A Stanford Organ Album

2
A Stanford
Organ Album
SELECTED AND ARRANGED BY
JOHN SCOTT WHITELEY

A Stanford
for online perusal only
Organ Album
SELECTED AND ARRANGED BY JOHN SCOTT WHITELEY
A

3
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First published 2021
for online perusal only
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ISBN 978–0–19–352993–9
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Contents
Introduction
Notes on the pieces
The original organ compositions
Andante con moto: founded on an Irish Church Melody (St Columba)
Prelude on Tallis’s Canon
Allegro: on a theme of Orlando Gibbons (Song 22)
At Eventide
Andante tranquillo: on a theme of Orlando Gibbons (Song 34)
Te Deum laudamus: Fantasia
iv
vii
1
4
8
12
14
17
for online perusal only
The arrangements
A Concert Suite:
I. Prelude in D minor 28
II. Andante in E flat 31
III. Study in E flat minor 34
IV. Basso Ostinato in F sharp minor 40
V. Moderato maestoso e con moto in C 43
Three Sketches:
I. Lullaby 47
II. Scherzo 48
III. Gavotte 49
The Blue Bird: from Eight Part-Songs 50
A Soliloquy: from Night Thoughts for Piano 52
Saraband: from Act 1 of the opera Much Ado about Nothing 56
Allegro con fuoco (A Song of Battle) 58

Introduction
This volume presents a broader overview of the music of Charles Villiers Stanford than an album devoted solely to
his organ compositions would have allowed. With so many of his organ pieces still in print and readily available,
the opportunity has been taken here to create new arrangements for the instrument of little-known orchestral,
choral, and piano pieces and to present these alongside some carefully selected organ works. Stanford composed
prolifically, and his output contains many fine pieces. He wrote for a wide range of abilities, and this is reflected in
this collection, which provides a Gradus ad Parnassum, a progression that leads from beginners’ pieces to virtuoso
recital works.
Stanford’s acceptance of organ arrangements of orchestral music is demonstrated not only by his own arrangement
of the Installation March, Op. 108, but also by his recital programmes at Trinity College, Cambridge. That which
survives from 24 May 1872 was made up entirely of arrangements of music by Mendelssohn, Beethoven, Chopin,
Weber, Schumann, and Rinck. This kind of programme was indeed the norm of the day. 1 Stanford also made
organ arrangements of some of his own piano pieces, including In modo dorico, Op. 132. Conversely, he arranged
organ compositions for the piano, notably two of the fugues of the Three Preludes and Fugues, Op. 193. This tradition
of creating practical arrangements for new instruments and giving works new life was typical of Stanford’s time
and is celebrated in this volume.
for online perusal only
This collection also acknowledges Stanford’s long association with the organ, and his life as an organist-composer.
On going up to Queens’ College, Cambridge, as organ scholar in 1870, Stanford wrote:
I had entered for a [classical] scholarship at Trinity Hall. I did not succeed in winning it but
Alfred Pretor, one of my examiners, was an enthusiastic musical amateur who pioneered me
into all the organ-lofts. ... An organist scholarship, one of the first founded at the University, was
vacant at [Queens’] College. To this ... with a classical scholarship ... I was subsequently elected. 2
In Dublin, where Stanford grew up, he was taught by the organist of St Patrick’s Cathedral, Robert Prescott
Stewart (1825–94), a fine performer who had gained a reputation for his playing of French music and orchestral
arrangements. At Cambridge, Stanford’s organ-playing talents led to his being asked to participate in the 1872
recitals at Trinity College following the rebuilding of the organ there. The direct consequence of this was that
when John Larkin Hopkins, 3 organist of Trinity, became ill, Stanford moved from Queens’ to Trinity to become
assistant organist to Hopkins’s locum tenens and Fellow of Trinity, Gerard Cobb. In 1873 Hopkins died, and, having
completed his degree, Stanford accepted the post of organist for a period of two years. It was only in 1877 that
this post was made permanent. 4
Stanford finally left Trinity in 1892. Professorships in London and Cambridge and a renewed involvement with
opera more or less forced him to do so. His organ-playing career then essentially ceased, and his organ compositions
were the result of his associations with publishers. Prominent among these was Stainer & Bell, which was founded
in 1907. Others included Boosey, Augener, Schirmer, and Winthrop Rogers.
There can be little doubt that the organs that were formative for Stanford were those of St Patrick’s Cathedral,
Dublin, and Trinity College, Cambridge. Their specifications afford us the opportunity to see why Stanford chose
to indicate registration as he did. It also becomes possible to assess how not only the tone colours, but also
the restrictions that arise from the console layouts and controls might be taken into account when performing
Stanford’s music on the instruments of today. The organ of St Patrick’s, as Stanford would have known it after
1865, was as follows: 5 iv

