Index and notes on performance.
Abridge
A flute or light diapason tone works well in this piece. Pay particular attantion to the phrasing of the slurred crotchet pairs and ensure that the rests get their full value.
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Anima Christi
This is marked 'Andante Cantabile', so aim for a gentle flowing pace. Locating the tune is left as an exercise for the player! Originally written for a small single manual instrument, this piece also works well played with pedals taking the bass part.
Bristol
Used for the Advent hymn 'Hark the glad sound', this piece needs to balance the legato line of the tune with a slightly more detached touch for the lower parts. As an alternative to the 'manualiter' version given, this piece could be played as a trio with tune played on a strong solo stop. Play all the other notes from the top stave with the left hand and use pedals for the bottom stave.
Caswall
This piece is in three sections to reflect the three verses of the hymn 'Jesus stand among us'. It can be used either as a complete piece or interspersed during the singing of the hymn. It is important that the basic tempo remains constant throughout.
Farley Castle
The suggested registration is for Diapasons (both Open and Stopped as in early english practice) along with the 4' Principal to add brightness. Maintain a modest pace throughout.
Gott des Himmels
Maintain a detached touch throughout. Be sure to observe the quaver rests and provide a clear articulation at the ends of the chorale lines (especially the end of bars 3 and 8).
Gott Will's Machen
A light detached 'brilliant' touch is needed for this piece. Keep good control of the speed to avoid the semiquavers running into each other.
Gwalchmai
This tune is best known for it's accociation with George Herbert's hymn 'King of Glory, King of Peace'. Care is needed with the exact placement of the ornaments. If a Nazard is not available for the solo line, then a light Open Diapason works well balanced against swell flutes.
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Horsley
Long associated with the passiontide hymn 'There is a green hill far away', this meditation requires a clear sounding flute stop for the solo to contrast with the accompning strings. The use of mild rubato is required to allow the piece to breathe at the cadences - in particular at the end of bar 27. If a slow tremulant is available on manual I, this could be added at the start of bar 31.
Laus Deo
A good pace is required here, but not so fast as to loose clarity in the left hand semiquaver passages.
Merton
Often used with the Advent hymn 'Hark! a herald voice is calling', Monk's tune has a real energy to it and this is picked up in the opening fanfare motif. The suggested registration of 8', 4' and 2' Principals could be suplemented with the Twelth or Mixture if available. Aim for a lively pace without sacrificing clarity.
Ravenshaw
Be sure to maintain a sense of four in a bar throughout this piece without hurrying the crotchets.
Rockingham
Often used for the Passiontide hymn 'When I survey the wondrous cross', the tune needs a relaxed tempo. Do maintain a good legato in the upper voice. The dotted quavers in bars 5, 7 etc. should be quite relaxed and not disturb the basic pulse of the music. Take care with the two against three figuration in bar 19.
Slane
Careful articulation is needed in this piece to show the canonical entries in the treble and bass lines. For the single pedal note at the end, either use an independent 8' register or simply couple the pedal to the manual flute.
St. Andrew
The unbeamed quavers in this piece reflect the tensions implicit in the words of 'Jesus calls us : o'er the tumult'. Contrast this with a more legato touch for the tune on manual II.
St. Peter
The careful use of rubato is important here to point out the discords and their resolution. Do not allow the descending quaver passages to rush.
Stuttgart
For this bright trio aim for a crisp detached touch in the right hand and pedal parts. The left hand has the tune so needs to be a more singing legato. Balance the registration carefully so that the solo reed doesn't overpower the other parts.
Winchester New
The suggested registration of the opening section of this piece is for Diapasons (both Open and Stopped as in early english practice). Try to avoid an extended break at the transition to the Allegro section. Use a piston, a manual change (or a friendly helper!) to effect the registration change and use the quavers to drive the tune forwards.
