A top-selling organ music book. Edited and arranged by E. Power Biggs (1906-1977). Includes a biographical sketch of the very influential Mr. Biggs. Titles: Adagio (for the Glass Harmonica or Musical Glasses) (W. A. Mozart) * All Glory Be to God on High (Festival Prelude for Organ) (J. S. Bach) * Andante (from Concerto No. 3 in B-flat) (W. Felton) * Prelude on Ave Verum Corpus (W. A. Mozart) * A Christmas Pastorale (from The Christmas Concerto) (G. Valentini) * The Cuckoo (L. C. d'Aquin) * The Emperor's Fanfare (from Sixth Double Concerto) (A. Soler) * The Faithful Shepherd (Pastorale) (G. F. Handel) * The Fifers (F. Dandrieu) * Firework Music (Suite from the Music for the Royal Fireworks) (G. F. Handel) * Fugue in C Major (The "Fanfare" Fugue) (J. S. Bach) * God's Time Is the Best (Sinfonia to Cantata No. 106) (J. S. Bach) * I Stand at the Threshold (Sinfonia to Cantata No. 156) (J. S. Bach) * Jesu, Joy of Man's Desiring (from Cantata No. 147) (J. S. Bach) * The Musical Clocks (from a Suite of Twelve Pieces) (F. J. Haydn) * Offertoire for Easter (On the Melody "O Filii et Filiae") (F. Dandrieu) * Sheep May Safely Graze (In G) (from Cantata No. 208 -- The "Birthday Cantata") (J. S. Bach) * The Shepherds at the Manger (from the Piano Suite "The Christmas Tree") (F. Liszt) * Sinfonia, Chorale and Variation (from the Easter Cantata -- No. 4 -- "Christ Lay in Death's Dark Prison") (J. S. Bach) * Slow Movement (from Concerto in D Minor) (A. Vivaldi/J. S. Bach) * A Solemn Prelude (from Cantata No. 21 -- "Sighing, Weeping, Sorrow, Need") (J. S. Bach) * The Trophy (F. Couperin). "Minuet Finale from Firework Music," "Overture from Firework Music," and "Rejoicing from Firework Music" are Federation Festivals 2016-2020 selections.

for organ 18 pieces for manuals edited for the advanced-intermediate level organist.

Gillock supplies details about the organ at La Trinité in Paris, the instrument for which most of Messiaen's pieces were imagined.

Immigration, wars, industrial growth, the availability of electricity, the popularity of orchestral music, and the invention of the phonograph and of the player piano all had a part in determining the course of American organ history.

This classic method for beginners provides a brief history of the instrument, an explanation of organ construction, a discussion of the various stops and their management, a section devoted to practical study, and several pieces.

This Companion is an essential guide to all aspects of the organ and its music. It examines in turn the instrument, the player and the repertoire. The early chapters tell of the instrument's history and construction, identify the scientific basis of its sounds and the development of its pitch and tuning, examine the history of the organ case, and consider the current trends and conflicts within the world of organ building. Central chapters investigate the practical art of learning and playing the organ, introduce the complex area of performance practice, and outline the relationship between organ playing and the liturgy of the church. The final section explores the vast repertoire of organ music, focusing on a selection of the most important traditions.

Features works for organists who prefer to play without pedals, including J. S. Bach's Partite diverse sopra, O Gott, du frommer Gott!; Pachelbel's Canon in D; plus works by Mozart, Haydn, Beethoven, Handel, Liszt, and others.

This is the first book-length survey of 20th -century British music for solo organ. Beginning with a discussion of British organ music in the last decades of the Victorian era, the book focuses on the pieces that the composers wrote, their musical style, possible influences on the composition of specific works, and the details of their composition. Arranged in chronological order according to date of birth are detailed studies on important composers that made especially significant contributions to organ music including Parry, Stanford, Healey Willan, Herbert Howells, Percy Whitlock, Francis Jackson, Peter Racine Fricker, Arthur Wills, and Kenneth Leighton. Composers' biographies, the role of organs and organ building developments, influential political and sociological events, and aesthetic aspects of British musical life are also discussed in detail. In the concluding chapter, the author discusses the major phases and achievements of the century and gauges what may lie ahead in the new millennium. A comprehensive Catalog of Works provides titles of works, dates of composition, details of publishers, and the dates of publication. More than 60 music examples, 12 black and white photos, and an up-to-date bibliography are included.

Making Music on the Organ has already established itself as an indispensable guide to the art of organ playing. It records the ideas which underpin Peter Hurford's performance and teaching and its chief concern, as the title indicates, is to show how to make music, rather than merely playing the notes, on this instrument. There is advice on the technical problems of performance, an explanation of the workings of the instrument, and chapters on interpretation, including, most usefully, reflections on the interpretation of Bach. This new paperback edition makes a number of textual amendments and additions, and includes three new appendices on the principles of good organ design, the swell-box, and the temperament. This title also appears in the Oxford General Books catalogue for Autumn 1990. Contents: Notes of Usage; Introduction; The Organists Place in Musical Performance; How the Organ Works; A Basic Physical Approach to the Organ; The technical Basis of Movement and Expression; Some Thoughts on Interpretation; Towards a grounding in Bach Interpretation; The French Classical School; Renaissance; Appendices; Reading List; Index of Works Cited; General Index.