Historical Organ-Recitals

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JOSEPH BNNET

H ISTORICAL O RG.AN-RECITALS IN FIVEVOLUMES

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G. SlCH.JEIRMER.. INC . NEW '.YORK

JOSEPH BONNET

HISTORICAL ORGAN-RECITALS IN FIVE VOLUMES

VOL. V

Modern Composers: Cesar Franck to Max Reger Eighteen Pieces for Organ

Collected, Edited and Annotated by JOSEPH BONNET Organist of St. Eustache, Paris and of La Sociti des Concerts du Conservatoire

G. SCHIRMER INC., NEW YORK Copyright, 1929, by G. Schirmer, Inc. 33517

Printed in the U. -S. A. To MR. LYNNWOOD FARNAM.

PREFACE It will always be a matter of regret to the organistic world that Beethoven's genius did not lead him to write for the organ. In all likelihood the Master knew but very mediocre instruments, unworthy of seriously engaging his attention; yet C6sar Franck, whom Vincent d'Indy regards as the true successor of the giant of the symphony, has assigned a highly important r61e to the King of Instruments in his works. And, perhaps, it is in his organ music that C6sar Franck has manifested the very essence of his genius; collectively these compositions, so revealing in their loftiness and so perfect in their writing, form a monument of incomparable splendor and solidity. In their connection one cannot better the remark concerning one of them made by Liszt as, deeply moved, he descended from the organ-loft of St. Clothilde, where C6sar Franck had played it for him: "These poems have their place assigned beside the masterpieces of Johann Sebastian Bach!" C6sar Franck was the titular head of the organ class at the Paris Conservatory, yet he took but little interest in the technique of the instrument; at his own organ in St. Clothilde he almost invariably improvised. Hence at the Conservatory he paid attention to developing improvisers and composers rather than performers. The true founders of the Modern French School of organ-playing were Alexandre Guilmant and Charles-Marie Widor. These two masters have transmitted to our own generation the pure traditions of Johann Sebastian Bach's art. Yet whence were these traditions derived? "Herewith a cursory sketch," replies Widor himself, "of that history which, like 'be links of a chain, connects us with the man whom we term 'Our Holy Father Bach.' "The first historiographer of the cantor of St. Thomas' Church, the erudite Forkel (1749-1818), was acquainted with his sons Friedemann, Philipp-Emmanuel and Johann Christoph, and through them came to know and penetrate into the meaning of the Master's thought. His book is highly interesting. "Adolph Hesse received the pure tradition from Forkel. Organist in Breslau, with a great reputation Hesse, in 1844, came to Paris for the inauguration of the organ at St. Eustache. Cavaill6-Coll could not overcome his surprise at Hesse's slow tempo in the Fugue in D major; he was astonished at this slowness which, nevertheless, he held up as an example to the virtuosi who made rapidity their one ideal, and who seemed better prepared to run a taxi than to sing the glory of the Lord. 'The Bach tempos?' said Hesse. 'Take the note-group with the smallest values, the most rapid passage, and make it perceptible to the audience; it will give you the correct tempo.' He might have added that Bach's polyphony could not endure clarion-stops or high pressure trumpets, and that it could no more support the pathos of the reed-stops than the stutterings of excessive speed. "From the hands of Adolph Hesse the chain of tradition passed to those of the no less famous master-organist Lemmens who, coming from Brussels, had gone to Breslau to

33517 vi complete his studies. No one among those who have heard Lemmens will forget the clarity, the power, the grandeur of his playing. He lent its value to the least detail, a value always in proportion to the work as a whole. "And it was to Lemmens that the youthful Guilmant, one fine day, came in search of the hallowed tradition. A few years later I followed his example."' Lemmens was professor of organ at the Brussels Conservatory and the founder of the Malines' School of Sacred Music. His best known work is his Ecole d'Orgue, based on the Roman plain chant, a work which has been adopted by the conservatories of Brussels, of Paris and of Madrid. Alexandre Guilmant was born in Boulogne-sur-mer, on March 12, 1837; the son of an organist of that town, he himself played for a considerable time in the churches of St. Joseph and of St. Nicolas in his birthplace. In 1860, in the course of a trip to Paris, he met Lemmens, who heard him play and invited him to come to Brussels and study with him. Guilmant eagerly accepted the invitation and before long, working from six to eight hours a day, he was prepared-as Lemmens phrased it-"to fly with his own wings." Invited to take part in the inaugurations of the organs of Notre-Dame and of St. Sulpice in Paris, his success was so great in both instances, that when the post of organist at the Trinit6 became vacant, in 1871, on the death of Alexis Chauvet, Guilmant was selected to take his place. He retained this position until 1901 when, toward the end of a life rich in service and honor, after thirty years of a career whose glory had abundantly illumined the Trinit6 parish, the aged Master, offended because he had not been consulted in connection with the repairing of his instrument, gave his resignation to the parochial priest. His concert tours and his "openings" of organs in Europe and in America, his work as a teacher, his original compositions and his revisions of the ancient masters, have made the name Guilmant famous throughout the world. Guilmant was a professor at the National Conservatory from 1896 to 1911. During this time the organ class at that institution knew its best years. Guilmant as an instructor was incomparable; no detail was too trifling to escape his attention. From the point of view of technique he was exigeant to an extreme; rhythm, time, the legato, the staccato, registration, ornamentation-in none would he allow the slightest imperfection. His style in the interpretation of the great classics was luminously logical and grandiose. Those who have heard him, even during the very last years of his life, play Bach's Prelude and Triple Fugue in E flat (St. Ann's Fugue), will find it impossible to forget the impression produced by his marvellous execution. His eclecticism was as great as his erudition; he was the first to compel recognition in the concert-halls of France of the hitherto unknown works of Buxtehude, Frescobaldi and others among the older masters; he was also the first-at a time when there was real merit and disinterestedness in so doing-to play the organ pieces of C~sar Franck, for these works were then not appreciated, and their author was violently antagonized. Guilmant, furthermore, gave the Pastorale of Roger Ducasse its first performance before the National Society of Music, and was an enthusiastic partisan of all the newest forms of art.

