Sheet music for Organ

"Come, Sweet Death, Come Blessed Rest" (BWV 478) for Organ and Choir

5 parts5 pages08:226 years ago17,690 views
Voice(4), Organ
"Come, Sweet Death, Come Blessed Rest" (Komm, süßer Tod, komm selge Ruh) was originally written by Johann Sebastian Bach for solo voice and basso continuo from the 69 Sacred Songs and Arias that he contributed to Georg Christian Schemelli's Musicalisches Gesangbuch (Schemelli Gesangbuch No. 868 -- BWV 478) edited by Georg Christian Schemelli in 1736.

Source: Wikipedia (,_s%C3%BC%C3%9Fer_Tod,_komm_selge_Ruh).

For most of these sacred songs, Bach had only to devise bass lines and figured bass indications -- the melodies selected were old and famous Lutheran tunes. Komm, süßer Tod, however, is an exception. The song has five verses, written around 1724 by some unknown poet, each of which begins which the text "Komm, süßer (süsser) Tod, komm selige Ruh" (Come, sweet death; come, blessed rest), and each of which is set to the same eight short phrases of triple-meter music. Its melody is known in no other source than the Schmelli Gesang-Buch, and it is generally believed that Bach wrote the piece from scratch. (There are two or three other entries in the Gesang-Buch that seem also to have been newly composed) .

Those familiar with ordinary German chorales will find themselves on familiar ground with Komm, süsser Tod, but its solo vocal line seems especially to exemplify Bach's supremely confident devotional side. Bach, by means of melody and harmony, expresses the desire for death and heaven.A beautiful orchestral version of this piece was made by Leopold Stokowski in 1946 (see VideoScore); it opens with all the strings muted except for a solo cello that "sings" the melody.

In my own inexperienced interpretation, the lyrics read more like a suicide note or death wish than other pieces from this time. It really seems to express the misery with things in the world and longing to end the suffering. Perhaps it was the loss of his beloved wife Maria Barbara Bach or the loss of many of his children. This piece touches me; sad to think of the suffering of a great master like this. One listener offered, "This is not a death wish in the way we normally think of it but the deep longing of a devout man of God desiring to be with his Savior. The music pulls forward and back just as the Apostle Paul was torn between the desire to be useful here on earth yet more to be with his Lord. In this piece the tension ebbs and flows until the final resolution gives full release."

I created this arrangement for Pipe Organ and created English lyrics for Choir (SATB).
"Hark! the Herald Angels Sing" for Piano, Organ, English Handbells and Choir

"Hark! the Herald Angels Sing" for Piano, Organ, English Handbells and Choir

9 parts13 pages03:347 years ago7,170 views
Voice(4), Percussion(2), Piano, Organ
"Hark! the Herald Angels Sing" music is from the second chorus of a cantata by Felix Mendelssohn (1809-1847) written in 1840 to commemorate Johann Gutenberg and the invention of printing. The words are from a hundred years earlier, written in 1739 by Charles Wesley whose brother, John, Wesley founded the Methodist Church.

My arrangement for Piano, Organ, English Handbells and Choir is an ensemble for piano, organ, English handbells and SATB choir arranged for the Sierra Vista United Methodist Church (SVUMC) from the United Methodist Church Hymnal #240.

I added English Handbells in order to add brilliance to this magnificent work. I arranged it into a full orchestral score, in modified keys of F and G Major.

The addition of English Handbells was not written to replace the piano and organ accompaniment. Rather, it adds color and brilliance to the fanfare – like sections of the score.

The full score, including the English Handbell part, is not necessary for performance. Conductors should simply mark English Handbell entrance cues in their score.

Care should be taken so that English Handbells are not overwhelmed by the accompanying piano and organ, especially the organ. I suggest that the manual stops be bright flutes or brass and strings (as noted in the “Organ Registration” section) with no doubling of pitches, with eight and sixteen foot pedal stops only. Four foot manual stops should be avoided.

This piece is best played using the "HandBells.sf2" SoundFont by FMJ Software.(

"Here I Am, Lord" (UMH #593) for Organ

1 part3 pages01:107 years ago8,753 views
"Here I Am, Lord" is a hymn composed by Dan Schutte in 1981 after Vatican Council II. Its words are based on Isaiah 6:8 and 1 Samuel 3.

