Organ Coro II-The Missa in F of 1734 for two or four choirs is probably Pergolesi’s most important work for choir and orchestra. The nickname 'Missa Romana' was added later in reference to a performance given in Rome during Pergolesi’s lifetime.This Urtext edition presents the work for the first time in the four-choir version that Pergolesi wrote for the above mentioned performance in Rome. Choirs III and IV are reproduced in smaller type and are added to the version for double choir in order to intensify the overall sound. This allows the work to be performed not only with two choirs but also in the delightful enlarged version for fourchoirs. Rounding off the edition are an informative Foreword (Eng/Ger) and a Critical Commentary (Eng).First publication with choirs III and IV.Can be performed with both two or four choirs.Idiomatic well-presented Piano reduction.Full score performance material (BA8958) and vocal score (BA8958-90) available for sale.

Cantata for soloists choir and orchestra-Lobe den Herrn meine Seele (Praise thou the Lord o my spirit) BWV 143Little is known about the genesis of “Lobe den Herrn meine Seele” (Praise thou the Lord o my spirit BWV 143.A transcription from the 19th century was for a long time considered the only source; the musical text of the “New Bach Edition” was based on this material.  Recently however a copy of the score from 1762 has become available.  It offers a more reliable musical text rendering a complete revision of the cantata necessary.On the basis of this new source the work is presented here as part of the“New Bach Edition – Revised” in what is presumably its original form in C major with three trumpets.  This orchestration is more typical of Bach’s writing than the version for three horns in the surviving B-flat major version. Revised Urtext edition of the Weimar Cantata Urtext of the New Bach Edition Performance material (BA10143) vocal score (BA10143-90) & study score format 22.5 x 16.5cm (TP1143) available for sale

from the Opera 'Tannhauser'-During his time in Weimar (1848 1861) Liszt developed a then entirely new organ style which stands out for both orchestral and pianistic elements. Together with the choirmaster Alexander Wilhelm Gottschalg (1827 1908) from Tiefurt he regularly initiated so-called 'organ conferences'. And it was at the suggestion of Gottschalg that the present arrangement of the Pilgrim's Choir from the opera 'Tannhäuser' was written. With his version for organ Liszt by means of this example laid the foundations for the (not always undisputed) tradition extending to the present day of organ transcriptions from the operas of Wagner. 'Organistic' elements in the Pilgrims' Choir are theclassical chorale theme the solemn 'sacred' atmosphere of the solemn tempo as well as the expressive cantability. The linear intensification from the antiphonal-organ-like piano dolce of the beginning to the 'full organ' can be realized in a convincing manner with an orchestrally conceived three-manual organ with the sensitive use of the swell box and the successive seamless build-up of the crescendo pedal being of particular significance. Important repertoire piece marking the 200th birthday of Richard Wagner in 2013.

This Saraband Processional reflects the renewed interest in the sarabande among composers of that time among them Britten Vaughan Williams and Howells. It is a majestic entrance piece.Twentieth century English composer conductor chorister and Organist William H Harris was Organist at St George’s Chapel at Windsor Castle and was conductor for the coronations of Queen Elizabeth II and her father King George VI. His work was performed at the Three Choirs Festival and the Proms though he was best known as a choir trainer.

Cheryl Frances-Hoad's Two Organ Voluntaries for solo Organ. 'My two organ voluntaries Where does your faith lie? and Taking your leave were written for Even You Song a collaborative work for cathedral choir children's choir and organ inspired by the structure and themes of Choral Evensong with poet Lucy Sheerman and artist Bettina Furnée.' - Cheryl Frances-Hoad The premiere given by organist David Humphreys took place at Peterborough Cathedral on 16 February 2017 following the re-pitching of its organ from ‘Philharmonic’ to ’Standard’ concert pitch.

Philip Moore's Paean (2010) for Organ. Duration: approx. 2 1/2 minutes. 'Every bar of philip Moore's Paean is beautifully considered.' - Geoffrey Webber of choirandorgan.com 'This cheerful piece by Philip Moore is another work extracted from the Organists’ Charitable Trust Little Organ Book. As ever with one of the UK’s finest composers of ‘traditional modern’ organ music the work is literate idiomatic and pleasing to the ear. Making only moderate technical demands yet being full of colour and character this would be an excellent voluntary or recitalwork for any organist.' Sunday By Sunday  December 2017

J. S. Bach (1685-1750) was a German Baroque composer who is revered for the originality and skill of his contrapuntal and harmonic techniques. He spent most of his life working as an organist and choirmaster but was also employed as a composer a many different Royal Courts. However his skill as an organist and composer for Organ is what gained him the reputation he enjoyed during his lifetime.This is perhaps epitomised by his Fantasia and Fugue in G Minor (BWV 542) often referred to as the Great Fantasia and Fugue. It has been edited by Sir Frederick Bridge and James Higgs.

The large-scale partitas Op.8 Nos.1 and 2. Hugo Distler studied Organ with Günther Ramin and composition with Hermann Grabner in Leipzig. He then worked as cantor and organist at St. Jacobi in Lübeck and taught composition and Organ at the Stuttgart Musikhochschule from 1937 onwards. In 1940 he took up the same position at the Berlin Musikhochschule and also became director of the Berlin Cathedral Choir in 1941. Considerably influenced by the Lübeck Stellwagen organ at St. Jacobi he championed the characteristic pre-Baroque and Baroque sound of the organ and the forms which best suited it. His stylistic preference was for aspecifically neo-Baroque functional-objective type of sound. This 3-volume critical edition with previously unpublished works includes the forewords of the first editions facsimiles a critical commentary for each volume as well as a list of sources. - First Urtext edition of Hugo Distler’s Organ works. - Includes previously unpublished works. - Reflects the latest state of research. - Detailed foreword critical commentary (Ger/Eng) facsimiles and tips on performance practice.

