Greg Lewin Music: Early Organ Music

Tudor Hymn Settings

Conditor alme syderum,
Verbum supernum,
Vox clara,
Veni Redemptor,
Salvator mundi domino,
A solis ortus cardine.
These six hymn settings are drawn from the musical legacy of the short Catholic revival which took place during the reign of Mary Tudor (1553-8). The composer of the pieces is not recorded in the single surviving manuscript but may have been Thomas Preston, by whose hand the manuscript may have been written.
Modern edition by Greg Lewin. Spiral Bound.

Six Voluntaries for Organ (1752)

William Walond: Six Voluntaries for Organ or Harpsichord (1752).
Little is known of William Walond (c. 1725 – 1770) beyond the facts that he took his BMus at Oxford in the late 1750s and published two sets of voluntaries. The title pages of both these volumes describe him as ‘Organist in Oxford’.
Modern edition by Greg Lewin. Spiral Bound

Walond: Six Voluntaries (Facsimile)

Facsimile edition of William Walond: Six Voluntaries for Organ or Harpsichord (1752).
Little is known of William Walond (c. 1725 – 1770) beyond the facts that he took his BMus at Oxford in the late 1750s and published two sets of voluntaries. The title pages of both these volumes describe him as ‘Organist in Oxford’.

Score £10.00

Stanley: Six Concertos book 1

John Stanley: Six Concertos for the Harpsichord or Organ (1745).
These concertos were very popular and appeared in several versions. They were first published in 1742 as string concertos but were soon arranged with other solo instruments (organ, harpsichord, violin and flute versions are known to have existed). John Walsh published the version given here in about 1745. A note on the cover of the organ part states that ‘The 1st & 2nd Repienos, Tenor, & Basso Repieno of His Violin Concertos, are the Instrumental Parts’ [to these concertos], however, the keyboard part printed here stands perfectly well on its own. It seems that the concertos were generally performed without the string parts, for as Clifford Bartlett observes (in a note to his facsimile edition) ‘the state of the plates of the set ... suggests that many more copies of the keyboard part had been printed than of the string parts.’ Modern edition of Stanley's own stand-alone keyboard reduction. Volume 1: Concertos 1 - 3.
Modern edition by Greg Lewin. Spiral Bound

Handel: Six Concertos op.4 book 1

G. F. Handel: Six Concertos for Harpsichord or Organ op. 4 (1738).
This edition is made from a print published by John Walsh in 1738, who advertised it as an authorised version, printed in response to a ‘spurious and incorrect’ edition. The title page carries the endorsement: 'These six concertos were publish’d by Mr Walsh from my own copy corrected by my self'. The work presented here is not just the organ part of the concertos, but appears to be Handel’s own transcription of the concertos for keyboard. The result is comparable to an extended organ voluntary. Volume 1: Concertos 1 - 3.
Modern edition by Greg Lewin. Spiral Bound

Various: Easy Tudor Organ Music

Easy Tudor Organ Music. These pieces are selected from the British Library manuscript Add. 30513 - more commonly known as the 'Mulliner Book' owing to the assertion of ownership by Thomas Mulliner written on the title page. Little is known of Mulliner who was presumably the compiler of the manuscript. Internal evidence suggests that the manuscript dates from the third quarter of the sixteenth century. None of the pieces in the Mulliner Book are particularly difficult. This selection includes some of the easiest (and shortest). The composers represented are Robert Johnson, Tallis, Sheppard, Allwood, Newman and (of course) Anonymous.
Modern edition by Greg Lewin. Spiral Bound

Lebègue: Noels

Nine 'Noels' and a characteristic piece, 'Les Cloches', by an important seventeenth century French organ composer. Nicolas-Antoine Lebègue was born in Laon in about 1631. He moved to Paris where he rapidly gained a reputation as a player of the organ and harpsichord. In 1664 he became organist of the church of St. Merry and in 1678 he was appointed as one of the four organists du Roi, being responsible for playing in the chapel royal during the October quarter. Lebègue was an influential teacher. He taught many of the next generation of organist composers, including Nicolas de Grigny - one of the most influential of early eighteenth century organists. Lebègue published three volumes of organ music. The noëls and the characteristic piece Les Cloches are found in the third volume (published without date, probably in about 1685). The 'Noels' are sets of variations on popular French Christmas Carols.
Modern edition by Greg Lewin. Spiral Bound

