirements of

ANSI/NISO Z39.48- 1992 (permanence of paper).

Preservation facsimile print ing and bindingby

Northern MicrographicsBrookhaven Bindery

La Crosse, Wisconsin2011