Sonata In G For Organ by Thomas R. Schadl (Five Movements)

Written in G Minor, the first movement consists of changing meters and two themes. The first theme starts with the G minor scale that reaches to a perfect fifth above the tonic before descending to the home key. The second theme is related to the first one, but it begins with the perfect-fifth upward movement followed by its stepwise descent, and is written in a fugal manner. The latter half of the work is a toccata written in the style of the late 19th century and early 20th century French organ music; in that section, the pedal division states the main theme against the rapid 16th notes on the manuals in the key of G Major. Technical demands include a good sense of rhythm, a steady beat and a slight legato touch. This movement is suitable for recital and education uses; it may also be performed as a postlude in church services. I wish you the best in taking a look at this piece; so, enjoy it.

http://www.sheetmusicplus.com/title/20161570

The second movement is contemplative and mystical in nature. It employs the octatonic scale that consists of the alternating pattern of whole-step and half-step intervals. Composers such as Olivier Messiaen and Naji Hakim employ this scale in their compositions. The opening measures are somewhat reminiscent to Messiaen's last movement of the L'ascension where the chords are performed very slow with legato articulation. The first and the second themes are rhythmic transformations of both themes from the previous movement, making the sonata in a cyclical form. The piece requires careful phrasing of the melodic lines and appreciation of modern music. The second movement is suitable for devotional use, lenten and Easter-week seasons, and recital use. If you love to listen to Messiaen's organ works, then this piece is worth looking into. Enjoy it.

http://www.sheetmusicplus.com/title/20161572

The Scherzo explores a variety of sections that have their own character. The first section is written in a North German toccata style where the opening measures are treated in a canonic manner and played in a series of thirds and sixths against the main theme stated in the pedal division; this compositional approach is somewhat reminiscent of the organ compositions of Dietrich Buxtehude (Prelude and Fugue in G Minor BUXWV 149). The second section is contrapuntal in nature and depicts a humorous moment; that moment may depict a comedy show or a circus event at a fair. Following that section is the recurrence of the main theme of the first movement. The fourth section is quiet in sound intensity and is the most chromatically oriented than other parts. Following that is a fugue, derived from the main theme of the first movement, and a transitional passage leading back to the recurring main theme. The work concludes triumphantly in the key of G Major. The Scherzo requires attention to articulation, phrasing and timing. This work is suitable for educational and recital uses: it introduces organ students to major works of Buxtehude and Johann S. Bach and many more composers; organists of various expertise may play the work to lighten up the audience's mood after listening to more difficult organ works. Let this work bring pleasure into your hearts and the listeners'. Enjoy it. 

http://www.sheetmusicplus.com/title/20161578

This meditative piece may be suitable for recitals and for devotional use, especially for the Lenten and Good Friday services; it depicts sorrow and grief. The middle section, marked as Piu Mosso, has the recurring main theme in the first movement and is less sombre than the first section of this piece. It builds up speed and sound intensity as a relief from the dark sound of the earlier section, depicting one's longing for love and hope. After the climax has been reached, the pace and the tone colors diminish in intensity and restates the somber theme. The piece ends quietly with a B major chord. Adagio requires attention to phrasing and imaginative use of organ registration. Organ registration, stated at the beginning of this movement, is a suggestion; if the 8' stops sound a little dull, then one may use a light 4' flute stop to help bring out the melody. If you are looking for a work to play for a church service, why not take a look at it.

http://www.sheetmusicplus.com/title/20161584

The Finale starts with a fanfare passage followed by a toccata section that consists of the recurring main theme of the first movement. The toccata is written in the French late romantic style and uses the augmented triads extensively. For those of you who listen to Louis Vierne's organ symphonies and other organ works may like to explore this work. In the last few pages of this piece, the pedal and the soprano lines are treated canonically, using the cyclical theme, and slow toward the Maestoso where the fanfare makes its final statement. One might associate the opening and the closing statement of the fanfare with a biblical statement from the Book of Revelations: I Am Alpha and Omega. The composition of a work that uses cyclical themes dates back to many hundreds of years; composers such as Guillaume Machaut's Messe De Notre Dame (composed in the 14th century), Johann Sebastian Bach's Wachet Auf, Richard Wagner's Ring Cycle, and Louis Vierne's Sixth Organ Symphony employed cyclical themes to their compositions. This movement is suitable for recitals and for Easter Sunday Pageant. This work definitely brings the entire organ sonata to a triumphant conclusion. Enjoy it.

http://www.sheetmusicplus.com/title/20161589