Stanley: Six Concertos vol.2

John Stanley: Six Concertos for the Harpsichord or Organ (1745).
These concertos were very popular and appeared in several versions. They were first published in 1742 as string concertos but were soon arranged with other solo instruments (organ, harpsichord, violin and flute versions are known to have existed). John Walsh published the version given here in about 1745. A note on the cover of the organ part states that ‘The 1st & 2nd Repienos, Tenor, & Basso Repieno of His Violin Concertos, are the Instrumental Parts’ [to these concertos], however, the keyboard part printed here stands perfectly well on its own. It seems that the concertos were generally performed without the string parts, for as Clifford Bartlett observes (in a note to his facsimile edition) ‘the state of the plates of the set ... suggests that many more copies of the keyboard part had been printed than of the string parts.’ Modern edition of Stanley's own stand-alone keyboard reduction. Volume 2: Concertos 4 - 6.
Modern edition by Greg Lewin. Spiral Bound

Handel: Six Concertos op.4 book 2

G. F. Handel: Six Concertos for Harpsichord or Organ op. 4 (1738).
This edition is made from a print published by John Walsh in 1738, who advertised it as an authorised version, printed in response to a ‘spurious and incorrect’ edition. The title page carries the endorsement: 'These six concertos were publish’d by Mr Walsh from my own copy corrected by my self'. The work presented here is not just the organ part of the concertos, but appears to be Handel’s own transcription of the concertos for keyboard. The result is comparable to an extended organ voluntary. Volume 2: Concertos 4 - 6.
Modern edition by Greg Lewin. Spiral Bound

Boyce: Voluntaries (c.1785)

William Boyce: Ten Voluntaries for Organ or Harpsichord (c. 1785).
William Boyce (1711 - 1779) was born in the City of London and began his musical life as a chorister at St Paul's Cathedral. When his voice broke, he was apprenticed to the cathedral organist, the composer Maurice Greene. He was organist at several London churches and a well-known composer of church music, masques and instrumental music. In 1736 Boyce became composer to the Chapel Royal and later, on the death of Greene in 1755, he became Master of the King's Music. In 1758 he was appointed one of the organists to the Chapel Royal. The Ten Voluntaries (c.1785) are his only published organ pieces (although there is evidence to suggest that he may also have been responsible for the set of voluntaries published under Greene's name in c.1780.)
Modern edition by Greg Lewin. Spiral Bound

Walond: Voluntaries op. 2

William Walond: Ten Voluntaries for Organ or Harpsichord op. 2 (1758).
Little is known of William Walond (c. 1725 - 1770) beyond the facts that he took his BMus at Oxford in the late 1750s and published two sets of voluntaries. The title pages of both these volumes describe him as 'Organist in Oxford'. This second collection contains an interesting variety of pieces. While the traditional two movement voluntary is still in the majority, there are a number of single movement fugues which are written in a much more forward-looking style. There is also a noteworthy affettuoso / Resoluto dialogue and a trumpet movement with a distinctly Scottish flavour. Some of the voluntaries stray into keys which would have sounded very out of tune on the mean-tone organs of Walond's day. Presumably the composer was aware of this and intended the effect. The second voluntary in the collection is a good illustration of this with its frequent excursions into F sharp major. In the case of the 1789 instrument on which this editor tried the piece the effect is quite bracing and lends the piece a rhetorical quality which it lacks when played on an equal-tempered instrument.
Modern edition by Greg Lewin. Spiral Bound.

