Format : Sheet music + CD
This album offers a varied selection of solos from the Baroque period. Robert van Beringen has made a careful selection of the main repertoire from this period of composers including works by Purcell Handel Bach Hasse Rameau Tartini Lully and especially George Philipp Telemann. This publication comes with a play-along CD featuring complete performances together with organ accompaniments.
SKU: CA.5030519
ISBN 9790007145477. Key: C major. Language: Latin.
The Missa Beatissimae Virginis Maria was composed ca. 1758-1760, between the end of his tenure as a singer in the choir of St. Stephen's in Vienna and the beginning of his first position as violinist and music director for the Bishop of Grosswardein. The scoring of SATB (for soli as well as choir) and church trio was augmented by two trumpets (clarini) and timpani, as well as two trombones. The latter instruments double the alto and tenor voices in tutti passages but in the Et incarnatus est they are also employed in an obbligato role. On the one hand, as an early work this Mass is in the style of the festive baroque tradition, as practiced in south-German regions until the middle of the eighteenth century; on the other hand it already shows the subjective inspiration which distinguished it from many of the mass settings by Haydn's contemporaries. Score and parts available separately - see item CA.5030500.
SKU: CA.5030549
ISBN 9790007223762. Key: C major. Language: Latin.
The Missa Beatissimae Virginis Maria was composed ca. 1758-1760, between the end of his tenure as a singer in the choir of St. Stephen's in Vienna and the beginning of his first position as violinist and music director for the Bishop of Grosswardein. The scoring of SATB (for soli as well as choir) and church trio was augmented by two trumpets (clarini) and timpani, as well as two trombones. The latter instruments double the alto and tenor voices in tutti passages but in the Et incarnatus est they are also employed in an obbligato role. On the one hand, as an early work this Mass is in the style of the festive baroque tradition, as practiced in south-German regions until the middle of the eighteenth century; on the other hand it already shows the subjective inspiration which distinguished it from many of the mass settings by Haydn's contemporaries. Score and part available separately - see item CA.5030500.
SKU: BT.DHP-1125253-070
9x12 inches. International.
Tre Volti (Three Faces) has been commissioned by the renowned “New Trombone Collective”, exclusively existing of top-trombonists from the Dutch symphony orchestras. The world première was given by the commissioners and took place in “De Doelen” in Rotterdam on april 16th 2011 - during the “Slide Factory” - European Trombone Festival.The composer aimed to illustrate 3 different aspects of the instrument in as many movements. Effetti e Tecniche (Effects and Techniques) displays a large amount of specific spectacular and acrobatic possibilities and also various colors and sounds by using different mutes. It contains many “glissandi” as well as clusters with semi tones andquarter tones, all being “typical” for the trombone indeed. The Lamento Lirico (Lyrical Lamento) combines the rather serious and noble voice of the trombone with an aspect which not automatically is connected to that instrument: the melodical character. The overall atmosphere of this movement is somewhat sad and strained and refers to the many beautiful but rather dark passages in the orchestral and opera literature where the trombone section as such is used ...The final movement is called Sonata Antica (Antique Sonata) and is directly inspired by two “sonatas” for 3 and 4 trombones by Daniel Speer (1636 - 1707). It illustrates the “historical” dimension of the trombone: indeed it was the only brass instrument being able to play chromatically - many centuries before all other brass instruments - thanks to the unique slide system which even during the Middle Ages was applicable already. The antiphonal position, the dialoguing motives and the “neo-early-baroque” idiom really pay homage to Daniel Speer: he composed a certain number of pieces for brass instruments indeed and the composer used thematic material from his Sonatas in d and a in various ways, thus concluding this varied composition in a festive way. Een driedelige - uitdagende - suite voor trombone ensemble.Tre Volti (zu deutsch: Drei Gesichter) - In drei deutlich kontrastierenden Bewegungen versucht der Komponist, ebenso viele Facetten der Posaune zu beleuchten. Der erste Teil EFFETTI E TECNICHE präsentiert eine Reihe akrobatischer und spektakulärer Effekte, die auf diesem vielseitigen Instrument möglich sind, sowie einige Klangfarben (letztere mit einem Dämpfer gespielt). Das LAMENTO LIRICO enthält die eher ernsten Töne, welche die Posaune in der Regel spielt und kombiniert diese mit einem Aspekt, der doch eher ungewöhnlich für dieses Instrument ist: einem melodischen Charakter. Der dritte Satz - SONATA ANTICA - wurde unmittelbar von zwei der bekanntesten Sonaten vonDaniel Speer (1636-1701) inspiriert. Hier geht es um die historische Dimension der Posaune: Tatsächlich war sie das erste Blechblasinstrument, auf dem man - Jahrhunderte vor allen anderen - schon chromatisch spielen konnte. Tre Volti (Trois Visages) est une commande du prestigieux New Trombone Collective, composé des meilleurs trombonistes des orchestres symphoniques néerlandais. La première mondiale, assurée par la formation dédicataire, a eu lieu le 16 avril 2011 au Doelen de Rotterdam dans le cadre du “Slide Factory”, le festival européen consacré aux trombones.Le compositeur souhaitait illustrer trois aspects de l’instrument en trois mouvements. Effetti e Tecniche (Effets et Techniques) évoque les nombreuses possibilités acrobatiques du trombone, ainsi que l’emploi de sourdines pour obtenir différents timbres et couleurs. Ce mouvement développe de nombreux glissandi ainsi quedes mesures avec des demi-tons et quart de tons, des effets “typiques” du trombone. Le Lamento Lirico (Complainte Lyrique) tisse une trame l’empreinte mélodique et aux motifs plutôt nobles et sérieux, mettant en évidence l’une des caractéristiques que l’on n’associe pas toujours avec cet instrument. Le climat général de ce mouvement, quelque peu triste et tendu, fait référence aux nombreuses oeuvres orchestrales et opératiques où les trombones se voient attribuer des passages sombres et mélancoliques.Le dernier mouvement, intitulé Sonata Antica, s’inspire directement de deux sonates de Daniel Speer (1636-1707) pour trois et quatre trombones respectivement. Il illustre la dimension historique du trombone, qui était d’ailleurs, au Moyen ge, le seul cuivre capable de jouer chromatiquement gr ce au système de coulisse, et ce plusieurs siècles avant les autres cuivres. La forme antiphonale, les motifs de dialogue et l’idiome “ancien néo-baroque” rendent hommage Daniel Speer. Le compositeur de Tre Volti a emprunté, sa manière, plusieurs thèmes des sonates en Ré et en La pour conclure joyeusement cette composition aux multiples facettes.