St Patrick’s Cathedral, Dublin
Bevington 1865. C–f 1 –g 3
Great Organ
Double Bass / Diapason 16
Bourdon16
Open Diapason No. 1 * 8
Open Diapason No. 2 8
Stopped Diapason 8
Gamba8
Claribel8
Principal4
SexquialteraIII-IV
MixtureII
Sharp Mixture
III-IV
Swell to Great
Great to Pedal
Swell to Pedal
Choir to Pedal
Swell Organ (enclosed)
Bourdon / Double Diapason 16
Open Diapason 8
Stopped Diapason 8
Salicional8
Principal4
Flute4
MixtureIII-IV
SexquialteraIII-IV
Double Trumpet 16
Cornopean8
Oboe8
Clarion4
Tremulant
7 Composition Pedals
Choir Organ
Open Diapason 8
Stopt Diapason * 8
Dulciana8
Viol di Gamba 8
Principal4
Wald Flute * 4
Claribel Flute 4
Piccolo2
Bassoon16
Clarionet8
Pedal Organ
Double Diapason 16
Violone * 16
Unison [sic]8
for online perusal only
* Surviving in part from Renatus Harris 1695
Stanford’s acquaintance with the Trinity organ began after its rebuild in 1872, but he himself was responsible
for the alterations made at the end of the 1880s, which included the conversion to tubular pneumatic action.
Specifications of this organ are quoted somewhat differently in different sources, but the following is according
to the programme of the Trinity organ recitals in Easter Term 1890: 6
v

Trinity College Chapel, Cambridge
William Hill 1889–90. C–f 1 –g 3
Great Organ
Double Open Diapason 16
Bourdon * 16
Open Diapason No. 1 8
Open Diapason No. 2 8
Open Diapason No. 3 * 8
Spitz Flute * 8
Stopped Diapason 8
Pierced Gamba 8
Salicional8
Dulciana * 8
Quint51/3
Principal4
Wald Flute 4
Harmonic Flute 4
Twelfth22/3
Fifteenth2
MixtureIII
Trumpet8
Clarion4
11 couplers, 2 tremulants,
14 composition ‘studs’,
5 composition pedals
Swell Organ (enclosed)
Double Diapason 16
Open Diapason 8
Stopped Diapason 8
Cone Gamba 8
Salicional8
Principal4
Suabe Flute 4
Fifteenth2
MixtureIII
Double Trumpet 16
Trumpet8
Cornopean8
Oboe8
Clarion4
Solo Organ (§ enclosed)
Harmonic Flute 8
Dulcet § 8
Vox Angelica § 8
Lieblich Flute § 4
Piccolo2
Bassoon § 16
Orchestral Oboe § 8
Vox Humana § 8
Tuba8
Choir Organ
Double Dulciana 16
Open Diapason No. 1 8
Open Diapason No. 2 8
Stopped Diapason 8
Clarabella8
Dulciana8
Viol di Gamba 8
Doppel Flute * 8
Dolce *† 8
Principal4
Flute4
Harmonic Gemshorn * 2
Cor Anglais (free reed ‡) * 16
Clarinet8
Pedal Organ
Double Open Diapason * 32
Open Diapason (Metal) 16
Open Diapason (Wood) 16
Bourdon16
Violone16
Violoncello * 8
Flute8
Fifteenth4
MixtureIII
Trombone16
Clarion8
for online perusal only
* New stop, 1890
† Made by Schulze
‡ Made by Cavaillé-Coll
vi

