Organ Music

A Carol Nativity: A Carol Nativity is one of the works from the organ demonstrator series published by Wayne Leupold Editions, Inc. These compositions serve as a resource for introducing the pipe organ to various age groups. The multi-movement works are designed so that each movement highlights one of the basic sounds of the organ (principals, strings, flutes, reeds) and/or other aspects and features of the organ. Many compositions in the series incorporate a narrator whose function is to provide information about the organ or to tell a story.

Alfred Fedak’s A Carol Nativity centers on the telling of the Christmas story though the use of scripture, carol singing, staged tableaux, and organ music. With the exception of the narrator, there are no speaking parts.  The cast of  characters includes Mary and Joseph, Baby Jesus, the three kings, angels, shepherds, and animals. The parts may be portrayed by actors of any age. After an organ prelude, the pageant proceeds through each section of the story with the narration, the characters for each passage getting into place during the playing of an organ carol arrangement, and a suggested congregational hymn to be used. Because of the variation that exists in the carols among various hymnals, the music for the hymns is not included in the score. The hymn versions common to the specific denomination or church should be used. To assist those directing a production of the pageant, a page of suggestions and instructions for the pageant is included in the score.

As a Christmas pageant, A Carol Nativity may easily be produced and adapted to the resources on hand. Because of its flexibility, the program can be used by a congregation of any size; it also offers the opportunity for multi-generational participation. For the organist involved, preparation time will not be extensive, though it will be necessary. The carol arrangements could also be used for other services and events during the Christmas season. For those who are searching for a new or slightly different approach to the annual Christmas pageant, A Carol Nativity is an excellent resource that should be given strong consideration.–The Diapason, July, 2016

All Nature Sings: “Alfred V. Fedak’s suite All Nature Sings: Organ Music Celebrating the Joy of Creation takes phrases from hymns celebrating the beauty of creation as the titles of its hymn-preludes. Six hymn-preludes are framed by free pieces based on psalm verses. This music is at the Intermediate level, yet small touches elevate it above the merely pedestrian of many such collections. The meter of the tune DIX is changed to 3/4 and given other rhythmic alterations. HYMN TO JOY is treated subtly in the manner of a musette, a welcome change from the usual “joyful” treatment. ST. ELIZABETH is treated as a pastorale, with the tune on a soft reed in the pedal. Most interestingly, Like the First Bird, a prelude on BUNESSAN, imitates birdsong on a solo 2′ flute between phrases of the tune. The birdsong is tonal, and nothing like Messiaen, but it is striking and unususal in a choral prelude. The Postlude, inspired by Psalm 136, is in irregular meter and would be a good introduction to changes of meter for students. Be on the lookout for more interesting publications from Lorenz.” –AAM Journal, April, 2016

Scherzo Ostinato: “Alfred Fedak, a distinguished American composer of hymns and church music, is a graduate of Hope College and Montclair State University. He currently works as a church musician in Albany, New York. Selah has published many of his compositions, all of which are notable for their solid craftsmanship and creativity. It certainly takes a creative mind to turn Ravenscroft’s tune for ‘Remember, O Thou Man,’ a carol generally paired with the story of ‘The Fall’ at Lessons and Carols, into a diabolical scherzo, which is what Fedak has done. Full of energy, the work uses ostinato in a variety of ways, often through an obsession with the repeated notes with which Ravenscroft’s tune begins. The opening is marked ‘Moving forward, but with apprehension.’ It does take the piece a while to find its momentum, but this is part of the effectiveness of the overall plan. The momentum is aided by a general crescendo throughout the piece, including specific registrations by the composer. While the majority of the composition is in E minor, the middle section traverses through F-sharp minor, C minor, B minor, and C-sharp minor in short order. In the latter part of the piece, the forward momentum is again increased through an accelerando that builds to a full E-major chord–the first true place of rest in the piece. After a breath, the work concludes with a maestoso statement of the tune and a coda in A minor that provides a stirring conclusion and a satisfying foil to the hesitant opening. Fedak’s original take on Remember, O Thou Man is probably more suited to a recital than a service–it seems significant that the composer doesn’t mention the text commonly associated with the tune–and is worth investigating.” –-AAM Journal, November, 2014

“Based on a theme of Thomas Ravenscroft, this fun piece deserves to be heard in presentations of solo organ music from organ demonstrations to full recitals.” —Pastoral Music, January, 2015

