What's some of your favorite organ repertoire?
  • RMSawicki
    Posts: 108
    To my previous list, I should have included the first movement of Paul Creston's "Suite for Organ".

    Gaudete in Domino Semper!
  • I do love Leighton's work Paean!
  • ghmus7
    Posts: 1,407
    Thank you MJO !
    Bach any, but chorale preludes especially.
    Messaien - la Nativite
    Jg Walter fine baroque composer
    Couperin organ masses, DeGrigny.
    Dom Paul Benoit (hard to get)
    Alec Rowley
    Emma Lou Diemer- fine composer.
    add Nivers, LeBegue, the montreal organ book (French Baroque) Carson Cooman (great contemporary composer)
    Organ music of schumann, Reihnberger, and Demessau.
    Thanked by 1Matilda
  • ghmus7
    Posts: 1,407
    BTW, there is a minor error in a foregoing post. The Lutheran mass was sung in Latin. Bach wrote I think at least 5 latin settings of the mass, though some are not complete.some other parts of the lutheran missa were given to hymns in the vernacular, but most of the mass was kept in Latin, hence Bach's settings were created to be sung in the Luth liturgy. Would work just as well as a Palestrina or Mozart setting in the RC liturgy (I mean theoretically)
    This Catholic/ Bach thing has gone on too long on this forum. Bach knew and performed a great deal of Catholic choral and keyboard music - he knew de Grigny, Couperin, Marchand, and many 17th century choral works written by Catholic masters. When he 18 and was at Celle, he encountered a whole library of French Catholic music and a fine orchestra which must have influenced him. And the big mass! Come on now!

  • Indeed! It is hard for Lutherans (most of them, anyway) to swallow, but Luther strongly believed that the mass (what was left of it) should be kept in Latin. He compiled the Deutsche Messe only to appease the more extreme of his colleagues. Latin remained essential to a complete education in German lands. Many (though not all) Lutherans continue to have apoplexy at the thought of a Latin motet or anthem in their services. Ha! Luther would have been highly amused (if not offended) at this!
    Thanked by 1CHGiffen
  • I am experiencing an infatuation with Spanish renaissance and baroque organ works. Most of these, of course, would be very appealing to those who do their best on 'manuals only' literature. The tientos, in particular, are quite satisfying, some exhibiting exquisite contrapuntal technique contrasted with exciting passage work and virtuoso sections for a solo stop such as a trumpet or cornet. One must say that the counterpoint never reaches the complexity or erudition of that of the English voluntary, particularly those of Gibbons or Tomkins, but it is stimulating nonetheless. Some even feature solos that alternate between upper or lower registers, not unlike the French basse et dessus de trompette. Others, like the ricercari which they resemble, can be rambling, but show a similarly remarkable experimentation with form, and with rhythmic and temporal variation. Still others, in a manner not unlike the French recit, exhibit complex solo passages for two inter-related voices, either in the treble, dos tiplos, the bass, dos bassos, or alternating between registers. (One peculiarly Spanish form which holds no fascination for me are the gaudily raucous battle pieces: one might say that these are the early Spanish equivalents of Wellington's Victory or the 1812 Overture.)

    Just this recent vigil of the Assumption, we had a mass at St Basil's Chapel (UST) celebrated by Cardinal di Nardo and concelebrated by two other bishops and the archbishop of Philadelphia. I played and directed St Basil's Schola Cantorum. Because the mass was for a convention of Latino educators, I played the tiento de secondo tono por ge sol re ut by Juan Sebastian for the opening voluntary... a piece rich in contrapuntal textures and rapid passage work.

    For those whose congregations include appreciable numbers of Spanish speakers, this literature would be ideal for them and would awaken them to some aspects of their genuine musical heritage of which they are likely not aware.

    (I feel like adding a footnote for those who are always insisting that congregations can't sing chant ordinaries, or if they can they can't sing them a capella: well, at the cardinal's mass described above we had about 250 people who don't normally sing together sing the mass settings from the new Roman Missal without so much as a pitch from the organ. It was rhythmically energetic, spiritually alive, and sung with 'one voice'. People can do this. Allow them to.)
    Thanked by 2CHGiffen Matilda
  • CharlesW
    Posts: 11,850
    I suppose I might like Bach more if not for the excesses of organists. All through university studies the same pieces were taught and played on the same unpleasant organs, even to the point that AGO functions were more of the same. I really tired of both hearing and playing the works of Bach. That German school was the fad at the time - not that organists can ever go off the deep end on anything - can you say screaming 60s Casavant mixtures, anyone? LOL. He is still not my favorite composer and I tend more toward French works. However, I have lately played some Bach works with greater appreciation, especially the chorale preludes.
    Thanked by 1Matilda
  • eft94530eft94530
    Posts: 1,577
    Returning to the purpose of this Forum Discussion ...
    marajoy: usable as postludes or preludes [...] favorite organ pieces [...] less famous