'Ch.-M. Widor. La Classe d'orgue du Conservatoire (Discours d'inauguration du Monument de Guilmant au Troca- dero), Le Mnestrel, Paris. 33517 vii

"When 'Pelleas et Melisande' was performed, and was so unfavorably received by the public and by many musicians, the art of Debussy, from the very start, had no more passionate admirer than Guilmant. One saw the old organist at nearly every performance, seated in the upper gallery, surrounded by his pupils, bent on making them under- stand the beauties of the new work, and on communicating to them the fervor of his own enthusiasm: with regard to intelligence and sensitiveness he was younger than these young men. And he did not confine himself to words when it was a question of contribut- ing to the success of the artists and the experiments which he loved, but worked to that end with all the means at his command." His original compositions, admirably written for the instrument, possessed the very great merit of insensibly preparing the organists of his generation for a return to the grand organistic style. "They were written," Andr6 Pirro tells us, "for the rank and file of organists, primarily in order to reform their taste and to lead them, without fright- ening them off, to the highest summits. His least pretentious, and, no doubt, his most useful ones, gently prepared this ascent. And he adorned the approaches of the Gradus ad Parnassum with an ingenious registration, spruce soli, an often very animated expan- siveness. Yet all this seemed serious to the contemporaries of Lef(bure-W6ly; it was necessary to win them over with a bit of coquetry, in order to be able to claim the right, from time to time, to talk to them seriously." 2 One of Guilmant's chief claims to glory is surely that vast publication which he under- took and realized, of the Ecole classique de l'Orgue and of the Archives des Matres d'Orgue, the last with the collaboration of Andre Pirro. Guilmant did not cease working the while he lived. He died like a Christian on March 29, 1911, in his villa in Meudon. His obsequies were celebrated on April 1, in the church of the parish and he was buried in Paris, in the Montparnasse Cemetery. "A few days later Abbe Poulin, the newly appointed Rector of the Trinitk, made a point of celebrating a service in the Master's honor in his church, and improvised a funeral oration remarkable for its loftiness, its spirit and its moving lyricism, and in which he considered in succession Guilmant as a man, an artist and a Christian." 3 "Surely, in the celestial homeland, the wish he once expressed with such charming art- lessness has been granted: 'I wish that up above God would let me hear three works: the first Chorale of Franck, the Prelude to Parsifaland Bach's Great Fugue in E flat.' One of the chorus of the righteous, he hears them, yet with what accents and rhythms of sublimity!-those rhythms to which the planets move and dance about the throne of God." 4 Charles-Marie Widor was born on February 92,1845, in Lyon, where his father was the organist of St. Francis' Church. He studied music at Brussels, under Lemmens and F6tis, and his appointment as organist of St. Sulpice in Paris dates from 1870. In 1890 he was appointed professor of organ at the Conservatory, to take the place of Csar Franck; and though he conducted the class for no more than six years, his influence was

IPierre Lalo. Comtedia illustrde (April 15, 1911). 2 Encyclopydie de la Musique et dictionnaire du Conservatoire, Vol. 2, Pt. 2,p. 1373. *Alexandre Guilmant. In Memoriam, Schola Cantorum, Paris. 'Jean de la Laurencie. In Memoriam, Schola Cantorum, Paris. 33517 viii very great and he inculcated the true principles of organistic execution. His three prin- cipal pupils were: Charles Tournemire, organist of St. Clothilde; Louis Vierne, organist of Notre-Dame; and Henri Libert, organist of the Royal Basilica of St. Denis. Widor's virtuosity was dazzling, and of a type one may reconstitute from a reading of certain ones among his symphonies for organ. Of these he wrote ten for the organ alone. It might be said that in these symphonies the organist of St. Sulpice has, in a manner, created a new language and a new style, in keeping with the massed sonority of the modern instruments and the grandeur of our cathedrals. His first four symphonies have been conceived in a purely classic form. The four following are more lyric in character, and belong to a period brilliant in orchestral invention. Finally, in the two last, the Sym- phonie Romane and the Symphonie Gothique, Widor supplies two liturgic chants-the Puer natus est (Christmas) and the Haec dies (Easter)-with austere commentary. As a virtuoso Widor has been far less active than Guilmant, but as a composer he has rendered himself illustrious in all the forms, dramatic, symphonic, piano composition, song and chamber music. In 1896 he succeeded Th&odore Dubois as professor of composition at the Conserva- tory, and in 1910 was awarded Lenepveu's place as a member of the Institute. He is the Permanent Secretary of the Academy of Fine Arts.

Johannes Brahms was born in Hamburg, May 7, 1833. His father played all the string instruments as well as the flute and horn. Brahms' art is closely attached to classic tradition; without gazing into the future he returns toward the past, yet his powerful personality, nevertheless, is one endowed with incontestable originality. His achievement is very notable. For the organ, however, Brahms has written only the pieces which follow: Fugue in A flat minor; Prelude on a Chorale and Fugue; and Eleven Chorale Preludes (posthumous work). These works are all serious in character, and in them Brahms employs with the most unconstrained ease the language of Johann Sebastian Bach. Brahms died in Vienna, April 3, 1897, and was buried beside Beethoven and Schubert.

Camille Saint-Sans was born in Paris, October 9, 1835, of a family with artistic proclivities, musicians and painters. His precocity was not dissimilar to that of Mozart; and even the works of his early youth convey a surprising impression of maturity. He was organist of St. Merri from 1853 to 1858, and then of the Madeleine, until 1877; and his passion for the organ endured to the very end of his life. From time to time, at eleven o'clock on Sundays, he occupied the organ bench of the charming little Church of St. S~verin, of which he had been appointed honorary organist, and no one who has had the pleasure of hearing him will ever forget his extraordinary improvisations, so authen- tically classic in style and so dazzling in their virtuosity. His performance at the organ had remained more pianistic, less scientific than that of Guilmant or of Widor, but his use of stops was colorful, savory and thoroughly in conformity with the traditions of 33317 ix the old French organ masters. He was the first to play Franz Liszt's Grand Fantasy and Fugue on the Chorale Ad nos ad salutarem undam in public. The compositions Saint-Saeins wrote for the organ are as follows: Op. 7-3 Rhapsodies on Breton Canticles; Op. 9--Nuptial Benediction; Fantasy in E flat; Elevation; Op. 99--Three Preludes and Fugues; Op. 101-Fantasyin D flat (No. 2); Op. 107-Religious March; Op. 109-Three Preludes and Fugues (2d Book); Op. 150- Seven Improvisations; Op. 157-Third Fantasy in C major. Saint-Saians died in Algiers, December 16, 1921, at the age of eighty-six.