A Mohawk River Suite: “Originally this suite of ten short movements was intended for performance at a social gathering in the home of a New York couple who own a collection of keyboard instruments. The piece is scored for harpsichord, piano, organ, flute, and singers; most movements use only one of the three keyboards. A social or recital situation would be best for a complete performance due to the charming variety among the movements. Based on the beloved hymn ‘Shall We Gather at the River,’ many individual movements would be lovely to hear in church. The original final movement is a quodlibet and requires all instruments to play together. An alternate ending – an organ toccata – was later composed for use in religious settings.” —Pastoral Music, January 2015

“Selah Publishing is celebrating its twenty-fifth anniversary this year. They should be commended for their support of outstanding living composers and for their willingness to publish works that might be difficult to categorize. A Mohawk River Suite is one such work. It consists of a set of variations on Shall We Gather at the River. Designed for a party in a home with many keyboard instruments, it contains parts for piano, harpsichord, organ, flute, and singers. Where it is impractical to perform the entire Suite as originally intended, movements can be adapted or excerpted. In particular, the three stanzas for solo voice would make a lovely set for a treble choir; underpinned with rich harmonies, they are all in the same key, although they are not performed sequentially in the Suite. The harpsichord movements could be adapted easily to the organ. ‘An Aria in the Style of Bach’ for flute and organ would be an attractive stand-alone piece, as would the organ ‘Toccata’ that was added after the premiere to conclude the suite. The one movement that would be difficult to take out of context, but is also the most inventive, is the original ending: ‘Fantasy: Quodlibet on Local and River Tunes.’ It includes, in addition to Shall We Gather at the River, such tunes as Old Man River, Sewanee River, Shenandoah, and Red River Valley. Following this ‘Quodlibet,’ the audience is invited to join in singing the final refrain. The final ‘Toccata,’ added later for publication, returns to the home key of D major, reversing the modulations that led to the singing of the hymn tune in E-flat major in the penultimate movement. I applaud the idea of returning to the home key, but the abrupt shift down a half step might sound a bit odd. It would be possible to perform the Suite in its original version and save the ‘Toccata’ for a separate postlude. In addition to the movements that might be used independently, the entire Suite would be perfect for gatherings of church musicians such as an end-of-year AGO event or choir party. By the end of this piece everyone will be smiling and humming!” –-AAM Journal, November, 2014

Improvisation on NICAEA: “This accessible piece is mostly homophonic; it begins and ends in D Major, with a progression through several short passages through other keys. The piece would serve as a sturdy prelude or postlude of four minutes’ length.”–Pastoral Music, January, 2015

A Wesley Organbook: Fedak has set, as eight hymn tunes hymn tune preludes, melodies that have become associated with texts by Charles Wesley: Aberystwyth, Azmon, Beecher, Darwall’s 148th, Hyfrydol, Martyn, St. Petersburg, and Savannah. The pedal part is continuous throughout all eight pieces, but otherwise they are easy and will make great preludes to introduce the first hymn. — The American Organist

A Thanksgiving Suite:A Thanksgiving Suite contains three short pieces: Fanfare and Hymn (“St. George’s Windsor”); Reflection (“Kremser”); and Thanksgiving Dance (“Nun danket alle Gott”). Fanfare is a festive dialogue between two divisions of the organ that echo fragments of the hymn tune. It can be used to introduce the hymn. Hymn is a chorale prelude on “St. George’s Windsor” using a reharmonization and passing tones in the inner voices. Reflection is a lyrical narrative using an Oboe 8′ to sing the melody against a flute and string accompaniment. Three other variations on “Kremser” are included in this piece. Thanksgiving Dance is a highly energetic presentation of “Nun danket alle Gott” featuring mixed meters, syncopation, and challenging rhythms that dance above a 4′ reed solo. The composer notes in the collection that the MIDI registrations are intended to be used in conjunction with the traditional organ registrations, producing interesting hybrid sounds, varied attacks, etc. This collection of award-winning organ compositions came into being as a result of a “call for compositions” contest by the Greater Greensboro AGO Chapter for the 2011 Region IV Convention in Greensboro, North Carolina” — The American Organist, October, 2013