The original organ compositions
Notes on the pieces
For the Op. 88, 101, and 105 pieces, the first editions have been compared with Stanford’s autographs (A) in the
Stanford Archive of the Philip Robinson Library of Newcastle University (GB-NEul). Differences are noted below.
The autographs of the remaining pieces are lost. References are to bar numbers. RH = right hand; LH = left hand.
Andante con moto: founded on an Irish Church Melody (St Columba)
The ‘St Columba’ hymn tune is usually sung to ‘The King of Love’. This Irish melody was one of those collected
by George Petrie (1789–1866) and was included in Stanford’s Complete Collection of Irish Music edited from Petrie in
1902–5. Although it is seemingly a service prelude, Stanford explained that during the 1870s at Trinity College it
was the custom to play an organ solo as a prelude to the anthem. 9 It is perfectly possible that hymn preludes of
this nature would have been selected on appropriate occasions.
for online perusal only
Autograph (April 1907): GB-NEul, CVS/MS36.
First edition: Stainer & Bell, London, 1907.
Prelude on Tallis’s Canon
The above title appears on the manuscript and is not as given in the first editions: ‘Prelude in the Form of a Tallis’s Canon’.
The latter makes little sense considering that Stanford quotes the entire Tallis’s Canon hymn tune in the pedal
part.
Many alto-voice slurs are omitted in Stanford’s autograph, but these were presumably added at proof stage. Several
slurs present in A but not in the first edition are here added without comment.
Autograph (22 June 1903): GB-NEul, CVS/MS26.
First edition: The Vocalist Company Ltd, London, 1905.
6 The crescendo mark ends in this bar in A, not in bar 5.
9 Beats 2–3: e-s tied in A.
19 LH slur as in A.
23 RH As shown by the small flat signs, it has been suggested that g flats are appropriate in
this bar. This is likely although A does not indicate it.
45 The instruction + Sw./Gt. above beat 3 appears in A as Couple Sw.
51 RH, beat 3: b¹- is given as two quavers in A, but the figuration of bar 50 is here
maintained.
vii

Allegro: on a theme of Orlando Gibbons (Song 22)
Gibbons’s ‘Song 22’ has been sung to Robert Seymour Bridges’s translation of the twelfth-century ‘Amor et filii’
at least since its appearance in the Yattendon Hymnal of 1899. The exalted nature of the music is commensurate
with not the first verse (‘Love of the Father’), but in fact the last:
Eternal glory, all men thee adore,
Who art and shalt be worshipped evermore:
Us whom thou madest, comfort with thy might,
And lead us to enjoy thy heavenly light.
Autograph (February 1908): GB-NEul, CVS/MS39.
First edition: Stainer & Bell, London, 1908.
1 a is the time signature in A. The Stainer & Bell edition has A.
12 LH, beat 4: Stainer & Bell has the chord as c and f+; A has a and f+.
27 Beats 1–2: Stainer & Bell has b–g; A has g–e.
36 Beat 2: M Ch. in A. Stainer & Bell omits Ch.
62, 67 Staccato dots according to A.
88–9 LH slur in Stainer & Bell is a misprint.
90 A and all known editions have a breve with a fermata.
for online perusal only
At Eventide
The autograph is lost; this edition relies on the Stainer & Bell edition.
This is from Six Occasional Preludes, Op. 182, which were published posthumously.
First edition: Stainer & Bell, London, 1930.
11 The pedal slur begins a note later in Stainer & Bell. It is here adjusted to match bar 54.
21 Beats 1–2: slur ends on b¹-. It is here adjusted to a¹-, a crotchet later.
28 Alto voice, beat 1: the first minim is e¹ in Stainer & Bell. Given here as f¹.
38 In Stainer & Bell the soprano voice is not tied into the next bar.
Andante tranquillo: on a theme of Orlando Gibbons (Song 34)
Known as ‘The Angels’ Song’, the music reflects the last verse of Charles Wesley’s ‘Forth in thy name, O Lord, I go’,
which Stanford apparently had in mind:
For thee delightfully employ
Whate’er thy bounteous grace hath given,
And run my course with even joy,
And closely walk with thee to heaven.
Autograph (February 1908): GB-NEul, CVS/MS39.
First edition: Stainer & Bell, London, 1908.
14 LH, beat 1: in A the quavers are c¹–f instead of d¹–c¹. This creates consecutives and is not
adopted here.
viii

