Featured Works

The creative team at Firehead Editions are pleased to offer specific works that we feel are distinctive, artistic, and visionary. You will find them singled out on this page for special attention. A variety of works composed by outstanding artists who are not otherwise represented in our house catalogue, we feel this music deserves a broader audience. Atop this page is the current work with which we hope that you will take a moment to acquaint yourself. Click on the composer’s name to learn more about their work and accomplishments and click on Download to review sample pages and hear recordings where available.

The art of writing new music for organ continues apace, proof positive is just below!


Luiz Henrique Yudo originally scored Amazônia for string quartet in 1993. Throughout the whole piece we hear only a single rhythmic figure of an 8th note being consistently repeated and combined in different patterns. Michael Bonaventure adapted this composition for organ in 2013 and performed the world premiere in 2014 at St. Peter’s Episcopal Church in Edinburgh, UK. This work, minimal and compelling, is a vibrant ode to the Amazon forest, to its very last tree.

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Previously featured works

Diptych for the Baptism of our Lord

Two substantial pieces by Joel Peters was composed for the Lutheran Eucharistic Liturgy devoted to the Baptism of our Lord.

The undulating eighths and triplets in the River Jordan convey the flowing waters of the river where Christ was baptized by John the Baptist. The continual change of the time signature and the variation of figures mimics the river’s widening and narrowing twists and turns.

The Voice of the Lord attempts to express the all-encompassing nature of the voice of the Lord as described in Psalm 29. The drama of the beauty and terror woven into the composition was inspired by the opening lines of Rainer Maria Rilke’s first Duino Elegy.

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Rhapsody after Art

Organ virtuoso Alcée Chriss III created this splendid work for organ as he prepared for the Canadian International Organ Competition from which he emerged as First Prize Winner in 2017. Rhapsody After Art is loosely based on an improvisation by Tatum and offers a new perspective on his music in a translation from the piano to the organ. Clearly inspired by Tatum’s style and idiosyncrasy, Chriss’ score takes a departure from the source early on. While infusing the work with hints of Dupré, and Bach, and even Chopin, Chriss brings his own technical mastery of the organ to bear in a tour de force of expressive wonder.

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