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

In this booklet, which covers the entire festive period from 1 Advent to Epiphany, a wide variety of organ works are recommended for playing on both small and large organs. All of the selected works can be played in the various forms of church services as well as in concert. Content: - Chorale prelude ‘Awake, the voice calls us’ (Johann Sebastian Bach | 1685-1750) - Choral prelude ‘Meine Seele erhebet den Herrn’ (Johann Sebastian Bach | 1685-1750) - Hymn ‘Creator Alme Siderum’ (Nicolas Jaques Lemmens | 1823-1881) - ‘Paraphrase sur un Cœur de Judas Macchabée de Händel’ (Félix Alexandre Guilmant | 1837-1911) The chorus on which Félix Alexandre Guilmant composed this paraphrase can be found has become widely known under the title ‘Daughter of Zion’. - ‘ Où s'en vont ces gais bergers’ (Claude Balbastre | 1727-1799) Theme and seven variations on a French Christmas carol - ‘Adestes Fideles’ (Raynor Taylor | 1747-1825) Raynor Taylor composed three virtuoso variations on this world-famous Christmas carol playable variations. - ‘In Dulci Jubilo’ (Franz Liszt | 1811-1886) Franz Liszt composed this choral fantasia for manual accompaniment. - Choral prelude ‘In Dulci Jubilo’ (Johann Sebastian Bach | 1685-1916) - Fantasy on ‘Silent Night, Holy Night’ (1902) from op.17 (Max Reger | 1873-1916) - Theme and variations on ‘O du fröhliche’ (Benjamin Carr | 1768-1831) - ‘Rhapsodie sur le Noëls’ (Eugène Gigout | 1844-1925) Eugène Gigout uses various French Christmas carols in his rhapsody, including carols, including ‘Adestes fideles’ and ‘Gloria in Excelsis Deo’ (Les anges dans nos campagnes). - ‘Drei Kön'ge wandern aus Morgenland’ (Peter Cornelius | 1824-1874) - ‘Grand Chœur’ (Théodore Salomé | 1834-1896) - Marche triomphale ‘Nun danket alle Gott’, op.65 (Sigfrid Karg-Elert | 1877-1933)

Félix Alexandre Guilmant was born in Boulogne-sur-Mer in 1837. In 1871 he became organist at the church of Ste. Trinité in Paris. Together with Ch. Bordes and V. d'Indy, he founded the Schola Cantorum in 1894. In 1896, he succeeded Widor as organ teacher at the Paris Conservatoire. Guilmant died in 1911 in Mendon near Paris. The Cantilène Pastorale was published in 1864 in the ‘Pièces d'orgue dans differents styles’. This composition for solo organ served as the model for the present arrangement for saxophone and organ.

Joseph Gabriel Rheinberger (1839-1901) enjoyed a high reputation 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 soprano saxophone (clarinet) and organ. Also available is an arrangement of this composition for trumpet (oboe) and strings (N 3866). This edition can also be realised for soprano saxophone or clarinet and strings.

Organ music for German hymns III, Christmas festive season II The Cantantibus organis collection contains pieces in several booklets, one group of which is selected according to the festive cycles and special themes of the church year; other groups with free preludes, interludes and postludes are organised according to musical points of view. The level of difficulty of the selected pieces ranges from ‘easy’ to ‘quite difficult’. No special pedalling skills are required. Numerous pieces are for historical reasons, to be played entirely without pedal. The main emphasis of the selected pieces in this collection is on manual technique. Many of the works are ideal for church music festivals and concerts. The pieces without pedal also sound excellent on the harpsichord. This volume is dedicated to the festive season of Christmas,including an insert with hymn texts. Content: Let us sing with cheerfulness (GL 135) 1.Hans Leo Hassler (1564-1612), carol setting 2.Peter Piel (1835-1904), carol setting 3.Bernhard von Salem (around 1500), chorale arrangements 4.Fridolin Sicher (1490-1546), chorale trio 5.Elias Nikolaus Ammerbach (around 1530-1597), chorale arrangements Tag an Glanz und Freuden groß (GL 137)- Der Tag, der ist so freudenreich (EKG 18) 6.Sethus Calvisius (1556-1615), hymn setting 7.Joachim Decker (†1611), song movement 8.Johannes Zahn (1817-1895), song composition 9.Caspar Othmayr (1515-1553), chorale bicinium 10.Alessandro Poglietti (†1683), Choral ricercare 11.Johann Heinrich Buttstedt (1666-1727), chorale prelude 12.Georg Pasterwitz (1730-1803), chorale fugue 13.Franz Schneider (1737-1812), chorale fugue 14.Bernhard Mettenleiter (1822-1901), chorale intonation Es kam ein Engel hell und klar (GL 138 ö, EL 22), Vom Himmel hoch da komm ich her (EKG 16) 15.Jakob Praetorius (1586-1651), hymn setting 16.Johann Pachelbel (1653-1706), song movement 17.Johann Sebsatian Bach (1685-1750), song movement 18.Johann Singenberger (1848-1924), song movement 19.Caspar Othmayr (1515-1553), Choral Bizinium 20.Georg Friedrich Kauffmann (1679-1735), chorale trio 21.F.C. Scheidemantel (18th century), Chorale Trio 22.Christian Michael Wolff (1709-1789), chorale prelude 23.Moritz Brosig (1815-1887), Chorale Trio 24.Gustav Merkel (1827-1885), chorale prelude

