Crispian Steele-Perkins, Stephen Keavy, The Parley Of Instruments, Peter Holman - Italian Baroque Trumpet Music (1988)
BAND/ARTIST: Crispian Steele-Perkins, Stephen Keavy, The Parley Of Instruments, Peter Holman
- Title: Italian Baroque Trumpet Music
- Year Of Release: 1988
- Label: Hyperion
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 00:53:45
- Total Size: 239 mb
- WebSite: Album Preview
Tracklist
01. Sonata a otto Viole con una Tromba: I. Allegro
02. Sonata a otto Viole con una Tromba: II. Aria
03. Sonata a otto Viole con una Tromba: III. Canzona
04. Sonata a otto Viole con una Tromba: IV. Aria
05. Sonata a 5: I. Allegro
06. Sonata a 5: II. Allegro
07. Sonata a due Trombe detta del Gucciardini
08. Balletto detto la Squilletti
09. Brando detto l'Albizi
10. Saltarello detto del Naldi
11. Diocleziano: Sinfonia
12. Concerto di Trombe a tre Trombette: I. Allegro
13. Concerto di Trombe a tre Trombette: II. Aria. Adagio
14. Concerto di Trombe a tre Trombette: III. Aria
15. Gli amanti generosi: Sinfonia: a. Presto
16. Gli amanti generosi: Sinfonia: b. Largo e staccato
17. Gli amanti generosi: Sinfonia: c. Minuet. Allegro
18. Suonata a 7 con due Trombe: I. Grave
19. Suonata a 7 con due Trombe: II. Allegro
20. Suonata a 7 con due Trombe: III. Adagio
21. Suonata a 7 con due Trombe: IV. Allegro
22. Sonata a 5 "La Bianchina": I. Allegro
23. Sonata a 5 "La Bianchina": II. Allegro
24. Sonata a 5 "La Bianchina": III. Vivace
25. Sonata a 5 "La Bianchina": IV. Vivace
26. Sonata a 5 "La Bianchina": V. Allegro
27. Sonata a 5 "La Bianchina": VI. Vivace
28. Sonata Prima per Trombetta sola: I. Allegro
29. Sonata Prima per Trombetta sola: II. Andante
30. Sonata Prima per Trombetta sola: III. Presto
31. Sonata Prima per Trombetta sola: IV. Andante
32. Sonata Prima per Trombetta sola: V. Adagio
33. Sonata in D: I. Grave
34. Sonata in D: II. Allegro
35. Sonata in D: III. Grave
36. Sonata in D: IV. Allegro
37. Sonata in D: V. Allegro
38. Sinfonia decima a 7: I. Adagio
39. Sinfonia decima a 7: II. Allegro
40. Sinfonia decima a 7: III. Grave
41. Sinfonia decima a 7: IV. Vivace
42. Sinfonia decima a 7: V. Adagio
43. Sinfonia decima a 7: VI. Largo
Before the end of the eighteenth century the trumpet was normally a simple length of tubing, folded back on itself to form a loop, and pitched either in C or D. The player was essentially limited to the notes of the harmonic series: the higher he ventured, the more notes became available, so leading to the cultivation of the upper clarino register. Until the middle of the seventeenth century trumpeters rarely participated in the mainstream of music. They played improvised fanfares in trumpet and drum bands and were usually thought of more as soldiers or court attendants than as musicians; they can still be observed in this role in Monteverdi’s Orfeo of 1607, though, unusually, their fanfare is written out. When composers first experimented with using trumpets in composed music – around 1620 – they still wrote for trumpet bands in a fanfare style, as some polychoral church works by Michael Praetorius and Heinrich Schütz show. The trumpet only began to be used regularly in concerted instrumental music in the 1660s, though it is difficult to know whether this crucial development occurred first in Italy or Germany. Cazzati published his Op 35 including La Bianchina in 1665, but the Austrian Heinrich Schmelzer had already published sonatas for two trumpets and six-part strings in 1662. Once the sonata or sinfonia for one or two trumpets, strings and continuo was established, however, it quickly became a popular genre in courts and churches on both sides of the Alps, and its characteristics – strong, square, diatonic melodies supported by simple, directional harmony – began to influence other types of music. Modern editions and recordings have tended to favour the works of Torelli, Gabrielli, Perti and other composers working at San Petronio in Bologna. For this recording I have tried to cast the net wider without minimizing the importance of the Bolognese repertory; some of the earliest and most interesting trumpet sonatas were written in other Italian cities such as Rome or Venice, or by Italians in northern Europe...
