Josef Rheinberger (b. 1839 d. 1901) was a prolific composer in almost every field but he found in the Organ the medium best fitted to his genius and temperament. This seems to be proved by the fact that his reputation as an Organ composer has grown and is now firmly established whereas his position in other branches has declined. His twenty sonatas and his numerous shorter pieces (about a hundred) make up one of the most important contributions to the Organ repertory. It may indeed be claimed that in the maintenance of a high level of quality and interest throughout a long series of works of both large and small scale his position as an Organ composer issecond only to that of Bach. Sonata No. 19:The G minor Sonata is one of a small proportion of the twenty - No. 15 in D is another - concerning whose merits players are divided. It does not meet one half-way. It is the longest of the twenty: some monotony inevitably results from the use of the key of G for all its movements : its difficulties are of the ungrateful type : and the vigour of its first movement is often rough-even harsh. Yet it appears to be among the favourites of those who know it well; the late Dr. G. J. Bennett (a pupil of Rheinberger's and a devotee of the Sonatas) placed it among the best of the later numbers. Sonata No. 20:In spite of some inequalities No. 20 makes a worthy end to a fine series. Rheinberger's failing health at the time of its composition is no doubt responsible for a few moments of indecision especially in the Finale. The invention shows little if any falling off. In all the sonatas there are few better themes of the broad diatonic type than that which opens the first movement ; and the pleasant tunes of the Intermezzo and Pastoral and the swinging subject of the Finale are in the true Rheinberger vein. But the lack of a substantial fugal section is felt: it might well have come as a central portion of the Finale which

Par SCHROEDER HERMANN. Concerto da chiesa' is the last organ work by Hermann Schroeder (1904-1984). It was composed a few months before his death. The premiere was performed by Clemens Ganz, then organist at the Cathedral of Cologne, in memory of the esteemed teacher and college colleague. The work marks the end of a tirelessly prolific life with more than one hundred organ works of various characters, genres and possibilities of use in liturgy and concerts. The title 'Concerto da chiesa' reveals that this is a work for concerts, not for being used in services. The three-movement composition is an unmistakable 'Schroeder' work: emphasis of linearity according to high baroque standards, conciseness and sometimes impulsive gestures of the themes and rhythms, layers of parallel chords within a freely tonal modern harmony, not forgetting the plasticity of form and the motor functions which are surprisingly energetic for an eighty-year-old./ Répertoire / Orgue

6 Sonates en Trio-Part of the Organ collection by J. S. Bach this 4th Volume Complete Organ Work - Six Sonatas in Trio form was composed in the 18th century. This volume is now translated in English and French and features the annotation of Marcel Dupré a French organist to help the performer get the most of the sheet music. This fourth book contains the six following pieces: - Sonata – E flat major - Sonata – C minor - Sonata – D minor - Sonata – E minor - Sonata – C major - Sonata – G major The preface of these Six Sonatas in Trio formis well written with explanations of the comments and descriptions of the techniques to use for a good interpretation of this work. This volume can be used by intermediate players and above.

STILL. LEBENOrganist Eva Feldbc:ek had been asking me for a long time to write for the organ without the use of iron blocks extra stopping assistants etc .... unusual difficulties that belonged to my earlier organ music. I setmyselfthe task of Miting a ''handier'' kind of music for the organ.Once I had finished STILL. LEBEN I didn't think I had achieved what I was looking for. True the two movements did not involve odd things but 'handy' isn't really the word for them either. So I wrote the three movements in COUNTERMOVE to tidy up even more.And since I didn't think that was enough either I wrote the really simple pieces under the title IN TRIPLUM.Thethree series (eight pieces in all 2 + 3 + 3) sound very different but they all take their point of departure from the nature and tonal resources ofthe organ.Everywhere there is polyrhythm or hierarchical layering polychromaticism diatonics and melody (the last of these only sparingly and in some of the movements).Pelle Gudmundsen-Holmgreen