    Marche Triomphale (Douze Pieces Nouvelles # 12) (1892)
    Theodore Dubois (1837-1924)

    Online score (free) ...
    PDF pages 69 thru 76

    Online soundfile ...
    timestamp (h:mm:ss) == 0:16:45 -- 0:22:05
    duration == 5:20
    Thanked by 1Matilda
  • SalieriSalieri
    Posts: 3,161
    I personally love Bach ("But which Bach? Johann? Sebastian? Offen?" - Victor Borge), but there is such a thing as too much of a good thing. There is more to the Organ than Bach and the Widor Toccata. I think we could stand to head a lot more Buxtehude.

    Unfortunately, I think that English, Italian, French, and Spanish (early) music is neglected because most of it is Manualiter, and we sure do like to show of our pedal-work, don't we? There is a green, English cheerfulness to Stanley and Co., that you just don't find in Continental writing. Of course that's not saying that the Continentals can't be cheerful, look at the French Noels pour l'Orgue - which, incidentally, are usually never played in their original versions, but it modern versions with added pedal parts.
    Thanked by 1francis
  • CharlesW
    Posts: 11,850
    look at the French Noels pour l'Orgue - which, incidentally, are usually never played in their original versions, but it modern versions with added pedal parts.

    Probably because modern organs neither sound like, nor are built like those classic French instruments. When I register that music, it is a compromise, always. I love the works of all the composers mentioned above. It is all great music.
  • SalieriSalieri
    Posts: 3,161
    True (How many modern organs are there that have 32' opens on the Great?). But there are many that are quite refreshing in their original versions, with the layer of Romantic varnish pealed away.
  • CharlesW
    Posts: 11,850
    I have no 16' stops on manuals. They are all pedal ranks. Most American organs have nowhere near enough reed ranks for that music, either. Then there are the German mixtures - yech! LOL.
  • francis
    Posts: 10,362
    Hey! I am a mixture of both German and Czech! I resent that!
    Thanked by 1Matilda
  • Adam WoodAdam Wood
    Posts: 6,430
    So you're a Czech mix?
  • CharlesW
    Posts: 11,850
    So you're a Czech mix?

    Lot's of nuts? ;-) LOL.

    The German mixtures are being reconfigured and revoiced in July when the console will be rebuilt. May they rest in peace - somewhere else. LOL.
    Thanked by 1Gavin
  • PhatFlute
    Posts: 219
    some of Harold darkes' music finds with me great pleasure,

  • CharlesW
    Posts: 11,850
    I have played music by Darke. I like it.
  • eft94530eft94530
    Posts: 1,577
    marajoy: usable as postludes or preludes [...] favorite organ pieces [...] less famous

    James Hotchkiss Rogers (1857-1940)

    Organ Sonata # 1 [in E Minor] (1910)
    1. Allegro con brio
    2. Adagio
    3. Scherzo
    4. Interludio
    5. Fuga

    Free Online score ...

    Free Online soundfile ...
    [m1] https://www.youtube.com/watch?v=GTiDYctt6zM
    [m2] https://www.youtube.com/watch?v=6t_90-46-r0
    [m3] https://www.youtube.com/watch?v=EFk4YavY_5k
    [m4+m5] https://www.youtube.com/watch?v=htoaR8TJHvI
  • Where can I find some of Harold Darke's organ music? I have used his setting of "in the bleak midwinter" but didn't know he had organ music.
  • francis
    Posts: 10,362
    eft... that is one funky console.
  • TCJ
    Posts: 886
    I like:


    ...and others of that era.
    Thanked by 2francis Matilda
  • eft94530eft94530
    Posts: 1,577
    francis: eft...

    Not me. Not the console at my parish.

  • ghmus7
    Posts: 1,407
    Musicman923 - might try free sources such as http://imslp.org thks is a huge free score library.
  • Have I said Titelouze?
    Let me say it again.
    Also, Gregory Hamilton.