01. Sonata a otto Viole con una Tromba: I. Allegro
02. Sonata a otto Viole con una Tromba: II. Aria
03. Sonata a otto Viole con una Tromba: III. Canzona
04. Sonata a otto Viole con una Tromba: IV. Aria
05. Sonata a 5: I. Allegro
06. Sonata a 5: II. Allegro
07. Sonata a due Trombe detta del Gucciardini
08. Balletto detto la Squilletti
09. Brando detto l'Albizi
10. Saltarello detto del Naldi
11. Diocleziano: Sinfonia
12. Concerto di Trombe a tre Trombette: I. Allegro
13. Concerto di Trombe a tre Trombette: II. Aria. Adagio
14. Concerto di Trombe a tre Trombette: III. Aria
15. Gli amanti generosi: Sinfonia: a. Presto
16. Gli amanti generosi: Sinfonia: b. Largo e staccato
17. Gli amanti generosi: Sinfonia: c. Minuet. Allegro
18. Suonata a 7 con due Trombe: I. Grave
19. Suonata a 7 con due Trombe: II. Allegro
20. Suonata a 7 con due Trombe: III. Adagio
21. Suonata a 7 con due Trombe: IV. Allegro
22. Sonata a 5 "La Bianchina": I. Allegro
23. Sonata a 5 "La Bianchina": II. Allegro
24. Sonata a 5 "La Bianchina": III. Vivace
25. Sonata a 5 "La Bianchina": IV. Vivace
26. Sonata a 5 "La Bianchina": V. Allegro
27. Sonata a 5 "La Bianchina": VI. Vivace
28. Sonata Prima per Trombetta sola: I. Allegro
29. Sonata Prima per Trombetta sola: II. Andante
30. Sonata Prima per Trombetta sola: III. Presto
31. Sonata Prima per Trombetta sola: IV. Andante
32. Sonata Prima per Trombetta sola: V. Adagio
33. Sonata in D: I. Grave
34. Sonata in D: II. Allegro
35. Sonata in D: III. Grave
36. Sonata in D: IV. Allegro
37. Sonata in D: V. Allegro
38. Sinfonia decima a 7: I. Adagio
39. Sinfonia decima a 7: II. Allegro
40. Sinfonia decima a 7: III. Grave
41. Sinfonia decima a 7: IV. Vivace
42. Sinfonia decima a 7: V. Adagio
43. Sinfonia decima a 7: VI. Largo
Before the end of the eighteenth century the trumpet was normally a simple length of tubing, folded back on itself to form a loop, and pitched either in C or D. The player was essentially limited to the notes of the harmonic series: the higher he ventured, the more notes became available, so leading to the cultivation of the upper clarino register. Until the middle of the seventeenth century trumpeters rarely participated in the mainstream of music. They played improvised fanfares in trumpet and drum bands and were usually thought of more as soldiers or court attendants than as musicians; they can still be observed in this role in Monteverdi’s Orfeo of 1607, though, unusually, their fanfare is written out. When composers first experimented with using trumpets in composed music – around 1620 – they still wrote for trumpet bands in a fanfare style, as some polychoral church works by Michael Praetorius and Heinrich Schütz show. The trumpet only began to be used regularly in concerted instrumental music in the 1660s, though it is difficult to know whether this crucial development occurred first in Italy or Germany. Cazzati published his Op 35 including La Bianchina in 1665, but the Austrian Heinrich Schmelzer had already published sonatas for two trumpets and six-part strings in 1662. Once the sonata or sinfonia for one or two trumpets, strings and continuo was established, however, it quickly became a popular genre in courts and churches on both sides of the Alps, and its characteristics – strong, square, diatonic melodies supported by simple, directional harmony – began to influence other types of music. Modern editions and recordings have tended to favour the works of Torelli, Gabrielli, Perti and other composers working at San Petronio in Bologna. For this recording I have tried to cast the net wider without minimizing the importance of the Bolognese repertory; some of the earliest and most interesting trumpet sonatas were written in other Italian cities such as Rome or Venice, or by Italians in northern Europe...
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