Instrumental Music/Organ
Toccata Nuptiale
(1993)
(1993)
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This popular work combines the style of a French toccata (particularly the language of Vierne) with the old music-hall ballad 'Daisy, Daisy, give me your answer, do'. It was written for the wedding of a friend who was a cycling enthusiast and premièred by the composer in the United Reform Church in Heswall, Wirral. Since then it has been performed around the world and has been recorded commercially four times. It was regularly performed by the late Michael Stairs on the organ of the Wanamaker Store, Philadelphia, USA and is a favourite of Dr John Kitchen's audiences at the Usher Hall. Toccata Nuptiale is on the diploma syllabus of the London College of Music. Michael Stairs's recording was featured in the programme Pipe Dreams on American Radio in August 2017.
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Audiences, congregations even, will love it – and you, and the organ, and the composer. Every [organist] of the requisite standard should order a copy without hesitation. Graham Matthews (Organists’ Review)
This splendid piece has been out for some while, but if you have not seen it, or, better, bought it, remedy the situation without delay: it is a guaranteed noise-stopper, tremendous fun to perform and to hear. Trevor Webb (Church Music Quarterly)
This delightful piece… [is suitable for] joyful liturgical occasions [and] it would make a good light-hearted recital piece. CN (The Organ)
Christopher Maxim’s Toccata Nupitale is clearly angling to become a bridal favourite to match some of the better-known (and hackneyed) pieces. Maxim has counterpoised a Vierne-like Toccata with the once-popular song written by Harry Dacre in 1892 ‘Daisy Bell’. (Daisy, Daisy / Give me your answer, do. / I'm half-crazy / All for the love of you…’ concluding with the line ‘a bicycle built for two.’) Seemingly, the present toccata was composed especially for a cyclist friend! It is witty, fun and clearly not a cinch to play. John France (British Classical Music -- The Land of Lost Content; reviewing John Kitchen's performance on The Usher Hall Organ vol. II)
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Recessional
(1996)
(1996)
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Originally called 'Wedding March', this piece was composed for the Wedding of Alastair & Louise Crammond. Premiered by the composer in the Methodist Church in Heswall, Wirral it underwent some revision in 2020 and has been published by Paraclete.
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Organists who enjoy playing William Mathias’s Recessional or Processional, or indeed Christopher Maxim’s own Processional recommended long ago in these pages by Trevor Webb, will enjoy this well-crafted, tuneful and happy piece. Played at the suggested metronome mark, it is not fast and lies well under the hands and feet. If used at the end of a service, it will dismiss the congregation in a high-spirited frame of mind. Duncan Watkins (Church Music Quarterly)
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Suite
(2003)
(2003)
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Premièred by the composer in a recital at St Matthew’s, Bethnal Green, London
1 Intrada 2 Aria 3 Fugue 4 Scena 5 Toccata-Sortie |
Both pieces [Easter Alleluias and Suite for Organ] show Maxim to be a composer of real inventiveness, with a strong and secure command of writing for the organ. His music shows a wide range of stylistic influences, including British composers of the later 20th century, such as Leighton and Mathias in the first two movements of the Suite, neo-Baroque writing in its fugue, and the vibrant manual textures of the late-Romantic French toccata. Martin Clarke (Organists' Review)
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Variations on 'Falcon Way'
(2006)
(2006)
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The theme is one of the composer’s own hymn tunes, published in The Hymns and Letters of Ann Griffiths (Stainer & Bell, 2000)
First performed by the composer in a concert at the Parish Church of St Dunstan and All Saints, Stepney, London, the work has subsequently received numerous further performances, including by Andrew Wilson in a recital at Bath Abbey |
Invocation and Paean
(2006)
(2006)
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First performed by the composer in a recital at the Parish Church of St Margaret, Lee, London
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Invocation & Paean [2006] covers 12 pages and opens with an angular, unsettled, atonal solo for Krummhorn or Cornet adagio con rubato molto. Dynamics and tempi fluctuate between extremes (full swell, Voix Celestes) before the contrasting Paean with its dancing rhythms, solo trumpet stop and spicy added-note chords. Various keys are explored before a fughetta over a long-held dominant pedal, and the final celebratory section which concludes virtuosically (about grade 8) in a definite A major. Michael Overbury (Organists' Review)
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Prelude and Fugue
(2008)
(2008)
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First performed by the composer at the Parish Church of St Margaret, Lee, London.
