A rich contrapuntal elaboration of the chorale melody; this is an Easter hymn. The piece is played on the diapason and principal.

A quiet and restrained elaboration of the chorale melody; the hymn was used before the sermon. The piece is played on the flute stop.

A romantic composer of very complicated music ("Reger never wrote one note where five would do" - Sandy Youngman) has harmonised the well-known hymn tune 'Now thank we all our God' in a simple way. The piece uses the full power of the pipe organ.

This early French composer has written a three-voice siciliano, which is played on the 8 foot Stopped Diapason (flute) and the 2 foot Fifteenth stops. The Fifteenth, which plays two octaves above the written notes, was added to the organ in place of a 4 foot Flute; this was both to add brilliance, and to get rid of a stop which went out of tune within days of the organ's being tuned.

The name of Léon Boëllmann is known to all organists above all because of his brilliant Toccata for the instrument, the final movement of a Suite gothique. Born in Alsace in 1862, he served as organist at the church of St. Vincent-de-Paul in Paris from 1881 until his early death in 1897. This piece is played on electronic stops.

Rheinberger is largely forgotten today, except by organists. He wrote a set of organ sonatas in all the keys. Some of them are turgid and uninspired, but this one in G major, nicknamed the Pastoral, is vigorous and lively. The whole sonata is based on the plainsong theme announced fortissimo on the pedals at the start and part way through the first movement.

The first movement is played on the Parish Church organ and the other two on the Mission Church instrument. The slow movement in E flat leaves the plainsong aside, but the lively 6/8 fugue subject of the finale is played in counterpoint with the plainsong melody, which also provides a peaceful interlude before the sonata comes to its grand conclusion.

Bermudo, a Franciscan who wrote books on musical theory and was a fine preacher and confessor lived from 1510 to 1560. This is a short contrapuntal setting of the traditional hymn to the Virgin Mary.