Side One (24:30)
1. Anon. (17th cent.)
3 Sonatinas for 2 clarini (2:29)
EDWARD H. TARR, ROBERT BODENRODER, Baroque
trumpet
2. Giuseppe Torelli (1658-1709)
Sonata for trumpet, strings & continuo, G. 1 (8:16)
(Andante)/Adagio — (Allegro) — Grave — (Allegro)
EDWARD H. TARR, trumpet
3. Petronio Franceschini (c. 1650-1680)
Sonata a7 for 2 trumpets, strings & continuo (7:29)
Grave — Allegro — Adagio — Allegro
EDWARD H. TARR, ROBERT BODENRODER,
Baroque trumpet
4. Marc-Antoine Charpentier (1636-1 /04)
Marche de triomphe; Second air de trompettes (5:54)
EDWARD H. TARR, ROBERT BODENRODER, WALTER
HOLY, PIETER DOLK, Baroque trumpet * WENZEL
PRICHA, timpani * GUNTHER HOLLER, VALERIE
NOACK, flute.» HELMUT HUCKE, KLAUS EBACH,
Baroque oboe *WERNER NEUHAUS, HELMUT KLUP-
PELBERG. violin
side Two (24:06)
1. Johann Ernst Altenburg (1734-1801)
Concerto a 7 clarini con tympani (5:05)
Allegro — Andante — Vivace
EDWARD H. TARR, clarino concertatos WALTER
HOLY, ROBERT BODENRODER, PIETER DOLK,
clarino I, ll & Prinzipal (Coro 1)+HANS RICHTER
MICHAEL STEINER, MANFRED KRAMER, clarino |, I!
& Prinzipal (Coro Il)*\ WENZEL PRICHA, timpani.
_ 2. Johann Friedrich Fasch (1688-1758)
Concerto a 8 for trumpet, strings & continuo (6:30)
(Allegro) —Largo — Allegro
EDWARD H. TARR, trumpet
3. a) Anon. (16th cent.)
3 Fanfares for trumpets & timpani (3:00)
EDWARD H, TARR, ROBERT BODENRODER, WALTER
HOLY, Baroque trumpet «WENZEL PRICHA, timpani.
b) Johann Ernst Altenburg (1734-1801)
Chorale Aus meines Herzensgrunde (1:10)
EDWARD H. TARR, clarino |*\WALTER HOLY, ROBERT
BODENRODER, clarino II & Ill con sordino «PIETER
DOLK, Prinzipal*WENZEL PRICHA, timpani.
4. George Frideric Handel (1685-1759)
Suite in D for trumpet, strings & continuo (7:56)
Overture — Allegro (Gigue) — Aire (Minuetto) —
. March (Bourrée) — March
EDWARD H. TARR, trumpet
CONSORTIUM MUSICUM
Continuo: EUGEN MULLER-DOMBOIS, lute
WALTER THOENE, harpsichord
CHRISTFRIED BICKBACH, positive organ
rRIitZ LERMAN, conductor
No musical instrument has undergone more radical
changes since the Baroque era than the trumpet. Now a
valved instrument with a total length somewhat over three
feet, it was during the entire Baroque period a valveless
instrument with a length of about seven feet. On a valve-
less brass instrument it is possible by lip tension alone to
produce a series of tones in a fixed relationship to one
another. Only in the fourth octave of this “harmonic
series” do they lie in intervals of a second; and only in
this highest register, therefore, can diatonic melodies be
produced on the Baroque trumpet.
The present recording is one of the first to feature
reconstructions of Baroque trumpets. The pieces of
Franceschini, Charpentier, the anonymous German fan-
fares, and Altenburg’s chorale setting were all recorded
on long Baroque trumpets made by Adolf Egger (Basel)
in 1965; a perfected version of these instruments, copied
from an 18th-century original of Johann Wilhelm Haas
according to Edward Tarr's specifications, is now pro-
duced commercially by the German firm Mein! & Lauber
(Gartenberg, Oberbayern). The Italian sonatinas and the
Altenburg concerto were recorded on Steinkopf-Finke
“Jagertrompeten” (‘‘hunters' trumpets” — Baroque trum-
pets in coiled form), whereas the Torelli, Fasch, and
Handel works were played on a modern high valve trum-
pet of Couesnon (Paris).
Printed in U.S A.
H-71217 (stereo)
THE ART OF THE
BAROQUE TRUMPET
in the Baroque period, the trumpet was reserved for
magnificent occasions. Thus a heroic character is common to
every work of this recording, whether it is an Italian church
sonata of the 17th century or a German secular concerto of
the 18th.
‘The short, binary Sonatine a due clarini were probably com-
posed in the last third of the 17th century as musique de table
for an Italian court. One thinks of the passage in Altenburg’s
treatise on the Heroic Art of Trumpet and Kettledrum Playing
(1795) where we are told that two trumpeters may play a
bicinium during mealtimes. The third sonatina is particularly
remarkable, for it shows that trumpet technique had reached a
higher-level in 17th-century Italy than had hitherto been
realized: not only is a high d” demanded of the C trumpet,
but also great emphasis is placed on lip-trills and musical
articulation.
Ever since the early 16th century, the city trumpeters of
Bologna had played at the beginning of Mass in the basilica of
San Petronio on especially high feast-days; after 1665, sonatas
and sinfonias with one or more solo trumpets were often
sounded at this part of the liturgy. The Suonata con stromenti
e tromba (1690) of Giuseppe Torelli, No. 1 in Franz Giegling’s
thematic index, is a particularly important work. The trumpet
is not only featured in brilliant figuration but in the first move-
ment also answers the strings’ sighing motives. The theme of
the fugue (second movement) is to be found after about 1680
in trumpet sonatas of other composers, notably Stradella and
Corelli.
