Antonio Carretta, Giovanni Petrone, Aldo Caterina, Gerardo Treviso - Lully, De Fesch, Mozart, Bach, Rameau, Rosenmüller, Viviani, Vitali: Airs de trompette (17th and 18th Century Music for Trumpet, Trombone and Organ) (2022)
BAND/ARTIST: Antonio Carretta, Giovanni Petrone, Aldo Caterina, Gerardo Treviso
- Title: Lully, De Fesch, Mozart, Bach, Rameau, Rosenmüller, Viviani, Vitali: Airs de trompette (17th and 18th Century Music for Trumpet, Trombone and Organ)
- Year Of Release: 2022
- Label: Da Vinci Classics
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 00:48:25
- Total Size: 263 mb
- WebSite: Album Preview
Tracklist
01. Trois airs de trompette: No. 1, Air de Rolland (For Piccolo Trumpet and Organ)
02. Trois airs de trompette: No. 2, Air de Psiche (For Piccolo Trumpet and Organ)
03. Trois airs de trompette: No. 3, Air d’Amadis (For Piccolo Trumpet and Organ)
04. Sonata No. 6 in A Minor, Op. 13: I. Largo (For Tenor Trombone and Continuo)
05. Sonata No. 6 in A Minor, Op. 13: II. Alla breve (For Tenor Trombone and Continuo)
06. Sonata No. 6 in A Minor, Op. 13: III. Allegro (For Tenor Trombone and Continuo)
07. Suite in F Major: I. Marcia (For Piccolo Trumpet and Organ)
08. Suite in F Major: II. Aria (For Piccolo Trumpet and Organ)
09. Suite in F Major: III. Polonoise and Minuetto (For Piccolo Trumpet and Organ)
10. Organ Concerto after Marcello's Oboe Concerto S. Z799 in D Minor, BWV 974: I. Andante e spiccato
11. Organ Concerto after Marcello's Oboe Concerto S. Z799 in D Minor, BWV 974: II. Adagio
12. Organ Concerto after Marcello's Oboe Concerto S. Z799 in D Minor, BWV 974: III. Presto
13. St. Thomas Sonata: I. Maestoso (For Alto Trombone and Continuo)
14. St. Thomas Sonata: II. Allegro (For Alto Trombone and Continuo)
15. St. Thomas Sonata: III. Moderato (For Alto Trombone and Continuo)
16. St. Thomas Sonata: IV. Allegro (For Alto Trombone and Continuo)
17. Trois airs de triomphe: I. La Princesse de Navarre (For Two Piccolo Trumpets and Organ)
18. Trois airs de triomphe: II. Le Temple de la Gloire (For Two Piccolo Trumpets and Organ)
19. Trois airs de triomphe: III. Nais (For Two Piccolo Trumpets and Organ)
20. From Sonata Prima: I. Adagio (For Trumpet, Trombone and Continuo)
21. From Sonata Prima: II. Presto (For Trumpet, Trombone and Continuo)
22. From Sonata Prima: III. Giga (For Trumpet, Trombone and Continuo)
23. Sonata prima in C Major: I. Andante (For Solo Trombetta and Organ)
24. Sonata prima in C Major: II. Allegro moderato (For Solo Trombetta and Organ)
25. Sonata prima in C Major: III. Allegro (For Solo Trombetta and Organ)
26. Sonata prima in C Major: IV. Vivace (For Solo Trombetta and Organ)
27. Sonata prima in C Major: V. Adagio (For Solo Trombetta and Organ)
28. Mottetto Sacro: O quam suavis est Domine spiritus tuus (For Two Trumpets, Trombone and Organ)
Baroque music features a much greater variety of themes and a greater freedom of forms than its models of the previous century. These characteristics are also reflected in the instrumentation of chamber and church music. A composition originally conceived for a specific group of instruments could be performed, upon indications by the composer himself and after possible transcriptions and “adaptations”, also on other instruments similar to those for which the piece was originally written. The reference instrumental ensemble could be more or less defined or could leave room for “ogni sorte d’istromenti” [any kind of instruments] and thus change as concerns both sound type and number of components.
