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. Content: 1. Madrigals 2. Canzona prima 3. Canzona seconda 4. Aria

Michel Corette (1707–1795), an important French composer, arranger, organist, and teacher of the Baroque era, is best known for his organ concertos, Op. 26, and his Christmas songs, known as Noëls, which are popular in France. The present “Suite in C major” comes from the fifth work for alto recorder (alternatively flute, oboe, treble viol and violin) and harpsichord and was first published in Paris (date unknown). Uwe Heger's arrangement for trumpet and organ (alternatively piano) allows for a fresh interpretation of the work and is suitable for both teaching and concerts. This edition offers musicians, teachers, and students a valuable opportunity to engage with the Baroque repertoire.

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.

Chorales No. 2 to 7 of this work were composed during the 6th Bach Week of the Collegium Regensburg and premiered in 1980 by the Rolf Quinque Trumpet Ensemble (Munich) in Regensburg Cathedral. The aria and the opening march ( No. 1 and 8) were first performed in 1983 by the Augsburg Trumpet Ensemble during the 9th Bach Week, also in Regensburg Cathedral. In addition to concert performances, the work is also intended for use in liturgy. Content: 1. Holy Trinity (Cantata BWV 172) 2. Praise the Lord, the mighty King of Honour (Cantata BWV 137) 3. Jesus, now be praised (Cantata BWV 41) 4. Lord God, we all praise you (Cantata BWV 130) 5. From Heaven Above, I Come (Christmas Oratorio I BWV 248) 6. Now Praise My Soul the Lord (Cantata BWV 29) 7. Thank God and Praise Him, Thy People (Cantata BWV 69) 8. Marche (Cantata BWV 207)

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

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.