Jesus Is the Sunlight: “This is an interesting publication that contains three items in one volume: a recent hymn tune, CALLAHAN, by Alfred Fedak, set to words of Richard Leach from 1996; five versets by Fedak on the tune CALLAHAN; and a meditation on the same tune by Carson Cooman. Both text and tune of the hymn are beautiful, and more profound than the first line might convey. The text evokes God Himself Is with Us (#475 in The Hymnal 1982) with a modern sensibility. An emphasis on Mary is notable; her name in every stanza provides a gender balance to the name Jesus (stanzas one to three begin “Jesus is the sunlight, Mary is a rainbow”). Six uses of the word “rainbow” imply diversity without specific reference to any groups of people. In addition to use on Marian feasts, this could be a marvelous hymn to celebrate social justice or the blessing of a same-sex union, though that was surely not the original intention. The flowing diatonic tune by Fedak enhances the dignity of the text in a quiet way. Here is the fourth and final stanza:  Jesus, you are sunlight:/ may the church, like Mary,/ be a rainbow shining/ to reveal your presence:/ that the world may know you. Alleluia! Reproduction of the hymn is covered under CCLI, LicenSing and OneLicense.net. The publisher suggests several possible modes of performance: using each piece as a free-standing work; playing the organ versets before the singing of the hymn; and performing the five variations in alternation with the four stanzas of the hymn. Fedak’s first four variations are lovely miniatures, gentle and warm. In Variation V the sunlight is depicted through joyful triplet figurations and a plenum registration. Carson Cooman’s meditation, composed in 2001, features sections of improvisatory freedom and rich harmonies. Give this hymn and the accompanying pieces a try!” –AAM Journal, November, 2012

“This ongoing series of pieces [Marilyn Mason Music Library, Volume 5] commissioned by the renowned University of Michigan organ teacher includes the Triptych on SINE NOMINE by Alfred V. Fedak…which would be useful for most organists. The setting…includes an elegiac ‘Prelude,’ a solemn ‘Cortege,’ and a delightful ‘Finale’ (set in the style of a jig fugue.)” —His Voice (Good Shepherd Institute), September, 2010

“Fedak demonstrates once again why he is at the top of the list of composers for the church with this superbly written set of variations on PANGE LINGUA. Following a simple presentation of the cantus firmus, Fedak takes the melody through a series of colorful presentations. Most effective is the fourth variation in which the melody is covered over with triplet figuration against a backdrop of sustained dissonant harmony on the Swell strings. The partita closes with a toccata that is brilliant but not difficult. Easy to moderate in difficulty. Highly recommended.” —Cross Accent, Fall 2001

“These fine settings by Al Fedak (Meditation on Adoro te Devote, Divinum Mysterium, and Variations on Pange Lingua), all very improvisatory, are good music and easy to play. Adoro te begins with a canon between soprano and bass, over and under a two-chord ostinato; organum, a key change, etc. make it a practical and effective setting of this seminal chant. Though the writing is dreamy and meditative, a large instrument is not required.”–AAM Journal, September 2001

A Rejoicing. MorningStar MSM-10-979, $9. “Fedak’s work is very much in the style of the Lemmens Fanfare, a martial rhythmic motif combined with toccata figurations. Traditional harmonies make it listenable, and a talent for composition make it worth learning. This is a top-notch 21st-century organ work.” –The American Organist, August, 2008

“Alfred V. Fedak has done it again! This marvelous arranger and composer has presented us with a glorious piece acceptable for all occasions. A Rejoicing demands the use of full organ plus a trumpet section. Pedalwork keeps you on your heels and toes throughout. Go to the publisher’s website to hear the entire recording. –The MusicRoom, April 10, 2008

An Advent/Christmas Suite: “Encompasses a wide variety of styles with a harmonic idiom that will appeal to both musician and worshiper. Of special note are the exquisite setting of STILLE NACHT in a very expressive style and the effective toccata on GOD REST YOU MERRY. Highly recommended.”-Cross Accent, January, 1994

“The movements of this Advent/ Christmas Suite are colorful and idiomatic, each section displaying a unique and appealing style. This work should find wide use among organists anxious to expand their repertoire of service music for the Sundays around Christmas. Without excessive technical demands, they nonetheless present a refined style and spirit characteristic of the carols employed.” –Dr. John Walker, Shadyside Presbyterian Church, Pittsburgh, Penn.