In the historical and musical period of Jean-Baptiste Lully (1632-1687), one of the greatest exponents of French Baroque music, it was also common practice to extract instrumental pieces from their theatrical context and arrange them for a large variety of instruments. The three arias presented here were extrapolated and arranged by the Parisian trumpeter Jean-Baptiste Prin in 1718 under the name of “Airs de Trompette”. They are excerpted respectively from these Operas by Lully,: Tragédie lyrique “Roland” (1685), Tragédie-Ballet “Psyché” (1671), Tragédie lyrique “Amadis” (1684).
The Baroque period also featured a profound change in the field of instrumental chamber music. This included the invention of the sonata for solo instrument and keyboard, which would eventually become an important genre throughout the remainder of the 19th and 20th century. The sonata, whether intended for chamber or church, was characterized by a melodic line entrusted to the solo instrument(s) and an accompaniment of “basso continuo”. The continuo was actually played by a polyphonic instrument, such as a harpsichord, and a melodic bass that provided the bass line and harmonic content or an organ that performed both functions. Sonata n.6 in A minor, Opus XIII, by the Dutch composer Willem De Fesch (1687-1761), dated 1750, was originally written for cello and continuo, but, as the composer himself wrote in a note to the original score, it is “also possible to play it with a tenor trombone”. The chamber sonata is a type of sonata intended for secular performance, i.e., not in a religious setting, and consisted almost entirely of four or more stylized dance movements. The title indications were not strictly dependent on the type of dance to be performed. Being “da camera”, the preferred places for the execution were private aristocratic and bourgeois homes. This Sonata by De Fesch is also an example of the flexibility in adaptations typical of the Baroque period.
Most of the musical material used by Leopold Mozart (1719-1787) for the composition of his Suite in F Major for trumpet and organ was found in a sketchbook of musical notes dated 1762. Intended for his son Wolfgang, these pieces were originally written for keyboard instruments. In the last years of his life Leopold published a reworking of some of them for trumpet and organ (replaceable with harpsichord or continuo). Except for the central Aria, the movements of this Suite are written in a very traditional manner and perfectly recall the style and trumpet sonorities used by composers of the previous century.
Johann Sebastian Bach (1685-1750) arranged a wealth of music by his Italian contemporaries for his own use. This concerto in D minor is one such arrangement, in this case of a concerto for oboe and strings by the venetian Alessandro Marcello (1673-1747), Benedetto’s elder brother. Copies of Marcello’s oboe concerto circulated also in Northern Europe. The concerto was printed in Amsterdam, in 1717. The Duke of Saxe-Weimar may have brought a manuscript of the work back to Weimar from the Low Countries in 1713. It is very possible that it was also performed as an oboe concerto in Weimar where Bach was active until the end of 1717. As Patrick Ayrton says, Bach’s approach to these arrangements was always to make them more interesting than the original: nevertheless, the Italian character remains unmistakable.
The Sonata for alto trombone and continuo was written by an Anonymous monk in St. Thomas Monastery in Brno, Moravia. The work is datable between 1660 and 1670 and is certainly the work of a monk musician of the monastery. It is regarded as the earliest known solo composition explicitly and specifically written solely for trombone. This Sonata is part of the genre “Sonata da chiesa” composed of four movements. Performed in church, these Sonatas replaced the vocal part of the Mass corresponding to the “Proprium”. Due to this association with the Bohemian monastery, this sonata has been named the “St. Thomas Sonata.”
The Parisian court composer, organist, and theorist Jean Philippe Rameau (1683-1764) assigned in his works a prominent role to the trumpet, often by writing solo parts. In this personal arrangement of his own orchestral score for organ and two trumpets, Rameau combines his innovative operatic vision and the traditional French practice of performing arias for trumpets and organ. The “Airs de Triomphe” are taken from the following three Operas by Rameau, respectively: comédie-ballet “La Princesse de Navarre” (1744), ballet opéra “Le temple de la Gloire” (1745), pastorale héroique “Naïs” (1749).
