Recordings

Rescued! Forgotten Works for the 19th Century Horn

Recordings

rescuedhornJohn Ericson, horn and Yi-Wan Liao, piano. Rescued! Forgotten Works for the 19th Century Horn. Summit Records DCD 689, 2015.

John Ericson, professor of horn at Arizona State University, is a noted horn scholar and leading horn virtuoso. He has made a special study of 19th century valve horn and this wonderful recording is the culmination of those efforts. Ericson has not only unearthed and “rescued” a number of fine but scarcely known solo horn pieces but put together a fine program emphasizing a particular aspect of the brass tradition. These pieces are part of the low horn playing tradition at a time when there was a clear delineation between high and low horn playing. The music included in this recording was composed from about 1860–1910. Low horn players during that period used the single F horn while high horn playing was done on the single Bb horn. Ericson explains in his fine CD notes that the modern double horn in F/Bb was not invented until 1897.

Cincinnati Virtuosity: The Cornet Solos of Frank Simon and Herman Bellstedt

Recordings

rodriguezcornetRaquel Rodriquez (cornet) and Jan Corrothers (piano), Cincinnati Virtuosity: The Cornet Solos of Frank Simon and Herman Bellstedt. (Self-published, 2013).

For purchase information see: http://www.cdbaby.com/cd/raquelrodriquez

Rodriquez’s website: www.solotromba.com

If there is a better word than virtuosity to describe the repertoire on this recording I certainly can’t think of it. Raquel Rodriquez, Assistant Professor of Trumpet at Tennessee Tech University, has done extensive research into the music and careers of Frank Simon and Herman Bellstedt. She presented a fascinating paper at the 2015 HBS Early Brass Festival on these soloists and the musical culture of Cincinnati, the city where both men lived.

Telemann: Trumpet and Horn Concertos, played by Madeuf

Recordings

madeuftelemannSigiswald Kuijken and La Petite Bande, Telemann Trumpet and Horn Concertos (Accent 24318), 2016.

Jean-François Madeuf; natural trumpet and natural horn, Pierre-Yves Madeuf; natural horn. Sigiswald Kuijken, Jin Kim, and Barbara Konrad, violins; Marleen Thiers and Barbara Konrad, viola; Ronan Kernoa, basse violon; Benjamin Alard, harpsichord. Recorded January 13-15, 2016.

Jean-François Madeuf has done as much as any brass player active today to promote a historically informed approach to a wide range of the early brass repertoire. This CD is the latest in those efforts and the outcome is exquisite. He chose a program that has been extensively performed by both modern and early brass performers. Madeuf has chosen to deliberately contrast his approach with that of a well-known recorded legacy of this music. The five works by Georg Philipp Telemann (1681–1767), are Suite in D for trumpet, 2 violins, viola & b.c. TWV 55:D7, Concerto in D for horn, violin, 2 violas, b.c. TWV 51;D8, Sonate for trumpet, 2 violins, viola & b.c. TWV 44:D1, Concert in D for 2 horns, 2 violins, viola & b.c. TWV 52: D1, and Concert in D for trumpet, 2 violins, & bc. TWV 51: D7. There are two bonus tracts of the Sonata in D TWV 44: D1, which is performed according to a written suggestion in the score, without the trumpet in the first and third movements.

Thomas Coates by Newberry’s Victorian Cornet Band

Recordings

coatescdNewberry’s Victorian Cornet Band, Thomas Coates: The Father of Band Music in America (MSR Classics MS 1556), 2015.

Douglas Hedwig; conductor, Christine Erlander Beard; piccolo (Rudall Carte, London, c. 1900), Dominic Giardino; 1st Bb clarinet (Joseph Walis, London, c. 1867-80), Lawrence Bocander; 2nd Bb clarinet (Jerome Thibouville-Lamy, Paris, c. 1897), Michael Tumiel; 3rd Bb clarinet (Jerome Thibouville-Lamy, Paris, c. 1875), Michael Jones; Eb cornet, (Tourville & Cie, Paris, c. 1890 with original mouthpiece), Jeff Stockham; Hall & Quinby, Boston, side action rotary Allen valve cornet, presentation instrument 1866, 1855 Graves & Co. mouthpiece), Elisa Koehler; solo Bb cornet (William Seefeldt, Philadelphia Bb cornet, 1890 with Seefeldt “Jules Levy” model mouthpiece), William Gregory; J.W. Pepper, Philadelphia Bb cornet, c. 1882, Courtois mouthpiece c. 1880), Christopher Belluscio; 1st Bb cornet, (Boston Musical Instrument Manufactory, Boston C/Bb/A cornet, 1879 with original mouthpiece), Larry Cole; 2nd Bb cornet (Bohland & Fuchs, Graslitz, imported by Lyon & Healy, Chicago, Seefeldt “Jules Levy” model mouthpiece), Lenore Turner; Eb alto horn (Bohland & Fuchs, Graslitz c. 1900), Michael Beard; Eb alto horn (C.G. Conn, c. 1898), Dickson Rothwell; alto horn (Quinby Brothers, Boston c. 1872, original mouthpiece), Steve Lundahl; 1st Bb tenor horn, (J.W. Pepper c. 1890) trombone (Henry Distin 1899), Seth D. Fletcher; 2nd tenor horn (Bohland & Fuchs c. 1890 with original mouthpiece) trombone (August Heinem, Austria c. 180-1900), Barry Bocaner; Bb bass/baritone, (Boston Musical Instrument Manufactory, Boston, c. 1900), Michael O’Connor; baritone (English maker, imported by J.W. Pepper c. 1900), Roy Coates; Eb bass (French maker, imported by J.W. Pepper, c. 1885), Tyler Wiernusz; Eb helicon (J.W. Pepper, c. 1905), Daniel Gonzales; snare drum, (John C. Haynes, Boston, rope-tension drum c. 1870), James G. Petropoulos; Bass Drum & Cymbals, (Slingerland drum co., Kalamazoo, c. 1920).

