Hurrah for the Union! The Music of Abraham Lincoln and the Civil War
Ensemble Arianna/Marie-Paule Nounou, Purcell’s Trumpets: From Shore to Shore, ARN 68804, recorded November, 2008, La Chappelle des Jesuites de Carcassonne.
Jean-Francois Madeuf and Joel Lahens, natural trumpets
Stephen Dudermel, Myiam Bis-Cambrel, and Geraldine Roux, violins
Jean-Paul Talvard, violone
Jean Chamboux, timpani and percussion
Bruno Helstroffer, theorbo
Marie-Paule Nounou, harpsichord
Trumpets by Robert Barclay and David Edwards after John Harris, 1715
Mouthpieces by Bruno Tilz and Graham Nicholson after William Bull (1650-1712)
A=415 Hz, quarter comma mean tone temperament
This recording is a delight from start to finish. It features music by William Shore, Henry and David Purcell, Godfrey Finger, Charles Dieupart, William Topham, James Paisible, Arcangelo Corelli and Jeremiah Clarke. As we have come to expect, the playing of Jean-Francois Madeuf is extraordinary. His sound is warm and rich, his articulations smooth and historic and his phrasing is always well-shaped and always ending elegantly, never abruptly. Joel Lahens matches him well in these regards. Together they have perfect intonation and blend their sounds well.
Revolution Music of a Golden Age Vol. 2, Australian Baroque Brass. John Foster; Artistic Director, natural trumpet, demilune trumpet, Darryl Pousen; Vienna horn, natural horn, Natural trumpets; Martin Philipson, Yoram Levy, Peter Miller, Matthew Manchester, Tristram Williams, Samantha Robinson, Natural horns; Lisa Wynn-Allen, Wendy Page, Casey Rippon, Trombones; Warwick Tyrell, James Campbell, Nigel Crocker, Greg Van der Stuik, Brett Page, Traverso flute; Melissa Farrow, Mikaela Oberg, Timpani; Brian Nixon, Fortepiano Neal Peres da Costa, Tenor; Kanen Breen.Tubicium Records TR761901. Recorded December 20-24, 2007. Information: www.australianbaroquebrass.com
This latest Australian Baroque Brass CD explores repertoire from the end of the 18th and beginning of the 19th centuries. It was a time of political and social upheaval as well as musical change. Brass players in particular, were searching for ways to escape the limitations of the harmonic series and this recording illustrates two groups of repertoire; one which adheres to the limits of natural brass and that which achieves chromatic possibilities through the use of hand stopping and mechanical inventions. The first group, conforming to the harmonic series, include music by Neukomm (3 Fanfares), Mozart (Divertimenti No. 5 K. 187), Salieri (8 Aufzuge), Rossini (Le Rendez-vous de Chasse), Diabelli (4 Fanfares), and Altenburg (Quartricinium). The pieces by Cherubini (Pas Redouble no. 1,3,5,6 Premiere Marche), Weber (Marcia Vivace), Beethoven ( Drei Equali. Sonate Op. 17), and Schubert (Auf dem Stom) demonstrate chromatic possibilities.
Die Birckholtz Trompete von 1650 Jean-Francois Madeuf & Ensemble
The Birckholtz Trumpet of 1650: Jean-Francois Madeuf & Ensemble
Raumklang RK 2805
Jean-Francois Madeuf : natural trumpet and director
Christoph Draeger, Hartmut Grün, Michael Münkwitz: natural trumpet
Christina Hess, Michael Büttler: sackbut and natural trumpet
Anne von Hoff, Catherine Aglibut: violin
Krzysztof Lewandowski: dulcian
Philip Tarr: tympani
Marc Meisel: organ
Sebastian Pank (raumklang): producer/sound engineer
Organ: Hinrich Kersten, 1784
A=440 hz. Equal temperament
Recorded July 28-31, 2008 in the village church of Belitz, Germany
Trumpets by Michael Münkwitz, Rostock, Germany after Wolff(gang) Birckholtz 1650.
Trumpet mouthpieces by Ranier Egger, Basel, Switzerland based on 16th-17th century shape: large rim with 20 mm diameter cup.
Alto sackbut by Meinl & Lauber, Geretsried, Germany, ca. 1970.
Tenor sackbut after Anton Drewelwecz (1595) by Ewald Meinl, Geretsied, 2006.
Tenor sackbut after Sebastian Hainlein (1630) by Geert Jan van der Heide, Putten,
All sackbut mouthpieces by Rainer Egger, Basel, after historic models.