Eughne Gigout was born March 23, 1844, in Nancy, and his earliest musical studies were carried on in the cathedral choir school of that city. These choir schools have been a powerful aid to the development of musical good taste in France, and often have been instrumental in revealing veritable artistic genius in children of the most humble origin, and in educating them and encouraging their talent. The almost total disappearance of these schools is infinitely to be regretted for the sake of musical art. Gigout's extraordinary endowments were recognized while he was still a youth, and he was sent to Paris, to the Ecole de Musique religieuse which Niedermeyer had founded. There he was the pupil of Clement Loret and of Camille Saint-Sains, with whom he continued on terms of the most intimate friendship. Gigout's life, like that of Guilmant, was one of kindly devotion, regard for duty and artistic honesty. He brought up the three children of his nephew Ikon Boellmann, who died prematurely on the threshold of a career which had promised to be one of the greatest brilliancy. In 1863 Gigout was appointed organist of St. Augustin in Paris, and occupied this position until he died, December 9, 1925. He trained a number of pupils, at first in the Niedermeyer school, and later at the National Conservatory. He was in frequent demand both in France and abroad for organ inaugurations and for organ recitals. It was his constant aim to establish a style of organ-playing more noble and devotional, and worthier of the ceremonies of the Church; and in this connection his influence and his example were notably felt. He was one among the first, and that long before the Gre- gorian reform of Pope Pius X, to write numerous compositions in the ancient plain chant modes; and his short versets have rendered services which cannot be too highly appraised to many organists. Gigout was most justly t.amed for his artistic 'improvisations. These, developed in a superior manner and logical in form, revealed an originality of thought and a harmonic audacity which he never allowed himself in his written compositions. His organ works are numerous and very remarkable, and deserve to be better known by organists and the public.

Harry Rowe Shelley was born in New Haven, Connecticut, June 2, 1858. At the age of fourteen he was organist of Centre Church in his native city; and then of Plymouth Church, Brooklyn, N. Y. (1877), the Church of the Pilgrims in Brooklyn, and of the 33517 Fifth Avenue Baptist Church in New York City. At present he is organist at the Central Congregational Church, Greater New York. Shelley studied with Stoeckel at Yale; and then with Dudley Buck, Dvoiak, and Vogrich in New York. An organist of great distinction, Mr. Shelley has written several symphonies, a concerto for violin, a fantasy for piano and orchestra, symphonic poems, songs and piano compositions, and a large number of religious works and organ pieces-

Basil Harwood was born April 11, 1859, in Woodhouse, Olveston, Gloucestershire, England. He studied at Trinity College, Oxford, in which town, incidentally, he has spent the greater part of his life, and where he has been active as the conductor of the Oxford Orchestral Association, founder and conductor of the Oxford Bach Choir, and of the Oxford Orpheus Society. His works are to be commended in particular for their purity of form, surety of good taste, and noble artistic conscientiousness. Harwood has written a certain number of pieces for organ, notably two sonatas and a concerto with orchestra which was played at the Gloucester Festival of 1910. He has also composed various motets, some of them to Latin texts, and is the music editor of the "Oxford Hymn Book" (1908).

Marco Enrico Bossi was born in Salo (Garda Lake), April 95, 1861. He received his musical education at the conservatories of Bologna and Milan; and later became organist of the Como Cathedral, professor at the Naples' Conservatory, Director of the Lyceum Marcello in Venice, of the Conservatory of Bologna and, finally, of the Royal Academy of St. Cecilia in Rome. Bossi was one of the founders of the modern Italian school of organ-playing. The author of an organ method and of numerous pieces for the instrument, Bossi also wrote works in all the forms, including symphonic and chamber music, oratorio, lyric drama, and vocal and instrumental composition. He scored a great success as a virtuoso in the course of his concert tours in Europe and in the United States. Unfortunately, on his return from his first concert tour in America, Bossi died, February 21, 1925, on the S.S. "De Grasse," which was taking him back to Europe.

J. Guy Ropartz, who was born in Guingamp (C6tesdu Nord), on June 15,1864, belongs to the school of Cesar Franck, and was one of his most ardent disciples. From 1894 on he was for a number of years Director of the Nancy Conservatory, and organized orchestral concerts which called forth in the province of Lorraine a movement toward musical decentralization of the first importance. At the end of the World War, Ropartz was appointed Director of the Strasburg Conservatory. He has composed several symphonies, one with orchestra; chamber music, piano pieces, songs, a psalm, and various works for the stage, one of which, "Le Pays," has been given at the Paris Opera.

33517 xi

Among all the French composers, excepting those who are professional organists, Ropartz is undoubtedly the one who has written the largest number of organ compositions. We quote what the composer himself has said with regard to his number included in this volume: "The melody of the organ piece, 'Sur un theme Breton,' is undoubtedly of religious origin. It was taken down in the Morbihan region some forty years ago, by the priest in charge of the small seminary at Auray, and by him given to me, together with a number of other themes which I have utilized largely in various works. Without being able to fix its period, its notable simplicity, and the narrow limits within which it moves -a fifth, D to A-lead me to think that it must be very old."

Louis Vierne was born in Poitiers, on October 8, 1870. He at first entered the National Institute for the Youthful Blind, then studied at the Paris Conservatory as the pupil of C6sar Franck and Widor, acting as the latter's substitute at the great organ of St. Sulpice until 1900. Vierne was then appointed organist of the great organ of Notre Dame of Paris, which post he occupies to this day. This artist has been heard on concert tours in Europe and in America. He is a professor at the Paris Schola Cantorum, and has written numerous compositions in all the forms. His organ works (five symphonies and a large number of pieces of every kind) are an enrichment of the modern literature of the instrument, and merit the attention which the virtuoso has accorded them.

