Sound The Trumpet Vol 2 - Organ

Let the Trumpet Sound is a collection of 22 pieces from the great masters of three centuries in easy to moderately difficult arrangements for trumpet and organ by Jan van Beekum. With works by Purcell, Telemann, Handel, Bach, and others, the focus of the book is clearly in the Baroque era. But the Classical and Romantic periods are also well represented. The solemn character of many of the pieces makes them ideal for performance in church, but they are also ideal for formal concerts and recital evenings. Depending on the occasion, the organ accompaniment included in the music can also be played on the piano. The accompanying CD can be used for practice-or whenever an accompanist isn't available. All 22 pieces are recorded live: once complete with trumpet and organ- and once with just the organ accompaniment. / Trompette Et Piano

This volume combines the forces of organ and multiple trumpets, for the enhancement and excitement of worship services, weddings, and recitals. This book features six pieces for trumpet duet or trio with organ. A separate part is printed for each trumpeter. Includes: Alleluia (Cantata 142) by J. S. Bach * Christ Doth End in Triumph (Christmas Oratorio) by J. S. Bach * Concerto: Duo Seraphim by Monteverdi * Concerto (Cantata 142) by J. S. Bach * Jesu, Joy of Man's Desiring (Cantata 147) by J. S. Bach * My Spirit Be Joyful (Cantata 146) by J. S. Bach.

Let the Trumpet Sound (Que la Trompette sonne !) est un recueil de 22 pièces signées des plus grands compositeurs, couvrant une période de trois siècles, de niveau facile à moyennement difficile, dans des arrangements pour Trompette et orgue réalisés par Jan van Beekum. Avec des ?uvres de Purcell, Telemann, Haendel, Bach et bien d?autres encore, cet ouvrage met clairement l?accent sur l?ère baroque. D?un caractère plutôt solennel, elles sont particulièrement bien adaptées à une interprétation en église, mais conviendront également pour les salles de concert et les récitals. Selon l?occasion, l?accompagnement à l?orgue de la partition peut être exécuté au piano. Le CD joint à cet ouvrage sera utile pour s?exercer ou lorsqu?un accompagnateur n?est pas disponible. Les 22 pièces sont toutes enregistrées en direct : en version complète avec Trompette et orgue, et en version avec l?accompagnement à l?orgue seul.

Edition de Edward Tarr

Music for trumpet and basso continuo occurs very seldom, and the combination of trumpet, bassoon, and continuo presented here seems to be unique. (See Prentzel's Sonata in C for Trumpet, Bassoon, and Basso Continuo published by The Brass Press, Edward H. Tarr Series).Nothing is known about Prentzel, the composer of the sonata published here. The manuscript is located in the University Library of Uppsala (Sweden), where it belongs to the famous Düben collection. It was copied by Gustav Düben, who was active from 1649 to 1692; according to Dr. Ake Davidsson, director of the Manuscript Department, it was most likely copied during the 1670's or 1680's. Prentzel might have been a trumpet player who liked Pezel's sonata and then went on to compose another with the same combination of instruments.Neither Pezel nor Prentzel indicates which continuo instrument should be used, but since there is a figured bass we can be sure that a harpsichord or organ was intended. It was probably reinforced by a violone. The modern trumpeter must keep in mind that the piece was written for the Baroque natural trumpet with its imperfect fourth (f , too high) and sixth (a , too low). Old writers often remarked that the combination of trumpet and organ was most impracticable, especially after equal temperament had become introduced, because the trumpet's imperfect notes were thus caused to appear more boldly. For this reason, almost no works for trumpet and organ were written during the Baroque period. In 1678, Giovanni Bonaventura Viviani published two sonatas for trumpet and organ and later, Johann Ludwig Krebs wrote several chorale preludes for organ and slide trumpet (tromba da tirarsi), which latter instrument of course could play better in tune. Today's trumpet is somewhat improved in matters of pitch, but at the same time the strength of its sound has increased, making it rather difficult to play together with a harpsichord. The organ is thus to be preferred as a continuo instrument. The trumpeter must nevertheless be careful not to obscure the bassoon, whose part of course is equally as important as his own. / Partitions classique / Ensemble et orchestre / Ensemble vents / LEDUC