Organ - Level 3 - Digital Download SKU: A0.1087575 By Felicity Mazur-Park. By Felicity Mazur-Park. Arranged by Felicity Mazur-Park. Christmas,Classical,Sacred. Score. 5 pages. Felicity Mazur-Park #691785. Published by Felicity Mazur-Park (A0.1087575). Long Ago, Prophets Knew is an organ prelude based on the traditional Advent hymn. It is intended for the intermediate organist. It aims to capture the restless yet hopeful mood of the hymn. Picture the congregation of a thousand year old English church on a cold, crisp morning at the beginning of December listening eagerly...

Organ - Level 4 - Digital Download SKU: A0.1449568 Composed by Felicity Mazur-Park. 21st Century,Contemporary,Early Music,Religious,Renaissance. Score. 12 pages. Felicity Mazur-Park #1029321. Published by Felicity Mazur-Park (A0.1449568). Composed by Felicity Mazur-Park for performance by David Aaron Preston in fulfillment of the 2024 American Guild of Organists Student Commissioning Project.Ti Appartengo is based on Carlo Gesualdo's madrigal Io Parto e Non Più Dissi, which was written before, but published after Gesualdo's famous murder of his adulterous wife and her lover. In the madrigal, Gesualdo pronounces that he is leaving, but later decides not to leave when he sees that his wife (referenced as the mythological Chloris) is sad and depressed at the prospect of his absence. She is dependent on his love for her personal happiness. In essence, she belongs to him, as my work's title suggests. Compositionally, I segment portions of the madrigal and its text. I add quartal and quintal harmonies and develop selected motivic fragments through retrograde, inversion, and sequencing to paint the drama.

Organ - Level 3 - Digital Download SKU: A0.1250208 Composed by Felicity Mazur-Park. 21st Century,Chamber,Christian,Classical,Sacred. Score. 11 pages. Felicity Mazur-Park #844541. Published by Felicity Mazur-Park (A0.1250208). The chorale prelude begins with the chorale (Jesu, du mein liebstes Leben) harmonized in four-parts. I changed the harmonization, so it differs from J.S. Bach’s chorale setting. My harmonization resists modulating to major keys (B flat major and F major) and instead uses chromatic chords for dramatic effect. This harmonic landscape results in an overall darker mood.  The middle section and heart of the composition features a gigue-like motive which begins in G minor but gradually transitions into chromaticism. At the height of the chromaticism, there are pedal solos interrupted by loud, accented chords in the manuals. As the chromaticism and dissonance build the music moves away from the G tonal center. The return of “G� is delayed until the final statement of the chorale. At the end, the chorale returns combined with the gigue-like motive. The return is dramatic and flamboyant. The chorale prelude finishes with a dramatic pedal solo followed by a subdued penultimate phrase. The loudest registration of the work is reserved for the final phrase.