Charles Tournemire was born in the year 1870, in Bordeaux, that charming south- eastern provincial capital which has given so many musicians and artists to France: the conductors Colonne, Taffanel and Lamoureux; the violinist Jacques Thibaud; the 'cellist Andre Hekking; and so many others. At the Paris Conservatory he was the pupil of Cesar Franck and of Widor; secured a brilliant first organ first prize, and succeeded his master Franck as organist of St. Clothilde. Tournemire has given concerts as a virtuoso in France, Italy, Holland and Germany, but for some years past has devoted himself exclusively to his class in the National Conservatory and to his work as a composer. One of his earliest compositions, "Le Sang de la Sirene," secured for him the grand prize awarded by the city of Paris. Tournemire is the most extraordinary improvisator in existence, and one of the first and noblest among the French composers; but he lives in the greatest seclusion and his works are not so well known as they deserve to be by the public at large. Posterity will do him justice, that justice it already has done his master, Cesar Franck, and the greatest among musical geniuses. Two different styles are discernible in Tournemire's art: in his first manner he is akin to his master, C1sar Franck, as regards harmonic richness and the solidity of his tonal construction, plus a very personal trend toward orchestral color and picturesque rhythms; in his second his own major individuality is even more strongly emphasized by nobility, power and grandeur. Tournemire's output is a considerable one: a quartet, a trio, eight great orchestral symphonies, several among them with organ and chorus, a psalm, symphonic poems, 33517 xii oratorios, operas, vocal and instrumental compositions. He has written the following numbers for organ: The Symphonic Piece published in this volume. A series of eight pieces published by Peregally and Parvy, Paris: Adagio, Scherzetto, Toccata, Interludes, Pastorale, Communion, Ite Missa Est. A Poem (mss.) for organ and orchestra, which has been played at the Concerts Lamoureux and in Holland. A Triple Chorale, published by Janin, Lyon, presenting three different themes which mingle and impenetrate each other, and call to mind the mystery of the Holy Trinity which the whole composition is meant to glorify. In this composition the organist of St. Clothilde affirms himself the spiritual legatee of Johann Sebastian Bach and of C6sar Franck. In July, 1927, Charles Tournemire began the composition of a complete cycle of organ pieces for all the offices of the liturgical year. In this ambitious undertaking the composer's incomparable mastery will be powerfully fructified by the inspiration of the Christian whose meditations have been nourished on Holy Writ and the Fathers of the Church.

Max Reger was born in Brand, Bavaria, on March 19,1873. His father gave him his first music lessons and later he studied with Hugo Riemann. He was professor of composition at the conservatories of Wiesbaden, Munich and Leipsic; then Hofkapellmeister in Meinigen; and died of paralysis of the heart in 1916. Max Reger's output was enormous; and he has written in all the forms. "Beginning with his first unpublished works," writes Hugo Riemann, "Reger evinced a marked taste for the complications of writing and for overloading the whole technical apparatus. Hence his evolution should been the inverse of that of Wagner, for example, and have tended toward greater clarity through the bridling of his imagination. Instead of this Reger allowed himself to be influenced by opposing tendencies which have put contemporary criticism quite out of countenance, for he scientifically accumulates harmonic audacities and arbitrary modulations in such wise that the auditor no longer is clearly conscient of their movement. Thus even Reger's very remarkable gifts are unable freely to develop themselves." Yet Riemann adds: "It would seem, nevertheless, that a certain process of purifica- tion takes place in Reger's last works, and that a breath of genuine grandeur traverses them."1 Reger devoted himself in particular to chamber music, to the orchestra, the piano, and, especially, the organ, and "he wrote with a refined, delicate and ingenious talent and a possibly exaggerated quest for contrapuntal subtleties." 2 It should be added that Reger's works, side by side with the most violent detractors, have called forth the most enthusiastic and devoted admirers. We should mention, among these last, the organist Karl Straube, cantor of the St. Thomas' Church in Leipsic, who has turned devotion to Reger's music into a veritable cult.

1Hugo Riemann, Musik-Lezicon. 'Paul Landormy, History of Music. 33517 CONTENTS

CESAR-AUGUSTE FRANCK (1822-1890) Page Piece h6rolque...... 3 Andantino in G minor...... 14

JACQUES-NICOLAS LEMMENS (1823-1881) Prelude in E flat...... 21

JOHANNES BRAHMS (1833-1897) Choral Prelude and Fugue...... 24 CAMILLE SAINT-SAENS (1835-1921) Rhapsodie No. 3...... 0 ALEXANDRE GUILMANT (1837-1911) 1. Two Variations on the Christmas Carol, Puer nobis naseitur... . 40 2. Nol languedocien...... 4 3. Offertory on "O flii"...... 48 EUGENE GIGOUT (1844-1925) Marche des Rogations...5...... 8 CHARLES-MARIE WIDOR (1845- ) Scherzo in E major...... 64 HARRY ROWE SHELLEY (1858- ) Spring Song...... e72 BASIL HARWOOD (1859- ) Andante...... 75 MARCO ENRICO BOSSI (1861-1925) Siciliana...... 78 J. GUY ROPARTZ (1864- ) Sur un theme breton...... 8 LOUIS VIERNE (1870- ) Menuet...... 88 CHARLES TOURNEMIRE (1870- ) Pi&ce symphonique ...... 98 MAX REGER (1878-1916) 1. Intermezzo in A minor...... 10~ 2. Toccata in D minor...... 112 (xiii) 33517

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vwlsr ;Il 1w '5 - -1- V%ro A

rl ~I,7--, i ~-~I ~IL~

III] .1 1I I~r mmm. Po I I j

off Gt. to Ped. otez Tirasse G.0.

u 4S -t L'E-

88507 17

,poco ral, a e o

)Ch. I I I j. J\ . )Pos. -A

I1fl %.W ty-t

MWNum- . I P~tm-

Gt. ,) j~rw G.O.a tempo Lpoco rail.

I I IF IF

A A U1 A

u- *- .0.-L A A UA Gt.to Ped. Tirasse G.O.

88507 Is Sw.

I v I 'III a tempo Ch - & -t

A -A- -1

T re s7 e s Poo

-)7

*4- .

[ ~J _

Im I I , o m - I 4L1t 14#I 4" Lii

Aw lw

28507 19

~ -- ~ ~Off Obo e ''Ii * ~ . 0'tez Hlautbois

w " _ _ I Add tremulant p X aj. tre~molo I I a

(Ch.\Pos. ()I I

IL I I I I

-1 -0 it 1 9 -p- -p- 0

--.powwow

88517 20

a tempo ,p, oco rall -a j

I off Flute 4' PP tez Fluke 4 L PoS.

#3 vrr PMr rr

J. ~ A I ~4. 0 0 0 0

-ral pp' pits rail.

II re'

Ic I TV T VT I '1FFT rq r17

IR I q- 1 ~I 1 II

88517 21 P re1ude (5 Parts)

Manuals coupled: Foundation stops 168"4' Claviers reunis: Ponds is, ,y4 Pedal coupled: Foundation stops 82" 1'8" 4" Pedale Ponds 82,16, 8,4, Tirasses

Edited by Joseph Bonnet Jacques Nicolas Lemmens

IGrave e legato ) I I-I I I _1J

K41 _rr Gtrr 1-I Manuals Fr' 4 61 -

I I F ' I I Pedal p430C

88517 22

I I il1l- I I I I I 1 . .I 6mlJ ri1r 7-I I rrr ol rn r vr1 I 11 1 j L I

I I I I I 1...... - ' 1 1

.1,1 1Y~ I I I I I I.