While Darke composed extensively for Choir and Organ he wrote many fewer works for solo Organ. The first of the set St Peter dedicated to Herbert Howells is the best known of the three atmospheric and improvisational and Orchestral in style. The second prelude a fantasia on Darwell’s 148th is a virtuosic piece that retains its musical integrity. The final on a theme by Tallis begins by tranquilly setting out its theme before moving into romantic Orchestral style. Harold E. Darke was an English composer and Organist of international renown. In 1916 he established the Monday lunchtime Organ recitals at St Michael’s Cornhillwhich continue to this day the longest-running such series in the world. His setting of Christina Rosetti’s poem In the Bleak Midwinter created a melody and lilting Organ accompaniment that have never fallen from favour. It is regarded as one of the greatest Christmas carols and is still sung at the service of Nine Lessons and Carols.

Cradle Song-Vuggesang / Cradle Song for Organ solo by Peter Bruun (2016). The piece is based on Martin Luther's hymn 'Vom Himmel Hoch'. Dedicated to Vibeke Vanggaard. 'Peter Bruun's cradle song Vuggesang is an inventive and refreshingly unconventional set of variations on 'Vom Himmel Hoch'. There are some fascinating textures here and the whole thing is a far cry from a dutiful neo-classical perusal of stock partita motifs - the crystalline final variation which disappears into nothing in the final bars is especially striking. Numerous rhythmic complexities throughout the score will need thought but the piece will reward thediligent.' - Stephen Farr Choir & Organ Magazine 'Organ music makes up only a small part of Danish composer Peter Bruun’s (b. 1968) varied output. Nonetheless  Vuggesang (‘Cradle Song’) from 2016 is idiomatically and sympathetically written for the organ: a series of five variations on Luther’s hymn Vom Himmel hoch that affords variety of texture colour and mood. A clear head is needed to negotiate some of the rhythmic complexities but this is a fine work for the Christmas season that will reward performer and listener.' - Sunday by Sunday  

Organ-Sumer Is Icumen In by Leif Thybo. Theme with six variations for Organ. In the March/April 2015 issue of Choir and Organ Magazine Stephen Farr states that this 'witty and approachable partita' is '[a]n entertaining way to demonstrate the capabilities of a small instrument'.

Judith Weir's The Tree Of Peace was composed in 2016 for Organ. Commissioned in loving memory of Richard Axtell (1952-2015) talented and much-loved organist at the Parish of St. Andrew West Tarring. 'It'senormously inspiring to see the Master of the Queen's Music turning her attention to the organ once again. Judith Weir's The Tree Of Peace is a short piece commissioned in memory of the organist Richard Axtell... Despite thesimplicity of the music it carries all the hallmarks of Weir's unmistakeably refined idiom.' - Stephen Farr Choir and Organ Jan 2018 From the Master of the Queen's Music Judith Weir comes The Tree ofPeace which was commissioned in memory of Richard Axtell organist of the parish church in West Tarring West Sussex. It was given its first performance there by Charles Harrison on the 17 June 2017. It lasts some 4 minutes andproves to be a thoroughly engaging piece in her customary refined idiom. It is in three main sections with a graded increase of tempo throughout. Thematic material is presented at the start cantabile. The central sectionprovides an energetic development marked animato leading to the conclusion molto mosso which gives the theme as in the opening but in augmentation. Throughout I feel an orchestral sense of colour and interrelationships inthe music - and have found it delightful to play. A modest two manual and pedal instrument with some contrasted quiet colours available will suffice and the technical demands are by no means severe. A delightful addition to therepertoire of short self-contained delightful pieces. - Organists' Review Duration: Approx 4 minutes.

This work Jubilant March for Organ is one of many original works that Stainer composed for Novello. It suggests that the high esteem in which Stainer was held by his contemporaries for the excellence of his Organ playing was not misplaced and is quite a rare Stainer work by virtue of its non-religious nature.John Stainer’s life coincided almost exactly with the reign of Queen Victoria. From his humble beginnings as the son of a cabinet maker he rose through his own brilliant musical gifts application and vision to become one of the most celebrated musical persons of his time. He is still remembered for having reOrganized the St Paul’s choir and for raising musicalstandards among church musicians in general and for his pioneering musicological research into early music. His hymns and arrangements of carols retain some popularlity today as does his Passiontide oratorio The Crucifixion.

As publishers and musicians ourselves we understand the financial restraints faced by many choir directors. Even if you use just one of the pieces in the set you are paying only the usual price of a single choral piece. If youuse two you're getting double value and if you use three four five or more you're quids in! Music For Organ: Joyful Music - Set 1 includes seven pieces for the Organ: Easter Alleluia (Colin Mawby) Lord of Majesty (Richard Lloyd) Lumen Christe (Noel Rawsthorne) Marche-Sortie (Théodore Dubois) Postludio Festivo (Sigfrid Karg-Elert) Resurrexit! (Andrew Gant) and Toccata fromSuite Gothique (Léon Boëllmann).

This work was written in December 1986 for a recital given by Hakim and his wife Marie-Bernadette Dufourcet at the Sacré-Cœur. It is conceived as a duo using the Grand Organ and Choir Organ in the Basilica. This antiphonal use of the organs is interpreted by the former Rector of the Sacré-Cœur Father François de Vorges as a ''dialogue between God and his faithful people recalling the dialogue of the angels and shepherds''. The theme and variations form of the Fantaisie lends itself very successfully to this well-known Christmas hymn.