Table of Contents

Introduction ; Voluntary in D, 12 Voluntaries for the Organ or Harpsichord, No. 8 ; Voluntary in C major, 12 Voluntaries and Fugues for the Organ or Harpsichord, No. 2 ; Voluntary in G minor, Op. 8 No. 16 ; Voluntary in Eb major, 6 Voluntarys for the Organ, Pianoforte or Harpsichord, No. 1 ; Voluntary in C major, 9 Voluntaries for the Organ, Set 1 No. 1 ; Voluntary in G major, 12 Voluntarys for the Organ or Harpsichord, Book 2 No. 1 ; Voluntary in A minor, Op. 1 No. 5 ; Voluntary in D, Op. 4 No. 2 ; Voluntary in C major, 18 Voluntaries for the Organ, No. 1 ; Voluntary in G major, 12 Voluntarys for the Organ or Harpsichord, Book 2 No. 6 ; Voluntary in G minor, Op. 2 No. 8 ; Voluntary in C major, Op. 6 No. 1 ; Voluntary in Eb major, Op. 3 No. 4 ; Voluntary in D major, 12 Voluntaries and Fugues for the Organ or Harpsichord, No. 10 ; Concert Piece in B minor, 6 Concert Pieces, No. 4 ; Voluntary in C major, 10 Voluntaries for the Organ or Harpsichord, No. 6 ; Voluntary in Eb major, Op. 9 No. 4 ; Editorial Notes and Sources

About the Author

David Patrick was a pupil of and assistant to Harold Darke at St Michael's, Cornhill, London from 1959 to 1966, during which time he gave many recitals and was awarded a Fellowship of Trinity College, London. Since then he has firmly established himself as a recital organist, accompanist (organ, harpsichord, and piano), and conductor throughout the UK and Europe. He has also made several recordings of organ music. He founded and runs the music publishing company Fitzjohn Music Publications, which has an extensive catalogue of keyboard, vocal, and choral music, including many editions of 18th- and 19th-century organ music. He is also a choral director and adjudicator at numerous festivals and competitions in the UK and overseas.

Reviews

Ever heard any music by George Green, Jonas Blewitt, or Robert Broderip? No, neither had I until I thumbed through the volumes of this newly published anthology of English pieces . . . Don't be deceived by the comparatively simple (usually sight-readable) notes and light textures. Playing this repertoire well calls for careful articulation and a sense of period style. A good tracker touch would be particularly beneficial. As you would expect, OUP's layout and print clarity is excellent. Put these volumes alongside your Stanley and Handel volumes, and you will have an excellent collection of English voluntaries to choose from whenever your feet need a rest, and your listeners need a break from (your possibly limited?) 16' Pedal stops!
*Martin Setchell, Organz News Vol. 50*

The undertaking, which must have spanned many years, provides us with a feast of treasures . . . There are few weak moments in this magnum opus and I would urge all keyboard performers to obtain it upon publication . . . My congratulations to all concerned in this exciting and significant addition to the repertoire.
*Andrew Fletcher, Organists' Review, September 2013*

The books are graded. One problem with music of this genre is that often it looks easy to sight-read, but, for an authentic and accurate performance, even the simplest pieces need proper preparation; those here are no exception. The introduction to each volume is of great help. The pieces cover a wide range of composers, with some familiar names - Handel, Boyce, Hook, Dupuis for example - and others less familiar: Broderip, Garth, Burney, Linley, to name a few. Wherever you look, there is plenty that will please as voluntaries and in concert, and also that is ideal for filling up those uncertain gaps whilst waiting for a tardy bride. Beautifully produced as usual, this collection is a worthy addition to the many collections of 18th century English organ music published since C. H. Trevor's pioneering books.
*Trevor Webb, RSCM, October 14*