Te Deum laudamus: Fantasia
The autograph is lost; this edition relies on the Schirmer 1910 edition.
Hudson gives c.1909 as the date of composition. 7 The founding of this work on the theme of Stanford’s own wellknown
Te Deum in B flat suggests a liturgical purpose, while its breadth may invite concert performance also.
Although the score is marked ‘Full Swell’ in two places, Stanford’s own remarks about this registration are worth
noting: ‘there is no organ effect more impressive than the full swell, but none more conducive to monotony if it is
used in excess. ... The full swell is a fascinating sound ... but if one is to get full value for its effect, it must be used
as a contrast only, and a rare contrast too.’ 8
The suggested metronome mark is taken from the Novello edition of the Te Deum in B flat, which contains the
introduction added by Stanford for the 1902 Coronation. The double-pedalling in bars 228–31 is editorial. (N.B.
Stanford is known to have played the notes of the main theme of the Magnificat in B flat where they fit above its
final Amen, on a solo Tuba.)
for online perusal only
First edition: G. Schirmer, New York, 1910.
105 In Schirmer the RH slur ends on the d¹. This is here extended to the e¹-, the final note of the bar.
126 LH, beat 1: Schirmer has the first quaver an e¹-. This is clearly a misprint for e¹=.
184 RH stave, lower voice, beat 2: the final quaver is e¹- in Schirmer. This has been taken as a misprint and
has been adjusted to d¹ in accordance with the same sequence in bar 100.
The arrangements
A Concert Suite: Prelude, Andante, Study, Basso Ostinato, Moderato maestoso e con moto
Although this is by no means always the case, it might be argued that several of Stanford’s piano pieces consist of
organ music adapted for the piano. In these instances arrangements for the organ fall naturally into place. Five
such pieces have been taken from the two cycles of Twenty-Four Preludes in All the Keys for Piano and put together in
the sequence published here. The order may be changed if desired, or pieces played singly or in smaller groups.
Three Sketches
Towards the end of his life, Stanford produced several books of beginners’ piano pieces. The making of the group
here, Lullaby—Scherzo—Gavotte, corresponds to Stanford’s bidding with the second and third of the first set of
Six Preludes and Postludes, Op. 101. On the autograph of these Stanford states: ‘No. 2 [G minor] may be played as a
Trio to No. 3 [Allegro non troppo in E flat], repeating No. 2 at the close.’ By ‘Trio’ Stanford means a triptych, so
here the principle might be extended: if a four-movement suite is desired any order of the pieces may be adopted,
repeating at the end whichever one has been played first.
The Blue Bird: from Eight Part-Songs
This has been described as Stanford’s part-song masterpiece. 10 Gerard Cobb’s remarks on the Trinity College organ
as rebuilt in 1890 (see the specification above) are appropriate to arrangements which rely on a range of contrasted
unison stops: ‘for richness of diapason tone, and for the inexhaustible variety of quieter effects, I venture to doubt
whether any organ yet built will be found to beat it.’ 11
ix