“The more your reviewer sees of Fedak’s compositions, the more impressed he is with the high quality of his writing. These four pieces published by Selah support that impression. Each one is in a different style and runs the gamut of fairly easy (Divinum Mysterium) to difficult (Veni Creator Spiritus, which is a toccata). The most original and lovely is In Paradisum with double pedaling against strings, with the melody on an 8′ flute in the right hand. All four settings are worth your attention.” —The American Organist, January 2003

“[Fedak’s] setting of ‘Divinum Mysterium’ is easy to play and has a flowing multi-metered rhythmic flow, which keeps the plainsong style intact. This one is a must for Advent.” —Sacred Music News & Review, October 1998

‘”Flutes and a principal define the sound of [Fedak’s] setting of ‘Divinum mysterium’ (Selah 160-116). The tune is stated three times, the last in parallel triads in various inversions. This piece is simple but effective.” —The Hymn, January 1999

“Mr. Fedak sets this piece [Divinum Mysterium] as a gentle, three-stanza rendering of the plainchant. The slow-moving pedal part can be played on a single manual with divided stops. Not difficult.” —Pastoral Music, October-November, 1999

Festival Prelude on HYFRYDOL: “This familiar tune is treated here with refreshing harmonies and rhythmic interest. The piece opens and closes with brief passages of free writing, between which the hymn tune is presented in a clear and recognizable manner. The pedal line is quite accessible, mostly serving to provide harmonic support. Moderately difficult. Highly recommended.” –Cross Accent, January 1996

“Fedak effectively capitalizes on the dance-like character of the tune HYFRYDOL by introducing a lilting motif in the opening measures which gives the piece the feeling of a grand waltz. The first two phrases of the hymn tune appear as a solo line by turns in the tenor and soprano registers, while the second half of the melody is set as the soprano of a fuller texture. The left hand requires dexterity and agility to negotiate quick alternations between playing above and below the right hand, but technical demands in the pedal are minimal. The pedal part is primarily slow-moving and present for just half of the piece. A very appealing offering from Fedak, artistically presented on heavy stock by Selah.” –Diapason, July, 1997

A Collection of Hymns: “Many of the pieces in this collection were originally published in early volumes of The Organist’s Companion, edited by Wayne Leupold. Your reviewer was impressed with the consistently fine writing of these 19 hymn arrangements, every one of which is in a different style and worth using in worship. Many are very easy and others can be moderately difficult. This is a “must have” collection! Don’t miss it.” – The American Organist, January 2003

A Collection of Hymns for Organ (Warner Bros. DM9601) Mr. Fedak presents sixteen different hymn-tunes (some of them set as partitas) in addition to Incantations based on chants from the Synagogue, a Processional, and a Trumpet Processional. The writing, as usual, is effective; Mr. Fedak shows his style to best advantage in works such as the jaunty toccata on “Gelobt sei Gott” or the well-constructed variations on “Freu dich sehr.” Recommended. NPM Journal

“[Fedak’s] setting of ‘Veni Creator’ is a winner. When first opening this music, the organist may be dismayed by the appearance of the sweeping thirty-second notes. Upon a second look you’ll see that the improvisatory patterns are logical and sequential, falling nicely under the fingers. If your swell has rich and fiery reeds, this piece will be especially impressive on Pentecost Sunday.” –Sacred Music News & Review, October 1998

“With the approach of Pentecost later this spring, now is the time to consider some new organ literature for this important day in the church year. Fedak’s latest offering is a dramatic work that intersperses phrases of VENI CREATOR SPIRITUS with sweeping scalar passages that recall the sound of rushing wind. While the piece will sound impressive to the listener, the level of difficulty is easy to moderate: All of the figuration is repetitive and can be learned at the piano. The pedal cantus firmus requires minimal effort. Highly effective and highly recommended.” –Cross Accent, January 1999

“Alfred V. Fedak has created two new pieces based on plainsong melodies. ‘Improvisation on Veni Creator Spiritus’ (Selah 160-513) creates a ‘windy’ atmosphere with thirty-second notes in whole-tone scale fragments, presenting the tune in suspended moments in the pedal with sustained chords in the manuals on full organ.” –The Hymn, January 1999

“If you are looking for something flashy but easy for Pentecost, then you must check out this highly effective postlude (especially if you have a sizeable Swell division with reeds and mixtures to show off). Figuration in the manuals, punctuated by statements of VENI CREATOR SPIRITUS in the pedals, imitates the sound of rushing wind. With a minimal pedal part and figuration that isn’t too difficult, this also makes for an excellent piece for young organists (especially those with a solid piano background).” —Cross Accent, Spring 2002