This Catholic hymn is often sung in the United Methodist worship services as well, particularly services that are contemporary rather than traditional in structure and format.
"Danse Macabre" for Pipe Organ

"Danse Macabre" for Pipe Organ

2 parts18 pages08:136 years ago8,021 views
Organ, Percussion
The "Danse macabre", Op. 40, was written as a tone poem for orchestra in 1874 by French composer Camille Saint-Saëns. It started out in 1872 as an art song for voice and piano with a French text by the poet Henri Cazalis, which is based in an old French superstition. In 1874, the composer expanded and reworked the piece into a tone poem, replacing the vocal line with a solo violin. Normally heard as a symphonic performance, this piece is unusual as an organ concerto however, I created this arrangement to emphasize macab elements and uniquely dynamic range of the pipe organ. I took liberal license in my interpretation of the original score, and as such, this arrangement is uniquely my "vision" of how this piece should sound.

According to the ancient superstition, "Death" appears at midnight every year on Halloween. Death has the power to call forth the dead from their graves to dance for him while he plays his fiddle (represented by strings on the Swell with its "E-string" tuned to an "E-flat" in an example of scordatura tuning). His skeletons dance for him until the first break of dawn, when they must return to their graves until the next year.

The piece opens with MIDI Chimes playing a single note, D, twelve times to signify the clock striking midnight

I created this arrangement for the Pipe Organ.

"The First Noël" for Organ and Choir (SATB)

5 parts3 pages04:417 years ago6,945 views
Voice(4), Organ
"The First Noël" is a traditional classical English carol, most likely from the 18th century, although possibly earlier.

The original version of The First Noel dates back to at least the 17th century. In 1823, William B. Sandys (1792-1874), and Davies Gilbert (1767-1839) edited and added lyrics to create the version we sing today. The origin of the current melody is uncertain.

This arrangement for the Sierra Vista United Methodist Church (SVUMC) highlights the range of the Choir and adds organ accompaniment.
"Going Home" for Organ

"Going Home" for Organ

1 part2 pages03:137 years ago6,206 views
At a time of great loss, many people find themselves looking for words, they struggle to express their sincere, and often heartfelt, empathy for the sad occasion, it is at these times that music can unveil a dimension of meaning and feeling that words alone cannot create.

I created this hymn version of the folk spiritual "Goin' Home" (from William Arms Fisher/Antonín Leopold Dvořák: "The New World Symphony" Largo Symphony No. 9 in E minor, Op. 95 Movement 2) for the Sierra Vista United Methodist Church (SVUMC) in an attempt to reinforce solace in the somber occasion. I believe this intrepretation reveals the light at the end of the tunnel.

"Trumpet Tune & March" in C Major for Organ

2 parts1 page016 years ago5,154 views
Organ, Trumpet
Jeremiah Clarke (c. 1674–1707) was an English baroque composer, organist and, pupil of John Blow at St Paul's Cathedral. He later became organist at the Chapel Royal. After his death, he was succeeded in that post by William Croft.

Clarke is best remembered for a popular keyboard piece: the Prince of Denmark's March, which is commonly called the Trumpet Voluntary, written about 1700. From c. 1878 until the 1940s the work was attributed to Henry Purcell, and was published as Trumpet Voluntary by Henry Purcell in William Sparkes's Short Pieces for the Organ, Book VII, No. 1 (London, Ashdown and Parry). This version came to the attention of Sir Henry J. Wood, who made two orchestral transcriptions of it, both of which were recorded. The recordings further cemented the erroneous notion that the original piece was by Purcell. Clarke's piece is a popular choice for wedding music, and has featured in royal weddings.

The famous Trumpet Tune in D (also incorrectly attributed to Purcell), was taken from the semi-opera The Island Princess which was a joint musical production of Clarke and Daniel Purcell (Henry Purcell's younger brother)—probably leading to the confusion.

Although originally written for Orchestra, I Arranged this piece for Pipe Organ.

"Promenade" from "Pictures at an Exhibition" for Pipe Organ

1 part2 pages01:284 years ago3,385 views
Pictures at an Exhibition is a suite in ten movements (plus a recurring, varied Promenade) composed for piano by Russian composer Modest Mussorgsky in 1874.

