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The Art of the Baroque Trumpet, Vol. 4

Virtuoso Trumpet Concertos

Little is known about the early life of Joseph Arnold

Gross. He was

born in 1701 and died in either 1783 or

1784. In 1739 he was appointed

Ki~lfiirsfliclier Haf

frornpeter (Electoral Court Trumpeter) in Munich. Like another famous trumpeter - Schachtner, the friend of the Mozart family - Gross was also an excellent violinist. In 1746 he was granted an increase in pay under the condition that he serve as

Korizert~~reister in

ballet performances. A year later he was appointed Spielgraf, with the job of co-ordinating the activities of itinerant musicians in Bavaria, his area of jurisdiction. Such musicians were required to be licensed in order to play for weddings, fairs, and other festivities - and the fees for these licenses were a welcome source of extra income for those court trumpeters, including Gross, who occupied the position of

Spielgraf until it was

abolished in 1775.

Among the works which Gross is said to have

composed are two hundred A~lfiiige (processional fanfares) and the present

Tnmzpet Concerto in D major,

which survives today in hvo original sets of manuscript parts located in libraries in Regensburg and Washington, D. C. From the pre-Classical style of this concerto, as well as others by

Riepel and F. X. Richter

presumably wrinen for Gross, all utilising the highest register of the trumpet, it can be deduced that Gross must have been an exceptionally gifted trumpeter. The present concerto possesses a light, entertaining but not superficial style, which quite sets it apart from contemporary works for trumpet. It serves beautifully as a kind of aperitif to the weightier compositions of this recording which follow.

Johann

=chael Haydn, the younger brother of Joseph Haydn, served two Salzburg archbishops for more than forty years as organist and composer starting

in 1762. He was of a more retiring nature than either his brother or Mozart, hut was nevertheless highly

respected by his contemporaries.

Towards the end of his

life he was even made a member of the Swedish

Academy of Music. When years later

Franz Schubert

visited Haydn's grave, he proclaimed, 'May your calm spirit be with me, good Haydn, and though

I cannot be

as calm and clear as you were, no one on earth venerates you more sincerely than

I do.'

Michael Haydn's

Tritrrlpet Coricerto No. 2 in C

major, which seems to date from the composer's early years in Salzhurg, has only two movements. Two other trumpet concertos which share this feature - Haydn's own No.

1 and Leopold Mozart's, both in D - were

originally parts of serenades. Thus this particular work, too, may have been part of a serenade. It is also possible, however, that it was sounded during Mass, for it was customary in Austria to celebrate Mass in a most lavish manner, with instrumental sonatas or concertos between the Epistle and the Gospel, until such excesses were abolished by the reforms of Joseph

II, following

the death of Maria Theresia in 1780. Whatever its origin, this particular concerto is one of the most difficult in the entire repertory. Not only does it ascend frequently to e"' above high c"' and once even to f", it also has long melodic passages, beautiful but taxing to the performer, as well as daring leaps, especially in the second movement. The original performer may have been the Salzhurg court trumpeter

J. B. Resenherger, about whom Leopold Mozart once

wrote, '[he] is an excellent trumpeter especially renowned for his high register, the extraordinary purity of his sound, the quickness of his runs, and his fine trills.' All these qualities are necessary for the execution of this concerto. With two demanding cadenzas of his own,

Eklund has even added to the work's virtuosity.

Like the younger Haydn, Johann Melchior Molter

was attached to one court all his life, with the exception of a period of political unrest (1733-42). during which time he served at the court of Eisenach. He became a violinist at the court of Margrave Carl Wilhelm of Baden-Durlach in 1717; two years later the residence moved to Karlsruhe. On full pay, Molter was twice sent by his employer on long study trips to Italy; the fust period between 1719 and 1721, after which he was appointed

Hoflapellifieister, the second from 1737 to

1738. During his first Karlsruhe period he composed

many cantatas and oratorios, most of which have been lost. His instrumental output, however, has survived. It includes much chamber mnsic and nearly fifty concertos for various instruments, including nineteen for flute, six each for violin and clarinet, five for oboe and three for the trumpet.

If Molter was influenced in

his early period by central German cantors and their polyphony, as well as Vivaldi, his later works do not deny the influence of the Mannheim school. Molter's three trumpet concertos seem to have been composed in rapid succession around 1750 for the court trumpeter Carl Pfeiffer, who is known to have served between 1738 and 1763. Of the three, it is the

Coircerto

No.

