Old page wikitext, before the edit (old_wikitext ) | '{{Unreferenced|date=December 2009}}
The pipe organ is the oldest of all keyboard instruments; having its origins in ancient Greece in the 3rd century as a portable keyboard instrument.<ref>{{Cite book|last=Arnold|first=Corliss Richard|title=Organ Literature: A Comprehensive Survey|publisher=Scarecrow Press|year=2003|isbn=978-0810846975|location=Lanham Maryland|pages=1}}</ref> Though initially a secular instrument played at feasts and gladitorial combats, by the 12th century the pipe organ was in use in churches and began its transformation as a sacred instrument.<ref>{{Cite book|last=Arnold|first=Corliss Richard|title=Organ Literature: A Comprehensive Survey|publisher=Scarecrow Press|year=2003|isbn=978-0810846975|location=Lanham Maryland|pages=p.1}}</ref> As a result of this relationship with the church, much of the music composed over the centuries for the organ was not only sacred in nature, but it was also preserved in manuscript form at first, and then eventually in print. The organ repertoire is considered to be the largest and oldest repertory of all musical instruments.<ref>{{Cite web|url=https://www-oxfordmusiconline-com.proxy1.library.jhu.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000044010?rskey=cmPOIU#omo-9781561592630-e-0000044010-div1-0000044010.1|title=Organ|last=Owen|first=Barbara, Peter Williams and Stephen Bicknell|date=2001|website=Oxford Music Online Grove Music Online|url-status=live|archive-url=|archive-date=|access-date=2/18/20}}</ref>
<br />
== Renaissance ==
The earliest surviving keyboard compositions (keyboard music was not instrument-specific until the sixteenth century) are from England ([[Robertsbridge Codex]] c. 1365) and Italy ([[Faenza Codex]], 15th century). The organ is specified in [[Marco Antonio Cavazzoni]]'s ''Recerchari, motetti, canzoni [...] libro primo'', printed in Venice in 1523.
The English virginal style was a manner of composition and performance prevalent in the sixteenth and early seventeenth centuries; some manuscripts are preserved in the [[Fitzwilliam Virginal Book]]. Sweelinck was strongly influenced by this style. Organ music was almost exclusively based on learned [[contrapuntal]], exemplified by the Fantasia ("Fancy"), as well as works based on contrapuntal treatment of chant. Composers well known for their choral works wrote organ music, for example [[Thomas Tallis|Tallis]], [[William Byrd|Byrd]] and Gibbons.
==Baroque==
=== Spain and Portugal ===
Iberian organs of the 17<sup>th</sup> century were small, having usually one manual, and a small pedal board limited to one octave. Because of the limited range and the short stubby pedal keys of the Spanish pedal board, the function of the pedal was usually reserved for holding long notes.<ref>{{Cite book|last=Dalton|first=James|title="Iberian Organ Music Before 1700," The Cambridge Companion to the Organ|publisher=Cambridge University Press|year=1998|isbn=|location=Cambridge, U.K.|pages=164-166}}</ref> The organ repertoire of Spain and Portugal is a reflection of the organs of their time. The stops on the keyboard were often divided, with different stops available for the treble than were available for the bass. This arrangement allowed for a solo registration to be played in the treble and an accompaniment of a different registration to be played in the bass, or vice versa. As a result, Iberian composers produced a wealth of pieces written ''de medio registro''.<ref>{{Cite book|last=Dalton|first=James|title="Iberian organ music before 1700," The Cambridge Companion to the Organ|publisher=Cambridge University Press|year=1998|isbn=|location=Cambridge, U.K.|pages=165}}</ref> Despite the small size of their organs, Iberian composers were known for producing pieces of great musical expressiveness and conviction.<ref>{{Cite book|last=Dalton|first=James|title="Iberian organ music before 1700," The Cambridge Companion to the Organ|publisher=Cambridge University Press|year=1998|isbn=|location=Cambridge, U.K.|pages=164}}</ref>
[[File:Cabaniles Tiento.ogg|thumb|Juan Cabanilles - Tiento de Iº tono - pour orgue]]
The main types of organ compositions of the seventeenth and eighteenth centuries were verses and tientos. Versets were compositions based upon chant and used to alternate between the organ and sung verses. Tientos were short contrapuntal pieces, usually with three or four voice parts.<ref>{{Cite book|last=Arnold|first=Corliss Richard|title=Organ Literature: A Comprehensive Survey|publisher=Scarecrow Press|year=2003|isbn=|location=Lanham, Maryland|pages=156}}</ref> New forms of composition emerged at the beginning of the eighteenth century: tocata, fugue, paso, sonatina and sonata.<ref>{{Cite book|last=Arnold|first=Corliss Richard|title=Organ Literature: A Comprehensive Survey|publisher=Scarecrow Press|year=2003|isbn=|location=Lanham, Maryland|pages=158}}</ref> The famous Italian harpsichordist and composer, Domenico Scarlatti, served under the patronage of Spanish and Portuguese royalty from 1720 or 1721 until his death in 1757, and had great influence upon virtually all of the keyboard music of 18th century Spain and Portugal.<ref>{{Cite book|last=Arnold|first=Corliss Richard|title=Organ Literature: A Comprehensive Survey|publisher=Scarecrow Press|year=2003|isbn=|location=Lanham, Maryland|pages=158}}</ref> Some of the composers influenced by Scarlatti are: Jose Antonio Carlos Seixas (1704-1742), Freixanet, Manuel de Santo Elias (fl.1750's-1790's), Padre Anselm Viola (1730-1798), Joao de Souza Carvalho (1745-1798) and Jose Lidon (1752-1827).<ref>{{Cite book|last=Arnold|first=Corliss Richard|title=Organ Literature: A Comprehensive Survey|publisher=Scarecrow Press|year=2003|isbn=|location=Lanham, Maryland|pages=158}}</ref> Other composers of Iberian Baroque repertoire include Juan Cabanillies (1644-1712), Joaquin Martinex Oxinagas, and Fray Antonio Soler (1720-1783).
