Organ - Level 3 - Digital Download SKU: A0.744688 Composed by Phil Lehenbauer. Arranged by Phil Lehenbauer. Celtic,Christian,Contemporary,Sacred. Score. 5 pages. Phil Lehenbauer #5968233. Published by Phil Lehenbauer (A0.744688). Based on the Irish tune St. Columba, this peaceful interlude clearly states the melody and adds a descant later on in the work.  Most people will know this tune as The King of Love my Shepherd Is, and will enjoy hearing this as part of worship or a St. Patrick's Day recital.  .

Organ - Level 3 - Digital Download SKU: A0.744692 Composed by Phil Lehenbauer. Arranged by Phil Lehenbauer. Christian,Classical,Contemporary,Sacred,Traditional. Score. 7 pages. Phil Lehenbauer #5969505. Published by Phil Lehenbauer (A0.744692). This bold fanfare will introduce the hymn tune St. Thomas in grand style for your worship service!  Various texts are used with this hymn, with some of the more popular being I love your kingdom, Lord and Oh, bless the Lord, my soul.  This organ work features fanfare statements throughout, with the hymn melody clearly stated, ending with a triumphant finish.  It was written on and easily playable on a two manual organ.

Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1263038 Composed by Sr. Mary Theophane Hytrek OSF. Arranged by Dr. Sheri L. Masiakowski. 20th Century,Classical,Religious,Sacred. Individual part. 18 pages. School Sisters of St. Francis #856033. Published by School Sisters of St. Francis (A0.1263038). First published in 1958, this organ suite has four movements based on Gregorian Chants. The first three movements are derived from the introit, offertory and communion of the Feast of the Immaculate Conception— December 8th. The final movement is based on the Kyrie and the Dismissal from the Mass for Feasts of the Blessed Virgin (Beata Virgine) Missa Cum Jubilo. All are found in the Liber Usualis. An image of each chant precedes its corresponding movement in this score. The compositional style is tonal. It is representative of Sr. Theophane's earlier work though the Communion may have been written later than the other movements. Medium difficulty.

Organ - advanced to difficult - Digital Download SKU: S9.Q6218 Composed by Jean Guillou. This edition: Sheet music. Downloadable. Op. 20. Duration 36 minutes. Schott Music - Digital #Q6218. Published by Schott Music - Digital (S9.Q6218). This is the name given to the ancient tales and legends of Scandinavia, mostly drawn up in Iceland. The term itself is of Germanic origin, form the verb 'sagen' which means to say, to recount. The title also has to do with what is said, what is recounted, in a musical epic of today. Three of these pieces, Sagas 2, 4 and 6, have the particularity of being improvisations. In Saga 1, the instrument seems to awaken out of a dream of which the two opposing elements gradually become ordered. Pedal staccati soon take control and come to predominate as they build up while, in a spirit of contradiction, various solo steps, Cornet, Cromore, unfold their melismas. The dream then reestablishes itself, this time for good. The second Saga is a sombre, frenetic dance based on groups of five semiquaves. It dies away, then, after a long silence, a note emerges, and this lone note, on three different solo stops, beaten, hunted by its two neighbouring notes in increasingly animated accents, anacruses and appoggiaturas, disappears, giving way to the sombre dance which then broadens out. It is interrupted all of a sudden by the irritated, exasperated, fuming tone of that harshness that overdoes itself and vanishes. The sombre dance appears one last time, letting itself go into paroxym. The third Saga unfolds as a very ancient chant, the memory of an Ossianic chant of the earliest times. The fourth Saga develops the lyricism of a tale to be told. But in midway comes a sort of destructive outburst of which the ever tighter links give way for a moment to pure narrativity, which, after a few upsets, ends the piece with the memory of great danger overcome by candour. The fifth Saga is a kind of quiet walk, interspersed with a few controversies, interceptions and demonstrations that are rather more lively. The sixth Saga develops a kind of theme in runs, whose constantly rhythmic rebounding might bring out the idea of apologetic or exalted acclamation.Jean Guillou (*1930) gilt als einer der bedeutenden Organisten und Orgelkomponisten der Gegenwart. Sein kompositorisches Schaffen umfasst über 40 Orgelwerke, außerdem Symphonien, Klavier- und Orgelkonzerte und Kammermusik. Auch bereichert der Dupré-Schüler, der seit 1963 Titularorganist an St. Eustache in Paris ist, das gängige Orgelrepertoire durch eine Reihe außergewöhnlicher Transkriptionen von Orchesterwerken.