Other performances include the Annual Festival of New Organ Music at St Marylebone Parish Church. |
[...] The cheerful Prelude & Fugue [2008] covers 16 pages and features irregular rhythms (including a fugue in 13/8) and variety of affect. Chromaticisims enliven a basically tonal G major. I was reminded of William Mathias. Tuba is called for, and is probably desirable; three manuals are prescribed. Moderately tricky (grade 7+) this is idiomatically written. Michael Overbury (Organists' Review)
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Fanfare on CANADA
(2009)
(2009)
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Processional
(2011)
(2011)
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Commissioned by Mr Andrew Colley and Miss Vanessa Hare as the Bridal March for their wedding (July 2011) and premièred by Duncan Atkinson.
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Quite by chance I had just dug out my copy of Christopher Maxim's Toccata Nuptiale, a splendid pastiche on 'Daisy, Daisy' and I had been wondering if there would be any more to come when this Processional arrived. It is a fairly short, tuneful and not too serious wedding processional, which will be welcome listening on many other occasions. A lively, well-articulated manual touch is needed, and confident, well-marked pedal playing -- nothing too difficult, though. Well worth the modest price. Trevor Webb (Church Music Quarterly)
Processional was written for a wedding and could be used as the bride enters or as a postlude, although neither is specified. It starts with a trumpet flourish which is followed by a jaunty march. This leads to a cantabile middle section which goes through several keys rather restlessly before ushering in a repeat of the opening march theme. This gives way to a final version of the opening trumpet theme, this time scored for full organ. An effective occasional piece, not difficult to play. Alan Spedding (Organists' Review)
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Three pieces founded on Welsh hymn tunes
(2011)
(2011)
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1 Prelude (Aberystwyth)
2 Intermezzo (Blaenwern) 3 Toccatina (Trefaenan) 
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Premièred by the composer at a recital in St German's Church, Cardiff, on 28th October 2011 and played many times since, these pieces may be played as a set or individually.
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Aberystwyth: It's a striking piece, and well-suited to big occasions. David Dewar (Organists' Review)
This clutch of works from Paraclete Press[Prelude and Fugue on the name of 'Duruflé', Three Pieces Founded on Welsh Hymn-Tunes, Eleven Chorale Preludes, Jubilate] showcases Christopher Maxim’s fluent and charming compositional style. His North Walian heritage inevitably draws comparison with William Mathias: certainly there is the same Celtic brightness but it is softer-edged, more approachable and even jaunty. Jubilate has none of the granitic insistence or blinding sunlight of Mathias’s composition of the same name, but instead is an engaging and bouncy ball of fun. There is idiomatic, enjoyable and satisfying music in these volumes. Huw Morgan (Sunday by Sunday)
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Jubilate
(2012)
(2012)
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Composed at the request of Brian Williams, Organist of St German's Church, Cardiff.
Performances of this piece include by Dr Anthony Gritten at the Welsh Church of Central London (Dec 2024). |
Jubilate is a bravura single movement [that] achieves its task well! David Dewar (Organists' Review)
This clutch of works from Paraclete Press[Prelude and Fugue on the name of 'Duruflé', Three Pieces Founded on Welsh Hymn-Tunes, Eleven Chorale Preludes, Jubilate] showcases Christopher Maxim’s fluent and charming compositional style. His North Walian heritage inevitably draws comparison with William Mathias: certainly there is the same Celtic brightness but it is softer-edged, more approachable and even jaunty. Jubilate has none of the granitic insistence or blinding sunlight of Mathias’s composition of the same name, but instead is an engaging and bouncy ball of fun. There is idiomatic, enjoyable and satisfying music in these volumes. Huw Morgan (Sunday by Sunday)
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Elegy
(2013)
(2013)
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An adaptation of 'A Sad Pavan' (piano solo composed in 2001).