The suite is Mussorgsky's most famous piano composition, and has become a showpiece for virtuoso pianists. It has become further known through various orchestrations and arrangements produced by other musicians and composers, with Maurice Ravel's arrangement being the most recorded and performed.

Although arranged for Piano by Nikolay Rimsky-Korsakov, I created this arrangement for Pipe Organ to support a memorial service at my Church.

"Away in a Manger" Ensemble for Piano, Organ & Choir

6 parts10 pages02:557 years ago3,132 views
Voice(4), Piano, Organ
The song was first published with two verses in an Evangelical Lutheran Sunday School collection, Little Children's Book for Schools and Families (1885), edited by James R. Murray (1841–1905), where it simply bore the title "Away in a Manger" and was set to a tune called "St. Kilda," credited to J.E. Clark.

I created this arrangement for the Sierra Vista United Methodist Church (SVUMC) for Choir (SATB) Piano & Organ.
"Phantom of the Opera" for Halloween Prelude

"Phantom of the Opera" for Halloween Prelude

1 part2 pages015 years ago2,600 views
I created this abbreviated version of the Toccata & Fugue in D Minor (attributed to J. S. Bach as BWV 565) for whimsical use during the Halloween time worship service prelude. It is my intention that the organist will don the appropriate costume (mask & cape) and perform this short arrangement during prelude for the “unsuspecting” pastor and the equally surprised congregation.

the piece is scored in D minor. It is not in dorian mode as the key signature supposes, as it was common practice in the Baroque period to write in leading tone accidentals rather than in the key signature. It begins with a single-voice flourish in the upper ranges of the keyboard, doubled at the octave. It then spirals toward the bottom, where a diminished seventh chord appears, built one note at a time. This resolves into a D major chord, taken from the parallel major mode.

I created this arrangement for the Allen Digital Pipe Organ (Organ Regristration Noted).

"Amazing Grace" with Taps (UMH 378) for Organ

1 part1 page03:194 years ago2,152 views
"Amazing Grace" is a Christian hymn with lyrics written by the English poet and clergyman John Newton (1725–1807), published in 1779. With a message that forgiveness and redemption are possible regardless of the sins people commit and that the soul can be delivered from despair through the mercy of God, "Amazing Grace" is one of the most recognizable songs in the English-speaking world.

I created this simplified arrangement and added "Taps" for church organ for the First United Methodist Church (FUMC) in Paris, Arkansas and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (

"Ave Verum Corpus" for Violin, Viola & Organ

3 parts3 pages03:123 years ago1,626 views
Violin, Viola, Organ
Charles-Camille Saint-Saëns (1835–1921) was a French composer, organist, conductor and pianist of the Romantic era. His best-known works include Introduction and Rondo Capriccioso (1863), the Second Piano Concerto (1868), the First Cello Concerto (1872), Danse macabre (1874), the opera Samson and Delilah (1877), the Third Violin Concerto (1880) the Third ("Organ") Symphony (1886) and The Carnival of the Animals (1887).

Ave verum corpus is a short Eucharistic hymn that has been set to music by various composers. It dates from the 14th century and has been attributed to Popes Innocent III, Innocent IV and Innocent VI.

During the Middle Ages it was sung at the elevation of the host during the consecration. It was also used frequently during Benediction of the Blessed Sacrament.

The hymn's title means "Hail, true body", and is based on a poem deriving from a 14th-century manuscript from the Abbey of Reichenau, Lake Constance.
"Fantasie" No.1 in E flat Major for Grand Organ

"Fantasie" No.1 in E flat Major for Grand Organ

4 parts8 pages05:526 years ago1,612 views
Charles-Camille Saint-Saëns first published organ work, the Fantasie in E flat major, has proved to be his most popular. The composer first played it in December 1857 at the inauguration of the newly rebuilt organ of Saint-Merri in Paris, where he had been appointed organist in 1853.

For income, Saint-Saëns played the organ at various churches in Paris, with his first appointment being at the Saint-Merri in the Beaubourg area. This piece is dedicated to Georges Schmidt, then organist of Saint Sulpice.