=== France ===
{{Main|French organ school}}
French Baroque organ music is generally referred to as the French Classic School. Jehan Titelouze (1562/3-1633) is known as the father of the French Classic organ school.<ref>{{Cite book|last=Laukvik|first=Jon|title=Historical Performance Practice in Organ Playing|publisher=Carus Stuttgart|year=1996|isbn=|location=Germany|pages=159}}</ref> The repertoire of this period is large and includes composers Guillaume-Gabriel Nivers (1632-1714), François Couperin (1668-1733), Nicolas de Grigny (1672-1703) and Louis-Nicolas Clérembault (1676-1749). In Nivers' ''Premier Livre d'orgue'' (1665), the characteristic style of the French classic school began to emerge more fully, using elements from Lully's opera style of French overture (slow-fast-slow), and solo récit. This music reached its full flower in the organ compositions of Nicolas de Grigny.<ref>{{Cite book|last=Laukvik|first=Jon|title=Historical Performance in Organ Playing|publisher=Carus Stuttgart|year=1996|isbn=|location=Germany|pages=159}}</ref>
The full flowering of the French Classic School found its sustenance in the reign of Louis XIV. Most of the composers and organists were under his royal patronage and were ''organists du roi''. During Louis XIV's reign; cathedrals and churches could afford magnificent instruments, organists were well-compensated, publishers were assured of a return on their investment, all resulting in a tremendous outpouring of organ composition.<ref>{{Cite book|last=Higginbottom|first=Edward|title=The Cambridge Companion to the Organ|publisher=Cambridge University Press|year=1998|isbn=|location=Cambridge, U.K.|pages=178}}</ref>
Much of the music of this time is liturgical, which accounts for its brevity. To fulfill its liturgical purpose, the music needed to be sectional and short enough to work within the church service. The French classic organ was unique: with an "endless supply of solo effects in its Bourdons and Flutes, colorful and dominating reeds, and principal chorus noted for its depth and warmth rather than its transparency and brilliance."<ref>{{Cite book|last=Higginbottom|first=Edward|title=Cambridge Companion to the Organ|publisher=Cambridge University Press|year=1998|isbn=|location=Cambridge, U.K.|pages=179-180}}</ref> The titles of the pieces of this period indicated the registration. Large scale registrations include the Plein Jeu, which referred to the principal chorus, and the Grand Jeu, a fiery reed chorus. More intimate registrations include the Fugue (played on reeds), Duos and Trios (contrapuntal short pieces played on contrasting registrations), Récit (a solo expressive voice with accompaniment), and the Dialogue (in which the solo line of the Récit moves from one registration to another).
===England===
[[George Frideric Handel|Handel]] contributed significantly to the organ repertoire through his [[organ concerto#G. F. Handel|numerous organ concertos]].
===Germany===
{{Main|German organ schools}}
In Germany and Austria, baroque organ music utilized increasing amounts of counterpoint. Organ music in the baroque can be divided into works based on [[Lutheran chorale]]s (e.g. chorale preludes and chorale fantasias) and those not (e.g. toccatas, fantasias and free preludes). There are marked stylistic differences between the composers of North, South and Central Germany such that further generalisation is inaccurate. The North German Praeludium (an important form consisting of alternating sections of free material written in the largely misunderstood ''stylus phantasticus'' and fugal material) reached its zenith in [[Dieterich Buxtehude]], informed by Matthias Weckmann and Heinrich Scheidemann (influenced most strongly by Jan Peeterszoon Sweelinck and by the Italian school transported to North Germany by Heinrich Schütz and Samuel Scheidt). [[Georg Böhm]] remained firmly representative of the South German School, though [[Johann Pachelbel]]'s influence as a teacher extended across North, South and Central Germany. Baroque organ music arguably reached its height in the works of [[Johann Sebastian Bach]]. Many of Bach's earlier free works are heavily influenced by Buxtehude's style, but much more importantly, Bach developed a style essentially separate from the predominant styles of North, South and Central Germany. The majority of his free works consisted of two parts: a prelude, toccata or fantasia, and a fugue. Bach also wrote a large number of chorale preludes.<!-- add [[J.C.F. Fischer]] and [[Johann Tobias Krebs|J.T. Krebs]] -->
== J.S. Bach ==
The contributions of [[Johann Sebastian Bach|J.S.Bach]] (1685-1750) to the organ repertoire are difficult to overstate. Though he spent almost his entire life in a small area of Central Germany, his works demonstrate a vast and intimate knowledge of the styles of prevailing composers of his era and before. He was orphaned by the age of 10, and sent to Ohrdruf to live with his oldest brother, [[Johann Christoph Bach (organist at Ohrdruf)|Johann Christoph Bach]] from whom he studied keyboard technique. It was as a child in Ohrdruf that the young Bach began what became a lifelong pursuit of hand copying the scores of other composers.
==Classical era==
The great composers of the classical era wrote sparingly if at all for the organ: [[Joseph Haydn|Haydn]] wrote for [[clockwork organs]], and wrote several concerti for organ and orchestra. [[Ludwig van Beethoven|Beethoven]] and [[Wolfgang Amadeus Mozart|Mozart]] wrote only a handful of works. Brixli and [[Wagenseil]] also wrote organ concerti. All works are restricted to a single manual.
English composers [[John Stanley (composer)|John Stanley]] and [[William Boyce (composer)|William Boyce]] wrote a number of important works at this time but should be considered composers of the baroque, not classical era.