The last three movements of the Sonata Prima by Johan Rosenmüller (1619-1684) from the collection of “Sonatæ à due, tre, quattro e cinque istromenti da arco et altri” of 1682 are an example of the usual baroque “interchangeability” of instruments. They are conceived for stringed instruments but can be performed on “other instruments” – in our case their counterparts in the brass family. This work of the last period of life of the Saxon composer tends to display a more contrapuntal and expressive structure than the earlier ones. This characteristic is due to Rosenmüller’s hybrid, Italian-German style, marked by originality, melodic invention, and rigorous contrapuntal technique. It should also be remembered that Rosenmüller, in addition to being a renowned composer, organist and theologian, played as a trombonist at the Cappella Musicale di San Marco in Venice since 1658.
The “Capricci Armonici da Chiesa e da Camera a Violino solo et Sonate per Tromba sola, op. IV” were composed in 1678, when Giovanni Buonaventura Viviani (1638-1693) was still Kapellmeister in Innsbruck. Opus IV is composed as follows: eighteen compositions for solo violin and continuo; two sonatas for solo trumpet and continuo. The two sonatas in question are unique, as there are no other original compositions of the period for trumpet and basso continuo. The Sonata Prima per Trombetta Sola belongs to the genre of chamber sonata even if, paradoxically, today it is mainly performed in churches with organ accompaniment. The tessitura in which Viviani’s sonata was composed can undoubtedly be catalogued in the register of “clarino”. The term “clarino” derives from “clario, clarasius” and means “clear”, used precisely for the trumpet of that time thanks to its sharp and penetrant sound. In the brass ensembles of the time, the voice of “clarino” appeared as the most independent, as it stood out for its sound and brilliance.
The sacred motet O quam suavis est Domine spiritus tuus from the “Sacrae modulationes quae vulgo Motectae dicuntur” written by Filippo Vitali (1590-1653) in 1631 is part of the tradition of sacred polyphony of the Baroque period. Starting from Central and Northern Italy – from the famous musical chapels of Bologna and Venice – up to Central Europe, it was a common practice to double the individual vocal parts of a choir or soloist with the use of wind instruments. Brass instruments were preferred (especially the trombone family) since, according to the style of the time, they better merged with the timbre of the human voice. This can also be compared with what has already been said about Johann Rosenmüller, who played trombone in Venice in the musical chapel of San Marco.
01. Trois airs de trompette: No. 1, Air de Rolland (For Piccolo Trumpet and Organ)
02. Trois airs de trompette: No. 2, Air de Psiche (For Piccolo Trumpet and Organ)
03. Trois airs de trompette: No. 3, Air d’Amadis (For Piccolo Trumpet and Organ)
04. Sonata No. 6 in A Minor, Op. 13: I. Largo (For Tenor Trombone and Continuo)
05. Sonata No. 6 in A Minor, Op. 13: II. Alla breve (For Tenor Trombone and Continuo)
06. Sonata No. 6 in A Minor, Op. 13: III. Allegro (For Tenor Trombone and Continuo)
07. Suite in F Major: I. Marcia (For Piccolo Trumpet and Organ)
08. Suite in F Major: II. Aria (For Piccolo Trumpet and Organ)
09. Suite in F Major: III. Polonoise and Minuetto (For Piccolo Trumpet and Organ)
10. Organ Concerto after Marcello's Oboe Concerto S. Z799 in D Minor, BWV 974: I. Andante e spiccato
11. Organ Concerto after Marcello's Oboe Concerto S. Z799 in D Minor, BWV 974: II. Adagio
12. Organ Concerto after Marcello's Oboe Concerto S. Z799 in D Minor, BWV 974: III. Presto
13. St. Thomas Sonata: I. Maestoso (For Alto Trombone and Continuo)
14. St. Thomas Sonata: II. Allegro (For Alto Trombone and Continuo)
15. St. Thomas Sonata: III. Moderato (For Alto Trombone and Continuo)
16. St. Thomas Sonata: IV. Allegro (For Alto Trombone and Continuo)
17. Trois airs de triomphe: I. La Princesse de Navarre (For Two Piccolo Trumpets and Organ)