I'll IT. vII 6 6 Ij 6 4 ~ Jd L4 J.

I I I

I I

I b 1

vr. rf vr

T------1 11 N

-12-

Cl- V Cd 7C3

I I I I I I I

I I I ** I I. F - T IF r'r r~r rrrr Ike,

39507 S8

I I |Ld

88517 24 Choral. Prelude. and Fugue on ,,O Traurigkeit, o Herzeleid" Choral Prelude Swell: Oboe 8'. (or Cornopean) Recit.: Hautbois ou'Trompette Harmonique 8 Great: Gedeckt 8', Geinshorn 8' soft Flutes '(Ch-to Gt.) Positif: Bourdon 8 et Salicional 8 ou Gemshorn 8 Choir: Geigenprincipal 8s,or Dulciana 8' &Flutes8' G.O0.: Bourdon 8,Flhte s et Gemsliorn S., Positif Pedal: Bourdon 16' Cli.to Ped. accouple' au G.O. Pep.dale: Soubasse 16, Bourdon 8,Tirasse Positif

Edited by Joseph Bonnet Johannes Brahms. Poco adagi~ol, A

Ch. Manuals Pos.

fft Ike A O's 'Aft.. I Aft a Am FI, I* m T -1* PW I Inv I

I I

LL I 31 1 Pedal I L Awl

Agri

I IW

PWk

885t7 25

93507 26 Fugue

83507 27

33501 28

88517 29

39517 so Rhapsodi'e No,. On Breton Melodies (Pilgrimage -of St. Anne La Palud) Swell: Flute 8' Viola 8'or Salicional 8' Flute 4' Repcit. : F1 Utes 8 -4 Viole de Gambe .' Great: Gedeckt 8' or Flute 8' and Geinshorn'8' Positif: Bourdon 8 ou Cor de nuitFlftte douce Sw. &Ch. to Gt. 4 et salicional 8 doux oubemsliorn-8 Choir: Flute 8' Dulciana 8' or Gemshorn 8' G.O.. Bourdon 8 Flifte harmonique 8 Sal- Pedal: No stop. Ch. to Ped. only icional'8 claviers accouplds au G.O. Pedale: Tirasse Positif (sans autre jeu) Edited- by Joseph Bonnet Camille Saint-Sae"ns Andantino /D22 I I t k I L ( , F TV Manuals RJtpflebile f/8h A

V R6cit. Pedal

$3617 31.

Sw. open diap. 8 Rteeit. ajoutez iou 2 jeux de 8 p.

'.0000rm TZII-~ rol

MW'' I ff.I I I I -. I(Gt.-

S N * Or I &*itr

,OoiA T T7A

A' 'A

33517 off Gt. to Ped. 0 tez Tirasse G.O. Ch. Pos. ou R'c it. Allegretto Musette - no diapasons Oboes, ClarinetteCromorne,Cor Anglais

Sw.Ch.&Gt.to Ped. Tirasses GO. Pos. Reit-

33517 33

33517 34 Allegro quasi presto Sw. (closed) /Rc'it (ferme'

vj Sw.- full. Recit.Grand Choeur Gt. &Ch. 16' 8"4' ,'NOU4 NO-N G.0. et Pos. fonds 16 8 4 Pe'd. t6 8 4

) Gt. G.o0. 0 mall I F Im

""Gt. &Sw. to Ped. Tirasses

______- Gt. poco a poco cresc.

,:h ;p I " ;p 'L * ~~~~0 ) G.2. legeato

* ~" - ' . * 0 W

1 I .1

An IW Ab IW I *- .06. P- 9 -A .9 ) -L

_L _CdC mom__

) - do,4

817 II

sempre cresc.

AL-p

~~-~ __ _

'ii ~ C - I if

V - I I~low

gas H? 36

jol JOT :001

)9-) r-u

I I- - I f I I I IA-A

il 1~~

9-)

C7.4bf 7

dihizin. ?fltOO

88517 Solo 3 tempo J Orchestral Oboe or Cor Anglais Andantino mwm

7P 7P--~ ~

k Sw. without 16 p Re'eit-sans i16 4

88507 38

88517 39

off Sw. to Chi separez le Pos. du Reci

10 0 I Ch ;DID Sw. to Cli. Pos .)P

I I Pos. acc. ) an Rkit.

8857 40 Two Vriations on the Christmas Carol "Puer nobis nascitur"

Solo: Violes Ce'lestes Re"cit. : Voix ce'leste,Viole de gambe,Voix humaine , Swell: SalicionalVoix ce'lesteVox humana,Stopped Bourdon de 8 P. et Tremblant Flute 8'Fand Tremulant Positif : Unda manis et Salicional de 8 P. Choir: Unda manis and Dulciana 8'(or Dulciana G. 0. Bourdon de 16 P. seul,Re'citaccouple'. and Melodia) Octaves graves ad libitum. Great: Bourdon 16 soft (or Ch.to Gt. sub.) Pe dale: Soubasse de 16 P. Violoncelle et Plate de 8 P Sw to Gt. &Sw. to Gt. sub. Pedal: Bourdon 16' Cel 1o.8, Edited by Joseph Bonnet Alexandre Guilmant. Op. 60 SLAndante .1=66

Manuals) ChrSolo rrr rr 5 F.9 Pos. I I II

l I I I I'I ' ' I Pedal

p v v Kr r r r -A

m1w. '41,11001r

88517 41

P-)

______4-~ ,j I- I I (I ZIF-

w '4. K Y- -r- -

83507 42

88517 43

22547 44 Noe"H Languedocien Christmas Carol from Southern France

Soo:Violes Ce'lestes Recit. : Youx humaine, Bourdon de 8 P et Swell: Vox humana & Tremolo Tremblant Great: Gemshorn 8'P(or soft Gamba 8') & soft Flute 8 Positif: Plate liarmonique de 8 P. (or Solo to Gt.) G. 0. : Viole de Gamb e et Bourdon de 8P Choir: Concert Flute 8' or Melodia Pe'dale: So'ubasse de 16 P. Bourdon Pedal: 16' 8' (with soft Violoncello 8' ad lib.) (ou Violoncelle) de 8 P.

