The Art Of The Baroque Trumpet, Vol. 1

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Cat No: 8553531

Release Date: 12 January 1999

Label: Naxos - Nxc / Naxos Classics

Packaging Type: Jewel Case

No of Units: 1

Barcode: 730099453127

Genres: Classical

Composer/Series: THE ART OF THE BAROQUE TRUMPET, Vol. 1

Description
The Art of the Baroque Trumpet Vol. 1 Virtuoso Trumpet Music Telemann / Molter / Fasch / Leopold Mozart Torelli / Purcell / Handel Few instruments have changed as much with time asthe trumpet. Before the introduction of valves in the earlier part of thenineteenth century, only the notes of the harmonic series were available, withwidely separated notes in the lower register and notes closer together in thehigher. The modern valve trumpet can play consecutive notes in the lowerregister and is shorter in length than the Baroque trumpet, the descriptivename now given to trumpets surviving from the seventeenth and eighteenthcenturies and modern copies. The nature of the Baroque trumpet allowed theplaying of melodies with consecutive notes only from c" upwards and madeseverer technical demands on a performer. In addition to other problems, theharmonic series contains higher notes that are slightly out of tune and needcorrection. This means that the strength of breath must be carefully controlled. The differences of technique between the earlierand modern trumpet mean that it is difficult for one player to have equalmastery of both. The introduction of finger-holes by Otto Steinkopf in 1960 hasmade correction of some notes easier, but the natural trumpet still remains ademanding instrument. The difficulty of the instrument is the probable reasonthat the works here included by Molter and Fasch are now recorded for the firsttime on natural trumpet. The earliest use of the trumpet in concert ensembleseems to have been at the beginning of the seventeenth century in Germany and thenspecifically in church music. About 1630 the Italian player Girolamo Fantiniwrote sonatas for trumpet and for trumpet and basso continuo which he publishedin 1638 in his Modo per imparare a sonare di tromba. It was not,however, until about 1660 that the trumpet made an appearance in polyphonicinstrumental music, probably first in Vienna and a little later in the Moravian town of Kremsier (Kromeric) and in Dresden. In Bologna MaurizioCazzati published three sonatas for trumpet, strings and basso continuo in his Opus35, but regular composition of trumpet sonatas in Bologna began only in 1680. Most compositions for one or more trumpets werewritten at this period in Kremsier and Bologna, where the two mostimportant composers were Vejvanovsky and Torelli respectively. Giuseppe Torelliand Tomaso Albinoni began to develop the solo concerto about 1690, a form latervaried and perfected by Vivaldi, but after 1710 relatively few trumpet concertiwere written by Italian composers, suggesting that the trumpet had by then lostits position as a Solo instrument, several trumpet concerti were written inGermany, however, until the beginning of the 1760s. Georg Philipp Telemann, more respected in his daythan Bach, was employed in Harnburg for the greater part of his prolificcareer. On his death in 1767 he was succeeded as music director of the fivecity churches by hi
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