SR-40123
Uussia
S great trumpet virtuoso...
Newly Recorded
Solera
MIMIIVINIV I I vini e rvivianiovinivaeni
Iiumpet Concerto
Irumpet Concerto
Biber: Sonata a 6
the Soviet Union’s most honered trumpet virtuoso
Timoiey
Dokschitser
HAYDN: TRUMPET CONCERTO
(HUMMEL: TRUMPET CONCERTO
IBIBER: SONATA FOR SIX VOICES
Moscow Chamber Orchestra
Rudolf Barshai, conducting
In works for trumpet by Haydn, Hummel and Biber, Melodiya/Angel presents for
the first time on its label the artistry of Timofey Dokschitser. The Soviet Union’s
pre-eminent trumpet virtuoso, he has been called “the Oistrakh of the trumpet”
for his monumental technical command and the sheer poetry of his playing.
Born in the Ukraine in 1921, Timofey Dokschitser began to study trumpet at the
age of ten. At 14, he entered the Moscow Central School of Music. Later, at the
Gnessin Music Institute, he studied with the celebrated teacher and performer oî
trumpet Professor M. P. Tabacov. In 1950, Dokschitser himself became professor
of trumpet at the Institute.
At an all-Soviet competition for wind instrument players in 1941, Timofey
Dokschitser won the laureate. In 1947, he took foremost honors in Prague. In 1945
he became trumpet soloist of the Bolshoi Theater Orchestra, Moscow, a post he
occupies today. Despite his full schedule as performer and teacher, he also under-
took in 1952-1957 the study of conducting at the Moscow Conservatory.
Dokschitser's repertoire is rich in the works of his countrymen as well as the
finest works for trumpet in the classical repertoire of other lands—represented
here by the trumpet concertos of Haydn and Hummel, and a sonata for six
voices by Biber.
ANNOTATION BY HARRY NEVILLE:
Franz Josef Haydn's Concerto in E flat
for trumpet and orchestra is unques-
tionably the most popular of all works
for this musical combination. Dating
from 1796, the composer’s 64th year,
and written only a few months before
Haydn began work on his great oratorio
“The Creation,” it is the last and per-
haps the finest of his instrumental
concertos.
Haydn.wrote this work for Vienna
Court trumpeter Anton Weidinger, who
for some time had been experimenting
with a keyed instrument of his own
devising. His invention enabled the per-
former to obtain notes other than the
linstrument’s “natural” ones, thus mak-
ing it possible to play chromatic pas-
sages in the middle and lower registers
with relative ease.
Haydn instantly grasped the techni-
cal and musical possibilities of the
instrument, creating a work that is rich
both in opportunities for bravura dis-
play and in passages of great warmth
and tenderness. The outer movements
make unusual virtuosic demands of the
soloist while the Andante exploits the
instrument’s newfound capacity for
lyric expression. Triadic figures which
had hitherto characterized melodic
writing for the trumpet here give way to
diatonic and chromatic passages, some-
times even in the instrument’s lower
register.
The opening Allegro is a fairly tra-
ditional first-movement sonata-allegro
construction with themes that are
clearly contrasted in profile and formal
subdivisions that are neatly defined.
An orchestral exposition presenting the
movement’s main ideas precedes the
entry of the solo trumpet, which then
proceeds to restate these ideas along
with a fuller statement of the subsidi-
ary theme. A modulation to C minor
takes place at the outset of the develop-
ment section, and a telling use of the
minor mode also prepares the way for
the joyous reaffirmation of the main
tonality at the beginning of the recapit-
ulation.
The siciliano-like A flat major
Andante, in ternary form, exerts a
strong appeal through its combination
of reposeful, melodic stasis and flowing
accompanimental movement. The
STEREO
MELODIYA
Recorded by
Melodiya in the U.S.S.R.
rondo Finale brims with ebullient good
spirits, making much use of contrasting
textures, modes, harmonies and instru- .
mental registers. Haydn's orchestral
scoring is for two flutes, two oboes,
two bassoons, two horns, two trumpets,
timpani and strings. The original manu-
script is preserved in the library of the
Vienna Gesellschaft fiir Musikfreunde.
Heinrich Ignaz Franz Biber, virtuoso
violinist and perhaps the most remark-
able Central European composer of his
time, was born August 12, 1644, in
Wartenburg, Bohemia. Not much is
known of his musical training, but it is
generally assumed that he studied
violin and composition with Johann
Heinrich Schmelzer (1623-1680), an-
other important figure of the period. At
age 22, Biber became a member of the —
court orchestra of Count Karl of Liech-
tenstein-Kastelkorn, a devoted patron
of the arts who was also Archbishop of
Olmiitz and Kremsier, and it was prob-
ably at Kremsier, where the Count
maintained a splendid castle, that Biber
wrote his first professional works.
Biber spent four yearsin the Count'’s
service and then left to join the court of
the Archbishop of Salzburg, where he
eventually became Kapellmeister.
