Toccata pour orgue Thierry Pallesco was born in Paris in 1956. He began his studies at the Ecole Nationale de Musique d'Orsay with André Isoir and continued at the Conservatoire Nationale Supérieur de Musique de Paris with Rolande Falcinelli. He graduated with a series of prizes: Premier Prix d'Harmonie (1980), Premier Prix de Contrepoint (1981), Premier Prix de Fugue (1982) and Second Prix d'Orgue (1983). In 1984, he reached the final of the ‘Amis de l'Orgue’ composition competition. Since 1977, he has taught piano at the Conservatoire National de Région de Versailles and, since 1986, organ at the Ecole Municipale de Musique d'Igny. In 1984, he became organist at the Cathedral of Saint-Spire in Corbeil-Essonnes, and in 1987, he also became co-director of the Conservatoire de Musique de Malakoff. The toccata ‘Christus hat den Tod besiegt’ (Christ has conquered death) was premiered by the composer on 26 February 1989 in Notre-Dame Cathedral in Paris. It refers to the events of Easter and is characterised by its virtuosity and depth of expression.

Among the organ tablatures of the early 17th century, the intabulations of motet-like figural music by the Hamburg organist Heinrich Scheidemann are particularly noteworthy. In church services, it was expected that a motet, a type of figural music normally sung by the choir, would be performed at a certain point. The only choir in the city of Hamburg could usually only manage to perform at one of the four main churches. In all other church services, the organist had to take on the duty of playing the appropriate motet on the organ. The ability to transcribe vocal music for the organ was therefore essential for organists in Hamburg and was highly valued. In many cases, the transcriptions were taken over note for note. Occasionally, the organist would “compose” complex, ornate arrangements based on the vocal models. Heinrich Scheidemann is considered one of the most important organists of this genre. This edition was created with the aim of adapting the unique intabulation structure to a modern keyboard range, thus transposing the artistic arrangements into modern notation. Content: 1. Alleluja Laudem dicite Deo nostro 2. Angelus ad pastores ait 3. Benedicam Dominum in omni tempore Secunda pars: In Domino laudabitur 5. Benedicam Dominum in omni tempore

Among the organ tablatures of the early 17th century, the intabulations of motet-like figural music by the Hamburg organist Heinrich Scheidemann are particularly noteworthy. In church services, it was expected that a motet, a type of figural music normally sung by the choir, would be performed at a certain point. The only choir in the city of Hamburg could usually only manage to perform at one of the four main churches. In all other church services, the organist had to take on the duty of playing the appropriate motet on the organ. The ability to transcribe vocal music for the organ was therefore essential for organists in Hamburg and was highly valued. In many cases, the transcriptions were taken over note for note. Occasionally, the organist would “compose” complex, ornate arrangements based on the vocal models. Heinrich Scheidemann is considered one of the most important organists of this genre. This edition was created with the aim of adapting the unique intabulation structure to a modern keyboard range, thus transposing the artistic arrangements into modern notation. Content: 5. Confitemini Domino et invocate Secunda pars: Narrate omnia mirabilia eius 6. De ore prudentis procedit me 7. Dic nobis Maria, quid vidisti in via 8. Dixit Maria ad angelum 9. Ego sum panis vivus

Among the organ tablatures of the early 17th century, the intabulations of motet-like figural music by the Hamburg organist Heinrich Scheidemann are particularly noteworthy. In church services, it was expected that a motet, a type of figural music normally sung by the choir, would be performed at a certain point. The only choir in the city of Hamburg could usually only manage to perform at one of the four main churches. In all other church services, the organist had to take on the duty of playing the appropriate motet on the organ. The ability to transcribe vocal music for the organ was therefore essential for organists in Hamburg and was highly valued. In many cases, the transcriptions were taken over note for note. Occasionally, the organist would “compose” complex, ornate arrangements based on the vocal models. Heinrich Scheidemann is considered one of the most important organists of this genre. This edition was created with the aim of adapting the unique intabulation structure to a modern keyboard range, thus transposing the artistic arrangements into modern notation. Content: 10. Omnia, quae fecisti nobis, Domine 11. Surrexit pastor bonus 12. Verbum caro factum est Critical Commentary (Volume I - III)

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.

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. Contents: Canzona Aria di Ruggieri (Part I, II, III, IIII) Capriccio sopra la Battaglia

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.

Günter Maurischat (1930–2011) was a German composer, organist, cantor and music teacher. Trained as a church and school musician, he worked both as a teacher and as a church musician. He became known primarily through his work as a cantor and head of music at various institutions. His compositions focus in particular on organ works and church music. His composition is characterised by its improvisational elements and the typical structure of the toccata, and is aimed at experienced organists and church musicians.

Hymn in six verses on ‘Veni Creator Spiritus’ 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. Content: 1. Veni Creator Spiritus 2. Qui diceris paraclitus 3. Tu septiformis munere 4. Accende lumen sensibus 5. Hostem repellas longius 6. Per te sciamus da patrem

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)

Tommaso Albinoni (1671–1751) is one of the outstanding composers of the Italian Baroque period. His concertos in particular are characterised by clear melodic lines, harmonic elegance and a solemn, festive mood. The Concerto in F major is a typical example of Albinoni's masterful combination of virtuosity and musical expressiveness. Concerto IV from the “Sinfonie e Concerti” op. 2, printed in 1700, was transcribed for organ by Johann Gottfried Walther. Based on this work, Peter Reichert has arranged the three movements for trumpet and organ in a style appropriate to the original. The trumpet takes on the soloistic brilliance of the original melody, while the organ provides the accompanying structure with baroque sonority and rhythmic precision. The arrangement is ideal for festive occasions, concerts, and liturgical celebrations. An impressive addition to the repertoire for trumpet and organ—festive, beautiful, and appealing to audiences.

2 Fantasies 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, inversion, inversion of the inversion, in all possible transpositions. The individual pieces are suitable for liturgy as well as for a coherent concert performance. All pieces can be played on a single-manual organ. Most pieces can be easily played on a two-manual organ. Content: I. ‘Credo in unum deum’ II. ‘Discipulis flammas infundens’