Lebègue: Offertories

Nicolas-Antoine Lebègue: Offertories (from 'Troisième Livre d'Orgue', c. 1685).
Nicolas-Antoine Lebègue was born in Laon in about 1631. He moved to Paris where he rapidly gained a reputation as a player of the organ and harpsichord. In 1664 he became organist of the church of St. Merry and in 1678 he was appointed as one of the four organists du Roi, being responsible for playing in the chapel royal during the October quarter.
Lebègue was an influential teacher. He taught many of the next generation of organist composers, including Nicolas de Grigny - one of the most influential of early eighteenth century organists.
Lebègue published three volumes of organ music. These offertories are found in the third volume (published without date, probably in about 1685). Offertoires were liturgical pieces played during the procession in which the bread and wine were carried to the altar at the start of the central section of the Mass. This is a function that they shared with the English voluntary.
Modern edition by Greg Lewin. Spiral Bound

Nares: Six Fugues

James Nares: Six Fugues with Introductory Voluntaries (1772).
James Nares (1715 – 1783) was a choirboy at the Chapel Royal before becoming organist of York Minster in 1734. In 1756 he succeeded Maurice Greene as Organist and Composer to the Chapel Royal and in 1757 he was also appointed Master of the Children of the Chapel Royal. He published a number of volumes, including several sets of lessons for the Harpsichord and two collections of anthems. The Six Fugues with Introductory Voluntaries shows Nares to be a forward-looking composer. The style has more in common with early nineteenth-century composers, such as Samuel Wesley, than with his contemporary John Stanley.
Modern edition by Greg Lewin. Spiral Bound.

Thorley: Voluntaries

Little is known of Thomas Thorley. Other compositions published under the name suggest that the voluntaries are an early work and that he continued composing songs and characteristic piano pieces until about 1825. His first known work was a song 'On the Death of an Amiable Young Lady - Alas! the dear Clarissa’s gone', first published in 1775 and popular enough to have been reprinted in 1778. Other colourful titles included: 'Angelina (or the Poor little wandering Cripple)', 'Poor Eliza (or the Indian Captive)', 'The Siege of Algiers (a characteristic divertimento, for the piano forte)'). His last composition seems to have been The popular Scotch Air 'Ther’s nae’ Luck about the House' arranged with variations for the piano forte. The Voluntaries are full of charming ideas, particularly in the movements for the trumpet stop, but they are a little naïve in form and show occasional disregard for traditional harmonic language. The engraving also appears less accurate than usual – maybe due to faulty original copy or poor proof-reading. In spite of this, the Voluntaries are not difficult to play and have proved popular as introductory pieces for church use.
Modern edition by Greg Lewin. Spiral Bound.

Dandrieu: Offertories

Jean-François Dandrieu: Offertories (from 'Premiere Livre de Pièces d'Orgue', c. 1739). Along with Couperin and Rameau, Jean-François Dandrieu (c1682 – 1738) was one of the leading French keyboard players and composers of the eighteenth century. During his lifetime he was organist at a number of prestigious Parisian churches as well as at the royal chapel. His one book of organ music, from which the pieces presented here are drawn, was published after his death. The Offertoires were liturgical pieces played during the procession in which the bread and wine were carried to the altar at the start of the central section of the Mass. This is a function that they shared with the English voluntary, and (with the exception of the opening piece which is a set of variations on the Easter plainsong 'O fili et filii',) Dandrieu’s pieces have a lot in common with their English equivalent.
Modern edition by Greg Lewin. Spiral Bound

John Stanley: 30 Voluntaries

Stanley's three published collections, op.5, 6, 7, complete. Blinded in childhood, Stanley studied the organ with John Reading and Maurice Green. He took the Oxford BMus degree in 1729, becoming the youngest ever to do so. In 1734 he became organist of the Inner Temple, where his playing of voluntaries became a notable attraction. Burney describes how all London’s musicians, including Handel, attended his performances. In the 1750s Stanley assisted Handel and, after the latter’s death in 1759, he took over the Lenten oratorio season at Covent Garden – using the opportunity to include oratorios of his own. In 1770 Stanley was elected a governor of the Foundling Hospital – directing several of its annual Messiah performances. In 1779 he succeeded Boyce as Master of the Kings Band of Musicians. As well as voluntaries, Stanley’s works include an opera, masques, oratorios, a very popular set of orchestral concertos (also arranged as organ concertos – see our OM103 and OM107) and another set of six organ concertos.
Modern edition by Greg Lewin. Spiral Bound.

