The second volume of the collection ‘ Organ Music by European Masters ’ contains – just like the first volume – both free and chorale-based compositions of varying levels of difficulty, which are intended for practical use but have remained largely unknown until now. The compositions in this volume span the period between the middle and late Baroque. Where the compositions are notated in 2 systems, they are played manualiter. Content: 1. Johann Kuhnau, Toccata und Fuge in A 2. Johann Caspar Ferdinand Fischer, Der Tag, der ist so freudenreich ( Ricercar pro Festis Natalitys super Initium Cantilenae ) 3. Johann Caspar Ferdinand Fischer, Praeludium und Fuge in h 4. Franz Xaver Anton Murschhauser, Praeambulum et Fuga tertii toni 5. Johann Heinrich Buttstedt, Gelobet seist du, Jesu Christ 6. Louis Marchand, P raeludium und Fuge 7. Nicolas de Grigny, Fuge 8. Nicolas de Grigny, A solis ortus cardine 9. Padre Giovanni Battista Martini, Praeludium und Fuge in e 10. Gottfried August Homilius, Straf mich nicht in deinem Zorn

From the Visby (Petri) Organ Tablature First publication Berendt Petri, the first owner of the tablature and colleague of Jacob Praetorius, completed the transcription in Freiburg an der Elbe in 1611. Sometime before 1630, the manuscript came into the possession of Johan(n) Bahr, who, after moving to Visby (Gotland, Sweden), wrote his own compositions on the pages left blank by Petri. The manuscript is now in the possession of the ‘Landesarchivet’ in Visby. The significance of the tablature lies primarily in the fact that it is the only source of organ music composed in Hamburg at the beginning of the 17th century. The compositions in this edition represent approximately one third of the content of the ‘ Visby (Petri) Organ Tablature ’.

Inhalt: Teil I: Die sieben Wochentage - Montag - Dienstag - Mittwoch - Donnerstag - Freitag - Samstag - Sonntag Teil II: Sing- und Spielstücke nach alten Kinderreimen - Jakob hat kein Brot im Haus - König Dagobert - Neunundneunzig Schneider - Margritchen - Es war einmal ein Männchen - Schlaf und werde groß wie Mutter - Ich baue mir ein Häuschen - Schlaf, du kleine Weide - Ich hab Äpfel zu verkaufen - So reiten die Herren - Auf dem Berge Sinai - Zwischen Brix und Komothau - Hannesle, Bannesle - Maria sitz am Rosenhang - Wiegenkindchen, schlafe

Inhalt: - Präludium und Improvisation - Drei Inventionen - Suite I - Suite II - Drei Impressionen - Marsch - Rondo

2 x 4 easy studies for young people. Piano, two hands

The Suite brève is written for solo organ and comprises 12 pages. It is mainly aimed at advanced musicians. The suite contains 4 movements. Content: I. Introduction II. Canon III. Interlude IV. Toccata

Johann Sebastian Bach probably composed the six trio sonatas BWV 525-530 ‘á 2 Claviers e Pedal’ between 1727 and 1729 for his eldest son Wilhelm Friedemann, although individual pieces date back to earlier years (1722-1723). These are undoubtedly organ sonatas, whose three independent voices combine to create an extremely charming musical work of art . The aim of this arrangement of the first trio sonata was to make this beautiful work accessible to recorder players. Lambertus Johannes Drop transposed the trio sonata from its original key of E flat major to F major.

During his lifetime, Gottfried Heinrich Stölzel (1690–1749) was regarded as one of the most important and best-known German musicians. As court conductor of the Duchy of Saxe-Gotha-Altenburg, he was widely admired and played a key role in Gotha's rise to a centre of music. After his death, Stölzel left behind a tremendous compositional work, primarily operas, cantatas and chamber music. With the exception of the trio sonatas presented here, Stölzel did not appear as a composer for the organ. Content: 1. Trio Sonata in C major 2. Trio Sonata in F minor 3. Trio Sonata in B flat major 4. Trio Sonata in B flat major Includes revision report

Johann Ludwig Krebs was born in Buttelstedt in 1713. He received his first organ and music lessons from his father, Tobias Krebs. At the age of 13, he moved to Leipzig, where he remained in close proximity to Johann Sebastian Bach until 1737 – this made him into a ‘true Bach creature’. His education at St Thomas' School, his studies at Leipzig University and his organ and composition lessons with Bach had a decisive influence on Krebs and made him an accomplished and independent composer. While studying philosophy and law at Leipzig University, Krebs taught Luise Adelgunde Victoria Gottsched, the wife of the well-known writer Johann Christoph Gottsched, composition and probably also lute playing. He dedicated six Praeambula to her. After serving as organist in Zwickau and Zeitz, Krebs was appointed ducal court organist at the castle church in Altenburg in 1756. He remained there until his death on 1 January 1780. Krebs left behind an extensive musical oeuvre – primarily for organ , but also remarkable chamber music compositions. Content: 1. Piece Praeambulum I - VI 2. Piece Suite 3. Piece Overture 4. Piece Concerto including revision report

KLA-VIER-HÄNDIG III im 5-Ton-Raum ist der direkte Folgeband zu KLA-VIER-HÄNDIG II 5 Ton-Unisono. Während dort die beiden Hände noch einstimmig mit relativ einfachen Rhythmen durch die Tonarten wandern, gibt es in Band III schon bald aufregendere und sogar mehrstimmige Stücke. Gegen Ende des Bandes kommen Sechzehntelnoten mit hübschen Synkopen, Achtel- und Vierteltriolen und sogar Quartolen vor. Im 5-Ton-Raum kann sich der Primospieler jedoch nicht verlaufen, und der Secondo trägt den Primo wie ein lebendiges Metronom. Alle Stücke sind sanglich zu spielen. Artikulation und Phrasierung sind auf ein Minimum beschränkt. Pedal ist auch hier die "Seele des Klaviers".

Quatres Suites – 4 Suiten New edition based on a Berlin manuscript from 1706 Jean-Adam Guillaume Guilain , originally of German descent and named Jean-Adam Guillaume Freinsberg, must have moved to Paris at an early age, where he worked as organist at Saint-Honoré, the church of the Jesuits and Franciscans. His artistic role model was his friend Louis Marchand (the famous organist to King Louis XIV), to whom he dedicated his Pièces d'orgue pour le Magnificat (Paris, 1706). This edition is based on a manuscript from the German National Library in Berlin. Content: - Suite du premier ton - Suite du second ton - Suite du troisième ton - Suite du quatrième ton