• v. 1. A study of performance practice ; Biography and social aspects ; Manuscripts ; Aspects of interpretation ; Analysis
• v. 2. A practical edition of the free organ works

• PART I: HISTORY AND BIOGRAPHY
• 1. The Organ Scene in Berlin - ca. 1770-ca.
• 1820
• 2. Mendelssohn - The Formative Years - 1820-1838
• 3. Mendelssohn - The Mature Years - 1839-1847
• 4. Mendelssohn as Organist - Performance Characteristics
• 5. Mendelssohn as Organ Improviser
• 6. Mendelssohn's Organ Repertoire
• 7. Mendelssohn as Editor of Bach's Organ Music
• 8. Mendelssohn's Organ Parts to His Oratorios and Choral Works
• 9. Mendelssohn's Organ Parts to Handel's Oratorios
• 10. Mendelssohn and the German Organ Community - 1820-1847
• PART II: MENDELSSOHN'S ORGAN WORKS IN CHRONOLOGICAL ORDER
• 11. Organ Works: 1820-1835
• 12. Organ Works: 1836-1837 - Three Preludes and Fugues for Organ (Op. 37)
• OPUS
• 37 - GENESIS
• OPUS
• 37 - COMMENTARY
• OPUS
• 37 - RECEPTION
• 13. Organ Works: 1838-1843 - Miscellaneous, Lost Works, Misattributions, and
• UNCERTAINTIES
• SIX SONATAS FOR THE ORGAN (OPUS 65): 1844-1845
• 14. Genesis and Chronology
• 15. Manuscript Sources, Printed Editions, Registration, Slurs, Tempo
• 16. Commentary
• 17. Reception
• APPENDICES
• A. ORGAN ATLAS: ORGANS PLAYED BY MENDELSSOHN
• B. MENDELSSOHN'S ORGAN LIBRARY
• C. MAJOR EDITIONS AND COMPARATIVE TEMPO CHARTS FOR MENDELSSOHN'S ORGAN WORKS
• D. MENDELSSOHN'S APPEAL FOR SUBSCRIBERS TO HIS BACH RECITAL IN
• 1840
• E. ROBERT SCHUMANN'S REVIEW OF MENDELSSOHN'S RECITAL IN THE THOMAS-KIRCHE
• F. FELIX MENDELSSOHN BARTHOLDY AND CHARLES COVENTRY: CORRESPONDENCE
• END NOTES
• BIBLIOGRAPHY
• INDEX.
• (source: Nielsen Book Data)

Although Mendelssohn was most famous during his lifetime as a composer, virtuoso pianist, and conductor, he also enjoyed an enviable reputation as a highly skilled organist. The instrument had fascinated - one might almost say mesmerized - him from earliest youth, but aside from a year or so of formal training at the age of about twelve or thirteen, he was entirely self-taught. He never held a position as church organist, and he never had any organ pupils. Nevertheless, the instrument played a uniquely important role in his personal life. In the course of his many travels, whether in major cities or tiny villages, he invariably gravitated to the organ loft, where he might spend hours playing the works of Bach or simply improvising. Although the piano clearly served Mendelssohn as an eminently practical instrument, the organ seems to have been his instrument of choice. He searched out an organ loft, not because he had to, but because he wanted to, because on the organ he could find catharsis. Indeed, as he once exclaimed to his parents, after reading a portion of Schiller's Wilhelm Tell, "I must rush off to the monastery and work off my excitement on the organ!" Mendelssohn's public performance on the organ in Germany was rare, and he gave but one public recital - in the Thomas-Kirche in Leipzig in 1840. In England, however, he evidently felt more comfortable on the organ bench and played there often before large crowds. Indeed, he performed as Guest Organist twice at the Birmingham Music Festivals, in 1837 and 1842. Given Mendelssohn's profound affinity for the organ, it is remarkable that he composed but relatively little for the instrument, and assigned an Opus number to only two works - his Three Preludes and Fugues for Organ (Op. 37) and his Six Sonatas for the Organ (Op. 65). A small number of organ works, plus sketches and drafts, were scattered among his musical papers; most of these only gradually found their way into print, and it was not until the late twentieth century that an edition of his complete organ works was finally published. This volume is intended as a companion to that edition.
(source: Nielsen Book Data)

• T.
• 1. Von Le Banquet céleste bis Les Corps glorieux / mit Beiträgen von Reimund Böhmig ... [et al.].