Edited by Joseph Bonnet Alexandre Guilmant. Op. 60

:e-t Flt Andante con moto =66 1.orMloi A I . K ~ II K

IL 7- -JI I -- Manuals (Ch.

tin" I'll I _rom

I r

Pedal

I-I j1*1 I"(C.'r7 Ki ra

*1 AI

IUD

$85t7 45

88607 ,~ II III. b~Th maTh 'LiF r r 'Ch. LJLJ I'l I I

I... I - -T- 9w

off Gt~to Ped. otez iTirasse

33617 47

88607 48 Offertory upon "0 Fuji"~ Easter Song:-"O Sons and Daughters of the Lord" (Op. 49. No. 2) Swell: Full Re'cit. : Tous les jeux Great:- if full rfe&:Sw. &Ch. to Gt. Positif : f Grand Choeur, P Fonids s et 4 Choir: G. 0. : ft Grand Clioeur rnf Fonds 16s et 8 Pedal: ff full P W6'&8S Sw. &Gt. to Ped. Re'citet Pos. accouple's au G.O0. Pe'dale: ft Anclies "if Fonds 16 et 8 Tirasses G. P. R. Edited by Joseph Bonnet Alexandre Guilmant SAllegretto .:66 I A ivm .____-_-_I__-_-!M_

mw ~Gt. Manuals GO.

Pedal

33517 49

I A I *)These small notes should be played only upon Pedals which do not go above D. *)Ces petites notes ne doivent servir que pour les p6daliers ne montant que jusqu'au Re. 88517 50

';,"-#, !- - -

tIT M ,i , "miI... n M II,4 Ti I / .II- 1 .2" , I.An.A . . .A . W.I T IiI--I, i~ low...... vw

88517 51

Sw (Re'it.

0 0 1' 101

(Rekt. L. LO,y660 S4

off Ped. Reeds otez lea anches Peid.

88517 52 0 Fi Andante J:96

I I

ul rr~- ~rr~ ~Z:

off Sw. to Gt. otez 'accoupt.da Re'cit-au G.O.

1 1. 1 I -

TI VT' SG.OrG.r r ~rrnr i~Kr V a r A- __

off Sw. to Ped. ^tez Tirasse R'cit. I I

-T- I I I

' I

off Gt. to Ped. otez Tirasse G.0.

82507 AMI -U do -AU TF

AM YA low- i

Aft

a I f it

Gt-

Ida

gal L

Gt.to Ped. Tirasse G.O.

88507 54

"I And F FT% V 1 000,

IRK

'ok room Addefth

ago-

Ilow a, I Aj '"nAMI m - di

Amk AM low Am [A N pw PW all tl% PW -11 111 1 01 LIE TF

.,Aw I 11F ,W--L 13 low

Gt. & Sw. to Pe d. Tirasse Re'cit.

$3517 Tempo 10

Gt. Full without twRee'ds fffo.o. Grand Choeur sans anches 16 r. A. d.

6wosiO

F- I .

AV OW

Am Ped.Reeds U Anches Pe'd.

7::WF %AIJ WOW

v 1 W-1 v

1.0000 Amok

A let-

r r r A U U A

88517 .. I rI- 1 . -- fIF

I v I ,vT-w

II~ . * I*1

A A

U4A A

88507 LI 6 MI low LVAN I .. # _ _ _ _ _ '

Ad& Ida

A AD a

I I IkvI I V

388517 58 Marche des Rogations

Solo: Orchestral Oboe 8' Re~cit. :Hautboi's seul SWell: Flute s,; Gedeckt 8P'Solo to Sw. Positif: Bourdon 8 Flates 8 et 4 Great: French Horn (or Gedeckt 8') G. 0. Bourdon8s Choir: Flutes 8"& 4r Pe'dale: Soubasse to Bourdon 8 Pedal: Soft16s& 8,F Claviers seipare's Edited by Joseph Bonnet Euge'ne Gigout Allegretto moderato semplice Sw. Solo Rkcit. jotez Fonds Su

Manuals

Pedal

ii.. * I

I I ' I I 0/ -do- 7 11.-- 7

I - I I (

88517. 59:

09 do

Gt- G.0. f 4.,W I 1 0 loge- I I low 4 odo-l", IOL

//0000,490 /1000

Gt. G.0. I lol-

Sw. R e,ci t. Mr LZ

IN Add WON= Gt. G.O.

u "M

A U A A ~-

A UA A UAA" 'A

83517 60

Chi.

. fl I-, I L t K K

mwF Sw. Gt. Sw. Re'cit. G.o0. Re'cit. ) L I Muft-ft f

r ' .

88517 61 Sw. add Flute 4' (ROcit.ajoultez Fluke 4 A L I K K its vV, Gt. Ch...... I ) G.O0. Po s.0 I I A x -

4. _

-q I

I -Poff Solo to Ped. otez Tirasse RMcit.

88517 62

GiGt.

I r I Irmk AIsAI I

A U A Solo to Ped. Tirasse R'cit.

38517 63

Solo Chi. Pos. I I / As

9-) v

I* low, gas A.0L

I. . w- -w

I I I

Solo Re'eit. Hautbois seul

9-) 2,

G.O.

off Solo to Ped. sans Tirasse

8860 64

Scherzo

Manuals coupled: Reeds 8' & 4' Claviers reunis: Anches de 8 et 4 Pedal: Reeds 8'"& 4' foundation stops -16,8,4' Pedale: Anches 8 et 4 Fonds 16, 8, 4

Edited by Joseph Bonnet Ch.- M. Widor

Allegro J.= t2 staccato sempre

Manuals

Pedal

88517 65

k Sw.

Sw. -r A Re'cit. . 1U__1

UOLA.U

AMI low

dmk

LL p dim

AM -

MATIC op F OP fti LL 6.-- 1 1 1 1 1 1 lot

885A7 66 ~ rn~mi4 r~Jm.P I I r r

( I-TL

11 I

AGt

G.O.______

- L_ _ _ _ _ -IPS

U517 67

~L L~rm71 _

7U7 Sw.

) A -a I D

A U AA UA

U~.t.

ji. . . KI

I I yll

_____

____

.'al 4 . u Ia..

2 t I pftftww I a I LL A

r~AA 11 low W

28517 68

As i I 14 -______

-) L'-' LOfIWiJI F I v

. 11 4 4 q

Sw. Re'eit.

4.1 -c -A. of 01 rl l , ___inn -- -- -

.~LjW~ Lw41 II.' [-P 717 cresc. *1~

.id r r

38507 69 Sw. Recit. 6.4 ~rL ~ a/y PO .' AirI- I I

Vr r ry r1 fo pal Sw.I I" Ip/ G.O.) Re'cit. bt . Lhl* I

..LL

Sw.