A Soliloquy: from Night Thoughts for Piano
The set of six pieces that Stanford entitled Night Thoughts for Piano was written at the end of World War I. Like the
Song of Agincourt, the Sonata Eroïca, and the orchestral Verdun: Solemn March and Heroic Epilogue the pieces constitute
an In Memoriam, notably in the Nocturne, the Scherzo marziale, A Soliloquy, and the final Lament. A Soliloquy takes the
form of an epitaph.
Saraband: from Act 1 of the opera Much Ado about Nothing
Stanford’s Studies and Memories 12 begins with long discussions entitled ‘The Case for National Opera’ and ‘The
Wagner Bubble’. His period in Germany had heightened his awareness, and Much Ado, composed in 1900, was his
eighth opera. Jeremy Dibble states that in Much Ado about Nothing Stanford ‘came closer to achieving ... a more fully
integrated technique of representative themes, the quality of which is consistently high’. 13 This is borne out in
the interludes also, including this Saraband, which is the instrumental courtly dance from Act I in honour of Don
Pedro, Prince of Aragon.
for online perusal only
Allegro con fuoco (A Song of Battle)
‘The opening thematic idea recalls similar thematic material from the finale of the Fifth Symphony and the
Prelude No. 6 of Opus 105.’ 14 This is Jeremy Dibble’s comment on a composition that is among Stanford’s finest
Allegro movements. A Song of Battle is a setting of Psalm 124, ‘If the Lord himself had not been on our side’. It is
a vigorous song of triumph, in which the music is so strong that it can stand perfectly well as a solo organ work
in its own right. The shift to the major key (bar 67) for ‘Blessed be the Lord’ and the continuation at ‘Our soul is
escaped, even as a bird’ (bar 73) give rise to one of the most elated transformation passages in Stanford’s output.
Editorial material is shown with dotted ties and slurs, small notes, italic type, or square brackets. Where phrase
marks and slurs span the same phrase in both hands, the mark for the LH is usually omitted. According to the
practice of Stanford and his generation, pedal dynamics in this edition follow those of the manual parts unless
shown otherwise.
JOHN SCOTT WHITELEY
York
January 2021
1
Jeremy Dibble, ‘Stanford and the Organ Recitals at Trinity College, Cambridge, 1872–90: A Documentary Study’,
BIOS Journal, 18 (1994), 158 ff.
2
Charles Villiers Stanford, Pages from an Unwritten Diary (London, 1914), 105–6.
3
Cousin of E. J. Hopkins, organist of the Temple Church.
4
Jeremy Dibble, Charles Villiers Stanford: Man and Musician (Oxford, 2002), 88.
5
Given in Alexander Leeper, An Historical Handbook ... of St. Patrick[’s] Cathedral, Dublin (3rd edn, Dublin, 1891), 41–2.
6
Transcribed in the Frederick Hudson Catalogue of the Stanford Archive in the Philip Robinson Library, Newcastle
University.
7
Transcribed in the Frederick Hudson Catalogue.
8
Charles Villiers Stanford, Musical Composition: A Short Treatise for Students (London, 1911), 171, 109.
9
Stanford, Pages from an Unwritten Diary, 123.
10
Dibble, Charles Villiers Stanford, 396. The piece is a setting of Mary Coleridge’s L’oiseau bleu.
11
Dibble, ‘Stanford and the Organ Recitals at Trinity College, Cambridge, 1872–90’, 166–7.
12
Charles Villiers Stanford, Studies and Memories (London, 1908).
13
Dibble, Charles Villiers Stanford, 336.
14
Ibid., 392.
x

Andante con moto
Andante con moto
founded on founded an Irish on an Church Irish Church Melody Melody (St Columba)
(St Columba)
CHARLES VILLIERS STANFORD
Op. 101 No. 6
Andante con moto [ = 80]
Ch.
6
Sw. Ch.
for online perusal only
12
Sw.
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2
18
Ch.
24
Sw.
for online perusal only
29
Ch.

3
35
Sw.
41
Sw.
Ch.
for online perusal only
48

4
Prelude on Tallis’s Canon
Prelude on Tallis’s Canon
CHARLES VILLIERS STANFORD
Op. 88 No. 6
Lento espressivo [ = 60]
Sw.
for online perusal only
5
Gt.
9
13
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17
5
21
Sw.
for online perusal only
25
29

6
33
37
Gt.
41
for online perusal only
45

7
49
53
57
for online perusal only
62
Sw.

8
Allegro
Allegro: on a theme of Orlando Gibbons
on a theme of Orlando Gibbons (Song 22)
Song 22
CHARLES VILLIERS STANFORD
Op. 105 No. 2
Allegro [ = 69]
Gt.
7
for online perusal only
13
Ch.
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9
19
24
Gt. cresc.
30
for online perusal only
36
Ch.

10
42
+ Sw. to Gt.
cresc.
47
for online perusal only
53
59
Tuba
+ Ped. Reed

65
Gt.
11
71
for online perusal only
77
Full Organ
84

12
At Eventide
At Eventide
CHARLES VILLIERS STANFORD
Op. 182 No. 6
Adagio [ = 66]
8
16
for online perusal only
22
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28
[ ]
13
35
42
for online perusal only
49

14
Stanford’s registration:
Sw.: p with soft Reed
Gt.: p (uncoupled)
Ped.: soft 16', Gt. to Ped.
Andante tranquillo
Andante tranquillo: on a theme of Orlando Gibbons
on a theme of Orlando Gibbons (Song 34)
Song 34 (The Angels’ Song)
CHARLES VILLIERS STANFORD
Op. 105 No. 1
Andante tranquillo [ = 60]
Gt.
4
for online perusal only
8
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15
12
for online perusal only
16
+ Sw. to Gt.
cresc.
20

16
24
dim.
28
for online perusal only
32
36
Sw.