    By the way - I'm playing an all chant-based recital on the Fisk organ at the First Presbyterian Church in Santa Fe on the 10th February. This will be part of the week-long winter chant conference of St Basil's School of Gregorian Chant, in which Fr Columba Kelly will be the principal scholar. Other extra events of the conference will be solemn vespers on Thursday at the cathedral, and a closing mass on Friday. For further information visit our St Basil's website. We already have people coming from Vancouver, Denver, Houston, and various other places around the country.

    One of the pieces on the recital is a setting of Mulieres sedentes, the antiphon to Benedictus at Good Friday Tenebrae. This is the second in a set of Three Plainsong Preludes, and is a very interesting piece by Ronald Arnatt, the Englishman who has spent most of his life in this country. Some of you may want to investigate these pieces. The other two are Victimae paschali and Divinum mysterium.

    Here is the complete recital program -

    1. J.S. Bach - - - Fuga sopra il Magnificat (preceded by 1 verse to Tonus Peregrinus)

    2. Antonio de Cabezon - - - Magnificat septimi toni (with alternatim chant)

    3. Jehan Titelouze - - - Veni creator spiritus (with alternatim chant)

    4. Girolamo Frescobaldi - - - Kyrie delli Apostoli (with alternatim chant)

    5. Gregory Hamilton - - - Implente munus debitum (preceded by the hymn)

    6. Ronald Arnatt - - - Mulieres sedentes (preceded by the antiphon)

    7. Jean Langlais - - - Rhapsodie Gregorienne (prededed by the 3 chants quoted: Sacris solemnis, Verbum supernum prodiens nec patris, and Lauda Sion salvatorem)
    Thanked by 1Matilda
  • Earlier this year I learned and played a piece of Johann Peter Kellner’s and thoroughly enjoyed it!

    Check out the first piece in this collection:

    Depending on your tastes, you may also want to check out of the American Romantics like Parker or Paine. Parker has a nice, easy fugue in Cm, for example, that’s a lot of fun to play. Some of this repertoire (e.g., Buck sonatas) one might consider “undeservedly difficult”.

    Then there’s Pierné. And, Tournemire is probably not accorded nearly the esteem his music probably merits. His yearly cycle of chant compositions is on IMSLP but is still under copyright in the U.S., alas. (And *hideously* expensive to purchase to boot …)

    Oh, and the Stanford sonatas are fun. A little indulgent, but hey. :)

    I always love Healey Willan’s serious music. He wrote a lot of drivel (I guess because it made him money), but he was very capable of serious composition as well. Look at the P/F in Cm for a very pithy early work that almost approaches the more famous I/P/F in grandeur. From the same period comes his Epilogue in D, which is a bit chromatic for some tastes, but I like it. The Bm P/F is almost sight-readable but still nice. Then there’s the Passacaglia/Fugue in Em from his later years. I’ve not looked at it, but it’s quite a “thing”.

    Robert Powell’s organ sonata is one whose 2nd movement I play probably several times a year. Very pretty little piece.

    I heard Distler “Wachet auf” on a recital about a year ago and was blown away. It’s hard, but *amazing*.

    And, if you’ve got the time, check out Karg-Elert “In dulci jubilo” … not easy, but great fun!
    Thanked by 1M. Jackson Osborn
  • I'll second that - Willan '...wrote a lot of drivel...', which did indeed make him money; in fact, he couldn't keep up with his publishers' demand for it. But, truly, he wrote many outstandingly erudite works, as Felipe says. Not only for organ, but for choir. One of the best Ascension anthems one could ever want sing would be his five-voiced (SSATB) O King of Glory in motet style, a procedure of which he was a secondary master.
  • eft94530eft94530
    Posts: 1,577
    Returning to the purpose of this Forum Discussion ...
    marajoy: usable as postludes or preludes [...] favorite organ pieces [...] less famous

    In case someone needs a prelude during the Christmas Season ...

    Sicilian Suite (1920) # 1 Christmas Evening [Coprifuoco]
    Melchiorre Mauro-Cottone (1883-1938)

    Saint Cecilia Series # 266.

    The score is interesting, as:
    (1) the layout requires the organist to remain attentive to Four lines;
    (2) the piece calls for the Chimes;
    (3) the organist must play some notes by "thumbing down";
    and, oh yes of course, it includes charming pastorale sections.

