Jean-Philippe Rameau (1683–1764) is one of the most important composers of the French Baroque period. In his stage works, he combines festive sound splendour with dance-like elegance and artful harmonies. This collection, Airs de Triomphe, has been carefully arranged by Eberhard Kraus (1931-2003), long-time organist at Regensburg Cathedral and experienced editor. The selection is based on festive instrumental movements from Rameau's operas and stage music and has been arranged for two trumpets (in C or B flat) and organ. The arrangements are characterised by idiomatic voice leading, good playability and musical effect – ideal for use on church holidays, in concerts or as repertoire for advanced brass players in a liturgical context. The organ takes on a harmonically supportive and rhythmically concise accompanying role, while the trumpets take centre stage with baroque radiance. Content: I. "La Princesse de Navarre" (Comédie-ballet) II. "Le Temple de la Gloire" (Opéra-ballet III. "Nais" (Pastorale héroique)

Johann Ludwig Krebs (1713–1780) is one of the most important German composers and organists of the late Baroque period. His musical education began under the guidance of his father, Johann Tobias Krebs, who was also an organist. From 1726, Krebs was a pupil of Johann Sebastian Bach at St. Thomas School in Leipzig, which had a lasting influence on his compositional style. The close relationship between teacher and student is reflected, among other things, in a playful remark by Bach, who referred to Krebs as his ‘only Krebs in my Bach’. Krebs' compositional oeuvre comprises around 230 works, with his organ compositions in particular still attracting considerable attention today. This edition brings together eight simple and stylistically expressive chorales by Johann Ludwig Krebs in an arrangement for organ and melody instrument (oboe or trumpet in C), edited by August Gottfried Ritter . The chorales are suitable for both liturgical use and concert performances. Ritter's edition makes these works accessible to a wide circle of organists and combines historical substance with practical playability. Content: 1. Es ist gewißlich an der Zeit (It is surely time) 2. Was mein Gott will, das gescheh allzeit (What my God wants, may it always happen) 3. Gott der Vater wohn' ns bei (God the Father dwells with us) 4. Herzlein lieb hab ich dich, oh Herr (I love you dearly, oh Lord) 5. Komm heiliger Geist, Herre Gott (Come Holy Spirit, Lord God) 6. O Gott, du frommer Gott (O God, you pious God) 7. Liebster Jesu, wir sind hier (Dearest Jesus, we are here) 8. Wachet auf, ruft uns die Stimme (Awake, the voice calls us)

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