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

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. 

Each volume in this bilingual edition of all the works by Johann Jacob Froberger (1617-1667) contains a Critical Commentary and a detailed Preface with sections on the edition's scope and subdivisions, editorial method, and on performance practice, as well as with discussions of contemporary instruments, ornamentation, and Froberger's life. Volume VII now brings the complete edition to a close. It contains the two previously unpublished motets 'Alleluja absorta est mors? (FbWV 701) and 'Apparuerunt Apostolis? (FbWV 702), both for soprano, tenor, bass, two violins and continuo, as well as the 'Capriccio in C? (FbWV 706) for four voices or four instruments. The appendix provides a catalogue of all Froberger works known to date (FbWV), including, as applicable, the incipit of each work and an entry on its instrumentation, date of composition, editions, and sources along with special comments. Another heading directs readers to the most important references in the secondary literature. - Complete urtext edition at the cutting edge of scholarship - First publication of two motets - Catalogue of all Froberger works in an appendix (FbWV) / Ensemble

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.

Louis Lefebure-Wely's music - his Sortie in B Flat in particular - is luminous and fun and beloved by generations of Organists. In Sorties and Other Voluntaries our composers have set out to honour hismemory by contributing pieces whose style and intention the master himself would recognise.

100 improvisations to extend the hymn-This is a really useful resource for parish Organists who find themselves needing more music at the end of a hymn to bring a procession or other action to a conclusion. Each piece flows naturally from the hymn tunes on which it isbased.

Ten festal tunes for weddings and other special occasions.For the average parish organist who is fairly competent with pedals.

The Prelude is a flowing 9/8 song; the four-Voice Fugue follows as the slow movement; the Variations return to the original prelude theme.It is difficult to overstate the importance of Franck’s Prelude Fugue and Variation for Organ both in his own compositional life and in the development of the French Organ school. The piece is widely believed to have been one of the elemental founding works of the school appearing at a time when French Organ music was at an ebb. Originally one of Six Pieces appearing in 1862 when Franck was forty years old the work established him in the minds of other young composers as a talent of serious proportions and marked the beginning of afulfilling adult life spent as a highly-regarded composer

Here is a method that trains organists properly for the traditional role of accompanying hymns and providing suitable service music. It is a comprehensive approach that introduces the techniques of Organ playingstep-by-step. Aimed at pianists of grade 5 standard plus The Church Organist begins by introducing the Organ its console manuals and stops before exploring the pedals good manuals and pedalstechnique coordinating hands with feet proper use of stops the basics of improvisation and many other skills important to today’s church organist.

The Fantasia for Organ has been described as both ‘fleshy in its Romanticism’ and also by the composer as ‘quite severe in parts’ an apt combination for the vast changes of the beginning of the post-War era.York Bowne was a British composer whose fifty-year career musical career spanned much of the 20th century. Bowen was not only a prolific composer he was also a pianist conductor Organist Violinist and Horn player. He premiered many important works and his own music was featured many times at the Proms among other concert series. Sir Henry J Wood believed Bowen had never received proper recognition and Camille Saint-Saens regarded him as the ‘finest of Englishcomposers’ early in his career. His compositional style changed little throughout his life so that his later oeuvre was less celebrated than his earlier works as music fashion had moved on.

Edited in five volumes by Wm. A. Little. Three Preludes and Fugues Opus 37 Duets and other Preludes and Fugues.

Volume 1: The Technique of Organ Playing-Here is a method that will train organists properly for the traditional role of accompanying hymns and providing suitable service music. It is a comprehensive approach that introduces the techniques of organ playingstep-by-step. Aimed at pianists of grade 5 standard plus The Church Organist begins by introducing the organ - its console manuals and stops - before exploring the pedals good manuals andpedals technique coordinating hands with feet proper use of stops the basics of improvisation and many other skills important to today?s church organist. Christopher Tambling was Organist andMaster of the Schola Cantorum of Downside Abbey. He was an organ scholar at Canterbury Cathedral and St Peter?s College Oxford and a Fellow of the Royal College of Organists. He died in 2015.

A triumphant and celebratory collection of ten pieces for Organ manuals and pedals. In May 1999 the Peter Warlock Society held a concert in which Malcolm Rudland played pieces specially written for the occasion by other society members. While not actually Warlock compositions they give a unique insight into the influence he has had on English music even modern styles.