This new series has proved very popular so here is another outstanding collection of classical favourites arranged for the Organ by Richard Lloyd. Includes: Pachelbel's 'Canon in D' Debussy's 'Clair de Lune' Copland's 'Fanfare for the Common Man' Satie's 'Gymnopédie No.1' and more. 

Martin Luther. Par SCHNEIDER ENJOTT. 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'.'/ Répertoire / Orgue

Intrata No 2 was found in a small manuscript book in the library of the Royal College of Music with a dedicated to Sir Walter Adcock on his 80th birthday 29 December 1941. It is a piece that deserves to be included in Howells’s oeuvre.Dated 1969 Flourish for a Bidding was written for the Royal College of Music Centenary Fund was auctioned and bought by Novello & Company. Flourish has a stylistic characteristics in common with Rhapsody No 4 and the Epilogue 1974. St Louis Comes to Clifton was a private publication entitled ‘A Garland for DGAF’ and given to the late Douglas Fox a distinguished one-armed Organist who was Director of Music at Clifton.Herbert Howells is a giantof 20th century Anglican church music the remainder of whose oeuvre is in the process of gaining new appreciation. He left a body of distinguished Organ music of which these three works are interesting examples.

100 Ultimate Jazz Riffs for Organ authored by Andrew D. Gordon consists of as the title suggests 100 Jazz riffs based on common chord progressions used in jazz such as II-V-I III-VI-II-V etc. There are five separate sections: Jazz-Swing Jazz-Ballad Jazz-Funk Jazz-Waltz and Latin-Jazz. Besides the 100 riffs at the end of the book there is the chord progression for the popular jazz standard “Blue Moon” showing you how to use the various riffs from the 100 riffs to create an improvised solo over the cho

Bach: Complete Organ Works Vol. 5 Sonatas / Trios / Concertos - ed. by Pieter Dirksen Organ Works Based on Compositions by Bach and Others Genres such as sonata, trio and concerto were initially uncommon in the keyboard music of the early 18th century. Thus it comes as no surprise that many of the pieces in this volume are arrangements by Bach of original compositions and of works by other composers. Next to the Sonatas BWV 525?530 and the Concertos or concerto movements based on pieces by other composers BWV 592?596, the volume also contains the Trio in D minor BWV 583, the Trio settings BWV 585?587 as well as the early versions of BWV 527 and 528. Moreover, the CD-ROM offers eight arrangements of trio movements by Bach made by others. In his detailed introduction, Pieter Dirksen discusses various aspects of these pieces' origins, inasmuch as they help us better understand the works. The organist will especially welcome the comments on performance practice and registration. It is precisely the fact that these works derive from chamber-music models that leads to individual considerations for each work group.

Two variations from Enigma. W.N. stands for Winifred Norbury a friend Elgar regarded as particularly easygoing and the music reflects this. A single violin note links into the next variation; the famousNimrod which is written about his best friend Augustus Jaeger and reflects the strength of the friendship and the noble character of Jaeger although it is now commonly used for solemn occasions such as funerals andremembrance services.

John Gordon Cameron (1900-1989) was a British composer who was at one time organist at St Mary’s Cathedral Glasgow and lecturer at the Royal Scottish Academy of Music. His collection of Six Preludes On Hymn Tunes for Organ was dedicated to Bryce Craig. It remains his most popular work with most of the preludes still commonly performed today. The well-known hymn tunes which inspired each piece are Rockingham - Bristol - Capetown - Martyrdom - Tune By Orlando Gibbons - Windsor.