The organ part and reduced score Symphony No. 4 - An Organ Symphony (2008) by Poul Ruders. Full score: WH31186 Orch. parts are available on hire: hire@ewh.dk Preface / Programme Note When introducing a large-scale symphonic work not only as a symphony but as an organ symphony it would be impossible not to think of and perhaps compare it with Camille Saint-Saëns’s famous SYMPHONY NO. 3 popularly known as the Organ Symphony. Well that is a risk I am prepared to take – and live with the consequences.Saint-Saëns however listed his work as a symphony avec/withorgan. The organ only appears in two out of the four sections of thepiece. In my symphony the instrument plays a far more significant part and is featured in all four movements. But it is not a concerto for organ and orchestra rather a symphony with organo obligato - a symphony with an organ part of a soloistic nature. So an Organ Symphony it is. The first movement PRELUDE is exactly that: a foreplay to what is in store for the rest of the symphony. It is slow (very slow!) and predominantly hushed: the organ and the orchestra wake up side-by-side getting to know one another.The second movement CORTÈGE is a slowly moving processional and it evokes extreme solemnity and austerity. Later on the music takes flight and the atmosphere lightens considerably a far more playful music emerging.This leads to the third movement ETUDE an exercise in instrumental virtuosity and technical challenge.The fourth and last movement is called CHACONNE but I could just as well have named it passacaglia (the definition of those two terms seems to blur even among the learned). Bearing in mind the last movement of Johannes Brahms´s SYMPHONY NO.4 which is universally agreed on as being a passacaglia I chose to avoid the Wrath of the Gods and opted for

Jehan Alain (1911-1940) was a French organist and composer. His Litanies for Organ was composed in 1937 and is a sublime addition to the instrument's repertoire. Alain studied with Organ virtuosos Guilmant and Vierne and was primarily an organist and composer of religious music. Whilst at the Paris Conservatoire he won many prizes and his composition catalogue comprises some 140 works. Alain's Litanies is his most famous work and is prefaced with the text; 'When in its distress the Christian soul can find no more words to invoke God's mercy it repeats endlessly the same litany....for reason hasreached its limit; only faith can take one further...' From lively and comical pieces to sensitive and unexpected works Alain's pieces are diverse in musicality. Moreover the composer exploits Organ techniques making Litanies an exciting and varied piece for advanced level organists.

This handbook contains everything required for the London College of Music grade 1 & 2 electronic organ exams: scales & arpeggios, studies, pieces, performance notes, sample viva voce questions, and sample chord sequence, accompanying & aural tests. Features original compositions and arrangements of well-known pieces. The series, compiled by Janet Dowsett, provides a solid foundation of musical education for any organ student, whether they are intending to take an exam or not. / Exams / Etude / Orgue Electronique

This handbook contains everything required for the London College of Music grade 7 & 8 Electronic Organ exams: scales & arpeggios, studies, pieces, performance notes, sample discussion questions, and sample chord sequence, accompanying & aural tests. Features original compositions and arrangements of well-known pieces. The series provides a solid foundation of musical education for any organ student, whether they are intending to take an exam or not. / Exams / Etude / Orgue Electronique

This handbook contains everything required for the London College of Music grade 5 & 6 Electronic Organ exams: scales & arpeggios, studies, pieces, performance notes, sample discussion questions, and sample chord sequence, accompanying & aural tests. Features original compositions and arrangements of well-known pieces. The series provides a solid foundation of musical education for any organ student, whether they are intending to take an exam or not. / Exams / Etude / Orgue Electronique

Lewis Carroll from 'Alice in Wonderland' and inspiration for this lively and fun piece of light organ music. ' . . . suddenly a White Rabbit with pink eyes ran close by her. There was nothing so very remarkable in that; nor did Alice think it so very much out of the way to hear the Rabbit say to itself 'Oh dear! Oh dear! I shall be too late!' (when she thought it over afterwards it occurred to her that she ought to have wondered at this but at the time it seemed quite natural); but when the Rabbit actually took a watch out of its waistcoat pocket and looked at it and then hurried on Alice started to her feet for it flashed across her mind that she had never beforeseen a rabbit with either a waistcoat pocket or a watch to take out of it and burning with curiosity she ran across the field after it and was just in time to see it pop down a large rabbit-hole under the hedge.'

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.

The Christmas Organist is a cornucopia of 30 seasonal pieces for Christmas services and concerts including favourites such as Handel’s Hallelujah Chorus and Vivaldi’s Gloria in Excelsis aswell as preludes and other Christmas pieces which take their inspiration from popular carols. A truly outstanding collection.

