Contents: I. Introduction II. Passacaglia

Contents: I. Toccata II. Song III. Passacaglia

Contents: I. Prelude II. Organ chorale III. Bizinium IIII. Ostinato V. Postlude

Content: I. Lament II. Meditation III. Epilogue

Fantasy for organ in five parts Contents: I. Introduction II. Canon III. Toccata IV. Chorale V. Fugue

In the Contrapuncti dodecaphonici, melodies from Gregorian chants and hymns in the local language are arranged in the following sequence of twelve tones, inversion, inversion of the inversion, in all possible transpositions. The individual pieces are suitable for liturgy as well as for a coherent concert performance. All pieces can be played on a single-manual organ and most pieces can be easily played on a two-manual organ. Contents: 7 chorale preludes for organ 1. O we poor sinners (Passion · 14th century) 2. With tender joy (Easter · 15th century) 3. Ascended into heaven (Ascension · M. Franck 1627) 4. Now we pray to the Holy Spirit (Pentecost · 13th century) 5. Praise be to God the Father (Trinity · Munich 1586) 6. Tell us who this is (Mary · J. Khuen 1638) 7. Praise and bless God (Corpus Christi · 15th century)

SALVA SANCTA PARENS (Commune Festorum Beatea Mariae Virginis) 6 pieces for organ In the Contrapuncti dodecaphonici, melodies from Gregorian chants and hymns in the national language are compared with the following sequence of twelve tones, crab, inversion and crab inversion in all possible transpositions. The individual pieces are suitable for liturgy as well as for a combined concert presentation. All pieces can be played on a single-manual organ. Most pieces can be easily played on a two-manual organ. Contents: 1. Intonatio 2. Variatio ‘Salve sancta Parens’ (Introit) 3. Fantasia ‘Benedicta et venerabilis es’ (Graduale Alleluja) 4. Dialogue ‘Ave Maria’ (Offertorium) 5. Trio ‘Beata viscera’ (Communio) 6. Finale

Church hymns for organ In the Contrapuncti dodecaphonici , melodies from Gregorian chants and hymns in the local language are arranged in the following sequence of twelve tones, the inversion, the inversion of the inversion, and the inversion of the inversion, in all possible transpositions. The individual pieces are suitable for liturgical use as well as for a combined concert performance. All pieces can be played on a single-manual organ. Most pieces can be easily played on a two-manual organ. Contents: 1. Opening hymn: To you, O God, we lift our voices (Ulenberg · 1582) 2. Interlude: Dearest Jesus, we are here (Ahle · 1664) 3. Offering hymn: O God, accept these gifts (Teschner · 1613) 4. Communion hymn: O holy food for the soul (15th century) 5. Thanksgiving hymn: Now thank we all (Crüger · 1653)

Johann Sebastian Bach (1685–1750) is one of the most important composers in music history. His chorales are musical gems of profound spiritual meaning and artful clarity. In the collection ‘ Jesus bleibet meine Freude ’ (Jesus remains my joy), Arvid Gast and Joachim Pliquett have arranged four selected chorales for trumpet and organ in a stylish, moderately difficult arrangement that is also suitable for short-term programme expansion. Content: – BWV 147 ‘ Jesus bleibet meine Freude ’ (Jesus remains my joy) – playing time approx. 4'30'' – BWV 721 ‘ Erbarm dich mein, o Herre Gott ’ (Have mercy on me, O Lord God) - playing time approx. 1'30'' – BWV 668a ‘ Wenn wir in höchsten Nöten sein ’ (When we are in greatest need) (early version of ‘Vor deinen Thron tret ich hiermit’ (I hereby step before your throne)) - playing time approx. 1'30'' – BWV 12 ‘ What God does is well done ’ (final chorale from ‘Weinen, Klagen, Sorgen, Zagen’) – playing time approx. 0'40'' These arrangements combine the vocal character of the trumpet with the rich sound of the organ and showcase Bach's choral art in an expressive setting that can be used both liturgically and in concert. Their moderate level of difficulty makes them particularly suitable for advanced pupils, students and ensembles active in church music. An inspiring choral programme – musically profound, beautiful in sound and practical.