88517 70

Gt ~JJ,..2.* ~ G.O. AJb

Gt. v ? SG.O. ) -1I A

411110L Aw U U A U A U UAU u

A44 L-- hi. k1m IF OFP.0r P Lr

A A .A A .ait~

A U U IIm~a A A A U A

Thi 1k k K h

9) '

A .A. ~U a

A UA

SSW1 71

38517 72 Spring Song

Swell: Oboe 8'and stoped Flute 8' Recit. : Hautbois (ou trompette) Bourdon 8 Great: Harmonic Flute 8',or Melodia 8' Positif : Bourdon 8 on Gemshorn tris doux Choir: Dulciana 8' G. 0. Flilte Harmonique 8 Pedal: Soft i6& 8' Pedale: Soubasse i,Bourdon 8

Edited by Joseph Bonnet Harry Rowe Shelley Allegretto grazioso

Manuals

Pedal

9wow Llwmwl .

P1 I UL

It Lam call

885i7 73

5345 I-~ 44 Iii~,II 1 a 10- -p- -P-

PlW-

Gt.

G.O. J

FT p --,PT

VGt. 11 Re'it.

88517 74

-- - -- Affn bt44 I.LTIit m ADAM

TI .14 AdikkAddd@kLk 2? I__ _rr_ . I a

w 1

Adi

SSWL 7'5 Andante

Swell:.. Stopped Flute S; Salicional 8' Reocit. : Bourdon 9 (ou. Cor de nuit 8) Small open Diapason 8', Positif: Bourdon 8 Flftt 8, Salicionral 8 Great: Flute 8' Gedeckt 8'Gemshorn 8', G. 0.: Bourdon 8 Fliute 8, G emshorn 8 Sw. and Ch. to Gt. Recitet Positif accouple's au. G.O Choir: Melodia 8' or Concert Flute 8' Pe~dale: Soubasse 16, Bourdon 8 Pedal:-. Soft is'Ch. to Ped. Edited by Joseph Bonnet Basil Harwood And.

Manuals w

Pedal

IAwl W W. A'a JL1J ~~Two*

r 1 Y 1 0

88517 76 (JR~rit.Ch. Ch.

-c- .mP Psw. espress& espress. Pos. K IM

) off Gt.to Ped. I I ohi -qI ii IvIV-V--p -- - w w jt 0tez Tirasse G.O.

F m w"VoK

on F I qw .4,11L C) Sw. L Jt.L )I I oj I (Pos. .00000401 G.O.

i 'N il AM

pi I IJ Gt. to Ped. Tirasse G.O.

SSW1 Gt. add open diap. 8P 77 G.O. Montre 8

88501 78 Siciliana Stile. antico

Swell: Oboe 8' Re~cit.: Hautbois 8 Great: Gedeckt 8'. Flute 8' Gemshorn 8' Ch. to Gt. Positif: Flute 8 Choir : Concert Flute 8' or Melodia 8 G. 0. : Bourdon 8, Fifte8 Salicional 8 Pedal: Soft t6' Ch.to Ped. Pe'dale: Soubasse 16, Bourdon 8 Positif accouple' au G.0. Edited by Joseph Bonnet Marco Enrico Bossi Andantino con grazia MWPM

ell I I Manuals< S Ch.p :Pos.0

~~b7-

Pedal g i ' I' 1

.ir~k I r.g. Re'cit.P

I d"

88517 79

18517 so

41LAn Amm ,m Am

fl a-As AM

0 1 IA

000 Ida I PWI f -low I i Gt. poco stent. G.O.

HL 29L L d

Ped. add 'Cello 8 k EA

r' ft.to Ped. Tirasse G.O.Violoncelle et Flue s

33507 * ,,-*****.~. ~*Ida8

-c- -'r

Ad& F;,

iL~Z'~. Am

V w off 'Cello and Gt -to Pe d./ Pa~d. Otez Violoncelle, Flate et Tirasse G.O0. 1

83507 82 Sur un theme Breton

Solo. Orchestral Oboe or Cor Anglais 8', Solo Cor Anglais Swell: Oboe 8' Flute 4' Reivcit. Hautbois et Flute 4 Great: Foundation stops 8'(Sw. and Ch. to Gt.) Positif: Fliite 8 on Bourdon 8 Choir: Melodia' G.O . Ponds 8, R~cit ace. an G. 0. Pedal: 16,& 8'(Gt. and Sw. to Ped.) Pedale: Ponds i16 et 8 Tirasses G.0. et Reit

Edited by Joseph Bonnet JGuy Ropartz Andante

Manuals

Pedal

q I

M. zq r P G. Ofm r-T~j

qw (L') r

ISM1 83

a tempo

I J

- ffpGt. (add full Sw.) JG.O0. (ajoutez anclies Re'cit

I A

offPed G. an Sw~t

ppoco nit.

88517 84 a temnpo

a sww 10,6 -2 Re' c it.p 0.01 1L~W - h~.1 '-

(Ch. prepare Clarinet. Sw. and Solo to Ch.) 'p (Pos. ajoutez Clarinette ou Cromorne;) accouplez Reit.et Solo au Pos.)_

Sw. a tempo Solo Rkit -Solo0 AM

poco nt. ~1

w Sw. - Re'cit. p

Sw.

$8517 85

___mwmmNmwwwm wammomm- 4~ _ IP6 t I Am t r I"11

w Sw . add Flute & Salic ional RMcit.ajoutez FlaUte & Bourdon set Gambe 8

WoWe W We

1T~h I j%)__

r if omr*.imoza mw , m 4 ~ 4A 4

if ffL

LiI

88517 86

F%mv -AMMLW IMI--L m-v w ImlIm v lzINN L, Me"W low mw i Fz*-- al I I I I I w L I l- PEI

F -H1H 11111 [Hill dim. kIHH]LHLLJ TfllL

dim.

LIJ; _

Sw. Oboe and Flutes 8 & 4" (RR'cit. Hautbois et Fluktes 8, 4

Xjj (I VI~ hurl r -t.I

nf Gt. Found. St.s8". G.O. Fonds 8 (Rekcit. ac couple')"

$8517 poco 82 poco rnt.