    Melchiorre Mauro-Cottone (1883-1938)
    is found in our publication Caecilia during years 1932 thru 1937
    and in a newspaper article in "The Day", New London CT (Sat 12 Dec 1936)
    and made a snarky quip recorded during a legal matter
    https://books.google.com/books?id=3NtoAgAAQBAJ&pg=PA140&lpg=PA140&dq=Melchiorre+Mauro-Cottone&source=bl&ots=bDkZsW7q9h&sig=4wB4z6ghYIgSJSgbxebHeUfwkvk&hl=en&sa=X&ei=wWikVMWEJMufyAT35YCoAw&ved=0CIMBEOgBMBQ#v=onepage&q=Melchiorre Mauro-Cottone&f=false
    and has an interesting biography at
    and an archive at

    Free Online score ...
    Eastman School Of Music Sibley Library Online
    click on
    Pages 1--7

    Free Online soundfile ...
    none located
  • PhatFlute
    Posts: 219
    Oh and also Harry Rochelli Fanfare !
  • eft94530eft94530
    Posts: 1,577
    marajoy: usable as postludes or preludes [...] favorite organ pieces [...] less famous

    James Hotchkiss Rogers (1857-1940)

    Suite Number Two [in F minor] (1915)
    1. Preambule (Con moto moderato)
    2. Theme and four variations
    3. Pastorale (Allegretto)
    4. Scherzo (Vivace ma non troppo)
    5. Epilogue (Con moto moderato)

    Free Online score

    Free online audio/video file
    none located
  • I'm newly fond of Joseph Ahrens, a German Catholic who outlived Langlais. I used to play his music when I was in service to my Lutheran friends, but haven't played him since. That's going to change! I'm putting him on a recital program and will likely play some of his 'tamer' pieces at mass the next time I'm engaged. He has several volumes of Cantiones Gregrorianae pro Organo, which include German chorales, Catholic hymns and liturgical music, all in a what-might-for-some-be a quite daring harmonic and imitative vocabulary - not to mention rhythm. Particularly enchanting is his treatment of the Christmas introit, Puer natus; and his Osteralleluja is an especially grand treatise on the Easter vigil's triple alleluya.
    Thanked by 1eft94530
  • -Genzmer's and Hovhaness's Sonatas for Trumpet and Organ.
    -The works of Hermann Schroeder (I want to do his Trumpet and Organ sonata on my senior recital, but alas it's permenantly out of print), especially "Schönster Herr Jesu".
    -Bach's Prelude and Fugue in D (BWV 532) always cheers me up.
    -I wrote a Sonata for Trumpet and Organ as well that I'm very happy with (it has the first real fugue I've ever writen). (A composer should strive to be his/her own favorite composer, because there's no joy in writing something we wouldn't listen to.)

  • I second Hovhaness. Aside from the work that Zac mentions, he has written some very, very fine and not-often-encountered motets in the renaissance fashion. They are as good as anything Willan or Titcomb did. They are, however, all too brief - perhaps four pages or so. One of which I am especially fond is 'Praise ye the Lord'. These motets are not at all difficult and can be learnt by an average choir who can sing the likes of Tallis' 'If ye love me'.

    I also second Hermann Schroeder. I've not done any of his organ works but have done some of his choral things. Especially charming are his arrangements of Lutheran Christmas chorales and German Christmastide folk songs. Concordia may still be the publisher.
    Thanked by 2ZacPB189 CHGiffen
  • eft94530eft94530
    Posts: 1,577
    marajoy: usable as postludes or preludes [...] favorite organ pieces [...] less famous

    Perhaps a Prelude for November ...

    Sir Edward Elgar (1857-1934)

    The Dream of Gerontius (Opus 38) (1900): Prelude
    Transcribed for organ (1903) by Alfred Herbert Brewer (1865-1928)

    Free Online score
    TAB Arrangements and Transcriptions

    Free online audio/video file
    Thanked by 1StimsonInRehab
  • I'm quite coming to appreciate the work of Johannes Peyer, a north-German near contemporary of Bach.
    Thanked by 2MarkS Matilda
  • Franz Tunder -
    I love his chorale versets on Jesus Christus, unser Heiland, which I am preparing for inclusion in a recital. As some may know, the first of the three versets begins with the earliest known example of an introductory pedal solo and has two pedal parts, the upper one bearing the cf. The six-voiced texture is profoundly rich. The early masters did some very exciting things with double pedal pieces. It's too bad that this style just sort of died out, Bach's Aus tiefer not in Clavier-Ubung III being a late, and gorgeous, survival.

