The court organist Antonio de Cabezón (ca. 1510-1566) who was appointed to Queen Isabella’s court chapel in Toledo at the young age of 16 was rightly regarded by his contemporaries as the leading Spanish organist and keyboard player of the 16th century.His hymns and versets are based on short decorated harmonisations of the psalm tones. In the tientos the transformation from vocal motet style to a style of writing suitable for keyboard instruments is perfectly executed.This Urtext edition contains a selection of Cabezon's best known works and consists of four volumes. It has been prepared by two editors working at Portuguese and Spanishuniversities who are both leading scholars of the works of Cabezón and reflects the latest research findings.

The court organist Antonio de Cabezón (ca. 1510-1566) who was appointed to Queen Isabella’s court chapel in Toledo at the young age of 16 was rightly regarded by his contemporaries as the leading Spanish organist and keyboard player of the 16th century. His hymns and versets are based on short decorated harmonisations of the psalm tones. In the tientos the transformation from vocal motet style to a style of writing suitable for keyboard instruments is perfectly executed. This Urtext edition contains a selection of Cabezon's best known works and consists of four volumes. It has been prepared by two editors working at Portuguese andSpanish universities who are both leading scholars of the works of Cabezón and reflects the latest research findings.

Triptykon / Triptych for Organ solo by Niels Rosing-Schow. Triptych is written for the celebration of the 500th anniversary of the Reformation in 2017 commissioned by The Danish Society of Organists and Cantors.   From the preface: The three movements of the work are musical images or situations with the middle one Toccata as its axis. The latter is intended as an image of the dispute between Luther and the ecclesiastical authorities which is the origin of the Reformation. Two of Luther's Reformation Hymns are more or less palpably present in the music.Theother two movements can be regarded as 'before' and 'after'. The first Exordíum is a 'fluid' situation but also a preparation which gradually accumulates a suspense pointing towards the discharge of energy of the Toccata. The third movement Hymn represents a serene situation where a wealth of hymnal fragments grows out of an underlying structure repeated several times (technically speaking a passacaglia). There are also elements however which are derived from the previous movements. Niels Rosing-Schow (2016)  

Varied accompaniments for popular hymns-Most organists like a choice between the spectacular and the traditional type of hymn arrangement and Restrained Last Verses is intended as a contrast to our highly successful collection Last Verse Extravaganza .Both these books while respecting the integrity of the tune also encourage congregations to sing with purpose and excitement. Restrained Last Verses is conservative in its approach but will quickly become an essential aidto fine hymn singing.

Varied accompaniments for popular hymns-Most organists like a choice between the spectacular and the traditional type of hymn arrangement and Restrained Last Verses is intended as a contrast to our highly successful collection Last Verse Extravaganza. Boththese books while respecting the integrity of the tune also encourage congregations to sing with purpose and excitement. Restrained Last Verses is conservative in its approach but will quickly become an essential aid tofine hymn singing. Organists and people will respect its restraint and respond to its overwhelming musicality and sense ofu00A0joy.

for Trumpet in C and Organ. Par HAILSTORK ADOLPHUS. / Recueil / Trompette et Orgue