Par OGDEN NIGEL. Lewis Carroll from 'Alice in Wonderland' and inspiration for this lively and fun piece of light organ music. '. . . suddenly a White Rabbit with pink eyes ran close by her. There was nothing so very remarkable in that; nor did Alice think it so very much out of the way to hear the Rabbit say to itself, 'Oh dear! Oh dear! I shall be too late!' (when she thought it over afterwards, it occurred to her that she ought to have wondered at this, but at the time it seemed quite natural); but when the Rabbit actually took a watch out of its waistcoat pocket, and looked at it, and then hurried on, Alice started to her feet, for it flashed across her mind that she had never beforeseen a rabbit with either a waistcoat pocket or a watch to take out of it, and burning with curiosity, she ran across the field after it, and was just in time to see it pop down a large rabbit-hole under the hedge. ' Lewis Carroll from 'Alice in Wonderland' and inspiration for this lively and fun piece of light organ music. '. . . suddenly a White Rabbit with pink eyes ran close by her. There was nothing so very remarkable in that; nor did Alice think it so very much out of the way to hear the Rabbit say to itself, 'Oh dear! Oh dear! I shall be too late!' (when she thought it over afterwards, it occurred to her that she ought to have wondered at this, but at the time it seemed quite natural); but when the Rabbit actually took a watch out of its waistcoat pocket, and looked at it, and then hurried on, Alice started to her feet, for it flashed across her mind that she had never beforeseen a rabbit with either a waistcoat pocket or a watch to take out of it, and burning with curiosity, she ran across the field after it, and was just in time to see it pop down a large rabbit-hole under the hedge. '/ Répertoire / Orgue

This is a revised reprint of Percy Whitlock's 1937 composition: Plymouth Suite a selection of music for organ. After a six year-gap since his previous work this was a competent return - it is probably the composers most famous and most popular work. The first movement Allegro Rosoluto is a vigorous and uplifting opening. The second Lantana is in a more ambling or relaxed style. Chanty is a maritime or nautical song with a rolling tempo while Salix is rhythmic and expressive. The final movement Toccata is sprightly work which brings us to a brilliant and striking ending.

Organ-For Organ.Published 2005.Commissioned by George Chittenden.First performance: George Chittenden St Patrick's Cathedral Dublin 6th August 2005.Score.

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

Owain Park's Images for Organ.This piece for solo organ was inspired by a passage from 'Reconciliation' in Drum-Taps by Walt Whitman (1865).Duration: 5 minutes

This School of Organ Playing presupposes a certain technical facility on the piano. The pedal exercises at the beginning are rudimentary and should be practiced in all keys, gradually accelerating the tempo. The studies are graded according to their polyphony, beginning with simple two part exercises, followed by those in three and more parts. This acquaintance with the strict principles of polyphonic music, and the introduction to effective part writing, with a knowledge of harmonic form and architectonic values, provide the essential background for the correct performance of polyphonic music, especialle the fugue. The most important musical forms have been used to illustrate the various possibilites of registration and its relationship to style (colourful, individualistic and smooth playing). The studies are so arranged that earlier technical points, etc. are constantly reviewed, through comparison of style and form, in order to fix, or refreshen, the ideas in the student's mind. It is very important that the evolution of organ music from vocal music should be made clear to the student the very beginning, both musically and intellectually. He will be shown the technical evolution of organ music during the centuries and thus prepared for an artistic execution and interpretation of old and new words, especially for the incomparable art of our great Johann Sebastian Bach.

Arrangeur: John Scott Whiteley. Par MACMILLAN JAMES. / Niveau : 4 / Répertoire / Orgue

An organ album commissioned by The Percy Whitlock Trust to celebrate the 90th birthday of Dr. Francis Jackson CBE

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

(Spiritus Sancti gratia). Par HAKIM NAJI. Des heiligen Geistes reiche Gnade (Spiritus Sancti gratia) by Naji Hakim is a chorale prelude based on a melody by Melchior Vulpius. It is a contribution to the Orgelbüchlein Project, a major international composition project, led by William Whitehead, to complete Johann Sebastian Bach’s unfinished Orgelbüchlein./ Répertoire / Orgue

Organist and composer A.Herbert Brewer?s swaggering Marche Héro que became famous at the funeral service of Earl Mountbatten of Burma in 1979 and has remained popular since then.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. His Grand Cortège is Orchestral even Wagnerian in style with bold chromatic colourings.Frank Cordell?s Khartoum Fanfare and March features melodic British military themes and was a part of the film?s soundtrack.John Addison's Charge of the Light Brigade also fromthe film develops its military themes with élan.March for ?The Phoebe? was written by Percy Whitlock in honour of a naval cruiser launches in 1939 which was adopted by the Country Borough of Bournemouth where the composer was Municipal Organist.John Ireland?s Epic March was originally written for Orchestra in response to a BBC commission for a patriotic march. It is here transcribed for Organ.