Score £25.00

John Stanley: 10 Vols op. 5

Stanley's op.5 voluntaries. Blinded in childhood, Stanley studied the organ with John Reading and Maurice Green. He took the Oxford BMus degree in 1729, becoming the youngest ever to do so. In 1734 he became organist of the Inner Temple, where his playing of voluntaries became a notable attraction. Burney describes how all London’s musicians, including Handel, attended his performances. In the 1750s Stanley assisted Handel and, after the latter’s death in 1759, he took over the Lenten oratorio season at Covent Garden – using the opportunity to include oratorios of his own. In 1770 Stanley was elected a governor of the Foundling Hospital – directing several of its annual Messiah performances. In 1779 he succeeded Boyce as Master of the Kings Band of Musicians. As well as voluntaries, Stanley’s works include an opera, masques, oratorios, a very popular set of orchestral concertos (also arranged as organ concertos – see our OM103 and OM107) and another set of six organ concertos.
Modern edition by Greg Lewin. Spiral Bound.

John Stanley: 10 Vols op. 6

Stanley's op.6 voluntaries. Blinded in childhood, Stanley studied the organ with John Reading and Maurice Green. He took the Oxford BMus degree in 1729, becoming the youngest ever to do so. In 1734 he became organist of the Inner Temple, where his playing of voluntaries became a notable attraction. Burney describes how all London’s musicians, including Handel, attended his performances. In the 1750s Stanley assisted Handel and, after the latter’s death in 1759, he took over the Lenten oratorio season at Covent Garden – using the opportunity to include oratorios of his own. In 1770 Stanley was elected a governor of the Foundling Hospital – directing several of its annual Messiah performances. In 1779 he succeeded Boyce as Master of the Kings Band of Musicians. As well as voluntaries, Stanley’s works include an opera, masques, oratorios, a very popular set of orchestral concertos (also arranged as organ concertos – see our OM103 and OM107) and another set of six organ concertos.
Modern edition by Greg Lewin. Spiral Bound.

John Stanley: 10 Vols op. 7

Stanley's op.7 voluntaries. Blinded in childhood, Stanley studied the organ with John Reading and Maurice Green. He took the Oxford BMus degree in 1729, becoming the youngest ever to do so. In 1734 he became organist of the Inner Temple, where his playing of voluntaries became a notable attraction. Burney describes how all London’s musicians, including Handel, attended his performances. In the 1750s Stanley assisted Handel and, after the latter’s death in 1759, he took over the Lenten oratorio season at Covent Garden – using the opportunity to include oratorios of his own. In 1770 Stanley was elected a governor of the Foundling Hospital – directing several of its annual Messiah performances. In 1779 he succeeded Boyce as Master of the Kings Band of Musicians. As well as voluntaries, Stanley’s works include an opera, masques, oratorios, a very popular set of orchestral concertos (also arranged as organ concertos – see our OM103 and OM107) and another set of six organ concertos.
Modern edition by Greg Lewin. Spiral Bound.

John Keeble: Select Pieces 1

Six multi-movement pieces. Interesting, high quality music. After duty as a choirboy at Chichester Cathedral, Keeble went to London where he studied composition with Dr. Pepusch (the composer of The Beggar’s Opera). In 1737 he took over the duties of the mentally unstable Thomas Roseingrave at St. Georges, Hanover Square. From 1742 he was also organist at Ranelagh Gardens. His compositions show him to have been a fine craftsman who produced some very attractive organ music. The 'Select Pieces' are actually extended voluntaries, each with several contrasting movements. While many of these show that Keeble was comfortable in the 'Galant' style, his Preface makes it clear that he was also well aware of the value 'of the older stile of writing, which consists of Fuges, Inversions, Canons, Double Descant'. Examples of these types are to be found in the 'Select Pieces', with each point of imitation identified and numbered.
Modern edition by Greg Lewin. Spiral Bound.