• The organ in the life of Brahms
• Bach, counterpoint, and chorales
• Brahms as revisor
• The early works
• The eleven chorale preludes
• Interpretation.

• Fugue in G Minor, BWV 131a-- Six Sonatas, BWV 525-530-- Preludes and Fugues (Praeludia), BWV 531-552-- Eight Short Preludes and Fugues, BWV 553-560-- Miscellaneous Pieces, BWV 561-591-- Concertos, BWV 592-596-- Orgelbuchlein, BWV 599-644-- Schubler Chorales, BWV 645-650-- Chorales formerly called 'The Eighteen', BWV 651-668-- Chorales from Clavierubung III, BWV 669-689-- Chorales formerly called 'The Kirnsberger Collection', BWV 690-713-- Miscellaneous Chorales, BWV 714-765-- Chorale Variations (Partitas), BWV 766-771-- Four Duets from Clavierubung III, BWV 802-805-- Chorales now called 'The Neumeister Collection', BWV 1090-1120-- Further works, in part uncertain of origin-- Calendar-- Glossary.
• (source: Nielsen Book Data)

This is a completely revised 2003 edition of volumes I and II of The Organ Music of J. S. Bach (1980), a bestselling title, which has subsequently become a classic text. This edition takes account of Bach scholarship of the 25 years prior to publication. Peter Williams's piece-by-piece commentary puts the musical sources of the organ works in context, describing the form and content of each work and relating them to other music, German and non-German. He summarises the questions about the history, authenticity, chronology, function and performance of each piece, and points out important details of style and musical quality. The study follows the order of the Bach catalogue (BWV), beginning with the sonatas, then the 'free works', followed by chorales and ending with the doubtful works, including the 'newly discovered chorales' of 1985.
(source: Nielsen Book Data)

• Fugue in G Minor, BWV 131a-- Six Sonatas, BWV 525-530-- Preludes and Fugues (Praeludia), BWV 531-552-- Eight Short Preludes and Fugues, BWV 553-560-- Miscellaneous Pieces, BWV 561-591-- Concertos, BWV 592-596-- Orgelbuchlein, BWV 599-644-- Schubler Chorales, BWV 645-650-- Chorales formerly called 'The Eighteen', BWV 651-668-- Chorales from Clavierubung III, BWV 669-689-- Chorales formerly called 'The Kirnsberger Collection', BWV 690-713-- Miscellaneous Chorales, BWV 714-765-- Chorale Variations (Partitas), BWV 766-771-- Four Duets from Clavierubung III, BWV 802-805-- Chorales now called 'The Neumeister Collection', BWV 1090-1120-- Further works, in part uncertain of origin-- Calendar-- Glossary.
• (source: Nielsen Book Data)

This is a completely revised 2003 edition of volumes I and II of The Organ Music of J. S. Bach (1980), a bestselling title, which has subsequently become a classic text. This edition takes account of Bach scholarship of the 25 years prior to publication. Peter Williams's piece-by-piece commentary puts the musical sources of the organ works in context, describing the form and content of each work and relating them to other music, German and non-German. He summarises the questions about the history, authenticity, chronology, function and performance of each piece, and points out important details of style and musical quality. The study follows the order of the Bach catalogue (BWV), beginning with the sonatas, then the 'free works', followed by chorales and ending with the doubtful works, including the 'newly discovered chorales' of 1985.
(source: Nielsen Book Data)

• Max Regers Orgelwelt / Hermann J. Busch
• Zur Quellenlage der Regerschen Orgelwerke / Susanne Popp
• Regers Werktexte als Interpretationsansatz / Bernhard Haas
• Einige Probleme des Regerspiels / Hermann J. Busch
• Karl Straubes Vortragsbezeichnungen in der Symphonischen Phantasie und Fuge op.
• 57 / Heinz Wunderlich
• Verzeichnis der Orgelwerke Max Regers / Hermann J. Busch.