==Romantic era==
=== France ===
During the Romantic era, technological advances allowed new features to be added to the organ, increasing its potential for expression. The work of the French organ builder [[Aristide Cavaillé-Coll]] in particular represented a great leap in organ building. Cavaillé-Coll refined the English [[swell box]] by devising a spring-loaded (later balanced) pedal with which the organist could operate the swell shutters. He invented an ingenious pneumatic [[combination action]] system for his five-manual organ at [[Église Saint-Sulpice, Paris|Saint-Sulpice]]. He adjusted [[pipemaking]] and [[Voicing (tuning)|voicing]] (final regulation of the pitch and tone) techniques, thus creating a whole family of stops imitating orchestral instruments such as the [[bassoon]], the [[oboe]], and the [[flute]]. He introduced divided [[windchest]]s which were controlled by [[ventils]], allowing for the use of higher wind pressures. For a mechanical [[tracker action]] to operate under these higher wind pressures, pneumatic assistance provided by the [[Barker lever]] was required, which Cavaillé-Coll included in his larger instruments. This pneumatic assist made it possible to couple all the manuals together and play on the full organ without expending a great deal of effort. All these innovations allowed the organist to execute a seamless crescendo from ''pianissimo'' all the way to ''fortissimo'': something that had never before been possible by the organ. Composers were now able to write music for the organ which mirrored that played by the [[symphony orchestra]]. For this reason, both the organs and the literature of this time period are considered ''symphonic''.
[[César Franck]], [[Charles-Marie Widor]], and [[Félix-Alexandre Guilmant]] were important organist-composers who were inspired by the sounds made possible through Cavaillé-Coll's advances in organ building. They wrote extensively for the organ, and their works have endured. A particularly important form of organ composition in the Romantic era was the [[organ symphony]], first seen in César Franck's ''Grand pièce symphonique'' and refined in the ten symphonies of Widor and the six of [[Louis Vierne]]. The organ symphony, comprising several movements, paralleled symphonies written for the orchestra. Guilmant wrote several compositions similar to organ symphonies; however, preferring to remain in the classical mold, he called them [[sonata (music)|sonatas]]. In addition to organ symphonies, composers of the day wrote in other forms: Franck wrote eleven other major organ works, including the ''Prélude, Fugue et Variation'' and the ''Trois Chorals''; Widor wrote a ''Suite Latine'' on various [[plainsong]] tunes; Vierne composed ''24 pièces de fantaisie'', of which the ''Carillon de Westminster'' is perhaps the best-known.
<br />
===Germany===
[[File:Mendelssohn oregan sonatas.jpg|thumb|Ad for Mendelssohn's six Organ Sonatas in the ''Musical World'' published on July 24th, 1845<ref>{{Citation|title=Organ Sonatas, Op. 65 (Mendelssohn)|date=2018-01-14|url=https://en.wikipedia.org/w/index.php?title=Organ_Sonatas,_Op._65_(Mendelssohn)&oldid=820463446|work=Wikipedia|language=en|access-date=2020-02-20}}</ref>]]
Thanks to [[Felix Mendelssohn]], Johann Sebastian Bach's music was brought back to life. Through a series of coincidences, his family owned the original manuscripts of Bach's music including his [[St Matthew Passion|St. Matthew Passion]]<ref>{{Cite web|url=https://www.loc.gov/item/ihas.200156436/|title=Felix Mendelssohn: Reviving the Works of J.S. Bach|website=Library of Congress, Washington, D.C. 20540 USA|access-date=2020-02-19}}</ref>. He performed [[Johann Sebastian Bach|JS Bach]]'s [[St Matthew Passion|St. Matthew Passion]] for the German public at the [[Singakademie]] on March 11, 1829, for the first time in a century<ref>{{Cite web|url=https://www.loc.gov/item/ihas.200156436/|title=Felix Mendelssohn: Reviving the Works of J.S. Bach|website=Library of Congress, Washington, D.C. 20540 USA|access-date=2020-02-19}}</ref>[https://www.youtube.com/watch?v=xJNs6-FRWE0]. He wrote six [[Organ sonatas op. 65 (Mendelssohn)|Sonatas Op. 65]], three [[Prelude and fugue|Preludes and Fugues]] Op. 37, and several smaller works for the organ.
[[Robert Schumann]], [[Johannes Brahms]] and [[Josef Rheinberger]] came out of Classical schools. [[Robert Schumann]] composed for [[pedal piano]] and wrote [https://www.allmusic.com/composition/etudes-6-in-canon-form-for-pedal-piano-op-56-mc0002358752 Six Studies in Canonic Form, Op. 56], [http://www.classical-music.com/review/schumann-four-sketches-pedal-piano Four Sketches, Op. 58] and [http://www.classical-music.com/review/schumann-four-sketches-pedal-piano Six Fugues on B-A-C-H, Op. 60]. [http://www.classical-music.com/review/schumann-four-sketches-pedal-piano Six Fugues on BACH, Op. 60] is the very first BACH tribute composition before [[Franz Liszt]] and [[Max Reger]].
[[File:Brahms O Gott, du frommer Gott.ogg|thumb|Brahms: Chorale Prelude No. 7 Op. 122 "O Gott, du frommer Gott"]]
[[Johannes Brahms]]'s early and late works show influence of [[Johann Sebastian Bach|Bach]] as he had great respect for [[Johann Sebastian Bach|Bach]]. Brahms wrote [https://www.allmusic.com/composition/fugue-for-organ-in-a-flat-minor-woo-8-mc0002369039 Fugue in A-flat minor WoO 8] for [[Clara Schumann]] on [[Robert Schumann]]'s birthday. His other compositions include [https://www.allmusic.com/composition/prelude-and-fugue-for-organ-in-a-minor-woo-posth-9-mc0002387707 Prelude and Fugue in A minor, WoO 9], [https://www.allmusic.com/composition/prelude-and-fugue-for-organ-in-g-minor-woo-posth-10-mc0002387322 Prelude and Fugue in G minor, WoO 10], and [https://www.allmusic.com/composition/choral-prelude-and-fugue-for-organ-o-traurigkeit-o-herzeleid-woo-7-mc0002657958 Chorale Prelude and Fugue on "O Traurigkeit, O Herzelied"]. His most famous organ work is Eleven Chorale Preludes Op. 122, which was composed during the last year of his life. All eleven pieces have the theme of "ending" as the pieces were written after a series of painful deaths of his friends and loved ones<ref>{{Cite book|last=Owen|first=Barbara|url=http://dx.doi.org/10.1093/acprof:oso/9780195311075.001.0001|title=The Organ Music of Johannes Brahms|date=2007-06-21|publisher=Oxford University Press|isbn=978-0-19-531107-5}}</ref>.