John Keeble: Select Pieces 2

Six more multi-movement pieces. Interesting, high quality music. Interesting, high quality music. After duty as a choirboy at Chichester Cathedral, Keeble went to London where he studied composition with Dr. Pepusch (the composer of The Beggar’s Opera). In 1737 he took over the duties of the mentally unstable Thomas Roseingrave at St. Georges, Hanover Square. From 1742 he was also organist at Ranelagh Gardens. His compositions show him to have been a fine craftsman who produced some very attractive organ music. The 'Select Pieces' are actually extended voluntaries, each with several contrasting movements. While many of these show that Keeble was comfortable in the 'Galant' style, his Preface makes it clear that he was also well aware of the value 'of the older stile of writing, which consists of Fuges, Inversions, Canons, Double Descant'. Examples of these types are to be found in the 'Select Pieces', with each point of imitation identified and numbered.
Modern edition by Greg Lewin. Spiral Bound.

John Keeble: Select Pieces 3

Six more multi-movement pieces. Interesting, high quality music. Interesting, high quality music. After duty as a choirboy at Chichester Cathedral, Keeble went to London where he studied composition with Dr. Pepusch (the composer of The Beggar’s Opera). In 1737 he took over the duties of the mentally unstable Thomas Roseingrave at St. Georges, Hanover Square. From 1742 he was also organist at Ranelagh Gardens. His compositions show him to have been a fine craftsman who produced some very attractive organ music. The 'Select Pieces' are actually extended voluntaries, each with several contrasting movements. While many of these show that Keeble was comfortable in the 'Galant' style, his Preface makes it clear that he was also well aware of the value 'of the older stile of writing, which consists of Fuges, Inversions, Canons, Double Descant'. Examples of these types are to be found in the 'Select Pieces', with each point of imitation identified and numbered.
Modern edition by Greg Lewin. Spiral Bound.

John Keeble: Select Pieces 4

This final volume of multi-movement pieces completes our edition of Keeble's Select Pieces. Interesting, high quality music. Interesting, high quality music. After duty as a choirboy at Chichester Cathedral, Keeble went to London where he studied composition with Dr. Pepusch (the composer of The Beggar’s Opera). In 1737 he took over the duties of the mentally unstable Thomas Roseingrave at St. Georges, Hanover Square. From 1742 he was also organist at Ranelagh Gardens. His compositions show him to have been a fine craftsman who produced some very attractive organ music. The 'Select Pieces' are actually extended voluntaries, each with several contrasting movements. While many of these show that Keeble was comfortable in the 'Galant' style, his Preface makes it clear that he was also well aware of the value 'of the older stile of writing, which consists of Fuges, Inversions, Canons, Double Descant'. Examples of these types are to be found in the 'Select Pieces', with each point of imitation identified and numbered.
Modern edition by Greg Lewin. Spiral Bound.

Thomas Roseingrave: Voluntaries and Fugues (1728)

Roseingrave was born in Winchester where his father, Daniel, was cathedral organist. A few years later the family moved to Dublin when Daniel became organist at both the cathedrals there. As a youth, Thomas was sent to Italy to further his musical studies. There he became a friend of the harpsichordist Domenico Scarlatti (whose operas and sonatas he later introduced to Britain). On his return, he settled in London, eventually becoming organist of St George’s, Hanover Square – a fashionable church that was also Handel’s parish church. After several successful years – during which 'Voluntarys and Fugues' was published – Roseingrave suffered a nervous collapse which caused his playing to deteriorate. Although he kept the title of organist, his playing duties at St George’s were taken over by a deputy, John Keeble (see our OM116). In the early 1750s Rosengrave retired and went to live with his family in Dublin.
Modern edition by Greg Lewin. Spiral Bound.

