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New: The Coronation March and Canto Popolare by Elgar transcribed by Brewer, two contrasting orchestral transcriptions by the great organ teacher. Festival Prelude Introducing a Choral Theme from Palestrina by Buck. Everybody knows this tune now, but Buck was the first in America to use it in an organ piece.

Recent: Concert Rondo by Hollins and Variations on Veni Creator by Ontko.

Coming: Alles Was Du Bist by Billy Nalle, Perky, a brand new theatre organ composition by Rosa Rio, and In Springtime and In Moonlight by Ralph Kinder,. and Meditation by Edith Lang.

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Reviews, Comments, and Feedback

Rhapsody In Blue: “‘Tremulants’ is never spelled in the singular; don't neglect this just because your Schlicker doesn't have second touch. This will certainly make the laymen at your next recital more tolerant of your fugues and chorale preludes.” —Rollin Smith, The American Organist, January 2008 (read the review)

“Thank you for the prompt service and the excellent quality of your product! I am very pleased with my copy of Lotus (especially the nice stiff paper and the informative cover essay). I look forward to investigating your other jazz organ titles.” —Pennsylvania, USA

“In 1974, Wyton improvised on “Lotus Blossom” during Communion at Duke Ellington’s funeral at St. John the Divine. Ellington’s sister later requested he transcribe the piece for organ. A lovely melody is stated three times in an unabashedly “pop” harmonization, reminding one of Jesse Crawford.” —Rollin Smith, The American Organist, November 2007 (read the review)

“This arrangement [of Lotus] is widely accessible to players with limited keyboard skills..” —Philip Clark, Choir & Organ, September 2007 (read the review)

Lotus “... is a sensible arrangement of a jazz classic ... with motion and purpose, and it fits well under fingers and feet..” —Francis O'Gorman, Organists’ Review, August 2007 (read the review)

“I like the arrangements. They are colourful and interesting. Thank you for publishing such fine material.” —Vienna, Austria

Rosa’s “arrangements are wonderful, falling easily under the hands, and her own composition, Dreaming, is drop-dead gorgeous.” —Maine, USA

“I'm really enjoying the purchases I've made; the reprinted music is great! Keep up the good work!” —Pennsylvania, USA

Lotus “would be an interesting and strong addition to the library of any organist bridging, as it does, so many different traditions of playing simultaneously in the same piece of music.” —Steven Ball, Theatre Organ, January 2008 (read the review)

In A Monastery Garden: “Organists then as much as now, are called upon frequently to speak either dialect of this same language—music for the pipe organ.” —Steven Ball, Theatre Organ, January 2008 (read the review)

Rosa’s “masterful arrangements originally published in the 1950s and the ’60s by one of the great theater organists is being included here because it contains two Christmas pieces you will find eiminently usable and because the whole volume makes a nice Christmas present either to yourself or to introduce a colleague to crossover organ repertoire. ” —Rollin Smith, The American Organist, January 2008 (read the review)

“This morning, I hardly could believe my eyes — the organ books (Rosa Rio) arrived in Switzerland. Five days from America to Switzerland... — SUPER! Not too easy and not too difficult to play for me — perfect. I have bookmarked your website and I will regularly look for new books (Theatre Organ or Hammond).” —Switzerland

“Perhaps the best part of all [of Rosa's] collections is that they give a little something for everyone, although they vary completely in their overal character.” Rosa's Dreaming “... is a work well worth performing and, it is important to note, a piece of organ literature composed specifically for the theatre organ.” —Steven Ball, Theatre Organ, January 2007 (read the review)

Christ the Life of All the Living “... is a useful addition to the repertoire, whether for recital, service or study.” —David Baker, The Organ, November 2006 (read the review)