18 News - Historic Brass Society

For Trumpet, 3 Oboes, and 2 Bassoons
SM50443
For Trumpet, 3 Oboes, and 2 Bassoons
SM50444
For Trumpet, 3 Oboes, and 2 Bassoons
SM50445
These editions for trumpet are extraordinary and welcome additions
to the literature of Baroque Period music for modern performance
and study. Noted trumpeter, Friedemann Immer edited all of these
works, and he has done a spectacular job! They are examples of clarity
and consistency. Publisher Spaeth/Schmid is also to be commended
Page turns are well thought out, and the printing is clean and easy to
read. Not the least advantage of these editions is that they make rather
unusual repertoire more easily available in one place.
Of particular interest are the set of pieces for Trumpet, 3 Oboes, and
2 Bassoons. These pieces were performed by the so-called “Haut-
and minor German courts. According to Friedemann Immer in the
preface to each of the published works in this category, these “early
wind-bands created an important part of courtly, civil and also military
common life and ceremonies. The standard always were oboes and
bassoons and on certain occasions brass instruments like trumpet(s)
and horn(s) were added.” Immer mentions that it was also common
practice to perform these works with strings instead of the winds, as
some of the preserved manuscripts bear the indication for oboe and/or
violon (viola). He then suggests that it therefore seems legitimate to
perform these works with trumpet and strings.
Although some masters like Telemann and Hertel did compose some
interesting music for woodwinds with trumpet or horn participation,
most of the works for this instrumental combination were composed
by “Klein-Meisters,” or lesser known musicians. The works of Johann
Melchior Molter (1696-1765) – who lived and worked for much of
his life in Karlsruhe, Germany - come to mind in this regard. As it
happens, one of the works Friedemann Immer has presented us within
this set of pieces is an Anonymous work (ca. 1750) which was found
in the Badische Landesbibliothek in Karlsruhe. The work is entitled,
gests
that “due to stylistic reasons, Molter himself was probably not
the composer.” Yet, the existence of this other work for trumpet,
oboes, and bassoons from the same city is suggestive that there may
have been a particular appeal for this kind of music in Karlsruhe.
This Sinfonia is in nine short movements: Synfonia (Allegro), Largo,
Menuet, Rigaudon, Aria 1 (Vivace, con Echo), Aria 2 (Largo), Aria
3 (Allegro), Rondeau, and Gigue. The trumpet appears in all but
the second movement (Largo), and is quite prominent in all other
movements; the opening “Synfonia” and “Rondeau” movements, in
particular. The trumpet writing here is much more conservative than
collection, but the overall structure and musical/historical interest of
the work make it particularly interesting.
The other works in were found in the libraries of: Prince of
Fuerstenberg in Arnsberg-Herdringen, Germany; Lund University in
Sweden; Landesbibliothek Mecklenburg-Vorpommern in Schwerin,
Germany; as well as an additional work from the Badische Landesbibliothek
in Karlsruhe.
Of particular interest from the remaining works received for review
from this publisher, is the “Parthia C - Dur” by Johann Georg
Reinhardt (ca. 1676-1742). Listed as SM50441 in the Spaeth/Schmid
“it is not clear whether the composer of the present work is actually
Johann Georg Reinhardt. Besides him in Vienna at that time at least
two other composers named Reinhardt were active: Kilian (ca. 1653-
1729) and Franz (ca. 1684-1727) who recently became better known
by his noteworthy trumpet sonata in C major which was published
and edited on CD. However, Johann Georg Reinhardt was by far the
look upon him as the composer of the present work.”
The “Parthia” was most likely composed in Vienna and is a good
example of the French style which was very popular at the beginning
of the 18 th century at many European courts. Immer points out that
“the lack of a harpsichord and of larger strings such as violoncello
and violone probably indicate an out-door performance.” A set of
parts is contained in the music library of the Count of Schoenborn
in Wiesentheid, Germany. The work is in seven movements: Entrée
(Allegro), Marche seconde, Menuet 1, Bouree, Menuet 2, Air de
combattans, and Gigue.
The other works in these collections contain charming, unusual, and
often excellent pieces; all very worthy of the attentions of modern
performers looking for new and unusual repertoire. Highly recommended!
— Douglas Hedwig
Bartholomäo Riedl 4 Nonnberger Aufzüge. 2 clarini,principale,
toccata e timpani. Europäische Musik: 17/18 Jahrhundert Series.
Wolfgang Haas, Editor.
Pater Ignatio 5 Salzburger Aufzüge. 2 clarini, 2 trombe e timpani.
Europäische Musik: 17/18 Jahrhundert Series. Wolfgang Haas, Editor.
Jeremiah Clarke English Suite. 1 clarino solo, 4 trombe e timpani.
Europäische Musik: 17/18 Jarhundert Series. Wolfgang Haas
Pavel Josef Vejvanovsky Sonata Vespertina á 8. 2 trumpets
and organ.Europäische Musik: Tschechien, Kremsier Series. Paul
Wisskirchen and Wolfgang Haas Editors.
Pael Josef Vejvanovsky Serenada. 4 trumpets Timpani, B.C. Europäische
Musik: Tschechien, Kremsier Series. Wolfgang Haas, Editor.
Johannes Baptist Tolar Sonata á 10. Trompete, 3 posaunen, 2 violinen,
3 violen, violoncello, orgel. Europäische Musik: Tschechien,
Kremsier Series. Wolfgang Haas.
Editions published by Wolfgang G. Haas. Musikverlag, Postfach
90 07 48, D-51117, Koln. Germnay. Tel 49-02203-98883-0. email
info@haas-koeln.de, www.info@haas-koeln.de
Wolfgang Haas has brought out these six new brass editions in two
Pater Ignatio and Riedl fanfares have been previously published in the
1977 edition of the Denkmäler der Musik in Salzburg. Having copied,
and cut and past that score edition many years ago, I can say it is good
to have a nice performance edition of these works to play from. This
music represents the repertoire of the Salzburg court trumpeters from
the end of the 17 th century and beginning of the 18 th century. A collection
of 31 processionals for 4 trumpets and timpani is housed in the
HISTORIC BRASS SOCIETY NEWSLETTER - WINTER 2005 | 27