“This piece [Improvisation on Veni Creator Spiritus], which is musically both the most advanced and the most interesting of Fedak’s chant pieces reviewed here, is from an oratorio by Mr. Fedak and the Rev’d Carl Daw, Jr. In form it reminds one of the early chorale elaborations of Bach (the most well known are those on Allein Gott and In dulci jubilo. . .) where there are virtuosic, cadenza-like manual passages between each phrase of the chorale. In this descendant of these pieces, quick rolling, whole-tone scale patterns (depicting, I presume, the winds of the Spirit or perhaps the tongues of fire) are interrupted by long held manual chords over each phrase of the tune in the pedal, which each time takes an unexpected turn at the end, sending it to an unexpected resolution. The piece is striking, but also exactly long enough–the back-and-forth between only two basic ideas gets old fast. As it is, it is effective, an excellent addition to the organ repertory for Pentecost.” —AAM Journal, September 2001

In paradisum: “I don’t have much opportunity to play for funerals or memorial services here at Trinity University, but I’m always looking for new material for those types of occasions when they arise. This lush setting of the well-known plainsong melody is first presented quietly, and then builds to a climax before dying away. It is moderate in difficulty due to the double-pedal part of the accompaniment and then becomes the second voice of canon against the cantus firmus in the right hand.” –Cross Accent, Spring 2002

“Based on the plainsong chant from the Roman Catholic Requiem Mass, this prelude [In paradisum] is a charming setting and a wonderful addition to an organist’s collection of music for funeral or memorial services. The first section presents the cantus firmus against an ostinato in the left hand and pedal in imitation of bells. This leads directly into a contrapuntal development of the theme that dissolves into a quiet closing. The piece will be accessible to most organists, but the double pedal in the first section will require some careful preparation; combination action (or registrants) are required for an effective ending of this evocative piece. Moderate diffculty. Highly recommended.” —Cross Accent, January 1997

“Though I am not familiar with many of Fedak’s organ pieces, this piece [In paradisum] is the most poetic and introspective piece of his that I recall seeing. It begins with a soliloquy on a flute stop, followed by the main part of the piece, a beautiful, quiet, slow-paced statement of the chant. After a louder, quasi-imitative section, there is a gradual reduction and slowing (with the last few bars perhaps borrowing a page from Messiaen, whose “Communion” from the Messe de la Pentecote ends in a somewhat similar texture), ending with the solo flute stop at the top of the keyboard. As is often the case, describing the piece in words makes it sound more complicated than it really is! None of it is difficult in either form or playing technique. A major new piece specifically for funerals and memorial services (or perhaps on Good Friday), which should be widely played.” —AAM Journal, February 1997

In paradisum: “Mr. Fedak’s pleasant little piece based on the famous Plainsong melody from the Requiem Mass would serve wonderfully at a funeral. Not difficult, but very effective.” –NPM Journal

Invocation and Dance: “One doesn’t often come across new works for organ and strings, and any new work in this genre should get our interest immediately. The score is inscribed with a quote from Psalm 30:11: “Thou hast turned my laments into dancing.” The first movement, “Invocation,” opens with a chant-like melody that is taken up by the strings and shared in dialogue. The somber mood of the “Invocation” is answered by the “Dance,” composed in variation form. Dance-like rhythms and changing meters prevail throughout the movement, with a challenging solo for the pedals alone. This would be a wonderful addition to spring concert repertoire in churches where string ensembles and timpani are available. Difficult. Recommended.” —Cross Accent, Fall 2001

A Lenten/Easter Suite: “Encompasses a wide variety of styles with a harmonic idiom that will appeal to both musician and worshiper. Of special note are the exquisite setting of KEDRON in a very expressive style and the effective toccata on VICTORY. Highly recommended.”-Cross Accent, 1/94

“Alfred V. Fedak’s ‘Variations on Beach Spring’ [is] a set of variations based on the tune from The Sacred Harp (1844). The music isn’t at all difficult except for a few passages in the final variation that will keep you practicing. Registrations were originally conceived for a nineteenth-century tracker, but can easily be adapted to almost any instrument. First is a ‘Festive Prelude,’ an energetic movement that solos out the tune in the tenor and soprano. Next is a presentation of the tune that could also be used as an independent alternate harmonization. The middle movement of the set is entitled ‘Chanty,’ a rather rugged short section. Fourth is ‘Ostinato,’ which involves the wedging down of a key for the entire movement. To conclude, the ‘Finale is a loose fugue/toccata, which moves to a brilliant ending.” – AAM Journal, September 2010

“Another set of variations by Fedak, Partita on ‘How Firm a Foundation,’ is based on the tune FOUNDATION. Of medium difficulty, this set of seven variations will aptly demonstrate an instrument’s colors. Registrations are simple enough and can be easily adapted. Particularly fun to play is the movement ‘Diversion,’ which has a whimsical flowing solo line played on a four-foot flute.” – AAM Journal, September 2010