It is already a centuries-old tradition that popular masterpieces for choir or orchestra have been transferred to the organ, the queen of instruments. Günter Kaluza has adapted nine popular compositions for the organ for this edition. Content: - Adagio and Allegro in F minor K. 594 (Wolfgang A. Mozart | 1756 - 1791) Fantasy for an organ work in one o'clock, transcription - Air from the orchestral suite (Johann Sebastian Bach | 1685 - 1750) in Dc.f. in the left hand, transcription - Rondo from “Abdelazer” (Henry Purcell | 1659 - 1695) solemn, transcription - “Jesu bleibet meine Freude” from Cantata 147 (Johann Sebastian Bach | 1685 - 1750) chorale, transcription - Prelude from “Te Deum laudamus” (Marc-Antoine Charpentier | 1643 - 1704) known through the Eurovision TV broadcasts, transcription - Psalm 19 “The heavens are telling” (Benedetto Marcello | 1686 - 1739) known to many, festive, transcription by F. Cl. Theodore Dubois (1837 - 1924) - Hallelujah from the oratorio “The Messiah” (George Frideric Handel | 1685 - 1759) Transcription by F. Cl. Theodore Dubois | 1837 - 1924 - The Glory of God from Nature (Ludwig van Beethoven | 1770 - 1827) “Praise the heavens” transcription - Purcell's Trumpet Voluntary (Prince of Denmark March) (Jeremiah Clarke | 1674 - 1707) Transcription

Organ music of the Augustinians The Cantantibus Organis series presents organ pieces in several booklets, one group of which is selected according to the festive cycles and special themes of the church year; other groups with free preludes, interludes and postludes are organised according to musical aspects. The level of difficulty of the selected pieces ranges from ‘easy’ to ‘quite difficult’. No special pedalling skills are required. Numerous pieces are historically based and can be played entirely without pedalling. The main emphasis of the selected pieces in this collection is on manual technique. Many of the works are ideal for church music festivals and concerts. The pieces without pedal also sound excellent on the harpsichord. This volume is dedicated to the organ music of the Augustinians and is supplied in ring binding. Content: 1.P. Felix Gass (18. Jh.): Aria Es-Dur 2.P. Felix Gass (18. Jh.): Aria c-Moll 3.P. Felix Gass (18. Jh.): Aria Es-Dur 4.P. Felix Gass (18. Jh.): Aria A-Dur 5.P. Felix Gass (18. Jh.): Aria a-Moll 6.P. Bruno Holzapfel (18. Jh.): Fantasia B-Dur 7.P. Bruno Holzapfel (18. Jh.): Cantabile B-Dur 8.P. Bruno Holzapfel (18. Jh.): Siciliano B-Dur 9.P. Bruno Holzapfel (18. Jh.): Vivace B-Dur 10.P. Theodor Grünberger (1756-1820): Praeludium zum Kyrie 11.P. Theodor Grünberger (1756-1820): Fuga nach der Epistel 12.P. Theodor Grünberger (1756-1820): Rondo unter dem Offertorium 13.P. Theodor Grünberger (1756-1820): Alla Capella zum Sanctus 14.P. Theodor Grünberger (1756-1820): Echostück unter der Wandlung 15.P. Theodor Grünberger (1756-1820): Postludium nach dem Ite Missa est