Lasting seven minutes or so, the Fantasie is cast in two parts, with the first marked Con moto (with motion). It is both dreamy and stately, the writing masterly in its deft way of alternating chords on two manuals. Though the tempo indication is lively and the music fairly animated, the mood is relaxed and the sonorities delicate, with much of the writing in the upper ranges of the manuals. When the second part begins (Allegro di molto e con fuoco - literally "quickly with fire"), the mood changes abruptly: the organ suddenly adopts the "fiery" character suggested by the marking, but also conveys a grandly epic manner. The music in the entire latter half is a mixture of the triumphant and festive, and features a colorfully virtuosic ending.

Prelude: "Ich ruf ’ zu dir, Herr Jesu Christ" (BWV 639) for Pipe Organ

5 parts2 pages02:072 years ago1,544 views
Organ, Oboe, Recorder, Other Woodwinds(2)
The Orgelbüchlein ("Little Organ Book") BWV 599-644 is a collection of 46 chorale preludes for organ written by Johann Sebastian Bach. All but three of them were composed during the period 1708–1717, while Bach was court organist at the ducal court in Weimar. The remaining three, along with a short two-bar fragment, were added in 1726 or later, after Bach's appointment as cantor at the Thomasschule in Leipzig.

The collection was originally planned as a set of 164 chorale preludes spanning the whole liturgical year. The chorale preludes form the first of Bach's masterpieces for organ with a mature compositional style in marked contrast to his previous compositions for the instrument. Although each of them takes a known Lutheran chorale and adds a motivic accompaniment, Bach explored a wide diversity of forms in the Orgelbüchlein. Many of the chorale preludes are short and in four parts, requiring only a single keyboard and pedal, with an unadorned cantus firmus. Others involve two keyboards and pedal: these include several canons, four ornamental four-part preludes, with elaborately decorated chorale lines, and a single chorale prelude in trio sonata form. The Orgelbüchlein has a four-fold purpose: it is a collection of organ music for church services, a treatise on composition, a religious statement, and an organ-playing manual.

In these chorale preludes, the traditional Lutheran hymns are subjected to various types of polyphonic treatment, with different types of countersubjects and imitative devices.

Source: Wikipedia (

I created this Transcription of the Choral Prelude (BWV 639) "Ich ruf zu dir, Herr Jesu Christ" (I call to you, Lord Jesus Christ) for Pipe Organ with the Organ Registration assistance of Bernard Greenberg (user:

"Gloria in Excelsis Deo" from Gloria in D Major (RV 589 No. 1) for Piano (4-Hands) & Organ

2 parts8 pages02:33a year ago1,513 views
Piano, Organ
Antonio Lucio Vivaldi (1678 – 1741) was an Italian Baroque composer, virtuoso violinist, teacher and cleric. Born in Venice, he is recognized as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He composed many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as The Four Seasons.

Many of his compositions were written for the female music ensemble of the Ospedale della Pietà, a home for abandoned children where Vivaldi (who had been ordained as a Catholic priest) was employed from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with expensive stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for preferment. However, the Emperor died soon after Vivaldi's arrival, and Vivaldi himself died less than a year later in poverty.

He wrote at least three settings of the hymn Gloria in excelsis Deo, whose words date probably from the 4th Century and which is an integral part of the Ordinary of the Mass. Two survive: RV 588 and RV 589. A third, RV 590, is mentioned only in the Kreuzherren catalogue and presumed lost. The RV 589 Gloria is a familiar and popular piece among sacred works by Vivaldi. It was probably written at about the same time as the RV 588, possibly in 1715.

The lesser known of the two surviving Glorias, RV 588 was most likely composed during Vivaldi's employment at the Pio Ospedale della Pietà, known for its advanced choral ensemble. The first movement is interwoven with the last aria of RV 639, as explained above. The date of composition between this Gloria and RV 589 is still disputed, but both show compositional inspiration from each other.

