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).

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

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 ’.

This two-volume collection of selected organ music by European masters aims to provide an overview of how organ composition developed from the Renaissance to the late Baroque period. While the first volume contains compositions from the Renaissance to the mid-Baroque period, the second volume continues from there to the late Baroque period. It was during this period that highly significant organ compositions were written, some of which were still based on the early Baroque style and often went unnoticed. The selection of works, intended for practical use, includes both free and chorale-based compositions. Where the compositions in this volume are notated in two systems, they are played manualiter. Content: 1. Heinrich Isaac, Canzona " La Martinella " 2. Arnold Schlick, Maria zart 3. Arnold Schlick, Salve Regina 4. Hans Kotter, Aus tiefer Not schrei ich zu dir 5. Luzzasco Luzzaschi, Toccata del 4to tuono 6. Wolfgang Carl Briegel, Fuga tertii toni 7. Bernardo Pasquini, Pastorale 8. Johann Christoph Bach, Praeludium und Fuge in Es 9. Johann Friedrich Alberti, Te Deum laudamus ( Herr Gott, dich loben wir ) 10. Johann Michael Bach, Wenn mein Stündlein vorhanden ist

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

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)

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