Organ - Digital Download SKU: A0.828708 Composed by Jan Zach. Arranged by Guido Menestrina. Baroque. Score. 5 pages. Guido Menestrina #405395. Published by Guido Menestrina (A0.828708). Transcription by Guido Menestrina, follow the score on youtube: https://youtu.be/A0riyf_X3P4 Jan Zach, called in German Johann Zach (baptized 13 November 1699 – 24 May 1773) was a Czech composer, violinist and organist. Although he was a gifted and versatile composer capable of writing both in Baroque and Classical idioms, his eccentric personality led to numerous conflicts and lack of steady employment from about 1756 onwards. Zach was born in Čelákovice, Bohemia into a wheelwright's family. In 1724 he moved to Prague and started working as violinist at St Gallus and at St Martín. According to Dlabacž, he studied organ under Bohuslav Matěj Černohorský, who lived in Prague from 1720 to 1727. Zach's career as organist started at St Martín, and by 1737 he was also playing the organ at the monastic church of the Merciful Brethren and the Minorite chapel of St Ann. In 1737 he competed for the position of organist at St. Vitus Cathedral, but was not successful. Details of what happened next are unknown: he was reported to have left Bohemia, but apparently remained in Prague at least until 1740. By early 1745 he was living in Augsburg and then on 24 April 1745 he was appointed Kapellmeister of the Electoral orchestra at the court of Johann Friedrich Karl von Ostein, Prince-Elector of Mainz. He visited Italy in 1746 and, briefly, Bohemia in 1747.[1] Zach evidently had a complex and eccentric personality, which led to numerous conflicts that plagued his life at Mainz. He was suspended from his position in 1750 and finally dismissed in 1756. From that point on it appears that Zach never again had steady employment. He traveled through Europe and supported himself financially by performing and selling copies of his works, teaching, dedicating his compositions, and so on. He visited numerous courts and monasteries in Germany and Austria, stayed in Italy in 1767 and between 1771and 1772, and may have worked as choirmaster at the Pairis Abbey in Alsace. He stayed several times at the Stams Abbey at Stams, Tyrol, where he may have had connections, and served as music teacher at the Jesuit school in Munich, for several brief periods of time. The last mentions of Zach in contemporary sources indicate that in January 1773 he was at the Wallerstein court, and according to the Frankfurt Kayserliche Reichs-Ober-Post-Amts-Zeitung of 5 June 1773 he died on a journey, at Ellwangen. Zach was buried in the local church of St Wolfgang. Zach's surviving oeuvre comprises a wealth of both instrumental and sacred music: some 30 masses, 28 string sinfonias, a dozen keyboard works and other pieces. Due to the nature of Zach's life it is difficult to establish a precise chronology. His work reflects the transition from the old Baroque style to the emerging Classical music era ideals. Zach was equally adept at strict counterpoint and the style galant, and was also influenced by Czech folk music. Zach was fond of chromatic modulations. Scholar Johann Branberger, writing in the early 20th century, noted Zach's preference for chromatic, and often exotic, themes. Only a few of Zach's pieces were published during his lifetime: a harpsichord sonata (in Oeuvres mêlées, v/6 (Nuremberg, 1759)), a harpsichord concerto (Nuremberg, 1766; GS C13), and the collection Sei sonate for harpsichord and violin or flute (Paris, 1767).

Instrumental Solo,Organ - Level 3 - Digital Download SKU: A0.1497467 By Richard St. Clair. By Richard St. Clair. Arranged by Richard St. Clair. Classical,Early Music,Instructional,Praise & Worship,Religious. Individual part. 7 pages. Richard St. Clair #1073879. Published by Richard St. Clair (A0.1497467). This 7-minute ricercar for organ is reminiscent of renaissance polyphony. It is powerful music for a serious occasion.