RV 588 borrows extensively from a double orchestra-and-choir setting of the same text by Giovanni Maria Ruggieri (which will henceforth in this article be referred by its RV cataloguing number of RV. Anh. 23). Many movements show inspiration from this composition, and two movements ("Qui Tollis" and "Cum Sancto Spiritu") are plagiarised from the original Ruggieri setting (although "Qui Tollis" completely omits the second coro (chorus), and "Cum Sancto Spiritu" is slightly modified). The first movement of RV 588 is also an extended version of RV Anh. 23, sans the second coro employed in RV Anh. 23, among other musical modifications. The second movements of both RV 588 and RV 589 ("Et in Terra Pax") both show chromatic patterns and key modulations similar to that of the second movement of RV Anh. 23.

Source: Wikipedia (

Although originally written for Baroque Orchestra, I created this Arrangement of the (RV 589 No. 1) "Gloria in Excelsis Deo" (Glory to God in the highest) at the Request of the Sierra Vista United Methodist Church (SVUMC) for Piano (4 Hands) & Pipe Organ.

"Gloria in Excelsis Deo" (RV 589) for Flute & Pipe Organ

2 parts8 pages02:442 years ago1,120 views
Flute, Organ
"Gloria in excelsis Deo" (Latin for "Glory to God in the highest") is a hymn known also as the Greater Doxology (as distinguished from the "Minor Doxology" or Gloria Patri) and the Angelic Hymn. The name is often abbreviated to Gloria in Excelsis or simply Gloria.

It is an example of the psalmi idiotici ("private psalms", i.e. compositions by individuals in imitation of the biblical Psalter) that were popular in the 2nd and 3rd centuries. Other surviving examples of this lyric poetry are the Te Deum and the Phos Hilaron.

The hymn begins with the words that the angels sang when the birth of Christ was announced to shepherds in Luke 2:14. Other verses were added very early, forming a doxology, which in the 4th century became part of morning prayers, and is still recited in the Byzantine Rite Orthros service.

Antonio Vivaldi wrote several settings of the Gloria. RV 589 is the most familiar and popular piece of sacred music by Vivaldi; however, he was known to have written at least three Gloria settings. Only two survive (RV 588 and RV 589) whilst the other (RV 590) is presumably lost and is only mentioned in the Kreuzherren catalogue. The two were written at about the same time (it is disputed which came first) in the early 18th century.

Although originally composed for voice and orchestra, I created this arrangement for Flute & Pipe Organ (2 Manuals & Pedals).

Toccata, Adagio & Fugue in C Major (BWV 564) for Pipe Organ

4 parts22 pages13:272 years ago1,052 views
Toccata, Adagio, and Fugue in C major (BWV 564) is an organ composition by Johann Sebastian Bach. As is the case with most other organ works by Bach, the autograph score does not survive. The earliest manuscript copies were probably made in 1719–1727. The title of the piece in these copies is given, as expected of organ literature of the time, simply as Toccata in C major (or more precisely, Toccata ped: ex C in one source and Toccata ex C? pedaliter, referring to the obbligato pedal part). The piece is an early work, probably composed in the mid-to-late Weimar years, i.e. 1710–1717. It shares some similarities with other toccatas composed around the same time, such as BWV 538, BWV 540, and others: all show the influence of concerto style and form.

The work begins with an updated and extended form of the old prelude-type, manual passaggio followed by a pedal solo, and a motivic-contrapuntal section. Bach's extended passaggio which opens BWV 564 may have been inspired by Buttstett's preludes; both the rhetorical rests followed by returns to the tonic and the single pedal notes are part of the older tradition as well. The following pedal solo, however, is unique in organ literature: it is the longest known pedal introduction, reaching far beyond the scope of Bach's models (Buxtehude, Böhm, and others) or his own earlier works (e.g. the pedal solo in BWV 549). The full-voiced section that follows elaborates on motives first introduced in the pedal solo. Various scholars have noted how the construction of this first movement is reminiscent of that of a concerto, if the opening manual and pedal passages are taken as "solos" and the closing contrapuntal section as a "tutti".

The second movement is again in two sections, one marked Adagio and another marked Grave. The insertion of a middle slow movement in an organ work was unusual for Bach, although traces of this idea can be found in other works from the same period: for example, a surviving early version of Prelude and Fugue in C Major, BWV 545, contains a slow Trio, which was removed from the final version, but found its way into one of the late organ trio sonatas, BWV 529. The Adagio is a melody made of short phrases, characteristic of early Bach, over what may be seen as a realized continuo part. The music has been compared to Giuseppe Torelli's Concerto in C major Op. 8 No. 1; but in Bach's oeuvre, this Adagio stands alone and has no parallels. The abundance of Neapolitan sixths and quasi-pizzicato pedal suggests Italian influence. The Adagio flows seamlessly into the short Grave section, which, through italiante durezze chromatic progressions, enlarged with several instances of diminished seventh chords suspended over the next chord, leads back to the tonic.