[[File:Rheinberger - Tema variato (Thema).ogg|thumb|Rheinberger - Tema Variato from Meditationen Op. 167 (Main)]]
[[File:Rheinberger - Tema variato (1. Variation).ogg|thumb|Rheinberger - Tema Variato from Meditationen OP. 167 (1st Variation)]]
[[Josef Rheinberger]] wrote 20 sonatas for the organ and nearly a hundred short pieces. The short organ pieces include [[Ten Trios Op.49]], [[Twelve Fughettas in Strict Style Op. 123]], [[Twelve Characteristic Pieces Op. 156]], [[Twelve Monologues Op. 162]], [[Twelve Meditations Op. 167]], [[Twelve Pieces Op. 174]], [[Ten Trios Op. 189]], [[Six Short pieces]] as well as [[Fugue in F minor by Rheinberger|Fugue in F minor]]. Rheinberger also wrote compositions for organ and other instruments. In regards to Rheinberger's organ compositions with others instruments, [[Harvey Grace]] comments, "Players who wish to get away from the conventional and often unsatisfactory arrangements of well-known works should examine Rheinberger's essays in the field...so far as I have been able to test them, they are well up to the standard we expect from the composer<ref>{{Cite journal|last=Grace|first=Harvey|date=1924|title=Rheinberger's Organ Sonatas (Concluded)|url=http://www.jstor.org/stable/913986|journal=The Musical Times|volume=65|issue=975|pages=412–416|doi=10.2307/913986|issn=0027-4666}}</ref>".
During the mid-19th century, composers such as [[Franz Liszt]] and [[Julius Reubke]] wrote works for the organ of immense scale. Organs being built during this time were larger and had greater dynamic range than organs of the Baroque period, and Romantic composers were determined to exploit the capabilities of these instruments. One of Liszt's most famous organ works is his [[Fantasy and Fugue on the chorale Ad nos ad salutarem undam]]. The entire 30-minute work is based on a single theme by [[Giacomo Meyerbeer]] and it shows the influence of Liszt's Sonata in B minor for piano. Liszt's student, Reubke, wrote a programmatic Sonata in C minor based on selected verses from Psalm 94. The work, while original in its own right, is heavily influenced by the work of Liszt. These two works are the most monumental compositions for the organ from the mid-19th century.
Organ music in Germany at the end of the 19th century is dominated by the towering figure of [[Max Reger]]. Reger's works represent extreme Romanticism; extremely dense harmonies, sudden dynamic contrasts, and extensive forms are all present in Reger's organ works.
===United States===
In the United States, [[Dudley Buck]] was a prominent composer, although his work has remained largely unknown outside of the U.S.
During this time, [[Transcription (music)|transcriptions]] of other music (usually [[orchestra]]l music or [[piano solo]]s) for organ became popular. Often the transcriptions would utilize only an excerpt of the original piece. The most famous transcriber for the organ is [[Edwin Lemare]]. He transcribed hundreds of works for the organ, the most memorable being his transcriptions of Wagner works.
==20th century==
=== France ===
Composers making a major contribution to the organ repertoire include [[Marcel Dupré]], [[Maurice Duruflé]], [[Jean Langlais]], [[Naji Hakim]], [[Jean-Pierre Leguay]], [[Pierre Cochereau]], and [[Olivier Messiaen]].
=== Germany ===
In the 20th-century, German organ music was strongly influenced by the neo-Baroque movement. A revival of interest in Baroque forms and performance practices led to a rejection of the complexity and Romanticism of Liszt and Reger. Important composers of this period are [[Hugo Distler]] and [[Paul Hindemith]]. Hindemith is widely known for his three organ sonatas. Distler's organ music is not as well-known, and Distler is remembered primarily as a choral composer. His most popular work is the Partita on "[[Nun komm, der Heiden Heiland]]", a work which treats the old Lutheran chorale in a clearly modern idiom.
=== United States ===
*Famous American organ composers from the 20th century include [[Leo Sowerby]], [[Charles Ives]], [[John Knowles Paine]], [[Dudley Buck]], and [[Vincent Persichetti]].
*The [[theater organ]] achieved a brief period of prominence from about 1900–1935, and had its own repertoire.
* The [[Hammond organ]] was used in jazz, popular music and rock, especially from about 1950–1975.
* There was an evangelical organ style derived in part from the [[southern gospel]] movement, with composers including [[Fred Bock]], [[Lani Smith]], and [https://pipeorgans.fandom.com/wiki/Harold_DeCou Harold DeCou].
* Transcriptions of previous works, and improvisations based on [[hymn tune]]s, continued to be written in a fairly traditional style by organist-composers such as [https://www.thediapason.com/tribute-searle-wright-1918%E2%80%932004 Searle Wright], [[Dale Wood (composer)|Dale Wood]], [[E. Power Biggs]] and [[Pierre Pincemaille]].
