Orgelkonzerte nach verschiedenen Meistern
6 concertos
Plus d’informations
This page is only for complete editions and multiple selections from the collection here. For arrangements, new editions, etc. see (or create) separate pages for individual works linked in Plus d’informations.
Partition
Interprétations
Partitions
Bärenreiter, 1958.
Éditeur scientifique
Wolfgang Auler (1904–1986)
Third edition
Third edition
Maison d’édition
Kassel: Bärenreiter, 1958. Plate BA 1920.
Remarques diverses
From the uploader's library.
In his 1935 preface to the first edition, removed in this scan, Auler states he based the present edition on Max Seiffert's edition, retaining the liveliest pieces for his purpose. He emphasizes the registrations were (presumably by himself) tried out on a typical baroque era instrument, the Schnitger organ in Charlottenburg (Eosanderkapelle) which was destroyed by fire during the war. It has been rebuilt since then.
Pages 6-7 missing.
In his 1935 preface to the first edition, removed in this scan, Auler states he based the present edition on Max Seiffert's edition, retaining the liveliest pieces for his purpose. He emphasizes the registrations were (presumably by himself) tried out on a typical baroque era instrument, the Schnitger organ in Charlottenburg (Eosanderkapelle) which was destroyed by fire during the war. It has been rebuilt since then.
Pages 6-7 missing.
Droits d’auteur
Orgelkonzerte nach verschiedenen Meistern
6 concertos
Plus d’informations
This page is only for complete editions and multiple selections from the collection here. For arrangements, new editions, etc. see (or create) separate pages for individual works linked in Plus d’informations.
Bärenreiter, 1958.
Éditeur scientifique
Wolfgang Auler (1904–1986)
Third edition
Third edition
Maison d’édition
Kassel: Bärenreiter, 1958. Plate BA 1920.
Remarques diverses
From the uploader's library.
In his 1935 preface to the first edition, removed in this scan, Auler states he based the present edition on Max Seiffert's edition, retaining the liveliest pieces for his purpose. He emphasizes the registrations were (presumably by himself) tried out on a typical baroque era instrument, the Schnitger organ in Charlottenburg (Eosanderkapelle) which was destroyed by fire during the war. It has been rebuilt since then.
Pages 6-7 missing.
In his 1935 preface to the first edition, removed in this scan, Auler states he based the present edition on Max Seiffert's edition, retaining the liveliest pieces for his purpose. He emphasizes the registrations were (presumably by himself) tried out on a typical baroque era instrument, the Schnitger organ in Charlottenburg (Eosanderkapelle) which was destroyed by fire during the war. It has been rebuilt since then.
Pages 6-7 missing.
Droits d’auteur