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Some elegies are resigned, calming pieces, but this one has a yearning, restless feeling after the opening eight bars that is not dissipated by the quiet ending. The sadness of whatever sparked the elegy permeates the music, but in a haunting and bitter-sweet way. It is a short piece that compresses a lot into its 26 bars. Duncan Watkins (Sunday by Sunday)
Only two pages long, the Elegy is characterised by some noticeable harmonic shifts […] There are some elegant filigree decorations periodically that, gesturing to the Baroque, take us in a different direction from the harmonies. I am not sure I would try something so chromatically daring in a funeral or memorial service but there is a distinctive and characterful voice here that would work well in a recital. Francis O'Gorman (Organists' Review)
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Prelude and Fugue on the name of Durufle
(2014)
(2014)
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.The Fugue (composed first) was premièred by the composer after Choral Evensong at Southwark Cathedral on 5th July 2014
The complete piece was premièred after the Advent Carol Service at St Margaret's, Lee on 30th November 2014, and subsequently played after choral Evensong at Chichester Cathedral in May 2015. It has been performed many times in recital by Dr Anthony Gritten. |
This clutch of works from Paraclete Press[Prelude and Fugue on the name of 'Duruflé', Three Pieces Founded on Welsh Hymn-Tunes, Eleven Chorale Preludes, Jubilate] showcases Christopher Maxim’s fluent and charming compositional style. His North Walian heritage inevitably draws comparison with William Mathias: certainly there is the same Celtic brightness but it is softer-edged, more approachable and even jaunty. Jubilate has none of the granitic insistence or blinding sunlight of Mathias’s composition of the same name, but instead is an engaging and bouncy ball of fun. There is idiomatic, enjoyable and satisfying music in these volumes. Huw Morgan (Sunday by Sunday)
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Eleven Chorale Preludes
(2017-2019) 1 Es spricht der Unweisen Mund wohl
The mouth of fools doth God confess (2017) 2 Was Gott tut, das ist wohlgetan Whate'er my God ordains is right (2018) 3 Wie schön leuchtet der Morgenstern How brightly shines the Morning Star (2018) 4 Wenn wir in höchsten Nöten sein When in the hour of utmost need (2019) 5 Nicht so traurig, nicht so sehr Do not be so sad, my heart (2018) 6 Christ lag in Todesbanden Christ Jesus lay in death's strong bands (2018) 7 Was mein Gott will, das g'scheh allzeit The will of God is always best (2018) 8 Kommt, Seelen, dieser Tag Come, Christian souls, and sing (2019) 9 Ach Gott, erhör mein Seufzen und Wehklagen Give ear, O Lord, and mark my sore complaining (2019) 10 So wünsch ich mir zu guter Letzt I wish that my last hour may be (2018) 11 O Welt, ich muß dich lassen O world, I now must leave thee (2018) |
'Es spricht' won the Audience Vote in the Royal College of Organists/Orgelbüchlein Project Competition on 8 July 2017 and was the catalyst for the collection of 11 chorale preludes. There are 11 pieces in tribute to Brahms's set
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An engaging collection. Martin Clarke (Organists' Review)
This clutch of works from Paraclete Press [Prelude and Fugue on the name of 'Duruflé', Three Pieces Founded on Welsh Hymn-Tunes, Eleven Chorale Preludes, Jubilate] showcases Christopher Maxim’s fluent and charming compositional style. His North Walian heritage inevitably draws comparison with William Mathias: certainly there is the same Celtic brightness but it is softer-edged, more approachable and even jaunty. The Eleven Chorale Preludes, all on German melodies, allude to Brahms’s Op.122 in texture, gesture and scale. Of these, the gentle, chromatic setting of ‘Wenn wir in höchsten Nöten sein’ is particularly intense and affecting. There is idiomatic, enjoyable and satisfying music in these volumes. Huw Morgan (Sunday by Sunday)
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Easter Alleluias
(2019)
(2019)
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Fantasia on Victimae Paschali Laudes
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Both pieces [Easter Alleluias and Suite for Organ] show Maxim to be a composer of real inventiveness, with a strong and secure command of writing for the organ. His music shows a wide range of stylistic influences, including British composers of the later 20th century, such as Leighton and Mathias [...] Martin Clarke (Organists' Review)
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Arrangement of Leroy Anderson's
Sleigh Ride
(2019)
Sleigh Ride
(2019)
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Adapted from David Humphreys' transcription for organ; arranged as a duet for two organs (grand organ and chamber organ), with a couple of special additions towards the end...