200 fabulous new arrangements-How about this for a mouth-watering concoction: take 200 of the most regularly used hymn tunes ask the top church music composers to work their magic on them and gather them together in one bumper collection. What you have isLast Verse Extravaganza..

This edition of the Organ Book by Nicolas de Grigny was edited by C. L. Koehlhoeffer. Featuring 43 pieces this book uses pedals and other techniques that would be known by advanced players. The scores of the Organ Book were first published in 1699 under another name before being republished under this name in 1711. J. S. Bach corrected these initial editions and his corrections are still taken into account in this book. Organ Book is a good representation of the Organ music of the Louis XIV period. Nicolas de Grigny was a French organist living in the areaof Rheims where he was the main Cathedral organist.

Selected from Musica Britannica Volume 69. Edited by Barry Cooper.This collection of sixteen pieces by John Blow (1649-1708) taken from the complete organ music published in Volume 69 of Musica Britannica is an authoritative introduction to the work of the leading Restoration English composer of organ music. More organ music from this period is ascribed to Blow than to all his English contemporaries put together including Henry Purcell. In compiling this anthology the editor has incorporated both the best examples from the corpus and those that were most popular in the composer's lifetime while illustrating the variety of styles he used. Most of the pieces may be played ona single manual but there are also 'double voluntaries' (for two manuals) and 'cornet voluntaries' (for two or three manuals). The collection includes advice on ornamentation and a comprehensive editorial note.

Orgel Büchlein-Volume 1 of Bach?s organ music presents some of the most frequently played organ pieces altogether. Here they appear in a new engraving based on the New Bach Edition (NBA).This updated edition takes into account the latest findings of Bach scholarship: thus for example a newly-discovered copy of the first edition containing inscriptions in Bach?s own hand could be incorporated into the musical text of the Schübler Chorales.For the Orgel-Büchlein Bach?s autograph manuscript remains the principal source. Yet a glance at its early dissemination among his pupils reveals an abundance of readings that give interested organists insights into how perhaps Bach?smost famous collection was played at that time.Unfortunately no autograph manuscripts survive regarding the early chorale partitas. However the Foreword helps to solve the ?riddle? of how these partitas were handed down.Links to major sources have been provided in collaboration with the Bach Archive Leipzig and its Bach digital database. The relevant page of the source in question can be accessed quickly and conveniently via shortlinks at http://links.baerenreiter.com. These links are checked for their validity on a regular basis.Urtext of the New Bach EditionComplete new engravingNew detailed Foreword by Christine Blanken (Ger/Eng)Links to relevant sources in Bach digitalVolume 1 hardback BA5056The Complete Organ Works: The Definitive Edition Now in 11 paperback volumes in a slipcase BA 5279

With Sleigh Bells across the Snow renowned recitalist and composer of popular church music Malcolm Archer reveals another facet of his talented musicianship namely his love of light music and his mastery of the theatre organ.With this addition to Stainer & Bell’s stylish Light Organ Series Sleigh Bells across the Snow was conceived in the spirit of Leroy Anderson and joyfully follows the tradition of his and other notable sleigh rides. Bells and chimes feature prominently ad libitum. But as the composer himself remarks in true theatre-organ spirit players should also feel free to add their own embellishments glissandi or whatever else takes their fancy!

Sonntagsmusik-The new edition of what is with doubt Petr Eben's most famous composition for the royal instrument is based on a revision by Prof. Jan Hora undertaken in cooperation with the composer. Since this cycle was written half a century ago (1958) the Organ has undergone certain changes and it was therefore necessary to make corrections in the notation of this classic work in order that it corresponds to the way the instrument is played today. But it was not only contemporary aspects which influenced this latest edition. We also took a step back right to the very beginning giving the work its original title Musica Dominicalis which furtherunderlines its timelessness. This edition contains a preface and notes on performing the work by Jan Hora in three languages (Cz./Ger./Eng.)

Ã?dition Originale-This volume in the series ?Les Éditions Originales Durand · Salabert · Eschig? contains Maurice Duruflé?s works for Organ taken from the editions in Durand catalogue.  The original engravings are reproduced giving musicians a valuable record of how these major works were first published whether in the composer?s lifetime or posthumously. With Olivier Messiaen Maurice Duruflé formed part of an illustrious generation of composers who received the decisive imprint of Tournemire either through his teaching or through his immense cycle L?Orguemystiquer. In his catalogue Organ music naturally has a major place. He did not force his own nature into any new aesthetic as he championed modality such as medieval music has codified it asserting that ?I have always inhabited Gregorian chant which is obviously a fairly well-behaved language?.