Old Organ Masters of the 15th and 16th Century: Conductor Score & Parts

Peeters gives organists genuine historical treasures rather than generic "early music" pastiches. His arrangements of these fifteenth and sixteenth-century organ works preserve the compositional integrity of the original sources while presenting them in clear, practical editions that serve contemporary performance. For church musicians and concert organists alike, this collection offers substantial material with pedagogical depth and authentic character.

These pieces inhabit the world between sacred austerity and polyphonic sophistication. You encounter the fingerprints of Renaissance and early Renaissance masters in the counterpoint and harmonic language, yet heard through the ears and hands of a twentieth-century musician who understood both historical practice and modern organ technique.

Church musicians and concert organists who want substantial, historically grounded repertoire beyond the standard Baroque canon. Intermediate to advanced players will find rewarding material that serves both liturgical settings and recital programs.

• Honor the contrapuntal clarity of these pieces by maintaining independence of lines; resist the urge to blur voices with excessive pedal or swell box manipulation.
• Pay attention to registration cues if provided; Peeters's choices reflect historical practice and support the compositional architecture.
• Allow these works breathing room in the liturgical or concert context. Their relatively intimate scale rewards listeners who sit with their architecture rather than expecting dramatic gestures.

Pair these works with later organ repertoire to trace the instrument's evolution across four centuries, or program them as a liturgical suite in a church service where their meditative quality deepens the worship experience. They work equally well as an opening recital set, establishing the historical foundations before moving into Baroque and later periods.

• Reading and performing sixteenth-century notational conventions
• Independent voice leading in four-part and multi-voice texture
• Pedal independence from manual parts
• Registration choices that serve historical style and modern acoustics
• Phrasing in Renaissance counterpoint