2 in D iirajor, a workin the style galant, that stands

out by virtue of the singing quality of the melodic material foundin its fust two movements. Here frequent semiquaver triplets betray the work's florid style, between high baroque and pre-classical; sustained passages in the high register probably made it diverting for the Margrave, but fiendishly difficult for his soloist. As with other of Molter's concertos, the vivacious, entertaining third movement in AABB form is rather brief, the solo instrument now functioning as pririras iirterpares.

Johann Wilhelm Hertel was a modest, industrious

musician faithfully serving as

Kapellfneister at the north

German courts of

Strelitz (1744-53) and Schwerin

(from 1754). His compositions link him with the Berlin school of the Bendas, the Grauns, C. P. E. Bach and Quantz. In 1790 the lexicographer Gerber rated him zrr rrnseren geschff~ach~ollsteif Korflponisten (among our most tasteful composers). Although the second and third of Hertel's three trumpet concertos were composed for the Saxon trumpeter

Joham Georg Hoese or Hese (1727-1801),

who received his court position in Schwerin in 1747, the Do~rble Concerto in Eflat for Trfrff~pet and Oboe seems to date from around 1748, during Hertel's Strelitz period. Both solo instruments are treated as equals, with the natural trumpet's lower register furnishing the outer movements with their thematic material; othenvise the high register, as usual, provides the instniment's main field of activity. The trumpet is silent in the middle movement, a charming, aptly named

Afioso for oboe.

The work's transparent structure results from the fact that the string accompaniment rarely exceeds three parts: either the two violins run in unison and the viola is independent of the bass, or the violins are divided and the bass is doubled by the viola part.

Such a structure is

often to be found in works of the Berlin school.

Georg Philipp

Telemann was the most prolific

composer of his generation. He wrote more than a thousand cantatas in at least 31 yearly cycles (as opposed to J.

S. Bach's approximately three hundred

cantatas in four or five cycles), 46 passions, twelve masses, more than twenty operas, and countless instrumental works. His principal positions were Municipal Music Director in Frankfurt (1712-21) and Music Duector of the five main churches in Hamburg (from 1721). Stylistically, he strove for accessibility and clatity and in some respects can be seen as a precursor of musical Classicism.

The elegant

Trirrrrpef Cofrcerto No. 2, in which the

customary strings are replaced by woodwind instruments, seems to have been written around 1730.

At least the surviving manuscript parts, sent

by the composer to Dresden, were copied around that time; it was Telemann's ciistom to send works to cities and courts throughout the country. A gem of chamber music, the concerto was written in the Italian style. Here the trumpeter must be flexible in all registers and not dominate the ensemble. A modern style of playing with equality of sound in all registers would be out of place here; in all baroque music, in common with the voicing of historic organs, the trumpeter must think of his entire range as being shaped lie a pyramid, with a solid foundation in the lower register and delicate, non- obtrusive high notes. As with the preceding Hertel work, he is silent in the next to last movement, a bucolic

Siciliarzo.

When George Frideric Handel arrived in London

for good in 1712, he found a thriving trumpet tradition, which had been founded in Purcell's day. Twenty-two of his operas and eighteen of his oratorios contain significant trumpet parts, not to mention famous works such as the

IVater Milsic of 1717 or the Royal Fireworks

Mirsic (1749). The prominent solo trumpet part in the overture to Handel's opera Atala~rta, first performed in a lavish production on 12th May 1736 as pm of the extended festivities for the wedding of Frederick, Prince of Wales, and Princess Augusta of Saxe-Coburg, is said to have been composed expressly for Valentine Snow (d.

1770),

Sergeant-trumpeter from 1752 but a leading figure in London musical life before that. The story goes that

Handel used this work to welcome Snow back to his

own opera company after the trumpeter had performed for several seasons with a rival group, the Opera of the Nobility. This work, although 'only' an opera overture, could be termed a trumpet concerto. Its form - a French overture comprising a slow section in majestic dotted rhythms and a fast fugal section plus a graceful dance movement (here a gavotte) - was to become the model for English trumpet concertos written by the next generation of composers including those by

Humphries

(1740), Mudge (1749). and Bond (1760).