William Russell: Twelve Voluntaries (c1804)

In the tradition of Boyce and Stanley but the language of Mozart. Mostly manuals only (with occasional ad lib pedal notes).
William Russell was a distinguished London organist during the late eighteenth and early nineteenth centuries. He held positions at a number of churches including St Ann’s Limehouse and the Foundling Hospital. He published two volumes of voluntaries, of which this is the first. Russell’s voluntaries are important both on account of their quality and because they help to fill a need for good classical organ music. While they are in the tradition of the voluntaries of Boyce and Stanley, they are written in the language of Mozart and Beethoven.
Modern edition by Greg Lewin. Spiral Bound.

Maurice Greene: Twelve Voluntaries (c1779)

Maurice Greene was a prolific composer of church music producing many anthems and, in his official capacity as Master of the King’s Musick, a large number of ‘occasional odes’ for royal occasions such as the King’s birthday. As organist at St. Paul’s Cathedral, Greene taught several of the next generation of organists, including John Stanley and William Boyce. This collection of Voluntaries was published many years after Greene’s death. It seems likely that the manuscript may have come into the publisher’s hands on the death of Greene’s pupil, William Boyce. This may account for the rumour (which dates from the late 18th century) that the voluntaries are, in fact, the work of Boyce. While it unlikely that we will ever know for certain, a comparison with Boyce’s Ten Voluntaries (of c.1785 – see our OM109) suggests that there is no foundation to this story.
Modern edition by Greg Lewin. Spiral Bound.

Albrechtsburger: Fugues op 16 (c1809)

After childhood service as a choirboy at Klosterneuburg and Melk Abbey, Albrechtsberger spent his life as a church musician, eventually settling in Vienna where he later succeeded Mozart as assistant Kapellmeister at St Stephen’s Cathedral, Vienna in 1791 (becoming full Kapellmeister in 1793). Mozart considered Albrechtsberger’s playing to be the standard by which other organists should be measured. Later listeners described him as ‘perhaps the greatest organist in the world’. Although a prolific and interesting composer, Albrechtsberger is best remembered as a teacher. Haydn considered him to be the best composition teacher in Vienna and recommended Beethoven to study with him. He gained an international reputation as a theorist for his two popular text books (one on composition, the other on figured bass). Albrechtsberger became obsessed with fugues - by his death he had written several hundred of them. The fugues contained in this set were published posthumously. They are remarkably tuneful and attractive.
Modern edition by Greg Lewin. Spiral Bound.

S. S. Wesley: Holsworthy Church Bells

A well-known concert piece. Requires pedals. Samuel Sebastian Wesley was the son of the composer Samuel Wesley, and the grandson of the great Methodist hymn writer Charles Wesley. He was organist at Hereford, Exeter, Winchester and Gloucester cathedrals and was an important composer of choral music.
Modern edition by Greg Lewin. Spiral Bound.

Tomkins / Carleton: Two 17th Century Organ Duets

Rare 17th century organ duets. The Tomkins family produced many notable musicians during the Tudor and Stuart period. Thomas’s father was a Cornishman who became vicar-choral and later organist and choirmaster at St Davids Cathedral, where Thomas was born. Thomas’s son, Nathaniel, and his three half-brothers John, Giles and Robert each rate an individual entry in Grove’s Dictionary. As a young man, Tomkins moved to Worcester to become choirmaster at the cathedral. He continued to live in the cathedral close until, in his closing years, he moved to live with his son. Despite his long connection with Worcester, Tomkins spent many years at the centre of English music, being appointed a Gentleman (later organist) in the Chapel Royal. The friends to whom he dedicated madrigals in 'Songs of 3, 4, 5, & 6 Parts' (London, 1622) include many of the leading musicians of his day. One of these is Nicholas Carleton. Carleton’s few surviving compositions are preserved in a manuscript in Tomkin’s hand (bound with other musical material in GB-Lbl Add 29996). Two more pieces (for solo organ) will be found in our OM123.
Modern edition by Greg Lewin. Spiral Bound.

