A Nordic Organ Book by Fredrik Sixten

FREDRIK SIXTEN

A NORDIC ORGAN BOOK

24 pieces in every minor & major key

Copyright © 2025 by Norsk Musikkforlag / Vigmostad & Bjørke AS All Rights Reserved

1st edition 2025 / 1st Print run 2025

ISMN: 979-0-065-18133-2 (printed edition)

ISMN: 979-0-065-18134-9 (digital edition)

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Cover Design: Sora Valentin

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A Nordic Organ Book

Preface:

A Nordic Organ Book consists of 24 original pieces, each composed in one of the major or minor keys, systematically traversing the full circle of tonalities to offer a comprehensive exploration of the instrument's expressive range.

Drawing inspiration from the rich musical heritage of the Nordic and Baltic regions, several pieces are built upon traditional folk tunes from Sweden, Norway, Denmark, Finland, Iceland, Greenland, the Faroe Islands and Estonia. These melodies are woven into the fabric of the compositions, infusing them with cultural depth and a sense of place.

Beyond their thematic elements, the pieces ambitiously introduce and develop fundamental organ techniques, including manual and pedal independence, registration variations, and dynamic control, making them valuable pedagogical tools for organists at various levels.

Stylistically diverse, the set encompasses classical forms such as fugue, ostinato, and passacaglia, alongside unconventional genres like blues and the lively Swedish folk dance known as hambo, blending tradition with innovation to expand the organ's repertoire.

While conceived as a cohesive cycle that may be performed in its entirety, this work also functions as a versatile anthology, providing unique pieces suitable for liturgical services, concert programs, or standalone recitals.

I have noted some fingerings, which, along with registration instructions, are to be seen as suggestions that often need to be adapted to suit the individual and the instrument. Sometimes I also indicate which register not be used and I have deliberately avoided specifying metronome markings to allow greater freedom for the performer and the interpretation.

There are also notes for each piece included where I provide additional tips and ideas as well as some background information.

Fredrik Sixten

A Nordic Organ Book

Fredrik Sixten,

*] Release the chords as notated, allowing only the natural reverberation to sustain the sound.

Fredrik Sixten

Andante lugubre

*] If a 4' Flute stop is not available, use a similar stop. A 2' stop may also be used if the note is played one octave lower than notated.

Allegro Giubiloso

& &

? b b b b b b b b b b b b b b b 4 4 4 4 4 4

Fredrik Sixten

Fredrik Sixten

Fredrik Sixten

(no Diapason)

Passacaglia

*] Option: continue playing on the same manual instead of switching between

23 e-minor

Passacaglia (alternative version)

(No Diapason)

] Option: continue playing on the same manual instead of switching between

Comments by the composer

No 1 a-minor, Prelude

The main theme originates from Åhl village in Dalarna, in the heart of Sweden. Aim for a vivid and strict rhythmical approach. At two occasions you will have to use the right hand over the left. The first time alone and when it returns you will add a quote from the main theme in the pedal. Towards the end there is a challenge of manuals and pedal imitating each others phrases. Conclude the piece quietly, with a slightly slower tempo.

No 2 C-major, Processional

With a little imagination one can hear a vague echo from Bach in the opening of this piece. That's on purpose since no one can or should escape the influence this great master has created. But it's only an echo and pretty immediately both harmonies and rhythms are on a different path in this journey. Keep the same "Bach approach" when you start out with majesty and grace. The tempo is depending on the acoustics. I would suggest a slower tempo in a dry room and slightly quicker in a cathedral. In measure 8 it becomes more harsh but don't let that affect the basic mood, keep it as convincing as you started out. When the echo from the start appears in measure 10 the two ideas cooperate! In measure 14 the echo is even further away, almost dreamlike. This piece features some double-note pedaling with the right foot. However, there is an option to omit these if desired.

No 3 d-minor, Arabesque

The melody is coming from the Finnish island called Åland which is populated by mostly Swedish speaking people, and this theme therefore represents a fascinating blend between these two Nordic countries. The registration is crucial. The main idea introduced in the opening measures should feature a single, prominent 4-foot flute stop. You will soon notice that the fast notes in this Arabesque lie comfortably in your hands. The challenge otherwise in this piece is repeating notes (see suggested fingering!) and staccato while playing legato. These contrasts will be important toward interpreting this composition. The pedal, where the main theme is presented, should have a dark and dimmed sound but still be clear enough to make itself known in the total sound picture. Observe that I carefully noted the melody to create some effects. Follow these notations strictly! At the end you will be playing a passage using double pedal. Ensure it flows as lyrically and singably as possible.

