This organ collection commemorates musical great Fred Bock. It is appropriately named not only for Fred's accomplishments and contributions to the sacred organ world but also because Fred's own organ collection was named Encore. Featuring many of Fred's closest friends this unprecedented memorial includes original organ compositions in tribute to Fred by Fred Swann Diane Bish Mark Thallender and many others plus stories and personal remembrances.

With over 30 years of arranging and composing experience as a church music director arranger composer music editor and performer Fred Bock excels in the ability to add freshness and strength to his settings of traditional hymntunes. Congregations as well as the musicians are sure to value and identify with Mr. Bock's preludes. Includes: Be Thou My Vision • Now Thank We All Our God • Morning Has Broken • and others.

50 of Fred Bock's best organ arrangements have been carefully selected for this collection bringing a wide variety of styles and titles. From the popular “El Shaddai ” to the more traditional “Savior Like aShepherd Lead Us” and “Jesus Loves Me” (coupled with Debussy's “Clair De Lune”) these pieces will be played over and over again.

Frederick Swann. Fred Swann the organist at the Crystal Cathedral in Garden Grove CA has written this brilliant organ piece featuring the use of trumpet stops. This is an excellent selection for postlude wedding or offertory. Dr. Swann often plays this on his organ recitals around the world.

Celebrating the 100th birthday of one of America's greatest church musicians Fred Bock Music Company is privileged to release this second volume of works from Leo Sowerby. The excellence of this revered composer's music has long been recognized as a treasure for lovers of good sacred literature. Titles include: A Joyous March · Comes Autumn Time · Prelude on 'The King's Majesty' · Sonatina.

Top favorites from the CCLI surveys these seven titles are the most popular of all praise and worship songs. Fred Bock has taken these melodies and made entirely new compositions for organ out of them. These are not typical hymnor gospel song settings at all: every one is a through-composed piece of music based on a praise and worship tune. Selections include: He Is Exalted • In My Life Lord Be Glorified • We Will Glorify • and more.

Christmas Carol Song begins as a slightly grand adaptation of American composer C B Hawley’s Christmas Cradle Song in a dotted 6/8 rhythm to which the Adeste Fideles is added. English Organist and composer Alfred Hollins was active in the late 19th and early 20th centuries. Blind from birth Hollins was fortunate enough to attend the innovative Royal Normal College for the Blind outside London whose music-intensive curriculum suited his gifts. For more than forty years he was the Organist at the Free St George’s Church in Edinburgh and he travelled the English-speaking world repeatedly on concert tours.

Often known as 'the blind organist from Edinburgh' Alfred Hollins was actually born in Hull. His style of organ playing was said to be both entertaining and colourful. His own compositions are often simple in structure and radiate uninhibited joy.

Prelude and Finale for solo Organ was published posthumously in 1943 making it the last of Hollins' considerable oeuvre to become available to the public. Like most of his music it is relatively simple in structure but joyful and highly entertaining.Alfred Hollins (1865-1942) was an inspirational British organist composer and teacher. Blind from birth he travelled all over the UK the United States and the British Empire giving concerts and designing Organs. He eventually settled in Scotland where he was an organist in Edinburgh for over forty years.

Scherzo For Organ was first published in 1917. It is dedicated to John Connell a South African organist and Organ builder with whom the composer became great friends when he travelled to Cape Town and Johannesburg. Alfred Hollins (1865-1942) was an inspirational British organist composer and teacher. Blind from birth he travelled all over the UK and the British Empire giving concerts and designing Organs. He eventually settled in Scotland where he was an organist in Edinburgh for over forty years.

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.

Composed by internationally renowned organist and composer Robert Hebble Festival Fanfare is a show-stopping piece which features the “trompette en chamade.” The opening motif moves from the Swell to the Greatand eventually lands in the pedal with full reeds. Because this composition celebrates so many sounds an organ can make it has become a favorite for concert organists and is a frequent spotlight for acclaimed organist Fred Swann.Perfect for concert or postlude.

In 1739 Bach's Third Part of the Clavier Übung was published on 80 pages closely printed. Ever since then the collection has been regarded as a high point in the history of organ composition as it offers an impressive cross section of Bach's artistry.This present volume is an updated edition of Volume 4, Series IV, of the New Bach Edition, presented by Manfred Tessmer in 1969. A fully revised edition proved unnecessary, as there were relatively few corrections affecting the musical text. However, the volume now includes a detailed Preface by Christoph Wolff which discusses not only the work's genesis but also offers an up-to-date description of the sources. For the new engraving of the musical text page-turns were reviewed and improved.Bach's autograph is considered lost and so the main source is the original print of the collection from 1739. In collaboration with the Leipzig Bach Archive and its database Bach digital this new edition includes links to two important copies of the original print which contain hand-written entries by Bach himself.Any complete scholarly-critical edition of the works of Johann Sebastian Bach must, in the interest of its use by researchers and performers, incorporate intervening new discoveries wherever possible. With this in mind, Bärenreiter has entered an agreement with the Leipzig Bach Archive to reissue particular volumes as applicable, either in updated performing editions based on the New Bach Edition or in thoroughly revised editions based on the New Bach Edition - revised. In this way, each new performing edition will represent the cutting edge of research.Further hallmarks of this new generation of Urtext editions will be detailed, up-to-date Prefaces and newly engraved musical texts with optimum page turns. Each volume will list incipits with links to the relevant manuscripts in Bach digital thereby enabling the user to gain quick access to the sources.-With altered readings integrated into the musical text taking into account new musicological evidence-With a new Preface (Ger/Eng) discussing this work and its sources by Christoph Wolff-With links to the relevant sources in Bach digital via http://links.baerenreiter.com-Newly engraved and with improved page turns-Format: 24cm x 30.5cm / Orgue