Te Deum laudamus
Te Deum Laudamus
Fantasia
Fantasia
17
CHARLES VILLIERS STANFORD
Op. 116 No. 1
Andante maestoso [ = 80]
[Tuba]
[Gt.]
8
[Gt.]
Allegro moderato [ = 80]
for online perusal only
15
17
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18
19
[ poco rall.] Andante maestoso [ = 80]
23
Sw.
Full
Gt.
Gt.
for online perusal only
30
+ Sw. to Gt.
+ Reed 16'
cresc.
38

44
Gt.
Andante tranquillo [ = 78]
19
50
for online perusal only
55
60

20
65
Sw.
70
Gt.
Sw.
for online perusal only
75
Gt.
81
poco rall.
Sw.

86
Gt.
a tempo
21
91
+ Sw. to Gt.
cresc.
for online perusal only
96
101
dim.

22
106
[ poco meno mosso] rall.
=
112 [ma più mosso = 88]
116
for online perusal only
più
120
poco a poco accel.

23
124
Allegro [ = 96]
128
for online perusal only
134
dim.
rall.
140
Andante
Sw.
Sw.

24
145
150
for online perusal only
155
Ch.
160
Sw.

poco rall.
165
25
+ Sw. to Gt.
a tempo
170
Gt.
for online perusal only
175
180
cresc.

26
185
191
for online perusal only
198
Andante maestoso [ = 80]
Sw. Full Gt.
204
Gt.
cresc.

211
+ Sw. to Gt.
cresc.
27
218
+ Reed [16']
for online perusal only
225
[Tuba to Ped.]
231
[Allargando]

28
A Concert Suite
A Concert Suite
I
I. Prelude in D minor
CHARLES VILLIERS STANFORD
arr. John Scott Whiteley
Op. 163 No. 6
Larghetto
[ = 69]
II
6
cresc.
for online perusal only
12
+ 16' ad lib.
I
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17
- 16'
29
23
I II
I II
for online perusal only
28
cresc.
poco accel.
rall.
a tempo

30
33
cresc.
I
39
for online perusal only
45
[rall.]
II

II
Andante
in E flat
II. Andante in E flat
31
Op. 179 No. 31
Andante largamente [ = 88]
II
4
8
for online perusal only
12
I
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32
16
20
dim.
for online perusal only
+ 16'
24
28

32
+ Reed
33
(+ 32' ad lib.)
37
II
Come prima
41
I
II
II
for online perusal only
45
rall.

34
I: 4', 2' only (unenclosed)
II: Flute 8', 4' (enclosed)
Ped.: 16', 8'
Allegro [ = 72]
III. Study in E flat minor
III
Study
in E flat minor
Op. 163 No. 8
legato
II
I
4
for online perusal only
7
10
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13
35
16
for online perusal only
19
+ 4'
22

36
25
28
for online perusal only
31
34

37
37
40
for online perusal only
43
poco rall.
46
a tempo

38
49
52
II
for online perusal only
55
58
I
I 8', 4'

61
39
64
for online perusal only
67
70
II
+ II to Ped.

40
Larghetto [ = 69 –72]
II
IV
Basso Ostinato
in F sharp Minor
IV. Basso Ostinato in F sharp minor
Op. 179 No. 38
for online perusal only
5
I
cresc.
10
I
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41
15
III
Ped. 8' only
20
for online perusal only
25
+16'
II+III cresc. I+II
30
sim.
cresc.
+16's

42
35
I
dim.
II
40
rall.
a tempo
for online perusal only
46
51
III
(+ 32' ad lib.)

I+II: 16', 8', 4', 2' + Reeds (box closed)
Ped.: 16', 8', 4'
V
Moderato maestoso e con moto
in C
V. Moderato maestoso e con moto in C
43
Op. 163 No. 1
I
[Moderato maestoso e con moto (marcato) = 84]
+ Full Sw.
6
for online perusal only
12
dim.
- 16's
© Oxford University Press 2021. Photocopying this copyright material is ILLEGAL.

44
18
24
II
Solo
29
for online perusal only
II
I + 16'
34 Solo
cresc.
I

39
cresc. poco a poco
45
45
Add
Add
51
for online perusal only
56

46
61
II
for online perusal only
67
Full Sw.
I []
73
cresc. [ ]
Tutti
Tuba ad lib.

Andante [ = 63]
I
II
Three Sketches
Three Sketches
I
Lullaby
I. Lullaby
47
CHARLES VILLIERS STANFORD
arr. John Scott Whiteley
for online perusal only
6
II
11
I
II
17
II
© Oxford University Press 2021. Photocopying this copyright material is ILLEGAL.