No 4 F-major, Chorale

Since many of the folk tunes in the Nordic lands are very melancholic, they are overwhelmingly in minor keys or in a Gregorian, modal scale, I wanted to present a more diverse approach. Here one can hear an echo of César Franck, one who's organ music still dominates the organ world of today. I used fragments from this particular body of work, but this composition takes a different direction often being sidetracked deliberately. Make the pedal sing! Take good care of the measures in 12-13 to create the contrasting darkness that suddenly appears after so many sweet and soft notes.

No 5 g-minor, Canon on the octave

One of the most internationally known Swedish folk tunes is Gammal fäbodpsalm (Old herding psalm) and in the way it was presented by the Swedish composer Oskar Lindberg in 1936. I also used it as the central choral in my first oratorio: A Swedish St Mark passion. The theme is very melancholic and is strongly connected to the phenomena Midsommar (Midsummer). It has that yearning and aching touch to it as an evocation of the beautiful but too short summer that exists in Nordic countries. I combine this qualities of the theme with the idea of a journey. The theme of this composition should be kept in strict time. While the writing in the manuals can benefit from some subtle expressivity, please keep the pedal part in strict time. This idea informs the composition. Be persistent to the end! However, in measure 15 & 45 you're allowed to hesitate!

No 6 B-flat major, Blues

While the blues originated in the USA, this style seems to connect with the core of the Nordic soul. While there are obviously many differences the similarities exist. I have used this means of expression in an earlier work, Mourning Blues. This time around, I have created a much more concise piece, focusing on a short melody that is repeated like a yearning. Please play very clearly in the pedals. Often there are short phrases that needs to be very articulated as a contrast to the longer melody lines.

No 7 c-minor, Fantasia

The folk tune Jag vet en dejlig rosa (I know a lovely rose) is often connected to Denmark although its history is not completely known. I have done several versions on this theme before like in Cantabile for organ. I use similar ideas in this much shorter piece. Make the registrations dark and vague before the entrance of the solo flute 4'. In measure 14-15, be cognisant of the unisons between the pedal and manuals. In measure 18, try to create contrasting sounds between the manuals where the flute should sing against darker sounds of the left hand. Play the piece in the style of an improvisation!

No 8 E-flat major, Fanfare

This movement is written in the style of a Fanfare. It can be performed on a Cornet V as the range is limited to around middle C. Alternatively, any suitable reed instrument may be used, either solo or in a combination of stops. Pedal notes often occur on weak beats, but this should not affect the tempo, which must remain strict unless otherwise indicated.

No 9 f-minor, Impromptu

This Norwegian folk tune was used by Grieg and is very famous. I've also used it in a previous work called Lamentation for organ. Despite the score’s many notes, they all fit easily in your hands. It looks difficult but in fact it’s easy when you see the patterns. Let the broken chords have the same raw feeling as the main theme which subsequently appears.The midst section (measure 17-22) invites you to create a phantasmic feeling where the earlier darkness collapses. Make a convincing buildup towards the end. Depending on the instrument you can build to a full organ, concentrating on darker timbres.

No 10 A-flat major, Kvaðdansur

Our musical journey now takes us to the Faroe Islands. The Kvaðdansur is a communal dance in the form of a roundel. It is quite representative of Faroese culture. It is repetitive and often connected with joy and celebration even though the rhythm can be perceived as strict and almost robotic. Maintain a strict tempo, avoiding any rubato. Emphasize the contrast between the playful, light melody in the right hand, using a flute stop or a balanced combination of stops to ensure a clear yet non-intrusive tone, and the firm, decisive accompaniment in the left hand and pedal.

