Source of the Toccata for two trumpets and organ by Alessandro Scarlatti (1659-1725) is the Toccata Settima from the ‘Toccata per Cembalo’ composed by this master of Neapolitan Opera. The radiance transmitted by the key of D major combined with the virtuose written in thirds seem to call out for the trumpet's festal brilliance, whereas the central movement with it's sparing texture is a challenge to the organist's skills of melodic improvisation. The organ part can, of course, be played on the positive organ or the harpsichord.

The Suite in F major for trumpet and organ by Leopold Mozart (1719–1787) was based on pieces that the Salzburg court violinist and composer compiled for the piano in his music book for Wolfgang in 1762. The individual movements can also be played separately. The organ can be replaced by a positive organ or harpsichord. Content: 1. March 2. Aria 3. Polonaise 4. Minuet

This edition contains a selection of festive Baroque arias and chorales from five cantatas by Johann Sebastian Bach (1685–1750) in an effective arrangement for trumpet (in C or B flat) and organ. Editor Eberhard Kraus (1931-2003), renowned organist and Bach interpreter, has arranged the pieces in a way that is suitable for liturgy and practical use. The movements included are taken from cantatas BWV 76, 77, 137, 10 and 43 – including the well-known works ‘ Die Himmel erzählen die Ehre Gottes ’ and ‘ Lobe den Herren, den mächtigen König der Ehren ’. The selection is particularly suitable for use in church services, on church holidays or as concert repertoire. The arrangements are characterised by balanced voice leading, good playability and musical expression. They offer an ideal opportunity to bring Bach's vocal music to life in a chamber music setting with trumpet and organ. Content: - Es woll uns Gott gnädig sein (BWV 76 -May God be gracious to us ) - Ach es bleibt in meiner Liebe lauter Unvollkommenheit (BWV 77 - Alas, my love remains full of imperfection ) - Lobe den Herren (BWV 137 - Praise the Lord ) - Er denket der Barmherzigkeit (BWV 10- He thinks of mercy) - Es ist's, der ganz allein die Kelter hat getreten (BWV 43- It is he alone who has trodden the winepress)

This edition presents four canzonas by the important early Baroque composer Heinrich Schütz (1585–1672) in a harmonious arrangement for trumpet (C | Bb) and organ. The arrangement is by Eberhard Kraus (1931-2003), a renowned German organist, harpsichordist and editor, who has set standards in particular with his edition ‘ Cantantibus Organis ’ and numerous transcriptions. The canzonas are ideal for use in church services, festive occasions, and as a stylistically appropriate repertoire for exams and recitals. The clear structure, the balanced interplay of both voices and the moderate level of difficulty make the collection particularly attractive for aspiring church musicians and part-time professionals. Content: 1. Canzona prima 2. Canzona secunda 3. Canzona terza 4. Canzona quarta

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. Content: 1. Madrigals 2. Canzona prima 3. Canzona seconda 4. Aria

Michel Corette (1707–1795), an important French composer, arranger, organist, and teacher of the Baroque era, is best known for his organ concertos, Op. 26, and his Christmas songs, known as Noëls, which are popular in France. The present “Suite in C major” comes from the fifth work for alto recorder (alternatively flute, oboe, treble viol and violin) and harpsichord and was first published in Paris (date unknown). Uwe Heger's arrangement for trumpet and organ (alternatively piano) allows for a fresh interpretation of the work and is suitable for both teaching and concerts. This edition offers musicians, teachers, and students a valuable opportunity to engage with the Baroque repertoire.

Versetti contrarii for high trumpet and organ; Versetti contrarii for organ; European Baroque, Suite for high trumpet and organ Eberhard Kraus (1931–2003) was an organist, composer and professor at the Regensburg University of Music. As a distinguished church musician and composer, his work combined tradition and modernity – from Baroque-inspired polyphony to contemporary techniques such as dodecaphony. The fifth part of his series Contrapunkti dodecaphonici is an impressive example of this combination. The instrumentation for trumpet and organ creates an exciting interplay between serial structure and expressive sonority. The composition demands precise ensemble playing and interpretative depth – both for the trumpet with its clear lines and for the organ as the supporting harmonic foundation. Eberhard Kraus's organ compositions based on twelve-tone rows alternate in this book with selected pieces by old masters in which the trumpet can shine. A work of particular appeal for advanced musicians, it is equally suitable for concert programmes with a contemporary focus and as a contrasting element in thematically mixed performances.