==Timeline of composers for the organ==
{{Timeline Organ Composers}}
==See also==
* [[List of organ composers]]
* [[List of compositions for organ]]
==External Links==
* American Guild of Organists: [https://www.agohq.org/education/educational-resources/ List of Organ Repertoire Lists and other repertoire documents]
* American Guild of Organists: [https://www.agohq.org/lessons-for-the-new-organist/ Youtube video lessons for the new organist]
* Pipedreams: [https://www.agohq.org/lessons-for-the-new-organist/ Radio organ music program produced and distributed by American Public Media]
== References ==
{{DEFAULTSORT:Organ Repertoire}}
[[Category:Organs (music)]]
<references />
*
{{Pipe organs}}
{{Musical repertoire}}' |
New page wikitext, after the edit (new_wikitext ) | '{{Unreferenced|date=December 2009}}
The pipe organ is the oldest of all keyboard instruments; having its origins in ancient Greece in the 3rd century as a portable keyboard instrument.<ref>{{Cite book|last=Arnold|first=Corliss Richard|title=Organ Literature: A Comprehensive Survey|publisher=Scarecrow Press|year=2003|isbn=978-0810846975|location=Lanham Maryland|pages=1}}</ref> Though initially a secular instrument played at feasts and gladitorial combats, by the 12th century the pipe organ was in use in churches and began its transformation as a sacred instrument.<ref>{{Cite book|last=Arnold|first=Corliss Richard|title=Organ Literature: A Comprehensive Survey|publisher=Scarecrow Press|year=2003|isbn=978-0810846975|location=Lanham Maryland|pages=p.1}}</ref> As a result of this relationship with the church, much of the music composed over the centuries for the organ was not only sacred in nature, but it was also preserved in manuscript form at first, and then eventually in print. The organ repertoire is considered to be the largest and oldest repertory of all musical instruments.<ref>{{Cite web|url=https://www-oxfordmusiconline-com.proxy1.library.jhu.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000044010?rskey=cmPOIU#omo-9781561592630-e-0000044010-div1-0000044010.1|title=Organ|last=Owen|first=Barbara, Peter Williams and Stephen Bicknell|date=2001|website=Oxford Music Online Grove Music Online|url-status=live|archive-url=|archive-date=|access-date=2/18/20}}</ref>
<br />
== Renaissance ==
The earliest surviving keyboard compositions (keyboard music was not instrument-specific until the sixteenth century) are from England ([[Robertsbridge Codex]] c. 1365) and Italy ([[Faenza Codex]], 15th century). The organ is specified in [[Marco Antonio Cavazzoni]]'s ''Recerchari, motetti, canzoni [...] libro primo'', printed in Venice in 1523.
The English virginal style was a manner of composition and performance prevalent in the sixteenth and early seventeenth centuries; some manuscripts are preserved in the [[Fitzwilliam Virginal Book]]. Sweelinck was strongly influenced by this style. Organ music was almost exclusively based on learned [[contrapuntal]], exemplified by the Fantasia ("Fancy"), as well as works based on contrapuntal treatment of chant. Composers well known for their choral works wrote organ music, for example [[Thomas Tallis|Tallis]], [[William Byrd|Byrd]] and Gibbons.
==Baroque==
=== Spain and Portugal ===
Iberian organs of the 17<sup>th</sup> century were small, having usually one manual, and a small pedal board limited to one octave. Because of the limited range and the short stubby pedal keys of the Spanish pedal board, the function of the pedal was usually reserved for holding long notes.<ref>{{Cite book|last=Dalton|first=James|title="Iberian Organ Music Before 1700," The Cambridge Companion to the Organ|publisher=Cambridge University Press|year=1998|isbn=|location=Cambridge, U.K.|pages=164-166}}</ref> The organ repertoire of Spain and Portugal is a reflection of the organs of their time. The stops on the keyboard were often divided, with different stops available for the treble than were available for the bass. This arrangement allowed for a solo registration to be played in the treble and an accompaniment of a different registration to be played in the bass, or vice versa. As a result, Iberian composers produced a wealth of pieces written ''de medio registro''.<ref>{{Cite book|last=Dalton|first=James|title="Iberian organ music before 1700," The Cambridge Companion to the Organ|publisher=Cambridge University Press|year=1998|isbn=|location=Cambridge, U.K.|pages=165}}</ref> Despite the small size of their organs, Iberian composers were known for producing pieces of great musical expressiveness and conviction.<ref>{{Cite book|last=Dalton|first=James|title="Iberian organ music before 1700," The Cambridge Companion to the Organ|publisher=Cambridge University Press|year=1998|isbn=|location=Cambridge, U.K.|pages=164}}</ref>
[[File:Cabaniles Tiento.ogg|thumb|Juan Cabanilles - Tiento de Iº tono - pour orgue]]
The main types of organ compositions of the seventeenth and eighteenth centuries were verses and tientos. Versets were compositions based upon chant and used to alternate between the organ and sung verses. Tientos were short contrapuntal pieces, usually with three or four voice parts.<ref>{{Cite book|last=Arnold|first=Corliss Richard|title=Organ Literature: A Comprehensive Survey|publisher=Scarecrow Press|year=2003|isbn=|location=Lanham, Maryland|pages=156}}</ref> New forms of composition emerged at the beginning of the eighteenth century: tocata, fugue, paso, sonatina and sonata.<ref>{{Cite book|last=Arnold|first=Corliss Richard|title=Organ Literature: A Comprehensive Survey|publisher=Scarecrow Press|year=2003|isbn=|location=Lanham, Maryland|pages=158}}</ref> The famous Italian harpsichordist and composer, Domenico Scarlatti, served under the patronage of Spanish and Portuguese royalty from 1720 or 1721 until his death in 1757, and had great influence upon virtually all of the keyboard music of 18th century Spain and Portugal.<ref>{{Cite book|last=Arnold|first=Corliss Richard|title=Organ Literature: A Comprehensive Survey|publisher=Scarecrow Press|year=2003|isbn=|location=Lanham, Maryland|pages=158}}</ref> Some of the composers influenced by Scarlatti are: Jose Antonio Carlos Seixas (1704-1742), Freixanet, Manuel de Santo Elias (fl.1750's-1790's), Padre Anselm Viola (1730-1798), Joao de Souza Carvalho (1745-1798) and Jose Lidon (1752-1827).<ref>{{Cite book|last=Arnold|first=Corliss Richard|title=Organ Literature: A Comprehensive Survey|publisher=Scarecrow Press|year=2003|isbn=|location=Lanham, Maryland|pages=158}}</ref> Other composers of Iberian Baroque repertoire include Juan Cabanillies (1644-1712), Joaquin Martinex Oxinagas, and Fray Antonio Soler (1720-1783).