Organ - Level 3 - Digital Download SKU: A0.1406728 By Dr. Sheri L. Masiakowski. By Sr. Theophane Hytrek OSF. Arranged by Dr. Sheri L. Masiakowski. 20th Century,Religious,Sacred. Score. 7 pages. School Sisters of St. Francis #989483. Published by School Sisters of St. Francis (A0.1406728). “The Spirit of the Lord�  Sr. Theophane Hytrek OSFDedicated to Robert Verwoert on the occasion of his ordination to the priesthood — May 1971Sr. Theophane Hytrek OSF earned her PhD in composition from the University of Rochester (Eastman School of Music) in 1955.  She is known for a variety of compositional genres, e.g. keyboard (organ and piano), voice, and orchestra. Compositions for voice include masses, responses, psalm settings, hymns for congregation, choral music and solos.TEXT:The Spirit of the Lord is upon us. Send your Spirit upon us in this time and place, the Spirit who gives us comfort, the Spirit who brings light to our eyes, the Spirit who helps us say yes to your summoning Word.Bless us, Father, as you have done before, with the gift of your Spirit that he may stir new life within us.Blest are you in ev'rything that your Spirit makes new, now and for all ages to come.The source of this text is unknown. Though appropriate for Pentecost there is no direct connection to the scripture readings or sacramentary prayers for that Feast. The composition was written in the early years succeeding Vatican II (October 11, 1962 – December 8, 1965), a time of creative freedom. The language is period specific to that time, yet the music is universal.Rehearsal recommendation:The verse text is notated in consistent eighth-notes. Do not interpret this to mean that all syllables are to receive equal time.  Speak the text in natural cadence and then sing the pitches in that same natural cadence.  This will best represent Sr. Theophane’s intention.We invite you to browse other creative works by the School Sisters of St. Francis on our website:  https://www.sssf.org/SSSF/Our-Global-Impact/United-States/Music-Ministry/Catalog-of-Music.htm  Further information about our offerings is available from Dr. Sheri Masiakowski, curator of the Heritage Music Collection, at smasiakowski@sssf.org.

Organ - Level 4 - Digital Download SKU: A0.549915 Composed by James M. Guthrie. Contemporary,Instructional. Score. 3 pages. Jmsgu3 #3911787. Published by jmsgu3 (A0.549915). In Nomine: A prelude to the St Luke Organ Book (by Daniel Pinkham) for one single organ manual. Subtitled The Little Time Machine, the composition features one iteration of the In Nomine cantus firmus. As the piece progresses, the cantus is treated in medieval, Renaissance, Baroque, classical, romantic, and modern styles. I performed this piece just before the world premiere of Daniel Pinkham's St. Luke Organ Book in 2006.The history of In Nomine is rooted in its origin as a type of contrapuntal instrumental composition by 16th-century English composers, usually for a consort of viols, lute, or keyboard, based on a version of a piece of plainchant. The name In Nomine was adopted for this type of piece after the English composer John Taverner composed an instrumental piece based on the plainchant Gloria Tibi Trinitas to which he set the words In nomine Domini in his Gloria Tibi Trinitas six-voice Mass. Over the next 150 years, English composers worked this melody into In Nomine pieces of ever more fantastic stylistic range. This set a fashion, and several 20th-century composers, such as Peter Maxwell Davies and Roger Smalley, have quoted In Nomines in their works. The In Nomine played a significant role in developing English polyphony. It is a title given to many pieces of English polyphonic, predominantly instrumental music, first composed during the 16th century. The In Nomine was the chief means by which the grand tradition of vocal polyphony was brought to bear on the evolution of instrumental music in England. The In Nomine is considered the most conspicuous single form in the early development of English consort music and is significant in the genesis of chamber music in England. It marked the first time a specific instrumental style was formed, and it influenced the development of English polyphony by bringing the tradition of vocal polyphony into the realm of instrumental music.Despite various attempts by scholars to elucidate its almost legendary origin, the mystery of the origin of the In Nomine remains unsolved.

