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’

Choral Fantasy for Organ First critical edition of the only contemporary manuscript from Bach's circle Johann Adam Reincken (1643–1722), organist at St. Catherine's Church in Hamburg, was one of the most outstanding North German organists of the 17th century. Compared to the oeuvre of his friend Dieterich Buxtehude, very few of Reincken's works have survived. These include only two chorale-based organ pieces, both of which belong to the genre of the chorale fantasia, but are among the most important of their kind. The only surviving copy of Reincken's famous chorale fantasia, made by Bach's son-in-law Johann Christoph Altnikol, had been lost since 1945 and is now being presented in a critical edition for the first time after its return from Russia to Berlin. Content: - Choral An Wasserflüssen Babylon (By the Rivers of Babylon) - Encouragement to register - Disposition of the Hamburg Catharinenorgel 1720 - Johann Adam Reincken: ‘An Waßer Flüßen Babylon’ | Choral Fantasy - Critical Report

As an essential part of English music-making, organ music developed completely independently of the continent until the middle of the 19th century. Until then, even large English organs had no independent pedal division or only an attached pedal. Accordingly, the present collection consists only of manualiter pieces and predominantly of the typical two- to four-movement voluntaries. In keeping with English tradition, these works can be played on the organ as well as on the harpsichord. The pieces are also available individually as pdf files. Simply click on the drop-down menu under ‘Issue (please select)’.

César Franck's works have been enjoying growing popularity for several years and are increasingly finding their way into organ concert programmes. Günter Kaluza's edition makes lesser-known pieces from César Franck's oeuvre available in a practical edition. The works were probably composed before 1860, but bear Franck's unmistakable compositional signature.

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)

In each of the organ works included, the overall sound of all stops is required in one or more places. The edition contains works by Boëllmann, Dubois, Gigout, Lemmens and Saint-Saëns. The selected composers once caused a furore in Paris, but are increasingly being forgotten.

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

Günter Kaluza brings together original manualiter organ works from the 18th and 19th centuries in the 7th volume of the Praestant series. All of the composers spent part of their lives in Philadelphia/Pennsylvania. The pieces are also available individually as pdf files. Simply click on the drop-down menu under ‘Issue (please select)’.

During a visit to Coutances Cathedral in Normandy: the babble of other visitors, a guest organist trying out different registrations, the resulting introspection. In the three extremely contrasting sections of the ‘Triptych’, Alois Bröder captures this experience musically on the same day. In its extreme restraint, the third and by far longest part in particular represents the experience of connecting the sensually perceptible world with one's own inner self.

Organ music in European cathedrals I - Venice | Munich | Augsburg 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 European cathedrals - Venice | Munich | Augsburg. Content: - Claudio Merula (1533-1604): Toccata sesta terza tuono - Andrea Gabrieli (1510-1586): Praeludium sexti toni - Giovanni Gabrieli (1557-1612): Ricercar - Giovanni Gabrieli (1557-1612): Modus Sextus tranpositus per Quartam superiorem - Giovanni Gabrieli (1557-1612): Modus Decimus Tonus - Gioseffo Guammi (1540-1611): Canzon - Christian Erbach (1570-1635): Toccata primo tuono - Christian Erbach (1570-1635): Fantasiae primorum tonorum - Hans Leo Haßler (1564-1612): Canzona - Orlando di Lasso (1532-1594)/Jacob Prix (1550-1617): Da pacem Domine - Johann Kaspar Kerll (1627-1693): Toccata per li pedali - Franz Xaver Anton Muschhauser (1663-1738): Finale et Fuga septimi toni

Organ music in the Bavarian region 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 the Bavarian region. Content: 1. Anonymous Bavarian mesiter (18th century): Praeambulum quinti toni (C major) 2. Gottfried Muffat (1690-1770): Toccata nona with 6 verses in C minor 3. Johann Ernst Eberlin (1702-1762): Praeludium, Versettas and Finale in D major 4. Franz Xaver Anton Murschhauser (1663-1738): Praeambulum in D minor 5. Abbé Georg Joseph Vogler (1749-1814): Prélude in E flat major 6. Johann Caspar Ett (1788-1847) / Joseph Grätz (1760-1826): Praeludium and Versettas in E major 7. Franz Anton Hugl (18th century): Prélude et Fugae sexti toni 8. Karlmann Kolb (1703-1765): Praeludium, Versi, Cadenza octavi toni 9. Anonymous Bavarian master (18th century): Préambulum secondi toni (G minor) 10. Johann Ernst Eberlin (1702-1762): Praeludium, Versetten and Finale in A minor 11. Franz Anton Hugl (18th century): Fuga ex B flat 12. Abbé Georg Joseph Vogler (1749-1814): Prelude in B minor