=== France ===
{{Main|French organ school}}
French Baroque organ music is generally referred to as the French Classic School. Jehan Titelouze (1562/3-1633) is known as the father of the French Classic organ school.<ref>{{Cite book|last=Laukvik|first=Jon|title=Historical Performance Practice in Organ Playing|publisher=Carus Stuttgart|year=1996|isbn=|location=Germany|pages=159}}</ref> The repertoire of this period is large and includes composers Guillaume-Gabriel Nivers (1632-1714), François Couperin (1668-1733), Nicolas de Grigny (1672-1703) and Louis-Nicolas Clérembault (1676-1749). In Nivers' ''Premier Livre d'orgue'' (1665), the characteristic style of the French classic school began to emerge more fully, using elements from Lully's opera style of French overture (slow-fast-slow), and solo récit. This music reached its full flower in the organ compositions of Nicolas de Grigny.<ref>{{Cite book|last=Laukvik|first=Jon|title=Historical Performance in Organ Playing|publisher=Carus Stuttgart|year=1996|isbn=|location=Germany|pages=159}}</ref>
The full flowering of the French Classic School found its sustenance in the reign of Louis XIV. Most of the composers and organists were under his royal patronage and were ''organists du roi''. During Louis XIV's reign; cathedrals and churches could afford magnificent instruments, organists were well-compensated, publishers were assured of a return on their investment, all resulting in a tremendous outpouring of organ composition.<ref>{{Cite book|last=Higginbottom|first=Edward|title=The Cambridge Companion to the Organ|publisher=Cambridge University Press|year=1998|isbn=|location=Cambridge, U.K.|pages=178}}</ref>
Much of the music of this time is liturgical, which accounts for its brevity. To fulfill its liturgical purpose, the music needed to be sectional and short enough to work within the church service. The French classic organ was unique: with an "endless supply of solo effects in its Bourdons and Flutes, colorful and dominating reeds, and principal chorus noted for its depth and warmth rather than its transparency and brilliance."<ref>{{Cite book|last=Higginbottom|first=Edward|title=Cambridge Companion to the Organ|publisher=Cambridge University Press|year=1998|isbn=|location=Cambridge, U.K.|pages=179-180}}</ref> The titles of the pieces of this period indicated the registration. Large scale registrations include the Plein Jeu, which referred to the principal chorus, and the Grand Jeu, a fiery reed chorus. More intimate registrations include the Fugue (played on reeds), Duos and Trios (contrapuntal short pieces played on contrasting registrations), Récit (a solo expressive voice with accompaniment), and the Dialogue (in which the solo line of the Récit moves from one registration to another).
===England===
[[George Frideric Handel|Handel]] contributed significantly to the organ repertoire through his [[organ concerto#G. F. Handel|numerous organ concertos]].
===Germany===
{{Main|German organ schools}}
In Germany and Austria, baroque organ music utilized increasing amounts of counterpoint. Organ music in the baroque can be divided into works based on [[Lutheran chorale]]s (e.g. chorale preludes and chorale fantasias) and those not (e.g. toccatas, fantasias and free preludes). There are marked stylistic differences between the composers of North, South and Central Germany such that further generalisation is inaccurate. The North German Praeludium (an important form consisting of alternating sections of free material written in the largely misunderstood ''stylus phantasticus'' and fugal material) reached its zenith in [[Dieterich Buxtehude]], informed by Matthias Weckmann and Heinrich Scheidemann (influenced most strongly by Jan Peeterszoon Sweelinck and by the Italian school transported to North Germany by Heinrich Schütz and Samuel Scheidt). [[Georg Böhm]] remained firmly representative of the South German School, though [[Johann Pachelbel]]'s influence as a teacher extended across North, South and Central Germany. Baroque organ music arguably reached its height in the works of [[Johann Sebastian Bach]]. Many of Bach's earlier free works are heavily influenced by Buxtehude's style, but much more importantly, Bach developed a style essentially separate from the predominant styles of North, South and Central Germany. The majority of his free works consisted of two parts: a prelude, toccata or fantasia, and a fugue. Bach also wrote a large number of chorale preludes.<!-- add [[J.C.F. Fischer]] and [[Johann Tobias Krebs|J.T. Krebs]] -->
== J.S. Bach ==
The contributions of [[Johann Sebastian Bach|J.S.Bach]] (1685-1750) to the organ repertoire are difficult to overstate. Though he spent almost his entire life in a small area of Central Germany, his works demonstrate a vast and intimate knowledge of the styles of prevailing composers of his era and before. He was orphaned by the age of 10, and sent to Ohrdruf to live with his oldest brother, [[Johann Christoph Bach (organist at Ohrdruf)|Johann Christoph Bach]] from whom he studied keyboard technique. It was as a child in Ohrdruf that the young Bach began what became a lifelong pursuit of hand copying scores. According to his son, C.P.E. Bach, "he had studied the music of 'some old and good Frenchmen', Italian and souther German composers of the 17th century including Girolamo Frescobaldi, Johann Pachelbel, Johann Jakob Froberger, Johann Caspar Kerll . . . and the most important north German organists of the period--Dietrich Buxtehude, Johann Adam Reincken, Nicolaus Bruhns, and Georg Böhm."<ref>{{Cite book|last=Yearsley|first=David|title=The Cambridge Companion to the Organ|publisher=Cambridge University Press|year=1998|isbn=|location=Cambridge, U.K.|pages=236}}</ref> In this way, Bach became intimately acquainted with the styles and ideas of the foremost composers of his era
==Classical era==
The great composers of the classical era wrote sparingly if at all for the organ: [[Joseph Haydn|Haydn]] wrote for [[clockwork organs]], and wrote several concerti for organ and orchestra. [[Ludwig van Beethoven|Beethoven]] and [[Wolfgang Amadeus Mozart|Mozart]] wrote only a handful of works. Brixli and [[Wagenseil]] also wrote organ concerti. All works are restricted to a single manual.
English composers [[John Stanley (composer)|John Stanley]] and [[William Boyce (composer)|William Boyce]] wrote a number of important works at this time but should be considered composers of the baroque, not classical era.