18. Trois airs de triomphe: II. Le Temple de la Gloire (For Two Piccolo Trumpets and Organ)
19. Trois airs de triomphe: III. Nais (For Two Piccolo Trumpets and Organ)
20. From Sonata Prima: I. Adagio (For Trumpet, Trombone and Continuo)
21. From Sonata Prima: II. Presto (For Trumpet, Trombone and Continuo)
22. From Sonata Prima: III. Giga (For Trumpet, Trombone and Continuo)
23. Sonata prima in C Major: I. Andante (For Solo Trombetta and Organ)
24. Sonata prima in C Major: II. Allegro moderato (For Solo Trombetta and Organ)
25. Sonata prima in C Major: III. Allegro (For Solo Trombetta and Organ)
26. Sonata prima in C Major: IV. Vivace (For Solo Trombetta and Organ)
27. Sonata prima in C Major: V. Adagio (For Solo Trombetta and Organ)
28. Mottetto Sacro: O quam suavis est Domine spiritus tuus (For Two Trumpets, Trombone and Organ)
Baroque music features a much greater variety of themes and a greater freedom of forms than its models of the previous century. These characteristics are also reflected in the instrumentation of chamber and church music. A composition originally conceived for a specific group of instruments could be performed, upon indications by the composer himself and after possible transcriptions and “adaptations”, also on other instruments similar to those for which the piece was originally written. The reference instrumental ensemble could be more or less defined or could leave room for “ogni sorte d’istromenti” [any kind of instruments] and thus change as concerns both sound type and number of components.
In the historical and musical period of Jean-Baptiste Lully (1632-1687), one of the greatest exponents of French Baroque music, it was also common practice to extract instrumental pieces from their theatrical context and arrange them for a large variety of instruments. The three arias presented here were extrapolated and arranged by the Parisian trumpeter Jean-Baptiste Prin in 1718 under the name of “Airs de Trompette”. They are excerpted respectively from these Operas by Lully,: Tragédie lyrique “Roland” (1685), Tragédie-Ballet “Psyché” (1671), Tragédie lyrique “Amadis” (1684).
The Baroque period also featured a profound change in the field of instrumental chamber music. This included the invention of the sonata for solo instrument and keyboard, which would eventually become an important genre throughout the remainder of the 19th and 20th century. The sonata, whether intended for chamber or church, was characterized by a melodic line entrusted to the solo instrument(s) and an accompaniment of “basso continuo”. The continuo was actually played by a polyphonic instrument, such as a harpsichord, and a melodic bass that provided the bass line and harmonic content or an organ that performed both functions. Sonata n.6 in A minor, Opus XIII, by the Dutch composer Willem De Fesch (1687-1761), dated 1750, was originally written for cello and continuo, but, as the composer himself wrote in a note to the original score, it is “also possible to play it with a tenor trombone”. The chamber sonata is a type of sonata intended for secular performance, i.e., not in a religious setting, and consisted almost entirely of four or more stylized dance movements. The title indications were not strictly dependent on the type of dance to be performed. Being “da camera”, the preferred places for the execution were private aristocratic and bourgeois homes. This Sonata by De Fesch is also an example of the flexibility in adaptations typical of the Baroque period.
Most of the musical material used by Leopold Mozart (1719-1787) for the composition of his Suite in F Major for trumpet and organ was found in a sketchbook of musical notes dated 1762. Intended for his son Wolfgang, these pieces were originally written for keyboard instruments. In the last years of his life Leopold published a reworking of some of them for trumpet and organ (replaceable with harpsichord or continuo). Except for the central Aria, the movements of this Suite are written in a very traditional manner and perfectly recall the style and trumpet sonorities used by composers of the previous century.