Carleton: Two Pieces for Organ

'A Verse of Four Parts' and 'Upon the Sharps'. Little is known of Carleton except that he was a friend of Thomas Tomkins. Carleton’s few surviving compositions are preserved in a manuscript in Tomkin’s hand (bound with other musical material in GB-Lbl Add 29996). His duet for organ will be found in our OM122. One of the madrigals in Tomkins 'Songs of 3, 4, 5, & 6 Parts' (London, 1622) is dedicated to him.
Modern edition by Greg Lewin. Spiral Bound.

William Russell: Twelve Voluntaries (1812)

William Russell was a distinguished London organist during the late eighteenth and early nineteenth centuries. He held positions at a number of churches including St Ann’s Limehouse and the Foundling Hospital. He published two volumes of voluntaries, of which this is the second. Russell’s voluntaries are important both on account of their quality and because they help to fill a need for good classical organ music; while they are in the tradition of the voluntaries of Boyce and Stanley, they are written in the language of Mozart and Beethoven. Mostly manuals only (with occasional ad lib pedal notes).
Modern edition by Greg Lewin. Spiral Bound.

Pierre du Mage: Premier Livre d'Orgue, 1708.

The son of a cathedral musician, Pierre Du Mage was born at Beauvais in about 1674. He studied in Paris with Marchand and became organist at the royal chapel of Saint-Quentin in 1703.
The 'Premier livre d’orgue' was published in 1708 with a dedication to the Canons and Chapter of Saint-Quentin. A second book (now lost) followed in 1712.
Du Mage was appointed organist at Laon Cathedral in 1710. He held the appointment until 1719 when he resigned because of a disagreement over his contractual responsibility to teach organ and harpsichord to choristers.
Modern edition by Greg Lewin. Spiral Bound.

John Alcock: Ten Voluntaries for the Organ or Harpsichord (London 1774)

John Alcock (1715-1806) was a contemporary of Boyce in the St. Paul's Cathedral Choir. He was later apprenticed to the organist John Stanley. He worked in several provincial cities before becoming organist at Lichfield Cathedral in 1750. He seems to have left this post c.1765 after disagreements with the choir and with the cathedral authorities. He then became organist at the parish churches of both Sutton Coldfield and Tamworth - posts which he held simultaneously for twenty years.
Modern edition by Greg Lewin. Spiral Bound.

Henry Heron: Ten Voluntaries for the Organ or Harpsichord (London c.1765)

Little is known of Henry Heron beyond the details given in the title page of these voluntaries. He was organist of St Magnus, London Bridge by 1745 and seems to have stayed there until the appointment of his successor in 1795. The voluntaries were first published in 1760 in an edition 'published for the Author'. They were later reissued in the edition used here in about 1765. His other published works hint at further musical activities; they include volumes of songs for Marylebone and Vauxhall pleasure gardens and church music for the 'Orphans of the Asylum' and the 'Charity Schools in London and Westminster'.
Modern edition by Greg Lewin. Spiral Bound.

John Marsh: Eighteen Voluntaries for the Organ (London 1791)

John Marsh (1752-1828) was a prolific amateur composer. A solicitor by profession, much of his considerable energy was devoted to music (though he also published two books on astronomy). As a musician he was largely self-taught. He was a violinist in the subscription concert orchestras in Salisbury and later directed the subscription concerts in Canterbury and Chichester.

The Eighteen Voluntaries may be seen as part of Marsh's campaign for improving the then low quality of church and cathedral music. Besides the eighteen voluntaries (which are useful and not too difficult), he includes a long introduction aimed at young organists in which he describes the use of the various stops of the organ, how to combine stops, what combinations are appropriate to different types of service music etc. This introduction (included in the present edition) also acts as a useful guide to the modern organist who wishes to understand the practices of the late eighteenth century.
Modern edition by Greg Lewin. Spiral Bound.