==Romantic era==
=== France ===
During the Romantic era, technological advances allowed new features to be added to the organ, increasing its potential for expression. The work of the French organ builder [[Aristide Cavaillé-Coll]] in particular represented a great leap in organ building. Cavaillé-Coll refined the English [[swell box]] by devising a spring-loaded (later balanced) pedal with which the organist could operate the swell shutters. He invented an ingenious pneumatic [[combination action]] system for his five-manual organ at [[Église Saint-Sulpice, Paris|Saint-Sulpice]]. He adjusted [[pipemaking]] and [[Voicing (tuning)|voicing]] (final regulation of the pitch and tone) techniques, thus creating a whole family of stops imitating orchestral instruments such as the [[bassoon]], the [[oboe]], and the [[flute]]. He introduced divided [[windchest]]s which were controlled by [[ventils]], allowing for the use of higher wind pressures. For a mechanical [[tracker action]] to operate under these higher wind pressures, pneumatic assistance provided by the [[Barker lever]] was required, which Cavaillé-Coll included in his larger instruments. This pneumatic assist made it possible to couple all the manuals together and play on the full organ without expending a great deal of effort. All these innovations allowed the organist to execute a seamless crescendo from ''pianissimo'' all the way to ''fortissimo'': something that had never before been possible by the organ. Composers were now able to write music for the organ which mirrored that played by the [[symphony orchestra]]. For this reason, both the organs and the literature of this time period are considered ''symphonic''.
[[César Franck]], [[Charles-Marie Widor]], and [[Félix-Alexandre Guilmant]] were important organist-composers who were inspired by the sounds made possible through Cavaillé-Coll's advances in organ building. They wrote extensively for the organ, and their works have endured. A particularly important form of organ composition in the Romantic era was the [[organ symphony]], first seen in César Franck's ''Grand pièce symphonique'' and refined in the ten symphonies of Widor and the six of [[Louis Vierne]]. The organ symphony, comprising several movements, paralleled symphonies written for the orchestra. Guilmant wrote several compositions similar to organ symphonies; however, preferring to remain in the classical mold, he called them [[sonata (music)|sonatas]]. In addition to organ symphonies, composers of the day wrote in other forms: Franck wrote eleven other major organ works, including the ''Prélude, Fugue et Variation'' and the ''Trois Chorals''; Widor wrote a ''Suite Latine'' on various [[plainsong]] tunes; Vierne composed ''24 pièces de fantaisie'', of which the ''Carillon de Westminster'' is perhaps the best-known.
<br />
===Germany===
[[File:Mendelssohn oregan sonatas.jpg|thumb|Ad for Mendelssohn's six Organ Sonatas in the ''Musical World'' published on July 24th, 1845<ref>{{Citation|title=Organ Sonatas, Op. 65 (Mendelssohn)|date=2018-01-14|url=https://en.wikipedia.org/w/index.php?title=Organ_Sonatas,_Op._65_(Mendelssohn)&oldid=820463446|work=Wikipedia|language=en|access-date=2020-02-20}}</ref>]]
Thanks to [[Felix Mendelssohn]], Johann Sebastian Bach's music was brought back to life. Through a series of coincidences, his family owned the original manuscripts of Bach's music including his [[St Matthew Passion|St. Matthew Passion]]<ref>{{Cite web|url=https://www.loc.gov/item/ihas.200156436/|title=Felix Mendelssohn: Reviving the Works of J.S. Bach|website=Library of Congress, Washington, D.C. 20540 USA|access-date=2020-02-19}}</ref>. He performed [[Johann Sebastian Bach|JS Bach]]'s [[St Matthew Passion|St. Matthew Passion]] for the German public at the [[Singakademie]] on March 11, 1829, for the first time in a century<ref>{{Cite web|url=https://www.loc.gov/item/ihas.200156436/|title=Felix Mendelssohn: Reviving the Works of J.S. Bach|website=Library of Congress, Washington, D.C. 20540 USA|access-date=2020-02-19}}</ref>[https://www.youtube.com/watch?v=xJNs6-FRWE0]. He wrote six [[Organ sonatas op. 65 (Mendelssohn)|Sonatas Op. 65]], three [[Prelude and fugue|Preludes and Fugues]] Op. 37, and several smaller works for the organ.
[[Robert Schumann]], [[Johannes Brahms]] and [[Josef Rheinberger]] came out of Classical schools. [[Robert Schumann]] composed for [[pedal piano]] and wrote [https://www.allmusic.com/composition/etudes-6-in-canon-form-for-pedal-piano-op-56-mc0002358752 Six Studies in Canonic Form, Op. 56], [http://www.classical-music.com/review/schumann-four-sketches-pedal-piano Four Sketches, Op. 58] and [http://www.classical-music.com/review/schumann-four-sketches-pedal-piano Six Fugues on B-A-C-H, Op. 60]. [http://www.classical-music.com/review/schumann-four-sketches-pedal-piano Six Fugues on BACH, Op. 60] is the very first BACH tribute composition before [[Franz Liszt]] and [[Max Reger]].
[[File:Brahms O Gott, du frommer Gott.ogg|thumb|Brahms: Chorale Prelude No. 7 Op. 122 "O Gott, du frommer Gott"]]
[[Johannes Brahms]]'s early and late works show influence of [[Johann Sebastian Bach|Bach]] as he had great respect for [[Johann Sebastian Bach|Bach]]. Brahms wrote [https://www.allmusic.com/composition/fugue-for-organ-in-a-flat-minor-woo-8-mc0002369039 Fugue in A-flat minor WoO 8] for [[Clara Schumann]] on [[Robert Schumann]]'s birthday. His other compositions include [https://www.allmusic.com/composition/prelude-and-fugue-for-organ-in-a-minor-woo-posth-9-mc0002387707 Prelude and Fugue in A minor, WoO 9], [https://www.allmusic.com/composition/prelude-and-fugue-for-organ-in-g-minor-woo-posth-10-mc0002387322 Prelude and Fugue in G minor, WoO 10], and [https://www.allmusic.com/composition/choral-prelude-and-fugue-for-organ-o-traurigkeit-o-herzeleid-woo-7-mc0002657958 Chorale Prelude and Fugue on "O Traurigkeit, O Herzelied"]. His most famous organ work is Eleven Chorale Preludes Op. 122, which was composed during the last year of his life. All eleven pieces have the theme of "ending" as the pieces were written after a series of painful deaths of his friends and loved ones<ref>{{Cite book|last=Owen|first=Barbara|url=http://dx.doi.org/10.1093/acprof:oso/9780195311075.001.0001|title=The Organ Music of Johannes Brahms|date=2007-06-21|publisher=Oxford University Press|isbn=978-0-19-531107-5}}</ref>.