No 11 b-flat minor, Prelude & Fugue

This concise Prelude and Fugue, lasting approximately two minutes, features original themes. The performer's challenge is to unify the work's contrasting elements within its brief structure. The opening should evoke an improvisation, embracing this freedom fully. In contrast, from measure 4, the theme and accompaniment must be strict and in tempo. The improvisational character returns in measures 13–16. When the fugue begins, allow the polyphony to shine naturally, maintaining a strict tempo while carefully observing the notated phrasing and articulation.

No 12 D-flat major, Pedal Etude

The organ is often defined by the simultaneous use of hands and feet. In this organ book I acknowledges this salient characteristic of its literature. Since this organ book also has the goal of presenting certain technical challenges in organ performance, an etude for the pedal reinforces an essential skill. My solution to a movement conceived as a pedal etude is to also include the manuals as a contrasting element. A whole piece with just the pedals would probably miss its mission. There is, therefore, a conversation between the dominant pedal part and the somewhat static writing in the manuals. Study the phrasings carefully. Don't involve the manuals until you know the pedal part more or less by heart. Don't underestimate what you can achieve by accurately shape each phrase and let the pedal sing on its own. Then, when you add the manuals, let them be rigorously rhythmical and precise. Everyone can experience the differences but at the same time be appreciative of there own qualities. Remember that you can achieve perfect legatos by exchanging which feet you are using; I made that possible in the way I composed it!

No 13 e-flat minor, Ostinato

In this medieval folk tune there is no basic rhythmical pattern. There exists a rhythmical polyphony in this piece, a feature that speaks to its medieval inspiration. Try not to be too focused on all the different time signatures, they are only there for academic reasons. In reality you are just performing music that is moving in a fluid, elastic pattern. When the first ostinato, of two, appears in measure 25, you need to be very strict, otherwise the other things that happen in the manuals will be hard to comprehend. The pedals plays a significant role and the contrasts between the staccatos and the legato should be articulated.

No 14 G-flat major, Nocturne

This Nocturne is a work for manuals alone. This is one of two movements dedicated to that concept even though it can be played on a big instrument as well. With this work in g-flat major, our journey has brought us to Greenland. The theme is hidden within the texture of the writing, and it is crucial to be aware of its existence and brining its contours to the listener’s attention.

No 15 g-sharp minor, Chaconne

In my Organ Symphony: Symphonia Aurora Borealis in sixth movements I included a Chaconne in the fifth. Here I make use of a that exact theme again. As a Chaconne has similarities with a Passacaglia, they both depend on a strict tempo to emphasise the repetitive nature of this form. On the other hand, the performer will notice places in the score in which I indicate some adjustments in tempi. Practice especially the ending to make it convincing since the last note is deliberately outside the key.

No 16 B-major, Trio - canon on the fifth

While the pipe organ has an image of raw power and majesty, there is, nevertheless, a delicate and sensitive side to the instrument as well, given it myriad tonal possibilities. The organ can deliver chamber music as well as grand statements. No. 16 has three voices involved, two of them in a canon on the fifth. Start practicing the left hand (note the suggested fingering or make sure you have one that fits your hand perfectly for a smooth legato) so that you know it by heart. Next, practice the canon before putting it all together. Listeners should remain captivated by the vivid, lyrical expression of the two melodies gracefully interweaving in a canon, their emotive dialogue unfolding seamlessly, rather than perceiving the intricate technical challenges of their execution.

No 17 c-sharp minor, Toccata

I used this Icelandic theme before in another composition called Nordic Variations. This new movement in c-sharp minor has a totally different approach. It's a Toccata. This is another case where the layout looks daunting, but it all fits well in the hand after you slowly find the patterns and the basic rhythmical ideas. Shape the long notes appearing in measure 4, 31-33 & 38-39!

No 18 E-major, Rhapsody

Here's an example in which the Nordic identity can blend with expressions from other cultures. I've here tried to mix it with some Latin American styles within the texture of the work. The pedal and the manuals interact vigorously, and be sure to make that happen as seamlessly as possible. The basic attitude is aggressive but in measures 19-25 & 39-45 it's very lyrical!

No 19 f-sharp minor, Ballade

This is the second of two pieces that are designed to be played only on manuals. The melody in the Ballade stems from the remaining small Swedish village that exists in Estonia. This could be played with, for instance, only on a Borduna 8'. If you have a bigger organ than a small chamber one, I suggest you use more stops and even play it on two manuals. Be sure of keeping the melancholic feeling in the phrases and respect the detailed rhythmical notations vigorously.