William Felton: Organ Concertos op.1

William Felton (1715-1769) was a vicar-choral at Hereford Cathedral and a virtuoso performer on the organ and harpsichord. He published thirty two concertos for 'organ or harpsichord' and two sets of suites for harpsichord. This first set of six concertos includes the air and variations known as 'Felton's Gavotte' said to have been performed as the troops of the Young Pretender left Manchester. 'Felton's Gavotte' was later turned into the song 'Farewell Manchester' .
OM131 is an edition of the organ part. As is often the case, the original publisher included sufficient of the orchestral material to allow the concertos to be performed by the organ alone.
A score and set of instrumental parts for each concerto is now available. Please contact me for details.
Modern edition by Greg Lewin. Spiral Bound.

John Alcock (Jun): Eight Easy Voluntaries for the Organ (London 1775)

John Alcock jun (1740-1791) was a chorister under his father at Lichfield Cathedral. He took his BMus degree at Oxford in 1766. He was Organist and Master of the Song School at Newark from 1758-1768 and organist of St Matthew's church, Walsall from 1773.
Modern edition by Greg Lewin. Spiral Bound.

Matthew Camidge: Six Concertos for the Organ or Grand Piano Forte. (London [c.1815])

Matthew Camidge (1764-1844) was the son of John Camidge, composer and organist of York Minster. After time as a chorister of the Chapel Royal under James Nares, he returned to York where he lived the rest of his life. In 1799 he succeeded his father as organist of York Minster.
He played an active part in the musical life of York, appearing as a soloist in piano and organ concertos and promoting music festivals in York Minster. After his retirement in 1842, his son, John, succeeded him as organist.
Camidge published several works, mostly of practical material written for his work as a church musician and teacher. He published some anthems and service settings in Cathedral Music, Hymn and psalm tunes, an edition of Henry Lawes' Psalmody for a single voice, Instructions for the Piano forte or Harpsichord and some songs.
The Six Concertos were probably written for the performances which Camidge regulary gave at the assembly rooms between 1780 and 1822. The published version is for keyboard alone but one does not have to look too hard to see evidence of original accompanied by an orchestra.
Modern edition by Greg Lewin. Spiral Bound.

Jonathan Battishill: Select Pieces for the organ or pianoforte (London [1805?])

Jonathan Battishill (1738-1801) began his musical life as a chorister at St Paul's Cathedral, London. He was a fine organist, becoming Boyce's deputy at the Chapel Royal and organist of several London churches.
Battishill was also known as a tenor soloist, appearing in performances of Handel's oratorios. He also worked in the theatre and was, for a time, the conductor and harpsichordist of the Covent Garden Theatre.
Following his unsuccessful marriage to a singer whom he had met at Covent Garden, he sank into a depression from which he never seems to have fully recovered.
The Select Pieces were published shortly after Battishill's death. The title page declares that the contents were 'Selected from Original MSS. in the Possession of the Hon. George Pomeroy'. The collection consists of an overture and nine pieces for organ or pianoforte 'to which are added the Celebrated Introductory Lesson for the Piano Forte, Six Short Lessons for Juvenile Performers - and the favorite air of 'God Save the King' harmonised by the same admired composer.'
Modern edition by Greg Lewin. Spiral Bound.

Thomas Roseingrave: Six Double Fugues for the Organ or Harpsichord (London [?1750])

Roseingrave was born in Winchester where his father, Daniel, was cathedral organist. A few years later the family moved to Dublin when Daniel became organist at both the cathedrals there. As a youth, Thomas was sent to Italy to further his musical studies. He became a friend of the harpsichordist Domenico Scarlatti (whose operas and sonatas he later introduced to Britain). He settled in London, eventually becoming organist of St George’s, Hanover Square – a fashionable church that was also Handel’s parish church. After several successful years, Roseingrave suffered a nervous collapse which caused his playing to deteriorate. Although he kept the title of organist, his playing duties at St George’s were taken over by a deputy, John Keeble (see our OM116). In the early 1750s Rosengrave retired and went to live with his family in Dublin. Like his earlier Voluntarys and Fugues (see our OM117), the Six Double Fugues bear the hallmark of the improvised fugues for which Roseingrave was well-known.