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.

Freie Orgelwerke - BuxWV 136-153, 158. Par BUXTEHUDE DIETERICH. This edition is the result of Harald Vogel?s many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17 th - and 18 th -century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the ?Einzelanmerkungen?. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude?s free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary). Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on ?Die Fuge um Bach?. Besides the description of the ?inclusion? of triple measures into the C notation and the irregularities of the ?voice mutation? in the polyphonic structures, this also included a discussion about the justification of the ?inner textual criticism?. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude?s work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the ?indicators of the fantastic style? is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude?s work. In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude?s organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands. / Date parution : 2022-10-12/ Recueil / Orgue

Lemare’s compositions are uneven in quality but the best are still active in the repertoire. The Toccata di Concerto is certainly full of fireworks and has the capacity to show the abilities of a great Organ. The upper parts have plenty of French toccata style but the theme in the pedals gives the piece substance as does the romantic chromatic interlude in the middle of the work.Organ virtuoso and composer Edwin Lemare was the world’s highest-paid Organist at the height of his career in the early 1900’s drawing bravos from ctritics and the crowds who queued around the block to hear this most famous of Organists. After having served as a church Organist for a relativelyshort period he began the life of a travelling recitalist beginning with a hundred-recital tour of the USA and Canada in 1900 a career that continued until the stock market crash of 1929. Lemare was also virtuosic in his ability to transcribe great Orchestral works for the Organ allowing audiences in those less urban times to hear works played live that they might have heard no other way.

Robert Saxton's Passacaglia On The Name John McCabe for Organ.Commissioned by George Vass for a concert in celebration of the life and work of John McCabe CBE.First performed in Faversham Church Kent on 28th June 2015 by Edward Kemp-Luck.Duration: 6 mins ca.A review in the June 2016 edition of Organist's Review calls this piece a 'beautifully produced work' that features 'the pleasing disorientation of false relations' and is 'as inventive as it is impressive.'A similarly glowing review in the August-October edtion of The Organ magazine calls thispiece 'a very impressive short work indeed; brilliantly imagines and written for the instrument...one can only urge this music on all recital organists - it is a splendid piece and would surely make a counterpart to an original McCabe organ work in the same programme - the Johannes-Partita especially.'

Composed by Jehan Alain  Trois Pièces is a set of upper intermediate / advanced works for Organ with pedal-use. The first piece “Variations sur un thème de Clément Jannequin” (Variations on a Clément Jannequin’s tune“ should be played “in the same way as Couperin’s Préludes: freshly and softly”. It contains four distinctive parts: Affetuoso Maggiore Fuggato and Grave.  The second piece is called “Le jardin suspendu” (The hanging garden) and features three different parts that can’t be played separately. Thelast piece “Litanies” is quite religious and consists of the repetition of lamentations. Its introduction in Vivo is played only by the right hand then followed by a “Lirico ma sempre vivo” part. These are followed by switches between the main tempo and some Vivacissimo parts sounding declamatory. This third piece ends really harmoniously. Jehan Alain is a French organist who became famous with his Suite for Organ. Student of Marcel Dupré and Roger Ducasse among others he kept composing all his life. One of his most famous international pieces is 'Litanies'.

The Fountain Reverie features soft rippling arpeggios with a contrasting middle section. As with the Festival Toccata published at the same time the brilliance of Fountain Reverie disguises the fact that one does not need to be a virtuoso to play it well and effectively and it plays well on many different Organs.Percy Fletcher was an English composer conductor and Orchestrator of prodigious output who made his career in the lively world of the London music theatre of the years of the late 19th and early 20th century. He was music director at many theatres including His Majesty’s Theatre for the last seventeen years of his life. He was the Orchestrator and conductorfor the big budget spectacular theatre piece Chu Chin Chow which ran for five years a record that remained unbroken for forty years. In addition to his myriad works of light music Fletcher also wrote a serious church cantata The Passion of Christ as well as the delightful children’s work The Walrus and the Carpenter.

One Hundred Special Arrangements-In Hymns For Occasions Colin Mawby has taken 100 of the most widely used hymn tunes and worked his magic on them. These are not just last-verse treatments but complete mini re-compositions for each tune. There is anintroduction (the sort that always sounds impressive but which contains enough of the hymn tune to act as an encouragement to the congregation) the standard harmonisation a short interlude before the last verse and a last-versearrangement of great beauty and originality followed by a fitting few bars of conclusion. Colin Mawby's approach to this well-loved music is unique: he brings new life to the hymn tradition in a style and quantity that noother composer has yet attempted.

20 spectacular arrangements-In Carols for Organists Colin Mawby has taken 20 of the most widely used carols and worked his magic on them. These are not just last-verse treatments but complete mini recompositions for each tune. There is anIntroduction (the sort that always sounds impressive but which contains enough of the hymn tune to act as an encouragement to the congregation) the standard harmonisation a short Interlude before the last verse and a last-versearrangement of great beauty and originality followed by a fitting few bars of conclusion. Colin Mawby's approach to this well-loved music is unique: he brings new life to the carol tradition.