Schubert für Orgel

Bekannte Sätze in stilgerechten Orgeltranskriptionen für Gottesdienst und festliche Anlässe.

Andante con moto aus dem Streichquartett D 46 / Adagio aus dem Streichquartett D 87 / Andante aus dem Streichquartett D 18 / Andante aus dem Streichquartett D 32 / Adagio in G-Dur für Klavier D 178 / "Das Wirtshaus" aus der "Winterreise" / "Vom Mitleiden Mariä", Lied D 632 / Agnus Dei aus der Messe in G-Dur D 167 / Offertorium "Ires sunt, qui testimonium dent in coelo" D 181 / Benedictus I aus der Messe in C-Dur D 452 / Kyrie aus der Missa solemnis in As-Dur D 678 / Agnus Dei aus der Großen Messe in Es-Dur D 950 / Andante in h-Moll nach den Sinfonie-Skizzen D 936A / Anhang: Franz Lechner, Introduktion und Fuge in d-Moll op. 62

„This is an unusual, but none the less welcome publication. As is relatively common knowledge, Schubert was himself an organist, and possessed an instrument, but the organ parts in his Masses, for example, do not suggest that he was wholly familiar with, or happy to write for, the instrument. (…) Nor is there any single organ work for one player by Schubert of any consequence, so to encounter a collection such as this – very beautifully presented and laid out with much detail and helpful registration suggestions – is an intriguing proposition. (…) The movement from the ‘Unfinished’ Symphony D936A, a late work almost entirely sketched complete by Schubert in shortscore, is one of his finest and yet least-known masterly outpourings from his last months. It works exceptionally well on the organ and one hopes that in this version it will become as well-known as other of his late works in other genres. (…) This publication has rather more musical and musicological interest than might at first be apparent (…) The individual movements would make excellent contemplative recessionals, or musical interludes during the celebration of Mass, and there are various examples here that would make ideal recital items. (…) I found it a remarkably fascinating and important publication – an introduction to Schubert for the organist and a fleshing-out of the nature of the instrument in the earlier years of Biedermeier Vienna. It is comprehensively recommended.” (Robert Matthew-Walker, THE ORGAN – Autumn 2014) “…The string quartet movements lie easily under the fingers and sound most effective at the organ. (…) If you are an organist that in any way loves the music of Franz Schubert, have this in your organ loft; you will not be disappointed.” (ORGANISTS’ REVIEW – Dec. 2014)