    The third of the versets is, I'm as sure as can be, the inspiration for Bach's pedaliter version of this chorale in the Clavier-Ubung III. It is punctuated (pierced) throughout with a succession of biting up-and-down octave leaps, which are, in fact, the prinicipal motivic unifier in this setting.

    Jesus Christus, unser Heiland, itself, is Luther's adaptation of Aquinas' Lauda Sion salvatorem. Consisting of many stanzas, Luther, as is to be expected, sort of heavily edited those portions with whose theology he was so unfortunate as to disagree. Still, it remains a powerful text which may, I think, be faulted not so much on what it says as on what it fails to affirm.

    All of Tunder's organ works (the few which have survived) are very satisfying, especially his setting in the chorale fantasia fashion of Komm, Heiliger Geist, Herre Gott. Quite lengthy, but fascinating texturally, with a dazzling variety of motivic invention.
    Thanked by 3CHGiffen BruceL MarkS
  • MarkS
    Posts: 277
    And for something completely different, I have been rediscovering the chorale preludes of C. H. H. Parry, and am currently in love with his setting of Christe Redemptor omnium, a tune which is better known to Anglican/Episcopalians as Jesu dulcis memoria "Jesus the very thought of you is sweet." Lovely Anglo-Catholic stuff, with a lovely "Anglican haze" of strings/celestes on the Swell accompanying the beautiful quiet solo cantus on the Great. Wonderful as a prelude or during Communion.

    Also his prelude on ROCKINGHAM!

    (Both in Seven Chorale Preludes, set 1—no opus number that I'm aware of. Published by Novello, also available on IMSLP http://imslp.nl/imglnks/usimg/8/8b/IMSLP319263-PMLP516432-Parry__Set_1.pdf but I'm not sure of copyright status.)
    Thanked by 1Matilda
  • eft94530eft94530
    Posts: 1,577
    marajoy: usable as postludes or preludes [...] favorite organ pieces [...] less famous

    Something one hundred years old ...

    The Churchman, Volume 114 (November 4, 1916) page 623
    [...] New organ music for church and concert use. "Scherzo in G Minor" by Elias Blum,
    is a sparkling piece containing an interesting trio. [...]

    Elias Blum (1881-1957)

    Scherzo in G minor (Opus 12 n 1)
    from Two Pieces for Organ (Opus 12) (1916)

    Free online score

    Free online soundfile
    none located

    Elias Blum (1881-1957) was born in Isaacfalln [Eisdorf?] Hungary, son of Elias and Eva (Glaser) Blum. In 1891 at age 10 he came to the USA and received general education, studied piano with Kelterborn and composition with Goetschius. [ Unverified: While a boy he worked for a Boston music company where he gained much of his musical knowledge. His talents later attracted the attention of a prominent publisher who supervised him in his musical studies. Attended New England Conservatory (Boston) and worked with the Boston Symphony orchestra. ] From 1904-08 he attended Grand Ducal School of Music (Weimar, Germany) for organ, piano, voice, composition, conducting; he returned to Boston and was active as organist and tenor. 1909 appointed director of Conservatory of music at Whitman College (Walla Walla WA). 1917-1944 at Grinnell College (Grinnell IA), [Unverified: 1926-1927 Dean of fine arts Des Moines University (Des Moines IA)], and for many years was organist at Grinnell Methodist church. After retirement he taught briefly at William Penn college (Oskaloosa IA). Nationally prominent in musical circles, he was twice listed in "Who's Who." Composed anthems, choruses, songs, choruses with orchestra, piano solos; for organ both small and large works [Passacaglia in B Minor, Symphonic Variations for organ and orchestra].

    https://archive.org/stream/bub_gb_Z2NKAAAAIAAJ#page/n145/mode/1up/search/blum [p89,p134]
    Thanked by 1CharlesW
  • bhcordovabhcordova
    Posts: 1,132
    Well, I for one like the organ music at the skating rinks and the ball parks.
    Thanked by 2CharlesW Carol
  • eft94530eft94530
    Posts: 1,577
    marajoy: usable as postludes or preludes [...] favorite organ pieces [...] less famous

    Rene Louis Becker (1882-1956)

    Organ Sonata # 1 in G minor (Opus 40) (1912)

    Free online score

    Free online soundfiles
    1. Praeludium festivum [pp=6 dur=4:18]
    2. Dialogue [pp=6 dur=5:55]
    3. Scherzo [pp=6 dur=3:34]
    4. Prayer [pp=2 dur=4:15]
    5. Toccata [pp=10 dur=4:18]

