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

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)

Includes revision report Anton Holzner was born between 1598 and 1600, presumably in Mainburg (Lower Bavaria). In 1607, he joined the Munich court as a treble singer. From 1614, he served as organist to Duke Maximilian I, who later became Elector of Bavaria. In 1615, he went to Parma to study for two and a half years, followed by another year in Rome. In 1619, he returned to the Munich court, where he remained until his death. He was struck down by the plague in 1635. The canzonas published here have no year of publication. They appear in a handwritten organ tablature alongside works by Girolamo Frescobaldi, Christian Erbach, Giovanni Gabrieli and Hans Leo Haßler. The canzonas are in the form of the ricercar, which Holzner became acquainted with in Italy and then continued to use in Germany. Holzner was probably a pupil of Frescobaldi's organ class. In the strict style of the Roman school, incorporating modern compositional principles, he wrote 24 motets for one to five voices, 7 Magnificats for five or six voices and 7 masses for five to eight voices (also double choir).

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)

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 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

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)

The twelve-part organ mosaic consists of a series of twelve independent organ pieces. These are used as a cycle in both liturgy and concerts and are characterised by their varied nature and their connection to regional and ecclesiastical motifs. This collection is ideally suited for organists with solid playing experience. Contents: I. Con anima II. Deciso III. Con forza IV. Doloroso V. Choral VI. Maestoso VII. Sensibile VIII. Energico IX. Arioso X. Tema con Variazioni XI. Andante con moto XII(1). Aus hartem Weh XII(2). Fugato

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 ’.

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

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.

Johann Sebastian Bach (1685–1750) is considered one of the most important composers in the history of church music. His chorales remain a cornerstone of liturgical music practice to this day. Three expressive chorales from Bach's cantatas ‘ Ich armer Mensch ’ (BWV 55), ‘ Wachet auf ’ (BWV 140) and ‘ Der Friede sei mit dir ’ (BWV 158) in easy to moderately difficult arrangements by Eberhard Kraus (1931-2003) for trombone (C) and organ. In addition to concert performances, these pieces are also intended for use in liturgy and are equally suitable for beginners and advanced brass players and organists. Content: 1. Erbarme dich, erbarme dich ( BWV 55- Have mercy, have mercy) 2. Zion hört die Wächter singen (BWV 140 - Zion hears the watchmen singing) 3. Welt ade, ich bin dein müde (BWV 158 - Farewell, world, I am weary of you)