The Four Quiet Voluntaries include an aubade in waltz time a ¾ Chorale a cavatina and a piece on a poem by Thomas Campion ‘Never weather-beaten sail’. They fall within the abilities of moderately accomplished musicians.Eric Thiman was a 20th century composer teacher and Organist who was also an advocate of amateur music-making. He was a prolific composer of church music and Piano and Organ works and his craftsmanship and gift for melody were much admired. He was director of music at the City Temple in London. As an educator he was a professor at the Royal Academy of Music and he wrote many books on harmony counterpoint and musical form.

Book 1-Sonata No. 1 Op. 5Two Preludes Op. 52Two Meditations Op. 57A Quiet Voluntary Op. 70Basil Harwood's organ music takes a chronological journey through the composer's creative years. This journey begins with the Organ Sonata No. 1 in C sharp minor op. 5 and ends with Quiet Voluntary for Evensong op. 70 composed in 1946 when the composer was eighty-seven. In the intervening years came many and varied compositions often demanding an instrument of ample resources together with a player equal to their somewhat formidable technical demands. Displaying a fine sense of craftsmanship they represent an important contribution to the organ repertoire.Unjustly neglected in the years since the composer's death it is hoped that these six volumes will continue the ever-growing interest in Basil Harwood's music.

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.

Master Tallis's Testament No.3 from Six Pieces for Organ. Composed in 1940 Master Tallis's Testament unfolds Quasi lento teneramente in a gentle six-eight rhythm and in G minor. It consists of three variants of a theme which falls into three phrases (eight plus six plus four bars). The music rises gradually to a climax at the end of the third variant. A quiet echo of the last two bars supplies a coda and a peaceful ending in the major. The piece is one which its composer regards as most typical and with particular affection. Its title which pays tribute to a father of English cathedral music allies it to the twenty-four pieces contained in Howells' two sets of clavichordpieces the twelve of Lambert's Clavichord (the Lambert not being the composer Constant but the Bath photographer Herbert who in the Twenties published a set of portraits of British composers (including Howells) and the twelve of Howells' Clavichord (1951) the separate titles similarly evoke those of the Elizabethan Virginalists. © 1977 Felix Aprahamian

The African Worship Collection draws together for the first time a wealth of songs from the continent of Africa and the nation of South Africa in particular. This collection builds on the success of The Australian The British and The American Worship Collections all of which have quickly become favoured resources in worship groups across the world.We've included songs from churches across the continent includingVineyard South Africa and Rhema Church one of the largest churches in the world. You'll already be familiar with many of the names below - Janine Price Carol Mundy Steve and Velveta Thompson Malcolm Du Plessis - and we'redelighted to be able to introduce to you many other talented songwriters. Styles range from funky up-tempo praise to quiet melodic worship. There are also some traditional African songs with English translationsprovided.This is an essential collection for broadening the repertoire of the church worship group.

Angelus; Trio; Interlude and PaeanThe reissue of four pieces by Norman Cocker celebrated organist of Manchester Cathedral in the inter-war period further extends Stainer & Bell's library of English Cathedral music that also includes the complete solo works of Basil Harwood and pieces by Darke Hollins and Bairstow. Detailed registrations by Henry Ley himself a noted performer and Music Director of Eton College from 1926 to 1945 are of historical interest. Angelus Trio and Interlude offer episodes of quiet reflection. Paean breaks the mood with flowing euphonious counterpoint in ceremonial style.

Baltâ ainava - White Scenery (Winter) belongs to the seasonal pieces of the nature-loving Latvian composer P?teris Vasks. Everything is white. The new year begins. It is a quiet meditation, a great beginning, musically presented by two themes. / Orgue

John Rutter's Prelude - Te Lucis Ante Terminum for Organ. Duration: 1 1/2 minutes. This short (44 bars) contemplation is dedicated to the memory of Hilary Cornall and takes the form of a gently­ flowing Andante tranquillo with freq­uently-changing time-signatures but with a constant quaver pulse = 126. This gives the work a haunting quality as if ­in visual terms - quietly observing the passage of cloud across a balmy sum­mer sky. Tonally the music gradually descends from an implied A minor to G - the mode subtly indeterminate but undoubtedly final as the approach of evening. As with so much music by this composer the effect is simple but very touching the constantly flowing open fifths in the right hand adding the principal expression of movement. A most effective miniature. Although dated 2010 on the cover and title page the composer himself gives 2009 at the end of the final bar.' - James Palmer

Fantasie uber den Choral Hinunter ist der Sonnenschein. Par GENZMER HARALD. Harald Genzmer intends this piece, created in 1999, to be his farewell to the organ. Starting fortissimo, the piece quotes from a traditional German folksong about the setting of the sun and finishes very quietly, ending pianissimo./ Répertoire / Orgue