Debussy’s beautiful beloved Clair De Lune was written as the third movement of his Suite Bergamasque at the turn of the last century. It was inspired by a poem of contemporary Paul Verlaine and is asignificant example of Debussy’s innovative use of key time and tonal colour. The piece has been arranged for Orchestra though not by Debussy Harp Guitar and many other instrumental combinations.Clair De Lune was composed for Piano in D flat and has here been transposed to C.

Written at the deathbed of Arthur Sullivan’s brother Fred in 1877 and setting words by Adelaide Anne Proctor The Lost Chord was immediately successful and became the biggest sensation of any song in its decade. Of all the drawing room ballads of the Victorian era The Lost Chord has remained alive in the popular imagination. This arrangement for solo Organ is true to the original without overplaying its drama and restores the eponymous 'lost chord’ to the Organ from whence it originally came. Composer Arthur Sullivan is known the world over for his operatic collaborations with W S Gilbert including H M S Pinafore and The Pirates of Penzance among many others. ButSullivan was also a composer of a host of other works among them operas Orchestral works ballets and hymns and church pieces.

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

Josef Rheinberger (1839-1901) 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 numerous other short pieces make up one of the most important contributions to the organ repertory. It may indeed be claimed that in the maintainance 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 is second only to that of Bach.

Josef Rheinberger (1839-1901) 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 numerous other short pieces make up one of the most important contributions to the organ repertory. It may indeed be claimed that in the maintainance 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 is second only to that of Bach.

The Homage to Handel for Organ was composed ‘as an expression of thanks for having been elected as an honorary member of the Royal College of Organists in 1914. Karg-Elert responded to the honour with this work calling on inspiration from a composer ‘whom both England and German claim as their own’ at the time of the commencement of hostilities between the two nations. Sigfrid Karg-Elert was a German composer active in the early twentieth century whose broad output is eclipsed almost entirely by his works for harmonium and Organ instruments for which he was a gifted and prolific composer. His Organ works include the highly regarded Sixty-six Choral Improvisations andTwenty Choral Preludes and Postludes among others. Many of his works are active in Organ repertoire.

A special celebratory collection of wedding music for manuals. From Wagner's Bridal Chorus and Mendelssohn's Wedding March to pieces by Bach Purcell Handel and others many of which are suitable for a variety of other formal and informal occasions.

Konzertante Orgelmusik aus vier Jahrhunderten - Concert Organ Music from four Centuries-Conceived by Martin Weyer this edition ranges in style from 17th century Portuguese Organ music to French and American works of the 19th century. It also contains a selection of German Organ music including lesser-known works by Bach and other pieces from Robert Schumann to Ernst Pepping.In addition to the original compositions Organ arrangements have also been included. A detailed Foreword offers information on the music-historical context of each work and suggestions for its performance.- Original pieces and attractive arrangements for Organ.- Easy to moderately difficult concert music for Organ.- Includes a broad rangeof styles.From the contents:Braga ?Batalha sexti toni? / Bach ?Concerto in F major after Vivaldi? (BWV 978) and six Organ chorales (transposed to keys of the Lutheran hymnal) / Hoyer ?Fughetta no. 2 in C major? from op. 62 / Arnold Mendelssohn ?Partita ?Wir Christenleut?? from op. 104 / Pepping from ?Bohemian Organ Book II: Christus der uns selig macht? / Degen two preludes from the ?Oberrheinisches Orgelbuch? / Micheelsen ?Toccata? from ?Holstein Little Organ Book? / Yon ?Humoresque? / Rogers ?Toccatina? / Parker ?Risoluto? op. 68 no. 1 / Rogers ?Carillon? (finale from ?Sonatina in D major?)

Jehan Alain (1911-1940) was a French organist and composer. The second volume of Alain's Organ Works is comprised of Variations on a Theme by Clément Jannequin The Suspended Garden and Aria as well as other favourites from the composer. Alain studied with Organ virtuosos Guilmant and Vierne and was primarily an organist and composer of religious music. Whilst at the Paris Conservatoire Alain won many prizes and his composition catalogue comprises some 140 works. The compositions in the second volume of Organ Works by Jehan Alain are full of life mirroring his personality. From lively and comical pieces to sensitive and unexpected works Alain's pieces are diverse in musicality. Moreover the composer exploits Organ techniques making for an exciting and varied collection for intermediate to advanced level organists.

As a famous contributor to classical Organ music César Franck's (1822-1890) catalogue is extensive. Moreover being an organist himself his Organ Works are significant and remain ever-popular to this day. When French organist Marcel Dupré (1886-1971) compiled the series of Franck's Organ Works it was well-received and to this day remains popular with all organists. The second volume includes a favoured selection of Franck's works including a Pastoral Prayer and Finale. In addition Dupré's annotations in Organ Works comprise fingerings ruleson technique and instructions on ornamentation amongst other aspects. This compilation of Franck's most loved compositions for the Organ cannot be missed by aspiring performers of the instrument.

Judith Weir's The Wild Reeds for Organ.'The Wild Reeds is a ten-minute partita made up of an original theme followed by six variations which are played continuously. The theme was partlyinspired by folk music for outdoor wind instruments from eastern Europe rugged yet delicate at the same time. Another important inspiration has been the Organ sonorities which result from unusual divisions of the octave producing strange chords and ghostly harmonisations of melodies. Above all The Wild Reeds has been written for Thomas Trotter (who personally commissioned this music and gave much valuable advice during its composition) in honourof his remarkable thirty years as Birmingham City Organist.' - Judith Weir

Volume 4-As a famous contributor to classical Organ music César Franck's (1822-1890) catalogue is extensive. Moreover being an organist himself his Organ works are significant and remain ever-popular to this day. When French organist Marcel Dupré (1886-1971) compiled the series of Franck's Organ Works it was well-received and to this day remains popular with all organists. The fourth volume includes a favoured selection of Franck's works including three of his chorales. In addition Dupré's annotations in Organ Works comprise fingerings rules on technique andinstructions on ornamentation amongst other aspects. This compilation of Franck's most loved compositions for the Organ cannot be missed by aspiring performers of the instrument.

Max Reger composed the present work in 1899 for the 'Schönberger Orgelalbum' which served as a means of funding the new organ in Schönberg im Taunus. Other renowned organ composers of the time also contributed works to this project such as Guilmant Rheinberger and Widor. Reger referred to his piece as a 'little work' that is 'intentionally not difficult' – yet he succeeded in creating a highly skillful piece that was hailed as a confirmation of Reger's artistry at the organ and enjoyed great popularity from the very start. 

This is a wonderful collection of popular and some less well-known pieces. It contains three movements from The Carnival of the Animals the slow movement and the famous Maestoso section from the 'Organ' Symphony (No. 3) the meltingly beautiful aria 'Softly awakes my heart' from the opera Samson and Delilah the opening section of the Danse Macabre and several other pieces illustrating the range of Saint-Saëns' compositional style. All the pieces are immensely playable and have been chosen to suit the needs of both church and concert organists.