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Trumpet voluntary

Author: Peter HurfordMichael Laird, (Trumpeter)Mark Bennett, (Trumpeter)William HoughtonMichael Thompson, (Horn player)All authors
Publisher: London : Decca, ℗1992.
Edition/Format:   Music CD : CD audio : No Linguistic ContentView all editions and formats
Summary:
In 1602 an organ was installed in Frederiksborg Castle in Denmark, to accompany the dancing at Court, while at about the same time, at the end of her long reign, Queen Elizabeth I of England sent, as a token of goodwill, an exotically encased organ to the Sultan of Turkey -- and there are many other instances which point to regular use of the organ both indoors and in the open air, both in sacred and secular  Read more...
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Details

Material Type: Music
Document Type: Sound Recording
Music Type: Chorales; Variations; Sonatas; Suites
All Authors / Contributors: Peter Hurford; Michael Laird, (Trumpeter); Mark Bennett, (Trumpeter); William Houghton; Michael Thompson, (Horn player); Colin Sheen, (Trombonist); David Purser; Marc-Antoine Charpentier; Jeremiah Clarke; Johann Sebastian Bach; Jean François Dandrieu; Henry Purcell; Girolamo Frescobaldi; John Stanley; George Frideric Handel; Michael Laird Brass Ensemble.; Gebrüder Rieger.
OCLC Number: 32434190
Notes: Tracks 2-12 and 14-20 arranged by Peter Hurford. Tracks 1, 21 and 22 arranged by Chris Hazell.
Program notes (13 p. : illustration, portraits) in English by RobinLangley, with a stop list of the Rieger organ at Ratzeburg Cathedral, Germany, inserted in container.
Compact disc.
Digital recording.
Performer(s): Peter Hurford, organ ; Michael Laird Brass Ensemble: Michael Laird and Mark Bennett, trumpet, William Houghton, trumpet and flugelhon, Michael Thompson, horn, and Colin Sheen and David Purser, trombone.
Event notes: Recorded in Ratzeburg Cathedral, Germany, 13-15 November 1990.
Description: 1 audio disc (64:41 min.) : digital, stereo ; 4 3/4 in.
Contents: Prelude from Te Deum / Marc-Antoine Charpentier --
Trumpet tune and air / Henry Purcell [i.e. Jeremiah Clarke] --
Ach, bleib' bei uns ; Meine Seele erhebet den Herren / Johann Sebastian Bach --
Si c'est pour ôter la vie / Jean-François Dandrieu --
Sonata / Henry Purcell --
Wo soll ich fliehen hin ; Kommst du nun, Jesu / Johann Sebastian Bach --
Trumpet voluntary (The Prince of Denmark's march) / Jeremiah Clarke --
Jesu, joy of man's desiring (from Cantata 147) / Johann Sebastian Bach --
Canzona I / Girolamo Frescobaldi ; ed. Gustav Leonhartd --
Wachet auf, ruft uns die Stimme ; Wer nur den lieben Gott ; Nun danket alle Gott / Johann Sebastian Bach --
Suite (from Ten voluntarys, op. 6 nos 5 & 6) / John Stanley --
Sheep may safely graze (from Cantata 208) / Johann Sebastian Bach --
Minuet from Music from the royal fireworks / George Frideric Handel.
Other Titles: Trumpet voluntary: music for organ & brass
Music for organ & brass
Music for organ and brass
Responsibility: Bach [and others].

Abstract:

In 1602 an organ was installed in Frederiksborg Castle in Denmark, to accompany the dancing at Court, while at about the same time, at the end of her long reign, Queen Elizabeth I of England sent, as a token of goodwill, an exotically encased organ to the Sultan of Turkey -- and there are many other instances which point to regular use of the organ both indoors and in the open air, both in sacred and secular surroundings. In slightly later 17th-century England a new tradition of chamber organs in domestic use was fostered during the Commonwealth by the Puritans' removal on doctrinal grounds of many church organs to private houses, taverns, and other places of entertainment, where they were combined not only with voices, but with other musical instruments. In quieter surroundings, they might be a chest of viols in performance of, say, the Consort Suites of William Lawes, or in more boisterous or ceremonial ones, wind or brass instruments and drums. In 18th-century England, it was an organ which was installed in the bandstand at Vauxhall Pleasure Gardens to accompany the orchestra; it stayed in tune longer than a harpsichord in the open air, and its sound carried further. In the rest of Europe, two parallel sacred-orientated practices may be seen. On the one hand, the mainly Catholic tradition, in Italy, Spain, and the Habsburg dominions, veered towards more than one organ (usually two, facing each other across the chancel) either playing "duelli" as those performed extempore by Andrea Gabrieli and Claudio Merulo at St. Mark's, Venice, or combining with separate groups (or cori spezzati) of brass instruments (again at St. Mark's, placed in the numerous galleries above the main body of the building and creating a kind of stereophony, doubtless thrilling to late-16th-century ears). Elsewhere manuscripts survive of music for up to four organs, each with their accompanying group of trumpets, horns, and drums, one of them in canon so that the music appears to the listener to revolve slowly in a circle. The other, mainly Protestant, practice linked this use of the organ and other instruments more closely to the liturgical framework in the development of music based on the chorale melodies of German-speaking Europe, a particular flowering of which may be seen in works of this type by J.S. Bach and his pupils Krebs and Oley. Indeed, during the time in the late 1730s that the large organ at St. Thomas's, Leipzig, was under repair, Bach made a feature of combining in concerto fashion a fully written out obbligato part for the chamber organ temporarily provided to accompany the orchestra in his regular Sunday cantata performances. As we shall see, these cantatas (especially the aria movements) made a special feature of orchestral obbligato solo parts treated in antiphony with the solo voice. It should also be remembered that one practical problem in the combination of organ and other instruments had to be circumvented which would not occur to us today -- the question of pitch. One of the reasons why a discernibly continuous tradition of combining organ and other instruments may be followed in both England and Latin Catholic Europe between the late 16th century and the early 19th was the consistent adoption from early in the period Of a pitch roughly equivalent to our present "baroque" pitch; whereas in Protestant Germany, Kammerton (chamber, or concert pitch) remained parallel with this "baroque" pitch while Chorton (church pitch) was anything up to a fourth higher. In France too, the organ was rarely used in combination with any other instrument than the serpent d'eglise (to point the plainsong) until the mid-19th century in ecclesiastical surroundings, though the concertos of Michel Corrette and Balbastre signified the organ's participation with instruments in the mid-18th century Concerts spirituels, much in the same tradition as that of the English Pleasure Gardens. - Program notes / Robin Langley.

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