This series of national organ music collections showcases music from England France Germany and Italy. Each book contains 50 representative pieces especially suitable for Service use. The collections are compiled by ColinMawby.Alla Marcia in C - AdamsAlla Marcia in B flat - AdamsAndante Pastorale - AdamsPrelude - AdamsAdagio - BennettAndantino - BestHanover - BestO praise the Lord - Best‘Vers’ in G major -Blow‘Vers’ in G minor - Blow‘Vers’ in C major - BlowCarillon - BrewerAllegro Comodo - BridgeAllegro Marziale - BridgeVoluntary - CosynVoluntary in A minor - CroftVoluntary in D major -CroftVoluntary in D minor - CroftCantique - ElgarA Short Prelude in Four Parts - GibbonsA Trumpet Minuet - HollinsPrelude in G - HopkinsPrelude in E flat - HopkinsPrelude in A - HopkinsMinuetPurcellTrumpet Tune in D - PurcellTrumpet Tune in C - PurcellVoluntary in C - PurcellVoluntary on the Old 100th Pt.1 - PurcellVoluntary on the Old 100th Pt.2 - PurcellAndante Grazioso - SmartEveningPrayer - SmartAdagio - StainerAndante - StainerVoluntary in A minor - StanleyVoluntary in E minor - StanleyVoluntary in G - StanleyVoluntary in G minor - StanleyCaithness - StewartPrelude in E minor- WalmisleyVoluntary in A minor - WeelkesSecond Voluntary in A Minor - WeelkesVoluntary in C - WesleyVoluntary in C minor - WesleyVoluntary in F major - WesleyVoluntary in E minor - WesleyVoluntary in D- WesleyLargo - WesleyPassacaglia - WestVoluntary - WestRomanza in A minor - Wolstenholme

Four Voluntaries For Organ by Robert Groves. Following the practice adopted in several of Groves' books of Hymn Tune Preludes each of these pieces has been designed so that it can be played on a small two-manual Organ with pedals or quite easily on a manual only with or without pedals. Registration of a simple nature has been given and this may of course be varied at the player's wish.

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.

Grades 2-5-Oxford Bach Books For Organ is a 5-volume graded series of Organ music composed by J. S. Bach and arranged by Anne Marsden Thomas. This varied collection includes the essential pieces in all genres including choral preludes fugues toccatas and trio sonata movements alongside several of the composer’s lesser known works. Each volume contains a general introduction for players with advice on registration tempo ornamentation touch and articulation fingering pedalling and more. There are also concise notes on each piece by the renowned Bach scholar Professor Russell Stinson - addressing source issues structure and symbolismand for the chorale preludes information on the original hymn melody and text on which the piece based. An authoritative introduction to this cornerstone of the Organ repertoire Oxford Bach Books For Organ presents pieces in a highly practical format that is perfect for teachers and students. This first volume contains 37 pieces for the manual Organ suitable for musicians at a Grade 2-5 level.

Grades 6-7-Oxford Bach Books For Organ is a 5-volume graded series of Organ music composed by J. S. Bach and arranged by Anne Marsden Thomas. This varied collection includes the essential pieces in all genres including choral preludes fugues toccatas and trio sonata movements alongside several of the composer’s lesser known works. Each volume contains a general introduction for players with advice on registration tempo ornamentation touch and articulation fingering pedalling and more. There are also concise notes on each piece by the renowned Bach scholar Professor Russell Stinson - addressing source issues structure and symbolismand for the chorale preludes information on the original hymn melody and text on which the piece based. An authoritative introduction to this cornerstone of the Organ repertoire Oxford Bach Books For Organ presents pieces in a highly practical format that is perfect for teachers and students. This second volume contains 18 pieces for the manual Organ suitable for musicians at a Grade 6-7 level.

13 pieces for manuals-This useful series is ideal for keyboard players who find themselves playing church organs for village services. Each volume provides a wide selection of material suitable for use as voluntaries for which pedal parts are not required.Volume 4 contains: BACH JS - Adagio from Organ Concerto in A minor BWV593 BATTISHILL - Voluntary DANDRIEU - Basse et Dessus de Trompette from Magnificat in A FELTON - Variations on ?Farewell Manchester? from Organ Concerto in A Major FRANCK - Air Béarnais FRESCOBALDI - Toccato Chromatica from Messa della Domenica LISZT - Agnus Dei from Requiem pro Organo MARTINI - Allegro from Sonata II PACHELBEL - Magnificat-Fugue STANLEY - Voluntaryin E Minor Op.6 No.9 TOURNEMIRE - Petite Fugue WALTHER - Adagio from Organ Concerto in Bb Major CHARPENTIER - A Trumpet Voluntary (Te Deum Prelude)

