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Adagios for Organ: Organ Book

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Adagios for Organ: Organ Book

Ed. Rollin Smith

Item: 06-457346

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Description
Appealing original collection of well-known pieces in slow tempo including many from the Baroque era and later periods as well. Will attract early intermediate to seasoned organists. Titles: Albinoni, Tomaso Giovanni: Adagio * Alkan, Charles-Valentin, Prière, Op. 64, No. 5 * Bach, Carl Philipp Emanuel, Adagio * Bach, Johann Sebastian, Hark! A Voice Saith, All Are Mortal, BWV 643 * Batiste, Édouard, Three Versets, Op. 34: Récit de Fléte harmonique de 4; Verset pour tous les fonds et un Nazard; Chœur de Voix humaine * Bird, Arthur, Oriental Sketch No. 2 in F Minor * Boëllmann, Léon, Adagietto, Op. 16, No. 11 * Boëly, Alexandre-P.-F., Adagio non troppo, Op. 14, No. 8 * Bolzoni, Giovanni, Preludio * Brahms, Johannes, "Ah, Holy Jesus," Op. 122, No. 2 * Chadwick, George Whitefield, Elegy * Couperin, Louis, Sarabande * Davies, H. Walford, Solemn Melody * Dupont, Gabriel, Méditation * Dupré, Marcel, Antiphon III, "I am black, but comely," Op. 18, No. 3 * Franck, César, Adagio from Fantaisie in C Major, Op. 16 * Gluck, Christoph Willibald, Aria from Orfeo ed Euridice * Guilmant, Alexandre, Méditation from Sonata No. 6, Op. 86; Adagio from Sonata No. 6, Op. 86 * Handel, George Frideric, Largo from Xerxes * Herbert, Victor, Largo from Symphonic Fantasy for the Aeolian Organ * Karg-Elert, Sigfrid, "Do with Me, God, According to Your Goodness," Op. 78, No. 13 * Liszt, Franz, At the Grave of Richard Wagner * Marcello, Allesandro, Adagio from Concerto for Oboe in D Minor * Mendelssohn, Felix, Adagio from Sonata in F Minor, Op. 65, No. 1 * Merkel, Gustav, Trio in Canon from Orgelschule, Op. 177 * Mozart, Wolfgang Amadeus, Adagio, K. 356 * Poniridy, Georges, Offertoire * Reger, Max, Melodia, Op. 50, No. 11 * Saint-Saëns, Camille, Adagio from Symphony No. 3 in C Minor, Op. 78 * Samazeuilh, Gustave, Prélude * Schumann, Robert, Canon in B Major, Op. 56, No. 6 * Stebbins, Charles Albert, In Summer * Thomas, Gustav Adolph, Trio on "O Sacred Head Surrounded," from Six Chorale Trios, Op. 7, No. 1 * Tournemire, Charles, Larghetto from Dix Pièces en style libre, Op. 21 * Vierne, Louis, Prélude Funèbre, Op. 4 * Vivaldi, Antonio, Largo from Concerto in B-flat Major, "La Stravaganza," Op. 4, No. 1 * Wesley, Samuel, Larghetto from Voluntary in G Minor, Op. 6, No. 9 * Wesley, Samuel Sebastian, Larghetto in F-sharp Minor * Widor, Charles-Marie, Adagio from Symphonie No. 5, Op. 42-1.

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Additional Details
Series: Dover Edition
Publisher: Dover Publications
ISBN10: 0-486-45734-6
ISBN13: 978-0-486-45734-5
UPC: 9780486457345
SKU: 06-457346

More about this title

Why we love this

This collection spans centuries of organ literature without forcing a stylistic thesis. It gathers legitimate masterworks (Franck, Dupré, Guilmant) alongside character pieces and transcriptions that organists actually play in service contexts, making it both musically substantial and immediately useful. The balance of Baroque material with Romantic and early twentieth-century voices means you're not teaching from a single school of thought.

What to expect

Slow movements strip away ornamental gesture and expose the architecture underneath. These pages feel contemplative without being austere, devotional without insisting on piety. Each piece asks you to shape phrases with restraint and let silence matter as much as sound.

Who it's for

Organists working at the early intermediate level through advanced repertoire building will find material that teaches them how different composers approached the liturgical and concert organ. Directors seeking a reliable source for offertory music, preludes, and postludes across multiple styles will return to this book regularly.

How to get the most out of it

  • Choose registrations that honor each piece's original context: the Baroque works benefit from transparent, unforced colors while later Romantic pieces often call for richer foundation stops and expressive variation.
  • Pay attention to the specific marking in each title (Adagios, Adagietto, Méditation). They signal different degrees of restraint; an Adagietto moves slightly more than an Adagio.
  • Where transcriptions appear (like the Marcello oboe concerto movement), let the original instrumental character guide your manual registration choices rather than doubling everything on the pedal.

How to use it

Build your church music calendar around these pieces for preludes and postludes that don't require orchestral accompaniment yet carry genuine substance. Assign individual selections as study material when teaching registration and ornamentation across historical periods, or use the Baroque grouping as a concentrated unit for style-specific training.

Skills your students will build

  • Registration choices appropriate to compositional period and genre
  • Phrasing across slow tempos without loss of forward motion
  • Pedal independence in accompaniment textures
  • Interpretation of tempo and expression markings across Baroque through early twentieth-century practice
  • Transcription awareness (recognizing instrumental idioms and translating them to organ color)

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