Through numerous concert tours, his
reputation spread throughout Europe
and, by 1690, he had become so highly
esteemed that Emperor Leopold I
elevated him to the nobility. At the time
of his death, May 3, 1704, he was the
most celebrated violinist and composer
of the German-speaking lands.
Although Biber undoubtedly had op-
portunities to be published, he seems to
have exercised unusual discretion in
this respect, for only five collections ot
instrumental works appeared during his
lifetime. The present Sonata à sei in B
flat major, which was finally published
in 1958, comes from the archives of
Kremsier and is presumed to have been
written during Biber's residence there.
Formally, the work is modelled on the
older Italian example of the one-move-
ment sonata with a series of short con-
trasting sections. Scored for trumpet,
strings, and continuo, it exists also in a
C major version, which may have been
written to accommodate pitch differ-
ences in continuo instruments or to
allow use of a natural trumpet.
After the Haydn Concerto in E flat,
the next great trumpet concerto of the
Viennese classical period is that of
Johann Nepomuk Hummel (1778-1837).
Hummel’s concerto was written when
the composer was 25, one year before
he succeeded Haydn as Kapellmeister
to Prince Esterh4zy in Fisenstadt. As
with his predecessor, Hummel wrote
the concerto for Anton Weidinger, who
gave the work its first performance on
Library of Congress Catalog Card Numbers 78-751613 (for the Haydn), 75-751615 (the Biber), and 71-751614 (the
Hummel) apply to this recording.
Produced and engineered by: Lidia Bobova (the Haydn), Mikhail Pakhter (Biber) and Aleksander Grosman (Hummel).
Manufactured by Capitol Records, Inc., a subsidiary of Capitol Industries; inc., Hollywood and Vine ANA This r
ecord has been engineered and ma
Streets, Hollywood, Calif. Factories: Scranton, Pa., Los Angeles, Calif., Jacksonville, ili., Winchester, Va.
%s/ Association of America, inc., a non-prof
nufactured in accordance with standards developed by the Recording Industry z\
it organization dedicated to the betterment of recorded music and literature. XE
New Year's Day, 1804, as a Tafelmusik
offering at a royal dinner of the Ester-
hàzy court. Weidinger had continued to
experiment with a keyed trumpet, and
the instrument he had developed by
1803 was a vastimprovement over what
was available to Haydn in 1796, with
the result that Hummel had at his dis-
posal an instrument that was almost
fully chromatic. Hummel’s concerto,
like Haydn's, demonstrates that Wei-
dinger must have been an exceptional
player who excelled both in cantabile
passages and in ornate display figura-
tions.
The opening Allegro con spirito
pretty much follows the example of the
. |Haydn concerto in the sharply alternat-
ing character of its solo episodes. There
in the movement'’s rather tightly or-
ganized symphonic construction.
The quite romantic A flat minor
. | Andante is a lyric outpouring with
string accompaniment, which changes.
to the major mode as the woodwinds
enter. A half-close leads into the finale,
a Rondo requiring of the soloist all the
technical brilliance—trills, figurations,
chromatic passagework—of which he is
capable. Hummel's instrumentation
calls for flute, oboe, two clarinets, two
horns, timpani and strings.
e E
SIDE ONE
HAYDN: TRUMPET CONCERTO
IN E FLAT I
I. Allegro Band1 - 5:47
II. Andante Band2 - 4:03
III. Finale (Allegro) Band 3 - 5:40
BIBER: SONATA A 6INBFLAT
(ed. Yanetsky)
Allegro—Adagio—Allegro Band 4 - 6:15
SIDE TWO
HUMMEL: TRUMPET CONCERTO
IN E FLAT
I. Allegro con spirito Band 1 - 9:12
II. Andante III. Rondo Band 2 - 9:02
I EEE e TTTTTIG:R
Rudolf Barshai is an S. Hurok Artist.
ALSO BY RUDOLF BARSHAI
AND THE MOSCOW CHAMBER
\ORCHESTRA ON .
MELODIYA/ANGEL:
SHOSTAKOVICH: SYMPHONY NO. 14. World
Premiere recording of Shostakovich’s great
‘ Isymphonic song-cycle, a meditation on death,
on texts by Garcia Lorca, Apollinaire,
Kiichelbecker & Rilke. With Margarita i
Miroshnikova, soprano, Yevgeny Vladimirov,
bass. SR-40147
PERGOLESI: STABAT MATER. In Latin, with
Irina Arkhipova, mezzo-soprano and the
RSFSR Russian Chorus. SR-40044
J. S. BACH: Six Concertos for Piano and
Orchestra: No. 1 in D minor; No. 2 in E major;
No. 3 in D major; No. 4 in A major; No. 5 in
F minor; No. 7 in G minor. With Vasso
Devetzi, pianist. (Two records, boxed).
SRB-4108
seems too some indebtedness to Mozart.
SR-40123
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