No 20 A-major, Scherzo

This piece is like a dialogue between the pedals and manuals, exhibiting my thematic ideas. Even if it doesn't appear that way, there is a melody in the pedals as the work begins. This is important as it's the key in how to play the different parts.

No 21 b-minor, Hambo

Hambo is a Swedish folk dance in 3/4-beat. It can appear in many ways or form. The themes are original. This music should be played with the lively character of a dance, emphasising a strong first beat. In measure 17-19, it can be possible to play it on two manuals with the same hand. Despite its joyful dance, my melody echoes the melancholic touch of Swedish folk tradition.

No 22 D-major, March

This piece was originally composed as a processional for my grandchild’s baptism. It carries a light and joyful spirit throughout, though measures 22 and beyond present some challenges. Keep your playing free of any weightiness, allowing the music to flow and sing. Conclude softly and gently, maintaining the tempo, with a pause on the fermata in the final bar before striking the last chord.

No 23 e-minor, Passacaglia

In 2013, I crafted a Passacaglia, and for this collection, I’ve created a more concise version with a new theme, lasting roughly two minutes. Despite its brevity, it’s an intensely demanding piece, potentially the most challenging in the entire set. Like my earlier Passacaglia, I employ a technique where the initial theme appears as the bass line in the organ’s upper register, gradually descending while remaining the bass until it reaches the pedals. Ensure the passacaglia theme can be played consistently with either hands or feet before proceeding with the rest of the composition. The theme also aligns with the Swedish folk melody "Vårvindar friska" (Fresh Spring Winds), which should be your next focus—practice playing this melody independently alongside the main theme. A particular challenge arises in measures 65–69, which requires attention. If the passage feels too cumbersome, you may switch hands to ease execution. For this piece, I’ve therefore provided two versions: the second is simpler but retains the core concept.

No 24 G-major, Finale

The Nordic Organ Book culminates in a vibrant Finale, a lively and spirited piece that lets you unleash your instrument's full potential! Ensure the off-beat pedal notes are clear and distinct. After the dazzling opening, consider softening the registration at measure 12. From measure 26 onward, make sure the main theme stands out clearly among the surrounding flurry of notes. The fermata at measure 49 should be brief, just enough to highlight the key change.

Addendum

A Nordic Organ Book was commissioned by the American concert organist James D. Hicks for his expansive project, A Nordic Journey. Hicks premiered the work on June 28, 2025, at Uppsala Cathedral, Sweden, where it was also recorded for inclusion as Volume XIX in his record series on the ProOrgano label. Dedicated to Hicks and our enduring collaboration, this published version retains the same range but has been adjusted to suit as many instruments as possible and, in some cases, simplified and/or modified to enhance its usability.

Technical specifications:

Manual compass C-f3

Pedal compass C-d1

Two of the pieces can be played on a single manual without pedal, while most of the others require an organ with at least two manuals and a pedalboard.

The fingerings and pedalling in this score are provided by the composer. Performers are encouraged to adjust them as needed for comfort or personal style.

The registration suggestions must be adapted to suit the specific characteristics of each organ. Registrations are an integral part of the musical interpretation, so feel free to experiment! In certain cases, the suggestions are mandatory, which will be clearly indicated in the score. Additionally, if a solo stop is specified in the pedal, it is mandatory, as is any 16' stop.

Notations enclosed within brackets are optional.

Total playing time: approx. 55-60 minutes.

Fredrik Sixten (b. 1962) is one of the leading Swedish composers of his generation. He studied composition with Sven-David Sandström at the Royal College of Music in Stockholm. Before becoming a full-time composer, he worked as a cathedral organist in Sweden and Norway. He is known internationally for his many sacred choral works for unaccompanied voices or with orchestra. These works include a Requiem, Christmas Oratorio and settings of the passions according to St. Matthew, St. Mark & St. John and a Stabat Mater. In addition to sacred music, Fredrik Sixten has composed a full-length opera, a concerto for 2 pianos and orchestra, chamber music, and numerous works for organ. The majority of his works are published, and his music is programmed all over the world. Fredrik Sixten signed with Norsk Musikforlag in 2018.

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