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

Johann Sebastian Bach probably composed the six trio sonatas BWV 525-530 ‘á 2 Claviers e Pedal’ between 1727 and 1729 for his eldest son Wilhelm Friedemann, although individual pieces date back to earlier years (1722-1723). These are undoubtedly organ sonatas, whose three independent voices combine to create an extremely charming musical work of art . The aim of this arrangement of the first trio sonata was to make this beautiful work accessible to recorder players. Lambertus Johannes Drop transposed the trio sonata from its original key of E flat major to F major.

During his lifetime, Gottfried Heinrich Stölzel (1690–1749) was regarded as one of the most important and best-known German musicians. As court conductor of the Duchy of Saxe-Gotha-Altenburg, he was widely admired and played a key role in Gotha's rise to a centre of music. After his death, Stölzel left behind a tremendous compositional work, primarily operas, cantatas and chamber music. With the exception of the trio sonatas presented here, Stölzel did not appear as a composer for the organ. Content: 1. Trio Sonata in C major 2. Trio Sonata in F minor 3. Trio Sonata in B flat major 4. Trio Sonata in B flat major Includes revision report

Johann Ludwig Krebs was born in Buttelstedt in 1713. He received his first organ and music lessons from his father, Tobias Krebs. At the age of 13, he moved to Leipzig, where he remained in close proximity to Johann Sebastian Bach until 1737 – this made him into a ‘true Bach creature’. His education at St Thomas' School, his studies at Leipzig University and his organ and composition lessons with Bach had a decisive influence on Krebs and made him an accomplished and independent composer. While studying philosophy and law at Leipzig University, Krebs taught Luise Adelgunde Victoria Gottsched, the wife of the well-known writer Johann Christoph Gottsched, composition and probably also lute playing. He dedicated six Praeambula to her. After serving as organist in Zwickau and Zeitz, Krebs was appointed ducal court organist at the castle church in Altenburg in 1756. He remained there until his death on 1 January 1780. Krebs left behind an extensive musical oeuvre – primarily for organ , but also remarkable chamber music compositions. Content: 1. Piece Praeambulum I - VI 2. Piece Suite 3. Piece Overture 4. Piece Concerto including revision report

KLA-VIER-HÄNDIG III im 5-Ton-Raum ist der direkte Folgeband zu KLA-VIER-HÄNDIG II 5 Ton-Unisono. Während dort die beiden Hände noch einstimmig mit relativ einfachen Rhythmen durch die Tonarten wandern, gibt es in Band III schon bald aufregendere und sogar mehrstimmige Stücke. Gegen Ende des Bandes kommen Sechzehntelnoten mit hübschen Synkopen, Achtel- und Vierteltriolen und sogar Quartolen vor. Im 5-Ton-Raum kann sich der Primospieler jedoch nicht verlaufen, und der Secondo trägt den Primo wie ein lebendiges Metronom. Alle Stücke sind sanglich zu spielen. Artikulation und Phrasierung sind auf ein Minimum beschränkt. Pedal ist auch hier die "Seele des Klaviers".

Quatres Suites – 4 Suiten New edition based on a Berlin manuscript from 1706 Jean-Adam Guillaume Guilain , originally of German descent and named Jean-Adam Guillaume Freinsberg, must have moved to Paris at an early age, where he worked as organist at Saint-Honoré, the church of the Jesuits and Franciscans. His artistic role model was his friend Louis Marchand (the famous organist to King Louis XIV), to whom he dedicated his Pièces d'orgue pour le Magnificat (Paris, 1706). This edition is based on a manuscript from the German National Library in Berlin. Content: - Suite du premier ton - Suite du second ton - Suite du troisième ton - Suite du quatrième ton

Johann Christoph Oley (1738–1789) became known as a composer through his four volumes of chorale preludes, some of which were published during his lifetime and some posthumously. A contemporary of Johann Ludwig Krebs and Johann Christian Leberecht Kittel, the composer drew on trends in the galant style for his chorale preludes, combining them with traditional compositional practice by using the canon of compositional techniques employed by his musical predecessors. Thus, chorale trios stand alongside cantus firmus arrangements that carry the chorale melody in the alto or tenor voice. The selection of Oley's chorale preludes offered in this edition, which are equally suitable for church services, concerts and teaching , is likely to enrich the repertoire of chorale-based organ music from the second half of the 18th century . Content: - Allein zu dir, Herr Jesu Christ - Der Tag ist hin, mein Jesu bey mir bleibe - Du, o schönes Weltgebäude - Ermuntre dich, mein schwacher Geist - Es ist vollbracht - Jesu meine Freude - Jesu, meines Lebens Leben - Jesus meine Zuversicht - Mach's mit mir, Gott, nach Deiner Güt' - Meine Hoffnung stehet feste - Nun bitten wir den heiligen Geist - Nun danket alle Gott - Nun freut euch lieben Christen g'mein - Sey Lob und Ehr dem höchsten Gut - Warum betrübst du dich, mein Herz - Warum sollt ich mich denn grämen - Was mein Gott will, das g'scheh' allzeit - Wenn meine Sünd' mich kränken - Werde munter, mein Gemüthe - Wie schön leucht der Morgenstern - Wir Christenleut' - Wir Christenleut' – Alio modo –

The famous Italian Giovanni Battista Martini (1706-1784) was born in Bologna, where he also received his musical education. He studied composition with the vocal composer Giacomo Antonio Petri, Kapellmeister at the Church of San Petronio. After Petri's death, Martini succeeded his teacher and continued in this position until his own death. However, his work as a teacher and music historian was more significant. His handwritten compositions include numerous vocal and orchestral works, instrumental concertos and other works for keyboard instruments, including the ‘Sonate sui flauti’ expressly intended for the organ and a large number of organ pieces for liturgical use. The present Sonatas V and VII for organ, harpsichord or piano are included in the collection of 12 sonatas published in Amsterdam in 1742. This new edition follows the text of the first edition. Content: Sonata V Sonata VII

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).

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)

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