SKU: HL.14026390
ISBN 9780853605065. 8.5x11.75x0.081 inches.
Arranged and edited by Desmond Ratcliffe.
SKU: ST.H493
ISBN 9790220224935.
This matching pair of stirring marches is the latest addition to Stainer & Bell's popular 'Light Organ' series. Joe Marsh writes with a particular flair for rhythmic heft and swing, and his work shows the great British tradition of martial music for the instrument alive and thriving in the hands of one of its most noted practitioners, who is also President of the Sunderland Theatre Organ Preservation Society.
SKU: LO.70-2181L
ISBN 9780787764982.
Each organ arrangement in this collection from Matthew McConnell combines two well-known hymn tunes. The tunes have been paired according to various factors: key relationships, melodic contours, textual associations, similarities between liturgical themes, and more. All pieces, when used creatively, can help reinforce the thematic message of a particular service, especially before or after the congregation sings a hymn from a given pairing.
SKU: HL.50512719
SKU: GI.G-003026
Organists who are not only completely comfortable withe instrument are still called upon to play for a variety of ceremonial occasions, including weddings. Organist and organ teacher, Kyle Johnson, has provided pragmatic adaptations of some of the core pieces in the ceremonial repertoire. These were field tested by organ students from Kyle's own organ studio, and are tailored for organists who, in particular, have a still-developing pedal technique. In addition to wedding staples from Wagner, Mendelssohn, Pachelbel, and Clarke, some of the the other favorites include are: Air on the G String/Bach, Ave Maria/Schubert, Panis Angelicus/Franck, Rondeau/Mouret, Air from Water Music/Handel.
SKU: HL.49045437
ISBN 9790001162715. UPC: 841886029088. 9.0x12.0x0.168 inches.
On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther.The composer describes the five movements of the symphony as follows:'1st movement:Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people.2nd movement:In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time.3rd movement:The omnipresence of death and dying - from the plague and war to the never-ending dangers of daily life - was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air.4th movement:The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air.5th movement:The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'.
SKU: HL.14032450
8.25x11.75x0.063 inches.
The Four Quiet Voluntaries include a sprightly allegretto, a lyrical air, a lilting pastorale and variation and a theme on an Irish air. 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.
SKU: GI.G-003029
UPC: 641151030609.
Following his Ten Christmas Flourishes (WLP 003037), Welsh composer Meirion Wynn Jones adds to the WLP Organ Library with Ten Easter Flourishes. A collection of enlivening, celebratory introductions for beloved Easter hymns will similarly be a pleasure for organists to play! Some tunes are paired with more than one text during the days of Easter-Ascension-Pentecost, making this a most practical collection. Includes: “O Sons and Daughtersâ€, “I Know That My Redeemer Livesâ€, “Jesus Christ Is Risen Todayâ€, “Christ the Lord Is Risen Todayâ€, “All You Who Dwell Below the Skiesâ€, “The Strife Is O’erâ€, “At the Lamb’s High Feastâ€, “Good Christians Allâ€, “The Day of Resurrection,†and “Now the Green Blade Rises.â€.
SKU: UT.HS-335
ISBN 9790215328532. 9 x 12 inches.
Walter Battison Haynes (1859-1900): Sonata in D minorHugh Blair (1864-1932): Short Sonata in G majorThe organ sonatas of Walter Battison Haynes and Hugh Blair demonstrate a notable peak in the development of the English organ sonata as a work that is musically cohesive. As discussed in The Genesis and Development of an English Organ Sonata (2017), the portfolio approach towards compositions under one title, a sonata, that included sometimes significantly contrasting movements of varying technical difficulty was common during the second half of the nineteenth century not least as a published example of the compositional skill of composers. Whereas these two sonatas join the tradition of works that could be convincingly played on both medium and large instruments and allow for creativity in registration they are also cohesive pieces that could serve in a concert programme. These works join the legacy of English organ sonatas that had an important pedagogical role jointly inherited from Mendelssohn’s very practical and popular approach to the instrument and the continued European legacy of the lesson-sonata tradition whereby in learning a piece you also learned the instrument and vice versa. They are both idiomatically written and musically rewarding pieces that are imbued with the undeniably English harmonic language of the era that was to remain popular for several decades to come.
