Table of Contents

Christ lag in Todesbanden, BWV 695 ; Prelude and Fugue in A minor, BWV 895 ; O Lamm Gottes, unschuldig, BWV 1085 ; Fugue in E flat major, from The Well-Tempered Clavier, book 2, BWV 876 ; Allegro (1st movement from Concerto in D major, after Vivaldi), BWV 972 ; Jesu, meine Freude, BWV 713 ; Fantasia in C major, BWV 570 ; Concerto in C major, 1st movement (after Johann Ernst, Prince of Sachsen-Weimar), BWV 984 ; Kyrie, Gott Vater in Ewigkeit, BWV 672 ; Christe, aller Welt Trost, BWV 673 ; Kyrie, Gott heiliger Geist, BWV 674 ; Allein Gott in der Hoh sei Ehr, BWV 675 ; Dies sind die heilgen zehn Gebot, BWV 679 ; Jesus Christus, unser Heiland, BWV 689 ; Aus tiefer Not schrei ich zu dir, BWV 687 ; Fugue in G minor, from The Well-Tempered Clavier, book 1, BWV 861 ; O Gott, du frommer Gott, BWV 767 ; In dich hab ich gehoffet, Herr, BWV 712

About the Author

Anne Marsden Thomas is one of the most influential organ teachers of today, and has wide experience as a concert and church organist. She has written or edited over twenty books for organists. In 2015 she was awarded the MBE in the Queen's New Year Honours, and, in 2017, was the first woman to receive the Royal College of Organists highest decoration, the RCO Medal.

Reviews

Modern editions, with their grouping by genre, or by MS and printed collection, present a bewildering variety of choice to both teacher and player, and offer little guidance on how best to structure study of this central repertoire. The Oxford Back Books for Organ are therefore entirely welcome, and in its selection of repertoire the series represents the insight borne of the editorâs enormous teaching experience . . . The editorâs performance notes are a model of good sense and pragmatic scholarship, performing miracles of compression in covering aspects of touch, registration and ornamentation in very limited space . . . This is an impressive collection in both concept and realisation, and even those who think they know their way around the BWV catalogue will find much in it to stimulate and reward, whether as teachers or performers.
*Stephen Farr, Choir & Organ Jan 15*

These are excellent books, compiled and edited by Anne Marsden Thomas, a highly experienced teacher with an impressive awareness of stylistic issues. Her introduction gives some very sensible advice on such things as touch, articulation, and registration . . . His [Professor Russell Stinson] notes on chorale-based works supply not only the chorale melody but also texts and translations. Professor Stinson is a performer-scholar with an unparalleled knowledge and understanding of Bachâs music, and can write in a way that ordinary mortals can understand. Particularly refreshing is the inclusion of many pieces that have been traditionally considered as harpsichord (or clavichord) repertoire . . . [which] opens up many possibilities for interesting repertoire, and helps to dispel the traditional instrumental associations of the organ with sacred music, and harpsichord with secular music . . . these books are to be highly recommended.
*Douglas Mews, NZ Organ News, November 14*