The publication of these two volumes marks a significant milestone: they conclude OUP’s invaluable series of hymn-based works for liturgical use. The project has been executed with exemplary care, accumulating considerably more than 300 pieces for the working liturgical player. Following previous volumes devoted to particular seasons and festivals, these final books contain settings of hymns (80 in all) which explore a range of non-seasonal theological themes – life and witness, prayer, praise, and so on.

One of the great strengths of this series has been pragmatism, a characteristic which continues here. The choice of hymns is typically thoughtful: the volume is compiled with an eye to both UK and American markets, which may mean some melodies are not in regular use in some churches (although there is no reason why the preludes based on these melodies cannot be played for their musical merit alone). The idiom of the hymns included tends – though not exclusively – towards the mainstream/traditional; there will be very sound reasoning behind that decision. A complete list of all the melodies set in every volume of the series is helpfully included.

Realistic parameters have been set when it comes to instrument type, while players are positively encouraged to consider adapting their interpretations (and the suggested registrations) to make a chosen prelude fit the prevailing liturgical context and/or the instrument available. Settings match the pitch at which each tune is most commonly sung, to facilitate seamless transition from hymn to organ music and vice versa. Technical demands are carefully calibrated; they never rise above the moderate, and although as one might expect there are occasionally trickier corners to negotiate, the approach to organ texture throughout is idiomatic and informed. There should be something here that most players feel able to tackle with a bit of preparation.

Many of the pieces are given a brief stylistic signifier to guide the player – March, Meditation, Fantasia, Scherzo and so on – and they range from one-page interludes to partitas and more discursive treatments. The liturgical brief remains to the fore, however, and the melodies, however treated, are never disguised in a way that should prevent recognition by an alert listener. Knowing glances towards some of the repertoire’s Greatest Hits – Widor and Bach/Gounod, for example – may well pique the interest of the congregation further.

The range of composers is again impressively broad, with a number of new names appearing in the list alongside more established figures; most, if not all are (or have been) church music professionals, but this is not a sin qua non for inclusion, which can only be a good thing. Compositional idiom is varied (within the limits of a clearly tonal language), and there is a judicious mix of ruminative, reflective chordal writing and more rigorous approaches to line and counterpoint.

As with any anthology, individual players will find some composers’ approaches more to their taste than others; but the editors could hardly have done a more diligent job of fulfilling their stated aims. Congratulations to them, their composing collaborators, and to OUP for seeing the project through to its conclusion.

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