The Last-Minute Organist

Judith Weir's The Tree Of Peace was composed in 2016 for Organ. Commissioned in loving memory of Richard Axtell (1952-2015) talented and much-loved organist at the Parish of St. Andrew West Tarring. 'It'senormously inspiring to see the Master of the Queen's Music turning her attention to the organ once again. Judith Weir's The Tree Of Peace is a short piece commissioned in memory of the organist Richard Axtell... Despite thesimplicity of the music it carries all the hallmarks of Weir's unmistakeably refined idiom.' - Stephen Farr Choir and Organ Jan 2018 From the Master of the Queen's Music Judith Weir comes The Tree ofPeace which was commissioned in memory of Richard Axtell organist of the parish church in West Tarring West Sussex. It was given its first performance there by Charles Harrison on the 17 June 2017. It lasts some 4 minutes andproves to be a thoroughly engaging piece in her customary refined idiom. It is in three main sections with a graded increase of tempo throughout. Thematic material is presented at the start cantabile. The central sectionprovides an energetic development marked animato leading to the conclusion molto mosso which gives the theme as in the opening but in augmentation. Throughout I feel an orchestral sense of colour and interrelationships inthe music - and have found it delightful to play. A modest two manual and pedal instrument with some contrasted quiet colours available will suffice and the technical demands are by no means severe. A delightful addition to therepertoire of short self-contained delightful pieces. - Organists' Review Duration: Approx 4 minutes.

O Salutaris Hostia is a work for Unaccompanied SATB chorus by composer David Hill that sets the 'Hymn for the feast of Corpus Christi' by St. Thomas Aquinas. The piece lasts around 2 minutes. Please note the lyrics are in Latin. A review in the June 2016 edition of Organist's Review says that this work is 'to be heartily recomended and of use at any Eucharistic service and most especially that of Corpus Christi.'

This setting of the opening to Psalm 102 was composed in the early 1680s. Purcell who was in his early twenties had succeeded John Blow as organist of Westminster Abbey around the beginning of the decade and his star was in the ascendant as a court composer.In this piece he pulls off a remarkable compositional coup: a single gradual climax lasting over two minutes and culminating on the final repetition of the word 'come' is achieved through a sublime freely developing eight-part weave of the opening material. The harmonies that result from the chromatic inflections on the word 'crying' all serve the mounting tension in this extraordinary miniature.Studyof the autograph manuscript suggest that this anthem was intended to be the opening part of a larger work which was never completed.

My Lord Is Alone is a work for Unaccompanied SATB choir with words and music by composer Jonathan Wikeley. It was first performed by the Choir of All Saints Church in Fulham and it lasts around 4 minutes.A review in the June 2016 edition of Organist's Review states that 'the harmonies for the verses are largely straightforward and consonant but the refrain introduces atmospheric dissonance.'

The Symphony In G for Full Orchestra was written in 1937 and first published in 1940. Lasting around 43 minutes it is often compared to Moeran’s Symphony of the same year as the two works are stylistically very similar.George Dyson (1883-1964) was a British composer organist and music teacher. He studied at the Royal College of Music under Charles Stanford and became a teacher at various public schools. He later became the Director of the RCM ensuring it stayed open during the Second World War. He is probably best remembered nowadays for his Anglican church music especially his settings of the canticles but he alsowrote a substantial amount of instrumental and secular choral music.

This setting of the opening to Psalm 102 was composed in the early 1680s. Purcell, who was in his early twenties, had succeeded John Blow as organist of Westminster Abbey around the beginning of the decade and his star was in the ascendant as a court composer. In this piece he pulls off a remarkable compositional coup: a single, gradual climax, lasting over two minutes and culminating on the final repetition of the word 'come', is achieved through a sublime, freely developing eight-part weave of the opening material. The harmonies and nbsp - that result from the chromatic inflections on the word 'crying' all serve the mounting tension in this extraordinary miniature. Study of the autograph manuscript suggest that this anthem was intended to be the opening part of a larger work which was never completed. / SATB

John McCabe's The Lord Is My Shepherd is scored for Unison Upper Voices with Organ Accompaniment. A setting of Psalm 23 from the King James Version of The Bible a full performance lasts aroudn 2 and a half minutes.A review in the September 2016 issue of Organist's Review states that this piece is 'challenging and attractive' and 'poses interesting rhythmic challenges for singers'.

Away In A Manger is young composer Owain Park's original composition that sets the text of the popular Christmas carol to a wonderful new melody. Lasting around 2 minutes this beautiful work is arranged for Upper Voices and Piano and would make an excellent addition to any festive carol concert. In the March 2016 edition of Organists' Review Rebecca Tavener writes that 'it is a most welcome re-invention of a carol' and 'a great training exercise as well as fun to sing.' As well as being an award-winning composer Park also conducts sings and plays the Organ currently holding the post of Organ Scholarat Trinity College Cambridge.

Composer Simon Holt's The Legend Of Melusine was commissioned in 2014 by the Southbank Centre to celebrate the return of the Royal Festival Hall Organ and to celebrate the 150th anniversary of the RoyalCollege of Organists. The work lasts around 12 minutes and is arranged for Boy Treble Voice and Organ. This unique work sees the Organ as an accompaniment and complement to both the narration and singing of theBoy Treble throughout. The words of The Legend Of Melusine written by Holt himself portrays a version of the Melusine myth of European folklore a feminine spirit of the water that turns into aserpent from the waist down. This wonderfully engaging tale is matched by the superb vocal melodies and accompanying Organ work.