Johann Sebastian Bach (1685-1750) arranged a wealth of music by his Italian contemporaries for his own use. This concerto in D minor is one such arrangement, in this case of a concerto for oboe and strings by the venetian Alessandro Marcello (1673-1747), Benedetto’s elder brother. Copies of Marcello’s oboe concerto circulated also in Northern Europe. The concerto was printed in Amsterdam, in 1717. The Duke of Saxe-Weimar may have brought a manuscript of the work back to Weimar from the Low Countries in 1713. It is very possible that it was also performed as an oboe concerto in Weimar where Bach was active until the end of 1717. As Patrick Ayrton says, Bach’s approach to these arrangements was always to make them more interesting than the original: nevertheless, the Italian character remains unmistakable.
The Sonata for alto trombone and continuo was written by an Anonymous monk in St. Thomas Monastery in Brno, Moravia. The work is datable between 1660 and 1670 and is certainly the work of a monk musician of the monastery. It is regarded as the earliest known solo composition explicitly and specifically written solely for trombone. This Sonata is part of the genre “Sonata da chiesa” composed of four movements. Performed in church, these Sonatas replaced the vocal part of the Mass corresponding to the “Proprium”. Due to this association with the Bohemian monastery, this sonata has been named the “St. Thomas Sonata.”
The Parisian court composer, organist, and theorist Jean Philippe Rameau (1683-1764) assigned in his works a prominent role to the trumpet, often by writing solo parts. In this personal arrangement of his own orchestral score for organ and two trumpets, Rameau combines his innovative operatic vision and the traditional French practice of performing arias for trumpets and organ. The “Airs de Triomphe” are taken from the following three Operas by Rameau, respectively: comédie-ballet “La Princesse de Navarre” (1744), ballet opéra “Le temple de la Gloire” (1745), pastorale héroique “Naïs” (1749).
The last three movements of the Sonata Prima by Johan Rosenmüller (1619-1684) from the collection of “Sonatæ à due, tre, quattro e cinque istromenti da arco et altri” of 1682 are an example of the usual baroque “interchangeability” of instruments. They are conceived for stringed instruments but can be performed on “other instruments” – in our case their counterparts in the brass family. This work of the last period of life of the Saxon composer tends to display a more contrapuntal and expressive structure than the earlier ones. This characteristic is due to Rosenmüller’s hybrid, Italian-German style, marked by originality, melodic invention, and rigorous contrapuntal technique. It should also be remembered that Rosenmüller, in addition to being a renowned composer, organist and theologian, played as a trombonist at the Cappella Musicale di San Marco in Venice since 1658.
The “Capricci Armonici da Chiesa e da Camera a Violino solo et Sonate per Tromba sola, op. IV” were composed in 1678, when Giovanni Buonaventura Viviani (1638-1693) was still Kapellmeister in Innsbruck. Opus IV is composed as follows: eighteen compositions for solo violin and continuo; two sonatas for solo trumpet and continuo. The two sonatas in question are unique, as there are no other original compositions of the period for trumpet and basso continuo. The Sonata Prima per Trombetta Sola belongs to the genre of chamber sonata even if, paradoxically, today it is mainly performed in churches with organ accompaniment. The tessitura in which Viviani’s sonata was composed can undoubtedly be catalogued in the register of “clarino”. The term “clarino” derives from “clario, clarasius” and means “clear”, used precisely for the trumpet of that time thanks to its sharp and penetrant sound. In the brass ensembles of the time, the voice of “clarino” appeared as the most independent, as it stood out for its sound and brilliance.
The sacred motet O quam suavis est Domine spiritus tuus from the “Sacrae modulationes quae vulgo Motectae dicuntur” written by Filippo Vitali (1590-1653) in 1631 is part of the tradition of sacred polyphony of the Baroque period. Starting from Central and Northern Italy – from the famous musical chapels of Bologna and Venice – up to Central Europe, it was a common practice to double the individual vocal parts of a choir or soloist with the use of wind instruments. Brass instruments were preferred (especially the trombone family) since, according to the style of the time, they better merged with the timbre of the human voice. This can also be compared with what has already been said about Johann Rosenmüller, who played trombone in Venice in the musical chapel of San Marco.
Year 2022 | Classical | FLAC / APE
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