Dragon Voices: The Giant Celtic Horns of Ancient Europe

Recordings

dragonvoicesJohn Kenny, Dragon Voices: The Giant Celtic Horns of Ancient Europe. Delphian Records (DCD34183), 2015.

John Kenny; Carnyx, Loughnashade horn, conch shell, bells and drums.

Recorded November 18-20, 2015.

Those attending the Historic Brass Society Session of the EMAP (European Music Archaeology Project) in Viterbo, Italy in 2015 had the rare experience of viewing, listening to, and playing a number of reproductions of ancient brass instruments. This was the result of a five-year project undertaken by EMAP to reproduce and explore the sound world of ancient Roman, Greek, Egyptian, and Celtic cultures. John Kenny was part of that conference and this recording is an offshoot of his long experience playing and composing music for those instruments. In this CD he primarily plays three instruments; the Tintignac carnyx after a first-century BC original found in Tintignac, France (made by Jean Boisserie), the Deskford carnyx after a first-century BC original found in 1816 at Leitchestown, Scotland (made by John Creed), and the Loughnashade horn after a first-century BC original found in 1794 in Co-Armagh, Ireland (made by John Creed).

Six Recordings by Roland Wilson, La Capella Ducale and Musica Fiata

Recordings

wilsonfuxwilsonfictawilsonveniceDario Castello, Sonate Concertate 1629. Musica Fiata. Roland Wilson, director and cornetto; Arno Paduch, cornetto; Detlef Reimers, Peter Stelzl, trombone; Adrian Rovatkay, dulcian; Anette Sichelschmidt, violin; Christine Moran, violin and viola; Christiane Volke, viola; Olaf Reimers, violoncello; Christoph Anselm Noll, organ and harpsichord; Axel Wolf, chitarrone; Johanna Seitz, harp. CPO 555 011-2. Recorded October 26-29, 2013 at Dorfkirche Bochum-Stiepel, Bochum.

Johann Hermann Schein, Cymbalum Sionium. La Capella Ducale and Musica Fiata. Roland Wilson, director, cornetto, cornetto muto, and recorder; Frithjof Smith, cornetto, cornetto muto, and recorder; Detlef Reimers, Cas Gevers, Ercole Nisini, trombone; Adrian Rovatkay, dulcian and great bass shawm; Anette Sichelschmidt, violin and viola; Axel Wolf, theorbo and lute; Christoph Anselm Noll, organ and regal; Monika Mauch, Constanze Backes, soprano; Alexander Schneider, Rolf Ehlers, alto; Tobias Hunger, Hermann Oswald, tenor; Joachim Höchbauer, Ulrich Maier, bass. Deutsche Harmonia Mundi 88875051442. Recorded October 20-21, 2014 at Bethanienkirche, Leipzig.

Reformationsmesse. Musica Fiata and La Capella Ducale. Roland Wilson, director, cornett, and recorder; Anne Schall, cornett, mute cornett, and recorder; François Petit-Laurent, cornett and trumpet; Hannes Rux, Almut Rux, Peter Protschka, Cas Gevers, Gerd Schulz, trumpet; Detlef Reimers, Cas Gevers, Ercole Nisini, trombone; Andreas Nowak, timpani; Adrian Rovatkay, dulcian and great bass shawm; Anette Sichelschmidt, Christine Moran, violin and viola; Christiane Volke, viola; Hartwig Groth, violone and viola de gamba; Michael Freimuth, chitarrone and lute; Axel Wolf, chitarrone; Christoph Anselm Noll, Martin Lubenow, organ, regal, and spinet; Monika Mauch, Constanze Backes, Karolina Brachmann, soprano; Alexander Schneider, Rolf Ehlers, alto; Vincent Lesage, Hermann Oswald, Tobias Hunger, tenor; Wolf Matthias Friedrich, Ulrich Maier, bass. Deutsche Harmonia Mundi 88843021592. Recorded October 14-16, 2013 at Michaeliskirche, Fürth.

