The composer and music teacher Harald Heilmann (1924–2018) studied composition first at the Leipzig University of Music (1946–1950) and then with Hanns Eisler at the Academy of Arts in East Berlin. After moving to West Germany in 1952, he continued his studies with Frank Martin at the Cologne University of Music. In addition to working as an editor for various music publishers, Heilmann worked as a freelance composer from 1958 onwards. His work has been honoured with numerous awards, including the Stamitz Prize, the Federal Cross of Merit and a scholarship from the Cité Internationale des Arts in Paris. This work is scored for trombone (alternatively viola or English horn) and organ.

Lotte Backes (1901–1990), recipient of the Federal Cross of Merit, was a German pianist, organist and composer. She studied composition at the Prussian Academy of Arts and lost much of her early work during the Second World War. The present work, episodio per tomba e organo , dates from her post-war period and is available as a facsimile edition.

Throughout church history, the Te Deum and the Gloria , both of which are early Christian hymns, have been set to music many times. In this handwritten score, Siegfried Borris (1906-1987) has arranged the Te Deum for oboe and organ – alternatively, it can also be performed with trumpet (D) or piano.

Joseph Gabriel Rheinberger (1839-1901) was highly regarded as a church musician, counterpoint teacher and organ composer. The Cantilène in F major, originally composed for organ in 1887, is presented here in an arrangement for trumpet (oboe/violin) and organ. An arrangement of this composition for trumpet (oboe) and strings (publisher's number N 3866 ) is also available. This BRASS-TOTAL edition contains both a C and a Bb part for practical use. Content: Andante

Hasso Gottfried Petri (1927–2013) was a German composer, music teacher and musicologist. He first studied school music and then obtained a doctorate in musicology. Petri devoted more than 35 years to researching folk songs and received support from all over the world. His ‘ Sonata ’ for trumpet and organ is appealing due to its easy to moderately difficult accessibility, making it ideal for music teachers, students and advanced musicians. The sonata is excellent for teaching and performance, as it offers the opportunity to develop both technical skills and musical expression. Content: 1. Allegro 2. Adagio 3. Allegro

Henry Purcell (1659–1695) from London is one of the most famous organists of the Chapel Royal. He left behind numerous harpsichord pieces in his oeuvre, which have been preserved in several collections and often bear the titles ‘Trumpet Tune’ or ‘Trumpet Voluntary.’ In the present ‘Trumpet Voluntaries’, such works, which are usually short, have been combined into larger musical forms, resulting in compositions that approximate the dimensions of Purcell's choral and orchestral music. The organ part of this edition can also be played on a positive organ or harpsichord. Content: 1. Voluntary in C major 2. Voluntary in D major 3. Voluntary in B flat major

Tommaso Albinoni (1671–1751) is one of the outstanding composers of the Italian Baroque period. His concertos in particular are characterised by clear melodic lines, harmonic elegance and a solemn, festive mood. The Concerto in F major is a typical example of Albinoni's masterful combination of virtuosity and musical expressiveness. Concerto IV from the “Sinfonie e Concerti” op. 2, printed in 1700, was transcribed for organ by Johann Gottfried Walther. Based on this work, Peter Reichert has arranged the three movements for trumpet and organ in a style appropriate to the original. The trumpet takes on the soloistic brilliance of the original melody, while the organ provides the accompanying structure with baroque sonority and rhythmic precision. The arrangement is ideal for festive occasions, concerts, and liturgical celebrations. An impressive addition to the repertoire for trumpet and organ—festive, beautiful, and appealing to audiences.

The organist of St. Peters Rome, Girolamo Frescobaldi (1583-1643) is looked upon as Italy's most famous organ composer. Apart from numerous organ works appearing in print and some church music that has come down to us in manuscript form, he himself published a book of one- to four-part canzonas with a basso continuo part (1628). Frescobaldi does not indicate any precise instrumentation although the use of brass instruments was undoubtedly intended. The organ may ,of course, be replaced by a positive organ or a hapsichord. Contents: Canzona Aria di Ruggieri (Part I, II, III, IIII) Capriccio sopra la Battaglia

Franz Liszt (1811–1886) is considered one of the most important composers of the Romantic period. His work Rosario , originally written for piano, is one of his late, spiritually influenced compositions. It is characterised by meditative depth and simple expressiveness. The title refers to the rosary ( Rosario ), a symbol of prayer and spiritual contemplation in the Catholic faith – a theme that occupied Liszt throughout his life. In Eberhard Kraus ' (1931-2003) arrangement for horn and organ, Rosario opens up a new dimension of sound. The warm, singing voice of the horn blends impressively with the sacred character of the organ, bringing Liszt's religious inspiration to the fore in a special way. A worthwhile addition to lessons, concerts or liturgy – musically demanding, but easy to play. Content: 1. Mysteria Gaudiosa 2. Mysteria Dolorosa 3. Mysteria Gloriosa

Born in Naples, Domenico Scarlatti (1685–1757), wrote no chamber music of consequence either in his youth or when officiating as organist at St. Peter's in Rome. The same applies to the period he spent in the Portuguese royal service as music-master of the infanta Maria Barbara who eventually became Queen of Spain. His main focus of attention centred on keyboard music which extends to over 500 piano sonatas, all embodying a wealth of tonal color. As such, they serve as ideal material for rendering on wind instruments with keyboard accompaniment. Preference in this arrangement has gone to three sonatas, listed in the Kirkpatrick catalogue as numbers 96, 380 and 159, as being particularly suited to performance on two trumpets and organ. Transcription has been involved transposing the second sonata from E major to G major, and the third sonata from C major to D major. A harpsichord can be put to equally effective use in lieu of an organ. Content: 1. Sonata 1 (Allegrissimo) 2. Sonata 2 (Andante comodo) 3. Sonata 3 (Allegro)

Tommaso Albinoni (1671–1751) is one of the most important composers of the Italian Baroque period. Known above all for his lyrical melodies and clear structures, his work stands for musical elegance and Baroque expressiveness. The Sonata in C presented here, originally composed for strings and basso continuo, has been carefully arranged for trumpet and organ by Georg Gossen . The arrangement retains the festive character of the original version while effectively highlighting the virtuosic and vocal qualities of the trumpet. The organ confidently provides harmonic support and rhythmic clarity. This edition is ideal for church services, concerts and teaching. It offers a stylistically correct and inspiring way to bring Baroque music to life in a sonically appealing instrumentation. Content: 1. Allegro 2. Grave 3. Allegro