There is fascinating story behind this recording. Actually, there are three stories interwoven and they must be presented in this review to appreciate properly this wonderful recording.
Virtuosi Concertos for Clarino. Brian Shaw, Baroque trumpet.
Cynthia Roberts, Judson Griffith, Beth Wenstrom, Dongmyung Ahn, Aaron Brown, Marika Holmquist, Amelia Roosevelt violins; Alissa Smith, Jessica Troy, Andrea Andros, Ruth Siegler, violas; Katie Rietman,cello; Motomi Igarashi, double bass; Avi Stein, harpsichord; Anne Briggs, Charles Brink, transverse flutes; R.J. Kelly, Alexandra Cook, baroque horns.
Program notes, Brian Shaw. Clarino Records 11704 Recorded June 3-6, July 9, 2008.
As Brian Shaw's own liner notes indicate, the concerti he has recorded in this admirable effort may be considered to constitute the "final frontier" for the natural trumpet world. Clarino parts which ascend to the 24th partial are not only uncommon, they are seldom even attempted in performance. These works rarely, if ever, appear in recital programs and to this date seem to have been recorded on a total of perhaps as few as only three releases. Of these known efforts, one was done on modern piccolo trumpet.
Mr. Shaw has not only accomplished this daunting feat on Baroque trumpet, but has acquitted himself with great distinction. The results are technically impressive and the musical value of his performance is notable.
Johann Sebastian Bach, Weltliche Kantaten, BWV 30a and 207
Monika Frimmer, Robin Blaze, Markus Schäfer, Stephan MacLeod
Les Chantres du centre de Musique Baroque de Versailles
Café Zimmerman, Gustav Leonhardt, Director
Alpha 118 (2007)
The historiography of J. S. Bach seems to wrestle less and less with competing images of the composer--chiefly the duel between the long iconic church musician and the worldly figure of court music and Zimmerman's Café--and increasingly to accept the complexity that makes both images apt. Admittedly, too, the opposition of sacred and secular imposes a rigid, modern divider where in the eighteenth century the walls would have been more permeable, if walls at all. No wonder that new images of Bach have seized the day, as in Christoph Wolff's monographic paradigm of Bach as the "learned musician." The recording at hand, a beautifully performed program of two of Bach's secular cantatas, might then serve less to buttress claims for the "secular Bach" than to revel in works written with characteristic artfulness and performed with stylish flair.
Roswell Rudd Trombone Tribe. Soundscape SSC 1207. Recorded 2008.
Roswell Rudd, trombone with
• Gangbe Brass Band of Benin. Martial Ahouandjinou; trombone, Magloire Ahouandjinou, Eric Yovogan; trumpet, James Vodounnon; tuba, Lucien Gbaguidi; sax, Beboit Avihoue, Crespin Kpitiki; percussion.
• Trombone Tribe Band. Deborah Weisz, Steve Swell, Ray Anderson, Eddie Bert, Sam Burtis, Wycliffe Gordon, Josh Roseman; trombones, Henry Grimes; bass and violin, Bob Stewart; tuba, Barry Atschul; drums.
• Bonerama. Mark Mullins, Steve Souter, Craig Klein, Greg Hicks; trombones, Eric Bolivar; drums, Matt Perrine; sousaphone, Bert Cotton; guitar.
• Sex Mob. Steve Bernstein; slide trumpet, Doug Wieselman; clarinet, Briggan Krauss; alto sax, Marus Rojas; tuba, Tony Scherr; bass, Kenny Wollesen; drums.
Roswell Rudd performs with four different ensembles on this CD, delving into the music of a wide range of brass traditions with joyous and fascinating musical results. All the compositions are by Rudd with the single exception of a 1957 tune by Herbie Nichols, "Twelve Bars." Roswell Rudd studied with Nichols, a great and generally unheralded musician, during his Yale days. Rudd has done much to promote the well deserved reputation of his teacher including compiling and publishing a collection of previously unpublished Nichols compositions (Herbie Nichols: the Unpublished Works. Gerard & Sarzin Publishing Co.). Rudd is a musician fascinated by the many seemingly diverse brass traditions, many of which he has explored. He manages to find more similarities than differences. Primarily involved in Dixieland jazz in the late 1950s and early 1960s, Rudd made a giant leap into the new music of the 1960s which has been tagged by many names including; Avant garde, the New Thing, Free Form Jazz, etc. My guess is that Roswell Rudd would not view it as a giant leap at all but just playing music: a rose by any other name! He was associated with a number of musicians, including Archie Shepp, Cecil Taylor, and Steve Lacy.