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

Die erstmals im Jahr 1726 in Paris erschienenen Duette op. 11 von Joseph Bodin de Boismortier sind für alle Arten von Melodieinstrumenten geschrieben. Blockflöten, Querflöten und Oboen sind neben den französischen Rokoko-Modeinstrumenten Dudelsack und Drehleier ausdrücklich im Originaltitel genannt. Selbstverständlich können auch Geigen oder Diskantgamben diese Stücke spielen. Es können gleichartige oder verschiedene Instrumente musizieren. Wegen ihres geringen technischen Schwierigkeitsgrades eignen sich die Suiten vorzüglich als Übungsstücke für den Anfangsunterricht.

Thirty of the best-known Christmas carols from Germany, France, England, America and Switzerland are provided here with skilful upper parts. The less advanced flautist will enjoy playing the well-known melodies; the more technically adept will find their challenge in the sophisticated second parts. These lively duets could be accompanied by a harmony instrument (guitar, keyboard or piano). The additionally inserted part with the extracted chord symbols offers a rich palette of Christmas music-making.

Kaspar Kummer (1795-1870) gehörte über dreißig Jahre als Flötist und Musikdirektor der Hofkapelle von Sachsen-Coburg-Gotha an. Über seine Tätigkeit als Komponist schrieb der englische Musikhistoriker und Flötist R. S. Rockstro (1826-1906): "Ich kenne keinen Komponisten, dessen Werke für Flöte sich durch eine solch gleichbleibend hohe Qualität auszeichnen". Die Duette op. 146 sind sowohl für den Unterricht wie für den Vortrag geeignet.

This Grade 1 is best suited for beginners on the flute and clarinet. Instruments do not have to go into the second, overblowing register. In addition, the pieces remain simple, yet effective, even in rhythm: first there are works in fourths and halves, before playing in eighths is trained. And there are always beautiful melodies! The pieces in this booklet are arranged progressively, i.e. with a slightly increasing degree of difficulty. The amusing titles of the individual pieces will stimulate the musicians' imagination to interpret the songs in their own way. Grade 2 (N2727) and Grade 3 (N2731) follow.

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, born in 1839 in Vaduz, the capital of the Principality of Liechtenstein, and died in 1901 in Munich, his second home, to which he had already been drawn at the age of twelve, is regarded as one of the most important Romantic organ composers. He wrote no fewer than 20 large-scale sonatas for the ‘queen of instruments’, leaving behind two quite monumental concertos for organ and orchestra, as well as some chamber music and choral-instrumental music involving the organ. In Munich, he held positions as organist and cantor at various churches, and from 1877 also at court, taught organ and counterpoint as a professor at the Royal School of Music, built up an immense circle of students over almost four decades, and was highly regarded as an organ virtuoso and teacher. He rejected the modernity of a Wagner or Liszt. Rather, he saw his destiny in preserving the tradition of the Classical and early Romantic periods. This becomes clear in the format, but This is also and especially evident in the design of the themes and their harmonic backbone. The Intermezzo from the Organ Sonata No. 4 in A minor op. 98, dated 1877, is undoubtedly an outstanding and extraordinarily concise ‘calling card’ for Rheinberger.

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.

These six trios are written in four different keys that are easy to play, even for beginners. Short preludes and postludes frame the arrangements. The print is designed in such a way that the valuable score can be played without turning the pages. Content: 1. Guten Abend, gute Nacht 2. Bruder Jakob 3. Weißt du, wieviel Sternlein stehen 4. Guter Mond, du gehst so stille 5. Dat du min Leevsten büst 6. Es waren zwei Königskinder

Hommage à Bach is originally an etude for solo concert guitar. In the title, Alexander Zinowsky expresses his special relationship to the music of Johann Sebastian Bach. It was only later that Zinowsky added a solo part for flute (saxophone, oboe, etc.) to the composition. The saxophonist Manfred Wordtmann arranged the work for saxophone and piano (organ).

This blues collection, which is unique in its scope and includes an accompanying CD, enables musicians to get to know the world of the blues. The level of difficulty rises as the collection progresses. The edition contains 54 different blues pieces for alto saxophone (E flat) and a play-along CD to play along with. 31 pieces (tracks 17-47) are printed both in the low register (low version) and in the high register (high version), so that in the end the player has a total of 85 blues at his disposal. The high version can be heard on the CD.