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.

The most popular Christmas songs: For all single-manual keyboards with automatic accompaniment Complementary to every keyboard course Song accompaniment with fingered chords Polyphonic playing Ensemble playing Content: - All die Engel auf den Feldern - Alle Jahre wieder - Am Weihnachtsbaum die Lichter brennen - Andachtsjodler - Deck The Halls - Der Christbaum ist der schönste Baum - Ding Dong, Merrily On High - Es ist ein Ros' entsprungen - Es ist für uns eine Zeit angekommen - Fröhliche Weihnacht überall - Go Tell It On The Mountain - Hark! The Herald Angels Sing - Herbei, o ihr Gläubigen - Ihr Kinderlein, kommet - It Came Upon The Midnight Clear - Jingle Bells - Joseph, lieber Joseph mein - Joy to The World - Kling, Glöckchen, klingelingeling - Kommet ihr Hirten - Lasst uns froh und munter sein - Leise rieselt der Schnee - Little Jesus - Macht hoch die Tür - Maria durch ein Dornwald ging - Mary Had A Baby - Morgen Kinder wird's was geben - Morgen kommt der Weihnachtsmann - Nun singet und seid froh - O du fröhliche, o du selige - O laufet, ihr Hirten - O Tannenbaum - Schneeflöckchen, Weißröckchen - Still, still, still - Stille Nacht, heilige Nacht - Süßer die Glocken nie klingen - The Cherry Tree Carol - The First Nowell - Tochter Zion - Vom Himmel hoch da komm ich her - Vom Himmel hoch, ihr Englein kommt - Was soll das bedeuten - We Wish You A Merry Christmas - Zu Bethlehem geboren

Jean-Siegfried Blumann (1887–1965) was a German conductor and composer. He graduated from the Hamburg Conservatory's conducting class and continued his studies at the Vienna Conservatory. During his artistic career, he worked as a Kapellmeister at several German-language theatres, including in Schwerin, Lübeck, Magdeburg, Braunschweig, Breslau and at the Kroll Opera in Berlin. As a composer, Jean S. Blumann also wrote entertaining works in addition to concert pieces, études and plays. The present piece for trumpet and piano (alternatively organ) is an example of his light compositional style.

Max Baumann (1917–1999) ranks among the most important composers of the 20th century. His compositional output is wide-ranging and encompasses almost all genres of music, from simple songs and instrumental works to chamber music, stage works and small and large orchestral works. Sacred choral music occupies another important place among his compositions. The present edition of Alma Redemptoris Mater is a testament to his vocal work. The setting of the ancient Marian hymn ‘ Alma Redemptoris Mater ’ (Mother of the Redeemer) combines sacred musical language with a modern, emotionally dense sound language. The piece is suitable for both liturgical performances and concert programmes.

The ‘ Little Marian Mass ’ Op. 59 for two soprano voices and organ was written in 1958 for the pupils of St. Ursula's Grammar School in Duderstadt. This was reported to the Max Baumann Society on 3 March 2009 by Ms Helene Dießner, a former music teacher at the school who still lives in Duderstadt. She had asked Max Baumann for a ‘practical work for equal voices’, ‘because simple masses were rare at that time’. Ms Dießner rehearsed the work for the festive service on the occasion of the golden jubilee (1961) of the Venerable Mother Augustina. Since then, boys' and women's choirs have also sung this mass often and with pleasure in church services, certainly also because of its interesting rhythms and appealing, novel harmonies. Contents: Kyrie (approx. 3 minutes) Gloria (approx. 3 minutes 30 seconds) Sanctus (approx. 2 minutes 30 seconds) Benedictus (approx. 1 minute 40 seconds) Agnus Dei (approx. 4 minutes 30 seconds) The vocal score is available under order number N 8135.

Eberhard Kraus selected original oboe parts from Johann Sebastian Bach's rich cantata oeuvre and arranged them in a style appropriate for oboe and organ. This work was written in 1992 for the Regensburg Cathedral Concerts. With its moderate level of difficulty, it is suitable: for the development of chamber music with a liturgical reference as a programme extension for ensembles and soloists of wind and organ works for church musicians as practical and demanding literature for concert and liturgical occasions Content: - Seufzer, Tränen, Kummer, Not (BWV 21) - Sighs, tears, sorrow, distress (BWV 21) - Endlich wird mein Joch wieder von mir weichen müssen ( BWV 56) - At last my yoke will have to be lifted from me (BWV 56) - Ich will auf den Herren schaun ( BWV 93) - I will look to the Lord (BWV 93) - Sinfonia (Kantate BWV 12) - Sinfonia (Cantata BWV 12) - Christen müssen auf der Erden (BWV 44) - Christians must on earth (BWV 44) - Was Gott tut, das ist wohlgetan (BWV 12) - What God does is well done (BWV 12)

Das vorliegende Concerto ist eine Bearbeitung des Concerto B-Dur für Oboe, Violino concertante, Streicher und Continuo (RV 548) von Antonio Vivaldi. Es wurde Wert darauf gelegt, möglichst eng am Vivaldi'schen Original zu bleiben und dabei das Wesen der Originalkomposition mit auf die neue Instrumentierung zu übertragen. Es ergibt sich damit ein interessantes Abwechseln der beiden konzertierenden Instrumente Orgel und Trompete.

This edition is published in a practical ring binder format.