    Rene Louis Becker (1882-1956) was born in Bischheim [near Strasbourg] Alsace France, the fourth of five children; his father Edouard was an organist [several parishes and at Chartres Cathedral and later at Strasbourg Cathedral]. Rene graduated from the Bischheim public schools and the Strasbourg Catholic College and the Strasbourg Municipal Conservatory (1896-1904, composition, organ, piano, church music). In 1904 he immigrated to St Louis MO and joined two brothers [immigrated 1900] to create the Becker Music School where he taught piano and organ and composition. From 1905-1910 he taught piano [organ?] at University of St Louis, and 1906-07-08-10-11 taught Gregorian Chant at [Kenrige? Kendride? Kenrick?] Seminary. In 1910 he married Angela Landzettel, a talented pianist; over the years 1911 to 1929 four children were born. In 1912 they lived in Belleville IL [a few miles south of Springfield] where he was organist of St Peter Cathedral [in Jan 1912 the building burned, in Oct 1913 it was re-dedicated]. In 1915 they moved to Alton IL [a few miles north of Springfield] where he was organist-choirmaster at Sts Peter and Paul Cathedral [in 1923 the See was moved to Springfield IL and in Dec 1928 the building was re-titled Church]. In 1918 his biography was featured in "The American Organist (Vol 1 No 1)". In 1930 they relocated to Detroit MI where he was organist at Blessed Sacrament Cathedral, and opened the Palestrina Institute (with son Francis), and as a member of the AGO he helped to establish the Catholic Organists Guild. In 1943 they relocated to Dearborn MI where he was organist at St Alphonsus Church. In 1952 he retired due to Parkinson's disease to which he succumbed a few years later. Becker was a prolific composer of 435 pieces [catalogued by 2007] but under 100 published, including: Masses, anthems/motets, piano pieces, organ works (from small character pieces to large sonata forms).

  • I don't know about you guys, but I'm obsessed with Messiaen.
  • Matilda
    Posts: 76
    I'm working hard to learn Vierne's Final from his first symphony. I know it isn't a hidden gem but it is a whole new world to me, like a somewhat civilized circus... Previously i would have expected to only love Bach and similar aporoaches, but education opens up so many new areas...I'm obsessed with this piece, I know nothing yet about Messian except the name- what an amazing world the organ is! So many new horizons!
  • I refused for many years to learn or play Widor's famous fifth symphony toccata. I humphed it as circus music. The same goes for much else in that genre. As a rule I do not at all care for the organ symphonies and other bloated orchestral romanticisms of that period. One should skip over them and go directly to Tournemire, Alain, Litaize, Langlais, Messiaen, and others of their ilk - real organ music.

    Among my favourite XXth century pieces are the organ chorales of Helmut Walcha. They are beautifully composed and are recital worthy. Also look into the works of Joseph Ahrens, of the same mid-century period. A devout Catholic active mostly in Berlin, he received several papal accolades and his work is definitely among the best of XXth century writing. His works are based both on chant (of which he was an avid student) and German chorales.
    Thanked by 2CHGiffen Matilda
  • CharlesW
    Posts: 11,850
    I play Widor - no apologies to the most excellent Houston organist in powdered wig and buckle shoes - along with Vierne, Guilmant, Mendelssohn, Franck, Dupre and others. But I am a big fan of French Baroque - Marchand, Raison, and others. Basically, I play whatever I feel like when I feel like it, having reached the age where crankiness is accepted and even encouraged by my pastor.

    The problem I encounter most often is trying to register some of those works on American organs. It ain't the same and at times, it just doesn't work.
  • .
  • I don't have a very large repertoire, but I'm preparing Boyce's Trumpet Voluntary in D for Easter (postlude) and love it.
  • ...I'm preparing...
    This is a fine piece, and it is not without some treacherous passages, fingering wise. It should sound very well as a voluntary after the Easter vigil. Good luck!
  • Okay, here's the dumb question for the day
    for those of you who may use Boyce's Trumpet Voluntary
    how do you cover the trumpet part? I don't have a trumpet(er)
  • CharlesW
    Posts: 11,850
    No organ trumpet?
    Thanked by 1mmeladirectress
  • >> No organ trumpet?
    well that's what I envisioned, but the question came back from my organist!
    I pointed her to this recording which is organ only. good ole Spotify