“This set of variations [Partita on ‘How Firm a Foundation’] uses the early American hymn tune FOUNDATION and gives a variety of colors, keys, meters and textures. One could use this ‘as is’ or extract several of the variations. The writing is clean and clear with interesting registrations. The music is not difficult, save for a few spots in the final variation that will require more practice. One variation especially at which to look is the third, named Diversion. This is a wonderful, whimsical way to show off a beautiful 4′ flute.” —The Journal of the Association of Anglican Musicians, February/March 2008

Sonata for Worship: “Hot off the press, this new three-movement work provides excellent possibilities for both service music and teaching repertoire. The first movement, ‘Prelude,’ is somber in nature and constructed in ternary form (please note that the tempo indication ‘Agitato’ is missing from page 3, systmen 1, measure 4). Movement II, ‘Aria,’ pays homage to Bach as an imitation of his famous Arioso. This movement is written in trio texture and shows Fedak’s ability to compose a good melody with solid counterpoint to support it. The aria’s contemplative nature will make it usable for weddings. Movement III, Carillon, is a rollicking setting of the hymn tune, PSALM 42 (Freu Dich Sehr in Lutheran circles). The changing meter and challenging pedal passages will require some preparation, but the effort will be well spent. Easy to moderately difficult. Highly recommended.” –Cross Accent, January 1996

“Alfred V. Fedak continues to provide exciting compositions. From Selah Publishing Co. is his Sonata for Worship(160-844, $12). Made up of three movements, we find a Prelude, an Aria, and carillon. Only the final section is based on a hymn tune, in which we hear Bourgeois’ Psalm 42 (also called Freu Dich Sehr) in a festive and rhythmically driving setting. The movements are useful when spaced throughout the service or played as a unit. Great fun!” –The Hymn, Jan. 1996

Sonata for Worship: “The three movements are meant for prelude, offertory, and postlude. The first is Satie-like with slow disjunct chords, moving to a fast section, then returning to slow harmonic progressions, and building to a final resolution. The second is a beautiful ‘Aria’ in trio form, and the last is a ‘Carillon’ for organo pleno. Worth looking at and moderate in dfficulty.” –The American Organist, February 1997.

Sonata II for Worship: “This is a suite of four pieces corresponding to the moments in a festive service where voluntaries might be played. We have here a Processional, Offertory, Communion, and Recessional. The first movement is also suggested as a wedding processional, which could be a neat idea if a bride is really tired of Wagner and has heard Clarke one too many times. The third movement deserving mention is a setting of DEIRDRE. Here a wedge is set in a key on the celeste, and one plays away with hands and feet–a rather colorful movement. The last section is a toccata based on the tune ST. COLUMBA. The music is not terribly difficult to play, and registrations are general enough that they may be easily adapted to any instrument.” — AAM Journal, May/June 2008

Variations on a Ground: “This brooding, slow-moving Passacaglia builds steadily to a climax and then recedes to a quiet, unsettled ending. The piece is not at all difficult. The Passacaglia theme for this work is a rather short four measures, providing a fair amount of harmonic repetition.” —The Journal of the Association of Anglican Musicians, February/March 2008

Variations on BEACH SPRING: “Here is a setting of an early American hymn tune from the 1844 edition of The Sacred Harp. While not in current use in The Hymnal 1982 or Wonder, Love, and Praise, this tune evokes a sense that it is already known, and one can easily sing along. Commissioned by the Organ Historical Society for their 50th-annual convention, this set of variations works well on any size instrument. Individual variations could be extracted for use in a service or to show the colors of a particular instrument. Overall, the music is of medium difficulty.” —The Journal of the Association of Anglican Musicians, February/March 2008

“Two pieces by Alfred V. Fedak conclude this month’s reviews: ‘Triptych for Trumpet & Organ’ and ‘Epiphanies’. Triptych’ is a three-movement dialogue featuring a set of variations on a ground bass, a gentle setting of the hymn tune ROCHELLE or SEELENBRAUTIGAM, and a lively, dance-like finale. The music is not difficult and could be used as separate sections during a service. Separate parts are included for B-flat and C trumpet. The latter piece is a setting of three hymns for the season of Epiphany for oboe or trumpet and organ. The writing is very approachable and not too difficult, and would be suitable for young musicians. Hymns set here include THE WISE MEN, MORNING STAR, and PUER NOBIS. The final section includes some nice canonic ideas between the solo instrument and organ.” –AAM Journal, July/August 2010

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