Chorales No. 2 to 7 of this work were composed during the 6th Bach Week of the Collegium Regensburg and premiered in 1980 by the Rolf Quinque Trumpet Ensemble (Munich) in Regensburg Cathedral. The aria and the opening march ( No. 1 and 8) were first performed in 1983 by the Augsburg Trumpet Ensemble during the 9th Bach Week, also in Regensburg Cathedral. In addition to concert performances, the work is also intended for use in liturgy. Content: 1. Holy Trinity (Cantata BWV 172) 2. Praise the Lord, the mighty King of Honour (Cantata BWV 137) 3. Jesus, now be praised (Cantata BWV 41) 4. Lord God, we all praise you (Cantata BWV 130) 5. From Heaven Above, I Come (Christmas Oratorio I BWV 248) 6. Now Praise My Soul the Lord (Cantata BWV 29) 7. Thank God and Praise Him, Thy People (Cantata BWV 69) 8. Marche (Cantata BWV 207)

This work by Eberhard Kraus was composed for Rolf Quinque, former principal trumpeter of the Munich Philharmonic Orchestra, and is primarily intended for high trumpet in combination with organ . In addition to concert performances, it is also intended for liturgical use in both Christian denominations. Depending on the character, compositional structure and content of the individual chorales, variable instrumentation is possible. Thus, depending on the musical requirements, other melody instruments can be used instead of the trumpet. The following instrumentation variations are intended: Instruments in F tuning Horn in F: Nos. 1, 4, 6 High trumpet in F: Nos. 1, 2, 3, 4, 5, 6, 7 Instruments tuned to B flat Clarinet in B flat: Nos. 1, 3, 5, 7 Trumpet in B flat: Nos. 2, 4, 6 Instruments in C tuning Sopranino: No. 4, 5, 6 Soprano recorder: No. 6 Alto recorder: No. 2, 5, 6 Transverse flute: No. 2, 3, 5 Oboe: No. 1, 2, 3, 4, 5, 6, 7 Clarinet in C: Nos. 1, 3, 5, 7 Content: 1. Draw near to power, arm of the Lord 2. The bright sun now shines forth 3. Most beautiful Lord Jesus 4. Awake, the voice calls us 5. Rejoice greatly, O my soul 6. On this night 7. Praise the Lord, the mighty King

The ‘Sonata da chiesa’ revives the forms of Baroque church sonatas. The introductory ‘Grave’ is reminiscent of the French overture with its sharply dotted rhythms. This movement is to be followed immediately by the ‘Allegro moderato’. Content: 1. Maestoso 2. Allegro-Moderato 3. Lento 4. Presto

A member of the Benedictine Order, Valentin Rathgeber (1682-1750), who achieved fame for his ‘ear-pleasing and spirit-delighting table confection,’ wrote a great deal of sacred music during the period in which he held the post of "regens chori" or choirmaster at Banz Monastery/Franconia. Entitled ‘Chelys sonora’, Opus 6 one of his compositions, which appeared in print in 1728, contains a series of concertos scored for various ensembles, number 20 expressly calling for trumpet or horn as a solo instrument. In this arrangement, the solo part has been adopted in it's original form without alteration. The orchestral score, on the other hand, has been transcribed for performance on organs without pedals in conformity with Rathgeber's own style of writing for keyboard instruments as examplified in his published works. A hapsichord, may of course, be used as a substitute for organ. Content: 1. Allegro 2. Adagio 3. Presto

Das vorliegende Werk bereichert die Literatur für 2 Trompeten aus der Barockzeit.