48
II
II. Scherzo
Allegro [ = 58]
I
II
I
Ped: 16' ad lib., Sw. to Ped.
for online perusal only
9
17
II
I
25
II
II

III
III. Gavotte Gavotte
49
Allegretto [ = c.132]
I
II
for online perusal only
6
III
12
II
I
II
III
17

50
III
Larghetto tranquillo [ = 66]
legatissimo
The Blue Bird
from The Eight Blue Part-Songs Bird
CHARLES VILLIERS STANFORD
Op. 119 No. 3
arr. John Scott Whiteley
Solo
m.g.
for online perusal only
Ped. 16'
7
m.g.
Solo
13
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Solo
19
II
m.g.
51
26
m.g.
Solo
for online perusal only
32
38
Solo
più lento
III
m.g.
III
(+ 32' ad lib.)

52
Larghetto molto tranquillo [ = 69]
I
II
A Soliloquy
from Night A Thoughts Soliloquy for Piano
CHARLES VILLIERS STANFORD
Op. 148 No. 4
arr. John Scott Whiteley
6
cresc.
11
I
for online perusal only
II
16
dim.
© Oxford University Press 2021. Photocopying this copyright material is ILLEGAL.

22
53
26
I meno
for online perusal only
30
34
poco a poco cresc.
II
II

54
38
I
42
45
for online perusal only
48

51
55
54
II
for online perusal only
60
Solo
marcato
65
(+32')

56
I: 8', 4'
II: 8', 4'
Ped.: 16', 8', I to Ped.
Saraband
Saraband
from Act I of the opera Much ado about nothing
CHARLES VILLIERS STANFORD
Op. 76a
arr. John Scott Whiteley
from Act I of the opera Much Ado about Nothing
Andante maestoso e pesante [ = 66–69]
I
7
13
for online perusal only
8' only, I to Ped.
+ 16'
19
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24
57
30
II
for online perusal only
36
I
41
I
rall.

58
Allegro con fuoco [ = 148]
I
Allegro con fuoco
(A Allegro Song con of Battle) fuoco
CHARLES VILLIERS STANFORD
Op. 113 No. 5
arr. John Scott Whiteley
7
14
21
+ Full Sw.
for online perusal only
© Oxford University Press 2021. Photocopying this copyright material is ILLEGAL.

27
Solo
Reeds 8', 4'
59
33
39
for online perusal only
- Full Sw.
45

60
50
più
55
poco slentando
for online perusal only
60
a tempo
più
66
[Allargando]
Tuba

72
[a tempo]
61
77
82
for online perusal only
87
molto
Tuba

62
93
Full organ
101
108
rall.
for online perusal only
115
a tempo
Tuba

This superb volume comprises a selection of 20 pieces by Charles Villiers
Stanford, the hugely influential composer, conductor, and teacher from the
late-Victorian and Edwardian age. It provides the repertoire-hungry organist
with preludes, postludes, and shorter descriptive works, suitable for either
liturgical or recital use. Alongside new editions of original organ repertoire,
there are newly commissioned arrangements of selected choral and piano
works, exploring a wide variety of textures and atmospheres. The music
reflects Stanford’s lyricism and dramatic flair, as well as his considerable
compositional range.
John Scott Whiteley is Organist Emeritus of York Minster. As a soloist he
has performed all over the world, and he is known for introducing the organ to
a wider public through the BBC television series 21st-Century Bach. He has
also made seven DVDs and over fifty commercial recordings. In addition to
performing, his time is spent examining, transcribing, composing, and writing.
He is a Visiting Research Fellow at the University of Huddersfield, where
he was recently awarded a DMus by examination. He is also the Academic
Adviser to the Orgelbüchlein project and a Liveryman of The Worshipful
Company of Musicians.
OXFORD ORGAN ANTHOLOGIES INCLUDE:
A Bach Organ Album
A Finzi Organ Album
A Grieg Organ Album
A Jongen Organ Album
A Leighton Organ Album
A Mathias Organ Album
A Purcell Organ Album
A Saint-Saëns Organ Album
A Vaughan Williams Organ Album
A Walton Organ Album
A Verdi Organ Album
Cover image: Manchester Cathedral, UK
Alberto Manuel Urosa Toledano/Moment/Getty Images
ISBN 978-0-19-352993-9
9 780193 529939