Organ - Level 4 - Digital Download SKU: A0.576016 Composed by David Warin Solomons. Contemporary. Score. 33 pages. David Warin Solomons #44013. Published by David Warin Solomons (A0.576016). This is a suite of 5 organ pieces composed by David W Solomons originally performed by David Carlston Williams on 17 August 2014 on the organ of St Paul's Springfield Road, Sale (Cheshire, UK) Registrations are as suggested by the performer. (the sound sample is a recording of Passacaglia from the subsequent CD recording performed by David Carlston WIlliams in June 2015) The suggested order for this suite is: 1. Passacaglia: based on an ostinato passage in 3 time. The idea behind the passacaglia relates to the origin of the word, it is basically a gentle stroll down the street (pasar la calle in Spanish, which was converted into Passacaglia in Italian) 2. Dorina: a descriptive piece in Dorian mode based on a song about a cat, from the aptly named village of Chattevoix, who stalks, but never catches, a little bird. 3. Playtime: also about a cat, the composer's own cat who is playful and rushes around the house but occasionally stopping to pummel the soft furnishings. 4. Early Evening in Camden Town: a more serious and sad piece - in 3-3-2 time. It is an evocation of the poor folk in Camden and their dreams of what could be, if only….. It was originally a song, which the composer wrote when he was living in London, based on a poem by fellow Londoner Sandra Erös The streets are part of a toy town, waiting to be played with…. 5. The Bishop's Dance: a curious and comical piece in 11 time (3, 3, 3, 2). It comes from the legend of Robin Hood, in which Robin meets the bishop of Hereford, who had hoped to get the better of him, but Robin prevails and forces him to dance. The clumsy attempts of the ungainly Bishop to obey Robin's commands cause great merriment among the merry men To quote our vicar, Rev Barbara, after the recital For me music paints a picture, and, for that, I have got this picture of someone going for a stroll in their village and then they came across a very old cat wandering down the street imaging it could catch birds but never catching them. And then it would lie down for a sleep and dream of the days when it was a kitten.... It was a very reflective programme and turns our mind about What for the Autumn, what do we need to do next.. it really did fit in with the mood of the year, as we turn towards building up the programme for next year... So thank you, it gave us time to reflect in a very beautiful manner.... The suite is also available as separate pieces (with performances by David Carlston Williams).

Organ - Level 3 - Digital Download SKU: A0.729001 Composed by Frederick Maker. Arranged by James Gilbert. Praise & Worship,Sacred. Score. 5 pages. James Gilbert Music #3860727. Published by James Gilbert Music (A0.729001). For Solo OrganAn arrangement for solo organ of the popular hymn tune ST CHRISTOPHER. Good for Lent, Holy Week, Easter or at Communion (Lord's Supper). Difficulty: Early Intermediate

Organ - Level 3 - Digital Download SKU: A0.836713 Composed by Brian Joyce. 20th Century,Christian,Holiday,Sacred. Score. 9 pages. Brian Joyce #4776213. Published by Brian Joyce (A0.836713). These are very early works, sins of my youth, as the saying goes. They are written in a faux-baroque style and would be very accessible to all but the fussiest congregations. The hymn tunes involved are (1) We Gather Together [KREMSER], (2) Come, Ye Thankful People [ST. GEORGE’S WINDSOR], and (3) Now Thank We All Our God [NUN DANKET]. They are especially appropriate for the Thanksgiving season, but would not be out of place at any time of the year. The third prelude gives the tune to a 4’ reed stop in the pedal.Performance times: 0:45, 1:45, 1:25 (4 minutes for all).

Organ - Level 2 - Digital Download SKU: A0.1306622 Composed by Various, Lynn L. Petersen. Arranged by Lynn L. Petersen. Christian,Easter,Instructional,Praise & Worship,Sacred. Score. 30 pages. Lynn L. Petersen #895949. Published by Lynn L. Petersen (A0.1306622). A collection of easy organ preludes based on widely-used hymns.  Each is 4-5 pages long and is suitable for two-manual organ with basic registration options.  Some preludes are for manuals only, others include optional easy pedal, and one contains an easy pedal part on a separate staff.  Most of the harmonic intervals and chords do not exceed the span of a seventh within one hand.  For church organists of any level, including students in early stages of organ study.  Uses:  Pre-service, Hymn Introduction, Offertory, Communion, Postlude.Tunes include:ANGEL'S STORYANTHESDENBYHEAVEN IS MY HOME (ST. EDMUND)HÖCHSTER PRIESTER (SAVANNAH)STEPHANOSSee also 6 Easy Hymn Preludes for Organ - Set 1 here and here.