The third movement is a four-voice fugue in 6/8. It includes a countersubject typical of permutation fugues, which, unusually, engages in dialogue with the subject. Several features of the fugue suggest that it represented a considerable advance for Bach, especially considering that there are middle entries as far as the mediant and the dominant of the dominant.Somewhat unusually for Bach, the fugue includes very few episodes, the longest being the coda of the piece, which is based on various style brisé figures.

Source: Wikipedia (,_Adagio_and_Fugue_in_C_major,_BWV_564).

I created this transcription of the Toccata, Adagio and Fugue in C Major (BWV 564) for Pipe Organ.

Chorus: "Wie soll ich dich empfangen" (BWV 248 No 5) for Organ

1 part1 page01:073 years ago952 views
The Christmas Oratorio BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season. It was written for the Christmas season of 1734 incorporating music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a now lost church cantata, BWV 248a. The date is confirmed in Bach's autograph manuscript. The next performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell. The Christmas Oratorio is a particularly sophisticated example of parody music. The author of the text is unknown, although a likely collaborator was Christian Friedrich Henrici (Picander).

It was conceived as a set of six cantatas. Unlike the Passion settings and the oratorios of Bach's exact contemporary Handel, the six parts of his Christmas Oratorio were performed on separate days. Bach wrote the six cantatas to celebrate the whole period of the Christmas festivities of 1734-35, starting with Part I on Christmas Day, and ending with Part VI on Epiphany (January 6th). The performances were divided between his two churches: Parts I, II, IV and VI were given at the Thomaskirche, and Parts III and V at the Nicolaikirche.

Bach wrote the Christmas Oratorio over a short period. Unusually for him, but perhaps by necessity, he recycled music from earlier compositions. At least eleven sections have been identified as coming from three earlier secular cantatas, with Bach working with his frequent collaborator Picander to alter the texts for their new use. It is thought that several more sections may be based on lost sacred works, including the documented but now lost St Mark Passion. Bach also composed new music for much of the piece, including all of the recitatives and chorales.

Source: Wikipedia (

I created this arrangement of the Chorus: "Wie soll ich dich empfangen?" (How shall I embrace You?) for Organ.
"Cyprès" (Opus 156 Mvt. 1) for Organ

"Cyprès" (Opus 156 Mvt. 1) for Organ

1 part7 pages06:486 years ago942 views
Cyprès et Lauriers, Op. 156, for Organ and Orchestra was written by Camille Saint-Saëns in 1919, two years before the composer's death. An unusual work, it is a memorial for the casualties of World War I.

Lasting not quite twenty minutes, the entire piece is program music divided into two parts, each corresponding to a section of the title. The first (this) part, which corresponds to 'cyprès' (literally 'cypress') is a long, mournful adagio for organ solo in the manner of a dirge, reminiscent of the weeping that a cypress is often seen to embody.

One of Saint-Saëns' more (though by no means only) unusual compositions, this piece has not secured the same status in the classical canon as his more famous Third Symphony, written for similar ensemble thirty-one years earlier. This might be attributed to the fact that Cyprès et Lauriers is of a much shorter duration and markedly less profound and sweeping nature than its predecessor.

At barely fifteen minutes, the work opens with (this) a meandering organ solo which takes up the entire first of the two movements. Although Saint-Saëns was not taken with Impressionism, the organ seems to meander among shapeless musings as a French zephyr might meander among the cypress trees of the title. The scoring becomes so sparse at several points only one or two pedal tones are heard and it is thus the first movement ends.

The instrumentation itself bears note: whereas the Third Symphony was written with the organ incorporated as a member of the orchestral ensemble, something that would bear repetition (most famously in Richard Strauss's Also sprach Zarathustra), Cyprès et Lauriers is structured in traditional concerto form with the organ as soloist.

This piece is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (