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.

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

Franz Liszt (1811–1886) is considered one of the most important composers of the Romantic period. His work Rosario , originally written for piano, is one of his late, spiritually influenced compositions. It is characterised by meditative depth and simple expressiveness. The title refers to the rosary ( Rosario ), a symbol of prayer and spiritual contemplation in the Catholic faith – a theme that occupied Liszt throughout his life. In Eberhard Kraus ' (1931-2003) arrangement for horn and organ, Rosario opens up a new dimension of sound. The warm, singing voice of the horn blends impressively with the sacred character of the organ, bringing Liszt's religious inspiration to the fore in a special way. A worthwhile addition to lessons, concerts or liturgy – musically demanding, but easy to play. Content: 1. Mysteria Gaudiosa 2. Mysteria Dolorosa 3. Mysteria Gloriosa

Born in Naples, Domenico Scarlatti (1685–1757), wrote no chamber music of consequence either in his youth or when officiating as organist at St. Peter's in Rome. The same applies to the period he spent in the Portuguese royal service as music-master of the infanta Maria Barbara who eventually became Queen of Spain. His main focus of attention centred on keyboard music which extends to over 500 piano sonatas, all embodying a wealth of tonal color. As such, they serve as ideal material for rendering on wind instruments with keyboard accompaniment. Preference in this arrangement has gone to three sonatas, listed in the Kirkpatrick catalogue as numbers 96, 380 and 159, as being particularly suited to performance on two trumpets and organ. Transcription has been involved transposing the second sonata from E major to G major, and the third sonata from C major to D major. A harpsichord can be put to equally effective use in lieu of an organ. Content: 1. Sonata 1 (Allegrissimo) 2. Sonata 2 (Andante comodo) 3. Sonata 3 (Allegro)

Tommaso Albinoni (1671–1751) is one of the most important composers of the Italian Baroque period. Known above all for his lyrical melodies and clear structures, his work stands for musical elegance and Baroque expressiveness. The Sonata in C presented here, originally composed for strings and basso continuo, has been carefully arranged for trumpet and organ by Georg Gossen . The arrangement retains the festive character of the original version while effectively highlighting the virtuosic and vocal qualities of the trumpet. The organ confidently provides harmonic support and rhythmic clarity. This edition is ideal for church services, concerts and teaching. It offers a stylistically correct and inspiring way to bring Baroque music to life in a sonically appealing instrumentation. Content: 1. Allegro 2. Grave 3. Allegro

Johann Sebastian Bach (1685–1750) is one of the most important composers in music history – his church cantatas combine spiritual depth with musical expressiveness. This edition contains selected arias and chorales from the cantatas BWV 175 “ Er rufet seinen Schafen mit Namen ” (He calls his sheep by name), BWV 91 “ Gelobet seist du, Jesu Christ ” (Praise be to you, Jesus Christ), BWV 1 ‘ Wie schön leuchtet der Morgenstern’ (How beautifully shines the morning star) and the chorales from BWV 251 ‘ Gott, wie groß ist deine Güte ’ (God, how great is your goodness) and BWV 252 ‘ Jesu, deine Gnadenblicke ’ (Jesus, your gracious gaze), arranged for trumpet (C | B) and organ. Eberhard Kraus (1931-2003) has arranged the works for practical use in liturgy and smaller concert ensembles. The collection is particularly suitable for use in church services, on festive days or as a classy repertoire for brass instruments with organ. Content: 1. Öffnet euch, ihr beiden Ohren (BWV 175 - Open up, both ears) 2. Das hat er alles uns getan (BWV 91 - He has done all this for us) 3. Wie bin ich doch so herzlich froh (BWV 1- How joyful I am) 4. Nun danket Gott (BWV 252 (Trauungsmusik) - Now give thanks to God (wedding music)) 5. Sei lob und Ehr dem höchsten Gut (BWV 251 (Trauungsmusik) - Praise and honour to the highest good (wedding music))

Nicolas Le Bègue (1631–1702) is one of the most important organists and composers of the early French Baroque period. As court organist at the French royal court, he influenced an entire generation of musicians, including the young François Couperin. His works are characterised by delicate ornamentation, clear structures and a festive, meditative character. Nicolas Le Bègue published several Christmas pieces in his third ‘Livre d'Orgue’, which, with their lively alternation of folk melodies and spirited variations, are among the most beautiful of their kind. The three Christmas pieces presented here – originally composed for keyboard instruments – have been sensitively arranged for trumpet and organ by Eberhard Kraus (1931-2003). In this instrumentation, they unfold their full sonic splendour and are ideal for the musical accompaniment of festive church services or Christmas concerts. Content: 1. Puer nobis nascitur 2. Une Vierge Pucelle 3. Noël pour l'amour de Marie

The Aylesford Suite for trumpet and organ has been compiled from an comprehensive collection of harpsichord pieces written by George Frederick Handel (1685–1759), last owned by the Earl of Aylesford and auctioned in London in May 1918. These are copies of compositions widely differing from one another as regards form, length and difficulty. The jumbled order of the pieces and their more or less harpsichord-like structure (a number are familiar as orchestral settings) suggest that this may in fact have been some sort of "reserve stock" of material kept in readiness by Handel for subsequent use or elaboration. A harpsichord or piano is equally suitable as a partner instrument to the trumpet. Content: 1. Chaconne 2. Minuet 3. Gavotte 4. Air and doubles

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.

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

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)

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