Editing Pipe organ (section)

===Common practice period===
[[File:Robert Huw Morgan Bach FugueG.ogv|thumb|right|[[Robert Huw Morgan]] plays Bach's [[Great Fantasia and Fugue in G minor, BWV 542|Fantasia and Fugue in G minor]] on the Fisk-Nanney organ at the [[Stanford Memorial Church]] in [[Stanford, California]].]]
Early Baroque organ music in Germany was highly [[counterpoint|contrapuntal]]. Sacred organ music was based on chorales: composers such as [[Samuel Scheidt]] and [[Heinrich Scheidemann]] wrote chorale preludes, [[chorale fantasia]]s, and [[chorale motet]]s.<ref name="c1750" /> Near the end of the Baroque era, the chorale prelude and the partita became mixed, forming the [[chorale partita]].<ref>McLean, Hugh J. (2007). "Böhm, Georg". In L. Macy (Ed.), ''[http://www.grovemusic.com/ Grove Music Online] {{Webarchive|url=https://web.archive.org/web/20080516041031/http://www.grovemusic.com/ |date=16 May 2008 }}'' (subscription required). Retrieved on 8 May 2008.</ref> This genre was developed by [[Georg Böhm]], [[Johann Pachelbel]], and [[Dieterich Buxtehude]]. The primary type of free-form piece in this period was the [[Prelude (music)|praeludium]], as exemplified in the works of [[Matthias Weckmann]], [[Nicolaus Bruhns]], Böhm, and Buxtehude.<ref>Ledbetter, David (2007). "Prelude". In L. Macy (Ed.), ''[http://www.grovemusic.com/ Grove Music Online] {{Webarchive|url=https://web.archive.org/web/20080516041031/http://www.grovemusic.com/ |date=16 May 2008 }}'' (subscription required). Retrieved on 8 May 2008.</ref> The organ music of [[Johann Sebastian Bach]] fused characteristics of every national tradition and historical style in his large-scale preludes and fugues and chorale-based works.<ref>[[David Yearsley|Yearsley, David]] (1999). "The organ music of J. S. Bach". In Nicholas Thistlethwaite & Geoffrey Webber (Eds.), ''[[Cambridge Companions to Music|The Cambridge Companion to the Organ]]'', p. 236. Cambridge: Cambridge University Press.</ref> [[George Frideric Handel]] composed the first [[organ concerto]]s.<ref>Lang, Paul Henry (1971). "[https://www.jstor.org/stable/740880 Michael Haydn: Duo Concertante for viola and organ. Joseph Haydn: Organ Concerto in C major] {{Webarchive|url=https://web.archive.org/web/20160422133020/http://www.jstor.org/stable/740880 |date=22 April 2016 }}". ''The Musical Quarterly'' '''57''' (1). Retrieved on 10 July 2007.</ref>

In France, organ music developed during the Baroque era through the music of [[Jean Titelouze]], [[François Couperin]], and [[Nicolas de Grigny]].<ref>Higginbottom, 177, 189.</ref> Because the French organ of the 17th and early 18th centuries was very standardized, a conventional set of [[registration (organ)|registrations]] developed for its repertoire. The music of French composers (and Italian composers such as [[Girolamo Frescobaldi]]) was written for use during the [[Mass (liturgy)|Mass]]. Very little secular organ music was composed in France and Italy during the Baroque period; the written repertoire is almost exclusively intended for liturgical use.<ref>Higginbottom, 178–181.</ref> In England, composers such as [[John Blow]] and [[John Stanley (composer)|John Stanley]] wrote multi-sectional free works for liturgical use called ''[[Voluntary (music)|voluntaries]]'' through the 19th century.<ref>Cox, 198.</ref><ref>McCrea, 279.</ref>

Organ music was seldom written in the Classical era, as composers preferred the piano with its ability to create dynamics.<ref name="romantic">Owen, Barbara (2007). "Keyboard music, §II: Organ music from c1750". In L. Macy (Ed.), ''[http://www.grovemusic.com/ Grove Music Online] {{Webarchive|url=https://web.archive.org/web/20080516041031/http://www.grovemusic.com/ |date=16 May 2008 }}'' (subscription required). Retrieved on 8 May 2008.</ref> In Germany, the [[Organ sonatas op. 65 (Mendelssohn)|six sonatas op. 65]] of [[Felix Mendelssohn]] (published 1845) marked the beginning of a renewed interest in composing for the organ. Inspired by the newly built [[Cavaillé-Coll]] organs, the French organist-composers [[César Franck]], [[Alexandre Guilmant]] and [[Charles-Marie Widor]] led organ music into the symphonic realm.<ref name="romantic" /> The development of symphonic organ music continued with [[Louis Vierne]] and [[Charles Tournemire]]. Widor and Vierne wrote large-scale, multi-movement works called ''[[Organ Symphony|organ symphonies]]'' that exploited the full possibilities of the symphonic organ,<ref>Brooks, Gerard (1999). "French and Belgian organ music after 1800". In Nicholas Thistlethwaite & Geoffrey Webber (Eds.), ''The Cambridge Companion to the Organ'', pp. 274–275. Cambridge: Cambridge University Press.</ref> such as Widor's [[Symphony for Organ No. 6]] and Vierne's [[Organ Symphony No. 3 (Vierne)|Organ Symphony No. 3]]. [[Max Reger]] and [[Sigfrid Karg-Elert]]'s symphonic works made use of the abilities of the large Romantic organs then built in Germany.<ref name="romantic" />

[[File:Flight of the Bumblebee on Pipe Organ Pedals.webm|thumb|right|[[Carol Williams (organist)|Carol Williams]] performs "[[Flight of the Bumblebee]]" by [[Nikolai Rimsky-Korsakov]] at the [[United States Military Academy]] [[West Point Cadet Chapel]].]]
In the 19th and 20th centuries, organ builders began to build instruments in concert halls and other large secular venues, allowing the organ to be used as part of an orchestra, as in Saint-Saëns' [[Symphony No. 3 (Saint-Saëns)|Symphony No. 3]] (sometimes known as the ''Organ Symphony'').<ref name="romantic" /> Frequently the organ is given a soloistic part, such as in [[Joseph Jongen]]'s ''Symphonie Concertante for Organ & Orchestra'', [[Francis Poulenc]]'s ''[[Organ Concerto in G minor (Poulenc)|Concerto for Organ, Strings and Tympani]]'', and Frigyes Hidas' Organ Concerto.