[[File:Rheinberger - Tema variato (Thema).ogg|thumb|Rheinberger - Tema Variato from Meditationen Op. 167 (Main)]]
[[File:Rheinberger - Tema variato (1. Variation).ogg|thumb|Rheinberger - Tema Variato from Meditationen OP. 167 (1st Variation)]]
[[Josef Rheinberger]] wrote 20 sonatas for the organ and nearly a hundred short pieces. The short organ pieces include [[Ten Trios Op.49]], [[Twelve Fughettas in Strict Style Op. 123]], [[Twelve Characteristic Pieces Op. 156]], [[Twelve Monologues Op. 162]], [[Twelve Meditations Op. 167]], [[Twelve Pieces Op. 174]], [[Ten Trios Op. 189]], [[Six Short pieces]] as well as [[Fugue in F minor by Rheinberger|Fugue in F minor]]. Rheinberger also wrote compositions for organ and other instruments. In regards to Rheinberger's organ compositions with others instruments, [[Harvey Grace]] comments, "Players who wish to get away from the conventional and often unsatisfactory arrangements of well-known works should examine Rheinberger's essays in the field...so far as I have been able to test them, they are well up to the standard we expect from the composer<ref>{{Cite journal|last=Grace|first=Harvey|date=1924|title=Rheinberger's Organ Sonatas (Concluded)|url=http://www.jstor.org/stable/913986|journal=The Musical Times|volume=65|issue=975|pages=412–416|doi=10.2307/913986|issn=0027-4666}}</ref>".
During the mid-19th century, composers such as [[Franz Liszt]] and [[Julius Reubke]] wrote works for the organ of immense scale. Organs being built during this time were larger and had greater dynamic range than organs of the Baroque period, and Romantic composers were determined to exploit the capabilities of these instruments. One of Liszt's most famous organ works is his [[Fantasy and Fugue on the chorale Ad nos ad salutarem undam]]. The entire 30-minute work is based on a single theme by [[Giacomo Meyerbeer]] and it shows the influence of Liszt's Sonata in B minor for piano. Liszt's student, Reubke, wrote a programmatic Sonata in C minor based on selected verses from Psalm 94. The work, while original in its own right, is heavily influenced by the work of Liszt. These two works are the most monumental compositions for the organ from the mid-19th century.
Organ music in Germany at the end of the 19th century is dominated by the towering figure of [[Max Reger]]. Reger's works represent extreme Romanticism; extremely dense harmonies, sudden dynamic contrasts, and extensive forms are all present in Reger's organ works.
===United States===
In the United States, [[Dudley Buck]] was a prominent composer, although his work has remained largely unknown outside of the U.S.
During this time, [[Transcription (music)|transcriptions]] of other music (usually [[orchestra]]l music or [[piano solo]]s) for organ became popular. Often the transcriptions would utilize only an excerpt of the original piece. The most famous transcriber for the organ is [[Edwin Lemare]]. He transcribed hundreds of works for the organ, the most memorable being his transcriptions of Wagner works.
==20th century==
=== France ===
Composers making a major contribution to the organ repertoire include [[Marcel Dupré]], [[Maurice Duruflé]], [[Jean Langlais]], [[Naji Hakim]], [[Jean-Pierre Leguay]], [[Pierre Cochereau]], and [[Olivier Messiaen]].
=== Germany ===
In the 20th-century, German organ music was strongly influenced by the neo-Baroque movement. A revival of interest in Baroque forms and performance practices led to a rejection of the complexity and Romanticism of Liszt and Reger. Important composers of this period are [[Hugo Distler]] and [[Paul Hindemith]]. Hindemith is widely known for his three organ sonatas. Distler's organ music is not as well-known, and Distler is remembered primarily as a choral composer. His most popular work is the Partita on "[[Nun komm, der Heiden Heiland]]", a work which treats the old Lutheran chorale in a clearly modern idiom.
=== United States ===
*Famous American organ composers from the 20th century include [[Leo Sowerby]], [[Charles Ives]], [[John Knowles Paine]], [[Dudley Buck]], and [[Vincent Persichetti]].
*The [[theater organ]] achieved a brief period of prominence from about 1900–1935, and had its own repertoire.
* The [[Hammond organ]] was used in jazz, popular music and rock, especially from about 1950–1975.
* There was an evangelical organ style derived in part from the [[southern gospel]] movement, with composers including [[Fred Bock]], [[Lani Smith]], and [https://pipeorgans.fandom.com/wiki/Harold_DeCou Harold DeCou].
* Transcriptions of previous works, and improvisations based on [[hymn tune]]s, continued to be written in a fairly traditional style by organist-composers such as [https://www.thediapason.com/tribute-searle-wright-1918%E2%80%932004 Searle Wright], [[Dale Wood (composer)|Dale Wood]], [[E. Power Biggs]] and [[Pierre Pincemaille]].
==Timeline of composers for the organ==
{{Timeline Organ Composers}}
==See also==
* [[List of organ composers]]
* [[List of compositions for organ]]
==External Links==
* American Guild of Organists: [https://www.agohq.org/education/educational-resources/ List of Organ Repertoire Lists and other repertoire documents]
* American Guild of Organists: [https://www.agohq.org/lessons-for-the-new-organist/ Youtube video lessons for the new organist]
* Pipedreams: [https://www.agohq.org/lessons-for-the-new-organist/ Radio organ music program produced and distributed by American Public Media]
== References ==
{{DEFAULTSORT:Organ Repertoire}}
[[Category:Organs (music)]]
<references />
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{{Pipe organs}}
{{Musical repertoire}}' |