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Christophorus | BARROCA | CAMARA | INSTRUMENTOS (1 CD)

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6,60 €

La trompeta majestuosa
Obras de Haendel, Telemann, Fasch...


REF.: CHE 0168-2
EAN 13: 4010072016829
24 horas: Si realiza el pedido hoy, este producto estará listo para ser enviado el lunes 16/09/2019


FECHA DE PUBLICACIÓN
28/09/2011

INTÉRPRETES
Edward H. Tarr, trompeta
Franz Liszt Chamber Orchestra


CONTENIDO

Georg Friedrich Händel (1685-1759):
Mr. Handels Celebrated Water Piece (1733)

Georg Philipp Telemann (1681-1767):
Concerto D major

Clemens Thieme (1631-1668):
Sonata à 8

Johann Jacob Schnell (1687-1754):
Concerto V D-Dur (1731)

Johann Friedrich Fasch (1688-1758):
Concerto à 8

Carl Friedrich Christian Fasch (1736-1800):
Concerto E major

Johann Samuel Endler (1694-1762):
Sinfonia à 7

1 CD - DDD - 71'58''


RESEÑA (La Quinta de Mahler)

This recording unites familiar works (Handel, Telemann, J. F. Fasch) with rarities recovered from their archival sleep of centuries. The Thieme sonata is one of the first pieces ever written for solo trumpet(s); this and all the other pieces presented here display the level of virtuosity attained by the courtly trumpet repertoire of the Baroque period.

It is well known that the Baroque trumpet, due to its emblematic significance, occupied a special position in the hierarchy of musical instruments. It was the symbol of celestial and earthly power. For this reason, trumpet literature of that time is nearly always splendid and joyful; sad emotions were not its domain. Within these boundaries there was nevertheless a broad gamut of expressive possibilities, from the chamber-music intimacy of the Telemann concerto and the gallant finesse of C. F. C. Fasch’s triple concerto to the cosmopolitan elegance of the Handel suite and the festive opulence of Endler’s sinfonia. On this recording, works have been assembled to demonstrate the musical splendour of German courts. An apparent exception is the Handel suite, but the connection of the house of Hanover with the British crown and Handel’s own origins justify this work’s acceptance into the German cultural tradition, even despite its French style.

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