Matthew Edwards

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"Immortal, invisible, God only wise" describes God's omnipresence and omniscience, with His hand present in all things on earth in all aspects of life. The four variations follow the four verses of text written by Walter Chalmers Smith (1824-1908) as found in the Hymnal 1982. I leave it to your artistic imagination to interpret how the melodies and harmonies of each variation paint the text.

Much like my Opus 2 (Partita "Vom Himmel hoch"), this set of variations was initially conceived as an improvisation. As such, some rubato should be employed in performance. Registration suggestions are indicated in the score though are by no means binding. To maintain the atmosphere of wonderment established by the first variation, the tempo of the final variation should not be too fast.

Op. 3 Variations on "St. Denio"

Organ Solo

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This accessible and flexible anthem is perfectly suited for any choir or solo vocalist at nearly at time of the church year. Two different sets of texts provide this flexibility while unison voicing affords flexibility for any size and any level of choir. Optional instrumental parts (S0.376805) are available for two treble instruments and basso continuo. A separate organ solo score (S0.376809) is also available.

Op. 4 O Heiliger Geist / O Jesulein Suss (Organ/Choral/Director Score)

Unison

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Optional instrumental parts for the choral score (S0.376801). Includes 1 treble instrument I part, 1 treble instrument II part, and 1 basso continuo part. Also suitable as an instrumental chamber piece.

Op. 4 O Heiliger Geist / O Jesulein Suss (Instrumental Parts)

Flexible Instrumentation Trio

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This accessible and flexible piece is perfectly suited for Christmas, Easter, Pentecost, Trinity Sunday, or General use. This setting was inspired by the chorale trio settings of Johann Sebastian Bach. Also available as a choral anthem (S0.376801) with keyboard and optional chamber instrumental (S0.376805) accompaniment.

Op. 4 O Heiliger Geist / O Jesulein Suss (Organ solo)

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"From Heaven above to Earth I come" is an poetic interpretation of Luke 2:8-18, when an angel comes to the shepherds to announce the good news of the birth of Jesus Christ. The three partita follow the Biblical story. An angel comes down (Partita I: Fantasia) bringing good news (Partita II: Fughette). A multitude of angels joins, singing "Gloria!" (Partita III: Canon). Finally, the angels leave and all who have heard the news are filled with wonder (last page).

Duration: 4:10.

Op. 2 Partita "Vom Himmel hoch"

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"Come, ye thankful people, come" was inspired by the Anglican choral style of David Willcocks and other English church composers. This is evident starting in the two introductory measures, which grow from a single note and immediately introduce the tune. The introductory harmonic language is reused throughout the first verse, which closes with a solo flute soaring above the final note. The solo flute continues its melody in tandem with the tune in the second verse. The third verse features a tenor melody on an English tuba stop while the upper accompanimental voices explore their own melody. After a brief transition to full organ, the final verse features the upper voices in a soaring descant, capitulating on an ascending scale to a high F.

The text foreshadows the message of the advent season ("Lord, quickly come with all thine angels") while the harmonic and musical drama with the descant paint the text and foreshadow the musical jubilation of Christmas. As an anthem, this setting is quick for a choir of any size to learn, while as a concertato it allows the music director, organist, or even pianist the flexibility to greatly enhance congregational song.

Op. 9 Come, ye thankful people, come

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This setting of the 23rd Psalm drew its initial inspiration from the John Rutter setting. Taking a cue from Psalm 23, this piece features an ABA form and subtle text painting throughout. In the A sections, the voice and right hand or oboe follow each other in canon while the left hand or harp undulate gently underneath as a meadow in the breeze. The B section starts out dissonantly apprehensive but soon rises to a place of comfort and confidence before bubbling out in joy. The instrumental coda echoes the phrase "The Lord is my shepherd" from the beginning as a final affirmation.

While originally scored for tenor, this piece may be sung by a bass, baritone, alto/mezzo, or soprano. Three different ranges are available for purchase to accommodate different vocal ranges. This piece will present a good challenge for vocalists of all abilities since it has a low tessitura but a high range on brief passages.

Op. 6 Psalm 23 (The Lord is My Shepherd) - High Voice

High Solo

Op. 6 Psalm 23 (The Lord is My Shepherd) - Medium Voice

Medium Solo

Op. 6 Psalm 23 (The Lord is My Shepherd) - Low Voice

Low Solo

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This piece inspired by the German Romantic style is perfect for organ recitals or as a postlude. It is the perfect selection to demonstrate a variety of registrations and the dynamic range of any pipe organ. As an organist, it will challenge your pedal technique. It will also show off the fun side of your performance personality.

Duration: 8:15.

Op. 1 Fantasia in C minor

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Keep the spirit of Christmas alive through Epiphany Sunday, with this arrangement of "We Three Kings," appropriate as a prelude or a postlude.

No. 6 We Three Kings

Organ Score

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