Organ music in Benedictine monasteries - Augsburg | Garsten | St. Lambrecht | Mariazell The Cantantibus Organis series presents organ pieces in several booklets, one group of which is selected according to the festive cycles and special themes of the church year; other groups with free preludes, interludes and postludes are organised according to musical aspects. The level of difficulty of the selected pieces ranges from ‘easy’ to ‘quite difficult’. No special pedalling skills are required. Numerous pieces are historically based and can be played entirely without pedalling. The main emphasis of the selected pieces in this collection is on manual technique. Many of the works are ideal for church music festivals and concerts. The pieces without pedal also sound excellent on the harpsichord. This volume is dedicated to organ music in Benedictine monasteries - Augsburg | Garsten | St. Lambrecht | Mariazell and is supplied in ring binding. Content: 1.Gregor Aichinger (1564-1628): Ricercar (I) - Primi toni / A4 2.Gregor Aichinger (1564-1628): Ricercar (II) - Per sonare et cantare 3.Gregor Aichinger (1564-1628): Ricercar (III) - Per sonare et cantare / A4 4.Gregor Aichinger (1564-1628): Ricercar (IV) - Quarti toni 5.Gregor Aichinger (1564-1628): Ricercar (V) - Secundi toni 6.Gregor Aichinger (1564-1628): Ricercar (VI) - Primi toni 7.Gregor Aichinger (1564-1628) / Bernhard Schmid the Younger (* 1584): Gaudeamus et exultemus - Motet for five voices 8.Gregor Aichinger (1564-1628): Adoro te supplex, latens deitas - motet for four voices 9.Gregor Aichinger (1564-1628): Duo Seraphim clamabant - motet for eight voices 10.Gregor Aichinger (1564-1628) / Johann Woltz (around 1600): Suscepimus Deus - motet for six voices 11.P. Sebastian Ertel (†1618): Cadenzas in the eight church tones 12.P. Sebastian Ertel († 1618): Tota pulchra es amica mea - Motet for eight voices

Organ music of the Carmelite Order The Cantantibus Organis series presents organ pieces in several booklets, one group of which is selected according to the festive cycles and special themes of the church year; other groups with free preludes, interludes and postludes are arranged according to musical points of view. The level of difficulty of the selected pieces ranges from ‘easy’ to ‘quite difficult’. No special pedalling skills are required. Numerous pieces are for historical reasons, to be played entirely without pedal. The main emphasis of the selected pieces in this collection is on manual technique. Many of the works are ideal for church music festivals and concerts. The pieces without pedal also sound excellent on the harpsichord. This volume is dedicated to the organ music of the Carmelite Order and is supplied in ring binding. Content: 1.P. Justinus a Desponsatione B. M. V. (1675-1747): Toccata (G major) 2nd P. Justinus a Desponsatione B. M. V. (1675-1747): Fuga (F major) 3.P. Justinus a Desponsatione B. M. V. (1675-1747): Aria septima 4.P. Justinus a Desponsatione B. M. V. (1675-1747): Aria undecima 5.P. Justinus a Desponsatione B. M. V. (1675-1747): Aria sexta 6.P. Justinus a Desponsatione B. M. V. (1675-1747): Toccata (D major) 7.P. Justinus a Desponsatione B. M. V. (1675-1747): Aria Pastorella (A major) 8.P. Justinus a Desponsatione B. M. V. (1675-1747): Aria Pastorella (B flat major) 9.P. Justinus a Desponsatione B. M. V. (1675-1747): Aria Pastorella (C major) 10.P. Justinus a Desponsatione B. M. V. (1675-1747): Toccata (G minor) 11.P. Justinus a Desponsatione B. M. V. (1675-1747): Fugue (E minor) 12.P. Justinus a Desponsatione B. M. V. (1675-1747): Toccata (D minor) 13.P. Justinus a Desponsatione B. M. V. (1675-1747): Aria secunda con Varizioni (D major) 14.P. Fr. Pedro Carrera y Lanchares (around 1790): Versos de 5 tono (Clasícos) 15.P. Fr. Pedro Carrera y Lanchares (around 1790): Versos de 5 tono 16.P. Pedro Carrera y Lanchares (c. 1790): Versos de 4 tono (Clasícos) 17.P. Fr. Pedro Carrera y Lanchares (c. 1790): Versos de 1 tono 18.P. Pedro Carrera y Lanchares (c. 1790): Versos de 8 tono (Clasícos)