Par RUTTER JOHN. for solo organ A Gaelic Blessing is one of John Rutter's best-loved choral works, and now, thanks to the composer's own highly sensitive arrangement, it is available to organists to play as a gently expressive interlude or voluntary. / Date parution : 2022-03-05/ Répertoire / Orgue

With more enthusiasts than ever since its heyday the Harp is an instrument which has successfully demonstrated its staying power and its important role both in music and beyond! John Marson’s Book of the Harp is a uniqueand definitive work distilled from a wealth of experience: a lifetime's study and research and an outstanding professional career. He traces the development of the harp from its earliest origins thousands of years B.C. to theinvention of the pedal harp in the eighteenth century and the harps of the twenty first century. He examines the writings of many forgotten exponents of the harp including inventors players and composers and provides a fullycomprehensive view of every model make and modification to the present day!The Book of the Harp is a rich source of information entertainment and anecdote on everything from strings tuning principles offingering and tone production historical influences designs techniques and methods to the harp's literary associations and those with the theatre and cinema its Celtic and religious symbolism virtuoso players and itsappearance in the poetry of Milton and novels of Jane Austen. Both historical and practical The Book of the Harp is an authoritative source of entertainment and a fascinating study for student professionalmusician and interested reader alike. John Marson has enjoyed a glittering career during which he has been principal harpist of the London Symphony Orchestra the BBC Symphony Orchestra Professor of Harp at the Royal College ofMusic and soloist and freelance.

POD-Le Poisson Magique is a work by John McCabe for Organ. A full performance of the piece lasts around 6 minutes. British composer and pianist John McCabe died in 2015. This work is an early one and published now for the first time. It dates from 1964 a rich year for his organ music also including the Johannes-Partita Nocturne and Prelude. Le Poisson Magique is a meditation on the painting of the same name by Paul Klee and takes the form of a free passacaglia in two alternating tempi. A solid technique is required to tackle some of the more complex polyphonic passages but as ever the rewards with McCabe’smusic are broad and deep. - Sunday by Sunday

John Rutter's Prelude - Te Lucis Ante Terminum for Organ. Duration: 1 1/2 minutes. This short (44 bars) contemplation is dedicated to the memory of Hilary Cornall and takes the form of a gently­ flowing Andante tranquillo with freq­uently-changing time-signatures but with a constant quaver pulse = 126. This gives the work a haunting quality as if ­in visual terms - quietly observing the passage of cloud across a balmy sum­mer sky. Tonally the music gradually descends from an implied A minor to G - the mode subtly indeterminate but undoubtedly final as the approach of evening. As with so much music by this composer the effect is simple but very touching the constantly flowing open fifths in the right hand adding the principal expression of movement. A most effective miniature. Although dated 2010 on the cover and title page the composer himself gives 2009 at the end of the final bar.' - James Palmer

A collection of popular organ music for weddings. Includes 'Bridal Chorus' (Wagner), 'Wedding March' (Mendelssohn) and 'Alla Marcia' (Ireland). / Orgue

John E. West's Sketch In C Minor is a wonderful piece for solo Organ beginning with a rhythmic Moderato section.

The Keyboard compositions of John Lugge are being published here as a complete work for the first time. They consist of what appears to be a collection of Organ pieces at Christ Church Oxford (Ch. Ch. MS 49) and three pieces for the virginal - two of them in Paris at the Bibliotheque du Conservatoire de Musique (Bibliotheque Nationale MS Reserve 1186) and one at Christ Church Oxford (Ch. Ch. MS 431 f.5). We published the Volun­taries separately in 1956 (Novello & Company Limited) but in halved note-values as required at that time. The virginal pieces were published in 1957 (Schott & Company Limited) in the original note values.

Edited by Barry CooperThe organ voluntaries double or cornet voluntaries and psalm-tune settings by John Blow form a substantial corpus of material - 48 pieces in all - that sheds much light on the developing keyboard style of the late 17th century. Predominantly serious and contrapuntal they bear witness to the technical mastery of their composer and to his role as an important influence in Restoration musical life.First published in 1996.

Selected from Musica Britannica Volume 69. Edited by Barry Cooper.This collection of sixteen pieces by John Blow (1649-1708) taken from the complete organ music published in Volume 69 of Musica Britannica is an authoritative introduction to the work of the leading Restoration English composer of organ music. More organ music from this period is ascribed to Blow than to all his English contemporaries put together including Henry Purcell. In compiling this anthology the editor has incorporated both the best examples from the corpus and those that were most popular in the composer's lifetime while illustrating the variety of styles he used. Most of the pieces may be played ona single manual but there are also 'double voluntaries' (for two manuals) and 'cornet voluntaries' (for two or three manuals). The collection includes advice on ornamentation and a comprehensive editorial note.

A Stanford Organ Album contains a selection of pieces for the Organ by Charles Villiers Stanford. This volume was edited by John Scott Whiteley.

Commissioned for the 26th International Organ Festival at St Albans 2011 and funded by the RVW Trust.Duration: 7.45 Performance notes Registration: the performer is free to determine the entire registration scheme except at bar 60 where a solo reed is mandatory.Pitch: manual passages at bars 25 32 38 are written for a solo 4' stop (s). The Pedal is at 16' (ad lib 32') unless otherwise indicated (bars 31 37 where a solo 8' is required).III - Sw.II - Gt.I - Pos/Ch Composer's note Esperanza is named after Camp Esperanza (Camp Hope) the location of the mission to rescue the thirty-three miners trappedunderground for seventy days in 2010 at the San Jose Mine in Chile a rescue that was televised live and was one of the most moving and inspiring things I have ever seen. By the most extraordinary coincidence I had already done a good deal of sketching for this Organ piece before this all happened and had determined on a 'darkness-to-light' kind of piece - so the coincidence as well as my feelings of elation were both too strong to ignore.The piece persues a course from a fairly knotty slow beginning (heralded by a few chords that recur at the very end) full of rising themes (another coincidence - the material had already been sketched before the miners were trapped underground) and reaching a loud climax the quick toccata-like second section bursting vigourously out of the tension which is created at the beginning of the work.

Mand lion was commissioned for the 1982 Dublin International Organ Festival by RHM Foods. It was first performed on the 27th June 1982 by Pete Sweeney at St. Patrick’s Cathedral in Dublin.The piecetakes its name from the Greek word for ‘handkerchief' a word that is also used in iconography to refer to an Ikon ‘not made by hands’ which is equivalent to the idea of the shroud. Mand lion is a meditation uponIkons and upon the changing image of the face of Christ.Tavener recommends that this piece should be played freely and with great ‘sweep’.

This piece is based upon five tunes associated with Easter: a setting of Christ Is Risen from Cantata For Easter and four hymns-Gelobt Sei Gott O Filii Et Filiae a well-known tune from Lyra_x000D_Davidica and Weisse Flaggen._x000D_For organ and brass quartet: 2 Bb Trumpets and 2 Trombones