Edward H. Tarr

Niklas Eklund

Niklas Eklund was born in Gothenburg in 1969 and first taught by his father Beugt. Other important teachers

have included Bo Nilsson in Malmo, Pierre Thiband in Paris, Marc Ullrich and Edward H. Tarr in Basle. A member and principal trumpeter of the Basle Radio Symphony Orchestra from 1991 to 1996, he won the fust International

'Altenburg' Competition for baroque trumpet in Bad Sackingen 1996. He is now on the faculty of the School of

Music and Musicology of Gothenburg University in

addtion to his flourishing international career. He has appeared with groups such as the Drottningholm Baroque Ensemble, the Stockholm Sinfonietta, Ensemble

Koln, La

Stagione, London Baroque and Joshua

Rifkin's Bach Ensemble. Niklas Eklund plays a baroque trumpet made by the Basle maker Rainer Egger, after an original instrument by Johann Leonard Ehe 11 (1663-1724).

Drottningholm Baroque Ensemble

The Drottniogholm Baroque Ensemble was founded in 1971. The musicians, many of whom are among

Sweden's leading experts on early music, use authentic instruments. The Ensemble tours frequently abroad, and

has also made a great number of recordings. In recent years the ensemble has worked with conductors such as Eric

Ericson, Christopher

Hogwood, and Sigiswald Kuijken.

Nils-Erik Sparf

Nils-Erik Sparf was born in 1952 and comes from a family of folk musicians. He studied at the Royal

Conservatory of Stockholm and in Prague. Since 1993 Nils-Erik Sparf has been leader of the Royal Stockholm Philharmonic Orchestra. He is also one of the leaders of the

Stockholm Sinfonietta. He has recorded with the

Drottningholm Baroque Ensemble, Uppsala Chamber Soloists and the pianist Bengt Forsberg.

Ulf Bjurenhed

Ulf Bjurenhed was born in 1956. He studied ohoe with Alf Nilsson at the Royal College of Music in Stockholm

and with Giinter Zom in Berlin. He has been principal ohoe with the Malmo Symphony Orchestra, the Royal Opera

House Orchestra and the Swedish Radio Symphony Orchestra. He was principal oboe with the Drottningholm

Court Theatre Orchestra during the period

1989-93 and since 1982 he has held the same position with the

Drottningholm Baroque Ensemble. He is a founder member of

Ka~ne~arensetnbleN, Sweden's premier ensemble

for contemporary music. He has appeared as a soloist in Nonvay, Germany, France, Spain, Portugal, Austria, New

Zealand and Australia. His instrument, by Richard Earle, is a copy of an oboe by Jakob Denner (1681-1735), the

original of which is in the Germanisches Nationalmuseum of

Nuremherg.

Edward H. Tarr

Edward H. Tam, a pioneering performer on the baroque trumpet with some hundred recordings to his credit,

has taught his instrument at the Schola Cantorum Basiliensis since 1972, in addition to modem trumpet at the Basle Conservatory of Music. Since 1985 he has been director of the Bad Sackingen Trumpet Museum.

Tarr has also

conducted recordings with the ensemble hr brass of FranMurt. Special tl~anks are dne to Dasid Hob11 for assistance ieitl~ parts and score for this recording.

Drottningholm Baroque Ensemble

Violins Cello

Nils-Erik Sparf,

leader Kari Ottesen

Torbjom Bernhardsson

Tomas Andersson Bass

Tullo Galli Yngve Malcus

Bo Soderstrom

Eva Jonsson Flutes

Maria Bania

Violas

Olle Torssander

Lars

Brolin

Karin Dungel

Oboes

Ulf Bjurenhed

Bertil Famlof

Bassoon

Sven Aafflot

Harpsichord/Organ

Bjorn Gafvert

Der Kunst der Barocktrompete, Folge 4

Fur seine vierte Aufnahme in der Serie Die Kzrnst

der Bnrock?romnpete hat Niklas Eklund Werke deutscher

Komponisten

gewahlt, von denen einige, damnter die

Konzerte von Gross, Michael Haydn und Hertel,

aufglund ihres betrachtlichen Anspmchs bisher noch nie zuvor auf einer Barocktrompete eingespielt worden sind. ijber die fNhen Jabre von Joseph Arnold Gross we8 man nur sehr wenig. Geboren 1701, gestorben entweder 1783 oder 1784, wurde er 1739 zum

Kurfurstlichen Hoftrompeter in

Munchen ernannt.

Ahnlich wie ein anderer beriihmter Trompeter

Schachtner, ein Freund der FamilieMozart -, war auch

Gross ein ausgezeichneter Violinist, was

ihm 1746 eine

Erhohung seines Lohns unter der

Bedingung einbrachte,

daR er bei Ballettauffuhmngen den Platz des

Konzertmeisters einnabm. Ein Jahr darauf

bekleidete er dann auch das Amt des Spielgrafen.

In dieser Position

regelte er in seinemquotesdbs_dbs25.pdfusesText_31

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