Par CAROL HENRI. La registration à l'orgue est une science et un art. Notre souhait serait d'éclairer et guider en premier lieu l'élève d'orgue : mais aussi celui qui aime cet instrument, soit au disque, soit au concert, soit - bien entendu - à l'église ou au temple, car c'est là, en fait, sa place privilégiée. Nous avons dit 'guider'. Devant une oeuvre d'art (dans un musée, par exemple), le guide suscite l'admiration pour telle oeuvre, tel détail - mais même (et surtout) s'il s'adresse à des connaisseurs, il s'en tiendra là et laissera à chacun le soin de partager (ou non) cette admiration. Le goût - qui suppose un choix - ne s'impose pas. Il se forme ! Que de fois avons-nous entendu dire à propos des jeux de mixtures : 'Qu'allez-vous faire de tous ces 'sifflets' (sic) ?', ou bien, à propos d'un orgue néo-baroque : 'La perfection d'harmonie de cet instrument permet de jouer Franck, Vierne et Messiaen !' Voire... C'est dire combien la registration à l'orgue est un sujet dans lequel il convient d'entrer... sur la pointe des pieds ! Sujet délicat entre tous. Noélie Pierront nous dit (dans L'Orgue, #100, p. 132) : 'Il me semble impossible d'aimer l'orgue sans essayer de rassembler une bibliothèque consacrée à notre instrument. De Dom Bedos aux jeunes contemporains, en passant par A. Pirro, F. Raugel, A. Cellier et leurs émules, que d'ouvrages passionnants, parfois rarissimes !' Depuis longtemps, en effet, les théoriciens se sont penchés sur le problème de la registration - qu'il nous suffise de citer : 1608 : Arte organica, Integnati 1613 : Melopeo, Cerone 1619 : Organographia, Praetorius 1636 : Harmonie universelle, Mersenne 1768 : Musica mechanica, Adlung 1766/1770 : L'art du facteur d'orgue, Dom Bedos, né à Caux-en-Biterrois. D'autres encore, dont les noms figurent dans la bibliographie, continuent aujourd'hui recherches ou synthèses en parlant de ces ouvrages de base. Des revues comme L'Orgue ou La Tribune de l'orgue - entre autres apportent régulièrement en leurs articles des éclairages nouveaux ou instructifs. Le côté 'facture' n'étant pas notre propos, nous nous sommes bornés à étudier l'essentiel du matériel sonore et des moyens mis à la disposition de l'organiste pour en tirer le meilleur parti. Maître des possibilités que lui offre la console et - bien entendu - maître de la technique et des styles d'interprétation indispensables à telle ou telle page (faire 'des pieds et des mains' ne suffit plus, il faut aujourd'hui 'jouer des coudes'), il peut ainsi redonner une 'vie sonore' aux notes de la partition. Sa science de la registration devient alors un art ! Pensé et écrit pour mes élèves, je dédie ce petit travail à M. Fernand Bertrand, directeur de l'académie Rainier III de Monaco, qui m'a confié sa classe d'orgue. / classique / Répertoire / Orgue

Varied collection of trios offertoire and a Sonata in C. 'An experienced player could make these pieces convincing and a good teacher will find plenty of material here for manual articulation and trio technique.' Music Teacher Magazine.

This useful series is ideal for keyboard players who find themselves playing church organs for village services. Each volume provides a wide selection of material suitable for use as voluntaries for which pedal parts are not required. Volume 3 contains: BACH CPE - Andante from Sonata No.6 BACH JS - Chorale Prelude: Gottes Sohn ist kommen BWV703 BOYCE - Voluntary in A Minor DE SÉVERAC - Prière-Choral GIGOUT - Andantino Allegro Cantabile Molto Tranquillo Moderato KARG-ELERT - Madrigal LISZT - Offertorium MOZART - Adagio K356 WALTHER - Chorale Prelude: Ach Gott und Herr Chorale Prelude: Liebster Jesu wir sind hier WESLEY - Air

20 Services for the Church Organist. New interpretations of familiar hymns suitable for the church or home. Includes services for Christmas, Lent, Easter and Thanksgiving.