Johann Rosenmüller, Sonatas 1682. Musica Fiata. Roland Wilson, director and cornetto; Frithjof Smith, cornetto; Detlef Reimers, Peter Stelzl, trombone; Adrian Rovatkay, dulcian; Christoph Anselm Noll, organ and harpsichord; Axel Wolf, chitarrone; Anette Sichelschmidt, Christine Moran, violin; Christiane Volke, Andreas Pilger, viola; Olaf Reimers, basso viola. CPO 777 688-2. Recorded 2012 at Germanisches National Museum, Nürnberg.

Christmas in Venice. Musica Fiata and La Capella Ducale. Roland Wilson, director, cornetto alto, and cornetto basso; Gebhard David, cornetto alto; Frithjof Smith, Josue Melendez, cornetto alto and cornetto tenore; Anette Sichelschmidt, Christine Moran, violin and viola; Detlef Reimers, Peter Stelzl, Cas Gevers, Robert Schlegel, trombone; Ercole Nisini, Henning Plumeyer, bass trombone; Axel Wolf, chitarrone; Klaus Eichhorn, organ; Martin Lubenow, organ and harpsichord; Nele Gramß, Alex Potter, Alexander Schneider, Daniel Auchincloss, Manuel Warwitz, Hermann Oswald, Wolf Mathias Friedrich, Joel Frederiksen, singers. Deutsche Harmonia Mundi 88691944742. Recorded December 5-7, 2011 at Michaeliskirche, Fürth.

Johann Joseph Fux, Kaiserrequiem. La Capella Ducale and Musica Fiata. Roland Wilson, conductor, director, and cornetto; Gebhard David, Fritjof Smith, cornetto; Peter Stelzl, Robert Schlegel, trombone; Adrian Rovatkay, bassoon; Christoph Anselm Noll, organ; Anette Sichelschmidt, Christine Moran, violin; Christiana Volke, viola; Olaf Reimers, violoncello; Hartwig Groth, violone; Monika Mauch, Constanze Backes, Karolina Brachman, Rannveig Sif Sigurdardottir, soprano; Alexander Schneider, Arnon Zlotnik, alto; Markus Brutscher, Lothar Blum, tenor; Harry van der Kamp, Ulrich Mayer, bass. Deutsche Harmonia Mundi 88697959972. Recorded December 2-4, 2009 at Paterskirche, Kempen.

Ensemble Ventosum. L’Arte dei Piffari

Recordings

piffariEnsemble Ventosum. L’Arte dei Piffari: Cornets and Sackbuts in Early Baroque Italy. Pan Classics (10332), 2015. 

William Dongois: cornettino (Henri Gohin, 2010), straight cornett (Henri Gohin, 2011); Francois Petit-Laurent: cornett (Serge Delmas, 2011), cornettino (Henri Gohin, 2009, tenor cornett (Henri Gohin, 1990); Friederike Otto: curnved cornett (Serge Delmas, 2011), tenor cornett (Christopher Shuler, 2012); Paul Gonzales: tenor sackbut (Ewald Meinl after Anton Drewelwecz, 1595, Nuremburg, Germanisches Nationalmuseum MI 167); Stefan Legee: tenor sackbut (Ewald Meinl after Erasmus Schnitzer, 1551, Nuremburg, Germanisches Nationalmuseum MI 170); Abel Rohrbach: tenor sackbut (Ewald Meinl after Anton Drewelwecz, 1595, Nuremberg, Germanisches Nationalmuseum MI 167); Franck Poitrineau: bass sackbut (Ewald Meinl, made of silver after Georg Nicolaus Oller, 1640, Stokholm, Musikmuseet M 252); Gosta Funck: organ (Henk Klop, 2000)

Recorded February 2013 and February 2014 at Sankt Nikolai, Berlin-Spandau, Germany in A=440 ¼ comma meantone 

The Art of Heinrich Scheidemann

Recordings

scheidemannLe Concert Brisé: The Art of Heinrich Scheidemann. Accent Records (24302), 2016.

William Dongois, cornetto; Alice Julien-Laferriére, violin; Odile Bernard, recorder; Jean-Christophe Leciere, organ. Straight Cornetti by Henri Gohin in 3 parts pitched at 440 (tracks 3, 4, 5, 7, 14) and at 495 (tracks 2, 10, 12); Organ after Italian original, by Rudi Jacques, Talange, France.

Recorded at the church, Jésus Ouvrier, Talange, France, October, 2014 in A=440 at ¼ comma meantone.

Heinrich Scheidemann (1596–1663) first studied organ under his father, David, in his hometown of Hamburg and was sent by him to Amsterdam to study with Jan Pieterszoon Sweelinck from 1611-1614. Sweelinck dedicated his canon Ter eeren Of Vromen Jongkmans Henderich Scheijtman, van Hamborgk to him. Scheidemann succeeded his father as organist at St. Catherine’s in Hamburg and also was a consultant for organ building in Lübeck. His compositions are characterized by their improvisatory character and make great technical demands on the performer. At the same time, they are not merely vehicles for virtuosity. To be sure, there is substance in his compositions and a wide variety of moods are expressed.