Adft A

Sw. Oboe and Flutef4 ~1 Re'cit, Hautbois et Flate 4

V-). ww ;

Solo to Ped.off Gt. 0 tez Tirasse G.O.met-

/ ~

W S Solo Oh. Clarinet I Pos. Solo10 2 M

) I 'M

to Ped. - ~ ~ tez Tirasse Solo

m .a , Of f.~

w w

r0 I- - Ch.

Pos. Bourdon 8

WKt.INK

38507 88

Menuet

Swell: Oboe. Recit. : Hautbois (Trompette preparee) Choir: Flute 8' or Melodia Positif : FUte 8 Great: 8' Foundation stopsrnf G. 0. : Ponds 8 Pedal: Flute 8' or Ch.to Ped. Pedale: Flute 8 Edited by Joseph Bonnet Louis Vierne. Op. 32 Tempo di Minuetto no Sw. As&, Re'cit. .. "

Manuals

Pedal

88517 89 -a-momm- ,4~ i~ ______1 F2

4 ~J4~ .g ~ _ I

LL~ A U -~AA

Sw...... 11 L~ ~. . lei, - 10- HADO 6 10 - -9 : L 0 1 0

dim. moon-

fl1 . II I- i~ om wm I I 17411

) Ch. wink- I Pos. .uL A A A aA I A A, , i

7 'now ! o A A A

3517 90

a tempo- 0 M 41--4 4 -& Aq'W

t) Imw nt. ,Wsubito

-- s 4.1

-u- TI I I

A~ J4 #.I

6 m --- I- cresc.

IflJ40...... *-...... -l

AL i A .LA 2 A A A A AL 14'aft, 14 W - AF

r A A

38517 91

SSWL 92 Gt. G.O. 11atemof7jI

P. -c- IPL I ~ r~-

:dab -77

A R ehcit. Trompett e I ~

Gt- to Ped. Tirasse G.O.

~Li~m K

I I v I i fl-

A I-I

.40 4: -goo-==

M1 I- -vJ

' I. ,~II

*0 r 4t)

-Pa

,~ I rwi

I ' I fC) r 17 7ZJL7'

loop-L~ -~ ~ _ ,.q 4 I -UA A

AOL~* ' A

83517 93

ii L I Ii(

1-"%~~

P1 Li_ I I

2 fI

U y r #

~tI - 11. . fz- , ---, 4.1

r ______

) -T----F Q) _____ k L AUAL. U K

- _'_-1-i- r -'------81517 94:

~tez irass Ch. w

885(7 Ch. 91 Pos.

Add I

I Add 9 = F

Sw. I Re'eit. tL A I L L I a TI Ax w A u NA ur-

Sw. R ek

Lw,__j f

dil Ch. J4 L P" PEN" 11 a I I - . - I INAW I I lift amUl b4pw I IW "m Am I I I -11 if V 1 -11 . I I w Od - -1 9 6owd -

A tL L u A -,ffo hot LTJff IW I Ldfor ELM_ W

Ch. Sw. Pos. R 60, L 6 m L e"cit 0 um Aft _14 -W-M 'L -T Am LAFI 1:1f f a---- llw Olt ------I pq low-- U 1 - V T-M I LFAFM---Il I' jr as a

IP m Admk t-

F 31j LlM IN4Z mom- ol Ch. s Pos. Rep cit. tl Adft I n Ashnor I AF I*" As 711 9 am do da A low0 l4w&

FJ N -U.i Aff btUn " ArIJL flu m . - --A a Tj I JLA I m aid1wdO

S *W. Recit. pcli. O.R i LJ tit1 'S '7'

38517 96

88617 97

Sw. - Recit. 7

0) bmftw cresc. dim.poco apoco

fl J4~Ai I I I -

9-) x

.,11 ~

88507 98 Piece Symphonique

Swell: Flute S' Salicional 81,Voix Celeste S' Re~cit. : Ponds 8 Yoix celeste. Anches pre'pa rees Great: Foundation stops 8' Positif: Bourdon 16, Anches pre'pare~es Choir: Bourdon 16' (or Flute 8' or Melodia G. 0. F onds 8, Anehes preparees and Ch- to Ch. sub. octave) .Pedale: Ponds t6,8,p Anches 16,8,4 preparees Pedal: Foundation stops o6', 8' Tirasse G.O. Reicit accouplb au.Positif Gt.to Ped. Sw. to Ch.

Edited by Joseph Bonnet Charles Tournemire. Op. 16 Lento

T& as 13 Manuals

Mf t.L I IW- um I Tj I Pedal I V -dl

Sw. R "c it. -1 rall.

aSw

Rgcit.

Otez Tirasse G.O. pliilento

IWOT- 1 0

07* ___m____m___j!"______w_

Tirasse GaO

8857 99 Sw84'ad eed ~Allegro moderato

C,h. Pos. LRcit. 6rw 44ALTT Ago- J<~mIIi i1L4 J

Gt. to Ped. off Gt.to Ped. Tirasse G.O.

ZOtez Tirasse G.O.

fl 00

kih j 12..

t i F

Ch. SW. Pos.Rkit. P. - ii~ll t-

PPos.. 4 IW -17V .Sw. 7ow Re'cit.

) v I/ f4 14) 1TVIPp ip.

88517 t00 Sw. Ch. Re'cit- Sw. Ch. Recit. Pos.

iiL

TI/' V ' p ' p /'T'4) / V '/ I t 1 /' V /'I. k V ,r

Cantando Ch. Sw. Sw. Sw.Voix ce'leste Recit. Pos Reit. Re~eit.Voixceoleste rf

60f0d r Chi. Melodia 8'(off Ch. WGand Sw. to Ch.)pp Pos.Flite seule

V V-

-ow imw 40-

a tempo

38517 sw. Sw.101

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Intermezzo

Swell: Full without 16' Re~cit. : Fonds, anches et mixtures 8 4 2 Great: 8'and 4' Sw. and Ch. to Gt. Positfif: Ponds s et 4, Re'cit.accoup1e' Choir: 8Wand 4' Sw. to Ch. G.0. F onds 8 et 4, Reit. et Pos. acc-ouple's Pedal: 16", 8'and 4'Gt. and Sw to Ped. Pedale: Ponds 16 8 4

Edited by Joseph Bonnet Max Reger. Op. 59, No. 3

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88517 112 Toccata

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I-x This book is a preservation facsimile produced for the University of Illinois, Urbana- Champaign. It is made in compliance with copyright law and produced on acid-free archival 60# book weight paper which meets the requirements of ANSI/NISO Z39.48- 1992 (permanence of paper).

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