In the Suonata 2 7 con due trombe (1680) of Petronio Fran-
ceschini, who was also known in Venice as an opera composer,
one is particularly struck by the frequent occurrence of episodes
in A minor, which are hardly ever to be found in Baroque
trumpet literature, presumably because the minor third — in
this case c” and c’”— is too low in pitch on a natural trumpet.
In the present recording this problem of intonation was not
avoided; on the contrary, the strong impression of A minor was
brought out, to a degree perhaps impossible with modern in-
struments, through the use of Baroque trumpets. One is invol-
untarily reminded of a remark by Praetorius, that a trumpeter
should “tame and rule” his instrument “well and through arti-
fice” (“wol und kiinstlich zwingen und regieren”) — a Baroque
formulation par excellence!
In the Marche de triomphe and the Second air de trompettes,
Marc-Antoine Charpentier had at his disposal, in addition to
a group of stringed instruments — probably the Grande Bande
of Versailles — the entire host of mounted wind-instrument
players of the Royal Stable (La Grande Ecurie), with four
trumpeters and a kettle-drummer at the head of their ranks.
Such a display of pomp could hardly be meant for anyone but
Louis XIV, unless, as is the case with a well-known T'e Deum
of Charpentier utilizing a similar introduction, the Almighty
himself was meant, and not the roi soleil.
Altenburg’s Concerto a VII Clarini con tymp. (printed in his
famous treatise of 1795, but pethaps not composed by him) falls
under his description of the Tafel-Sonate, which was “sounded
at the table of high gentry.” “It generally consists of eight or
nine parts” (here eight) “divided into two choirs, which alter-
nate with one another, whereby one or two Clarinisten” (here
one) “play a solo, accompanied by the others. Like all con-
certos, it is divided into three separate movements.”
Johann Friedrich Fasch was highly regarded as a composer
by his contemporary, J. S. Bach. In his Concerto a 8 with solo
trumpet, his style of composition, influenced by the Italian and
French schools, is eloquently displayed. The third movement,
for example, begins like a French minuet, only to reveal Italian
characteristics more and more during its course. In one of its
repetitions, the minuet is treated like a ritornello: every four
measures it is interrupted by sharp sixteenth-note interjections
in the trumpet. These passaggi are not meant to be slurred but
must be performed with rapid tonguing. Double-tonguing
had been a fundamental component of wind-instrument tech-
nique ever since the Renaissance, when the Italians spoke of
a ‘lingua roversa.”
‘The three anonymous German Aufziige (processional fan-
fares) for two clarini, Prinzipal, and kettle-drums from the late
18th century correspond in their structure and instrumentation
exactly to Altenburg’s description: a “blaring Prinzipal” drives
the group forward at the beginning of each fanfare with a “lively
theme.” In Altenburg’s setting of the chorale In meines Herz-
ensgrunde, the chorale melody in the first clarino part is embel-
lished by two further high parts, muted — a singular effect. Two
wooden mutes were especially constructed for this recording,
using as a guide an authentic Baroque mute in the possession
of the Historisches Museum in Basel, Switzerland.
‘The Suite of Handel was announced for the first time in May,
1733, under the title “Handel’s Water Piece.” A further print-
ing followed in c. 1745. Even if it should be demonstrated that
the selection of movements was not made by Handel, the fact
remains that we already know three of the five movements from
other works of his: the first, which is in fact found in the Water
Music, and the last two (in a manuscript of the British ‘Museum,
London; the final movement also appears in the opera Parte-
nope[1730]).'The remaining movements, a gigue and a minuet,
cannot with certainty be attributed to Handel, but by no means
are they of inferior quality. In fact, the centrally located minuet
proves to possess the most significant content of the entire work.
EDWARD H TARR
Edward H. Tarr, trumpeter (pupil of Voisin and Herseth) and musicologist
(pupil of Schrade), is one of the very few internationally renowned per-
formers on his instrument, with over forty recordings to date. When he is not
touring Europe or the United States, he divides his time between Basel,
Switzerland, where he has been living since 1959, and Cologne, Germany,
where he took over the trumpet class of the Rheinische Musikschule in 1968.
Se Se a orce one. Band 1 — Modena, Biblioteca Estense MS Mus. G. 382. Side one,
Band 2~ Bologna, Archivio di San Petronio MS. D.V.10, Side one, Band 3 — Bologna,
Archivio di San Petronio MS D.XIl9. Side one, Band 4-~ Paris, Bibliotheque nationale
MS Rés. Vi" 259, tome X. Side two, Bands 1 & 3b — Versuch einer Anleltung zur .
Trompeter- und Pauker-Kunst . . von Johann Ernst Altenburg, Halle, 1795, Side ‘wo,
Band 2 ~ Darmstadt, Hessische Landes- und Hochsohulbibliothek MS 290/24, Side two,
Band Sa Munich, Bayerische Staatsbibliothek MS Mus. 3195. Side two, Band 4~A
Choice Sett of Altes, call'd Handel's Water Piece . . . for a Variety of Instruments,
oie aoe eae tee
he dalle sneia ca ee ee ee ee ee
tha. tollowiia works can’ tin famed’ Wi’ teodeen edeetanas Bide cae. Rane Tan
Sn Oe OMe Ty Tet, LO wen, ee One, ae
Schroeder (Diletfo musicale CLXV), Vienna, i965. Side two, Bands 1 & 3b ~ ed. By Her
mann Pietzsch (Die Trompete), s.n.d. Side two, Band 2 ~ ed, by Helmut Winechermann,
Homburg, 1984.
ee ee ie ae ee RN Oe ne ere nner: See
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