The live performance on this video is far from ideal because the two instruments are not in balance owing to the position of the video camera |
Available from the composer
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Three Heroic Encores
(2020)
(2020)
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1 Danger Mouse
2 Hong Kong Phooey 3 Inspector Gadget |
For use as a 'lollypop' encores, or playable together
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Available from the composer
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Exultate
(2021)
(2021)
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Premiered by the composer in Chelmsford Cathedral
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Dominus Regit Me
(2021)
(2021)
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I vv 1-3
II v 4 III v 5 IV v 6 |
Meditation on Psalm 23
Premiered by the composer in a recital at St Mary Magdalene's, East Ham |
Lumen Christi
(2022)
(2022)
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1 Vexilla Regis prodeunt
2 Ubi caritas et amor 3 O salutaris Hostia 3 Pange lingua gloriosi 4 Ad cenam Agni providi 5 Adoro te devote 6 Aurora lucis rutilat |
Seven plainsong settings
The finale, Aurora lucis rutilat, was performed in Southwark Catholic Cathedral by Alexander Binns as part of the 2024 London Festival of Contemporary Church Music |
Prelude on 'Summer suns are glowing'
(2023)
(2023)
Adoration at the Crib
(2023)
(2023)
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Published in Gold, Frankincense & Myrrh Volume 3
A performance by Steven Maxson:
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Despite the title reference to the gifts brought by the Magi, these are volumes of Christmas organ music – apart from a set of Variants on ‘We Three Kings’ by Ian Tracey – and very useful they will be for many church organists over Christmas services. The 25 pieces in volume 2 and the 13 in the slightly slimmer third volume, by a total of 15 different composers, cover many of the most popular Christmas carols or hymns, often in the form of variations or ‘variants’. But there is also Christopher Maxim’s atmospheric Adoration at the Crib, and an arrangement by Tim Harvey of the final chorus of Bach’s Christmas Oratorio (‘Nun seid ihr wohl gerochen’) that is rather more difficult than the rest of the pieces, but good to have. With that exception, the mostly undemanding level of difficulty will be welcomed by organists with limited practice time before Christmas but who would still like to widen their repertoire. Duncan Watkins (Sunday by Sunday)
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Prelude on 'Picardy'
(2023)
(2023)
Two Chorale Preludes on 'Sei gegrüßet, Jesu gütig'
(2024)
(2024)
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1 à 2 claviers et pédale
2 à 2 claviers et pédale - alio modo |
Commissioned by William Whitehead for the Orgelbüchlein Project
The first concert performance of the pair was given by Dr Anthony Gritten in St Margaret Lothbury, City of London |
Toccata on 'Aberystwyth'
(2024)
(2024)
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Published in Sortie Sorted Volume 1
A performance by Steven Maxon:
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Prelude on 'Anima Christi'
(2024)
(2024)
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Published in Be Still for the Presence Volume 2
A performance by Steven Maxon:
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Carillon
(2024)
(2024)
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Premiered in Chelmsford Cathedral on 16 February 2025
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Available from the composer
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Arrangement of Rutter's The Lord bless you and keep you
(2025)
(2025)
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Composed (on request) for the composer's uncle's funeral on 30 January 2025
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Available from the composer
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Chorale Prelude on 'O Jesulein süß'
(2025)
(2025)
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Available from the composer
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