Bach-Trompetenensemble München; v.l.n.r.:Peter Epp, Friedrich Held, Arnold Mehl, Fritz Schuler

BACH-TROMPETEN-GALABACH TRUMPET GALA

VOL. 2

Bach-Trompetenensemble MünchenHedwig Bilgram • Orgel/Organ

Arnold Mehl

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Georg Friedrich Händel (1685–1759) Ouvertüre D-dur HWV 62* Overture in D major (aus/from “Occasional Oratorio” 1746) für drei Trompeten, Pauken und Orgel/ for three trumpets, timpani and organ1 Grave – Allegro [6:49]

2 Adagio (Orgel/organ solo) [2:43]

3 Menuet [0:48]

4 Marche [2:41]

5 Nicolaus Bruhns (1665–1697) Praeludium und Fuge g-moll/ [4:44]

in G minor für Orgel solo/for organ solo (Verlag/publ.: Breitkopf und Härtel)

6 Johann Sebastian Bach (1685–1750) Finale BWV 207a Satz 9* [3:51]

für drei Trompeten, Pauken und Orgel/ for three trumpets, timpani and organ

7 Carlmann Kolb (1556–1614) Praeludium primum [3:49]

für Orgel solo/for organ solo (Verlag/publ.: A. Coppenrath, Altötting)

8 Anonymus (Dresden, ca. 1760) Aufzug [1:12]

für drei Trompeten und Pauken/ for three trumpets and timpani

Franz Ignaz Anton Tuma (1704–1774) Sonata C-dur/in C major* für vier Trompeten, Pauken und Orgel for four trumpets, timpani and organ9 Allegro [2:25]

0 Adagio (Orgel/organ solo) [1:51]

ß Allegro [1:47]

q Johann Gottfried Walther (1684–1748) Partita sopra [14:31]

“Jesu, meine Freude” für Orgel solo/for organ solo (Verlag/publ.: Breitkopf und Härtel)

BACH-TROMPETEN-GALABACH TRUMPET GALA

VOL. 2

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Hewdig Bilgram was born in Memmingen/ Bavaria and studied organ and harpsichord at the State College of Music in Munich. In 1956, she was awarded the fi rst prize for organ at the Competition of the German Colleges of Music, and in 1959 the fi rst prize at the International Music Competition of the German Broadcasting Networks.

Since 1961, Hedwig Bilgram has taught organ, and since 1964 harpsichord at the College of Music in Munich. Her versatility as organist and harpsichordist is documented in the numerous record productions, concert tours at home and abroad, and in her collaboration with Maurice André, Jean-Pierre Rampai, Paul Meisen, etc. On the occasion of Albrecht Dürer Year in Nuremberg in 1971, Hedwig Bilgram had the honor of giving the fi rst performance of Harald Genzmer’s Organ Concerto. She was appointed, as the only German, to the jury of the International Bach Piano Competition held in Toronto in May 1985. Numerous record and radio productions complement her concert activities.

Hedwig Bilgram

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certamen aonium (Competition of the Muses). In many respects, Eberlin’s Toccata Prima posesses the character of a praeludium. The natural style of its melodic invention is a pointed example for Eberlins endeavors, on the threshold to the Classic, “to combine the prevailing Italian style with German elements” (H. Abert).

The Bach Trumpet Ensemble Munich was founded by Arnold Mehl. Above all, the ensemble places emphasis on the exernplary interpretation of Johann Sebastian Bach’s trumpet parts, paying special attention to phrasing, articulation, and dynamics.

The Bach Trumpet Ensemble Munich has appeared at the following festivals: Flanders Festival Brugge, Festival Estival Paris, Festival Aix en Provence, Würzburger Bach Tage, Bach Week Ansbach, Salzburg Festival. The ensemble has played with a number of well-known conductors (including Helmut Rilling and Wolfgang Gönnenwein), and participated in many radio, television and record productions. In 1984, the Bach Trumpet Ensemble Munich participated in the following events : Summer Academy Johann Sebastian Bach in Stuttgart, television productions for ZDF/ORF (Bach

cantatas directed by Helmut Rilling) for Bach year 1985, B minor Mass at the German Bach Festival of the New Bach Society in Kassel. – In 1985, participation in numerous concerts celebrating Bach year, including 14 performances of the B minor Mass. Concerts at the European Music Festival in Stuttgart. Regular collaboration with the Munich Bach Choir/Munich Bach Orchestra following a fi rst co-operation on the occasion of a performance of the B minor Mass in November 1985. – In 1987, a record production with Franz Lehrndorfer for BR/harmonia mundi. The appearances of the ensemble in the fi nal concerts of the Bach Week Ansbach 1987, with Bach’s B minor Mass brought acclaim from both audience and international press. – At the Bach Week Ansbach 1989, the Bach Trumpet Ensemble Munich participated in fi ve concerts: two each with the Soloist’s Ensemble of the Bach Week and the German Chamber Philharmonic Frankfurt on modern piccolo trumpets, as well as a cantata concert with the Eric Ericson Chamber Choir and the Drottningholm Baroque Ensemble under the direction of Eric Ericson, on natural trumpets. – In 1990, participation in the 65th Bach Festival of the New Bach Society in Munich in concerts of the Consortium musicum Munich and of the Munich Bach Choir/Munich Bach Orchestra.

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w Johann Sebastian Bach (1685–1750) “Dona nobis pacem”* [3:32]

BWV 232 IV, Satz 5 für drei Trompeten, Pauken und Orgel/ for three trumpets, timpani and organ

e Johann Ernst Eberlin (1702–1762) Toccata prima [6:44]

für Orgel solo/for organ solo (Verlag/publ.: A. Coppenrath, Altötting)

Georg Friedrich Händel (1685–1759) Concerto D-dur/in D major (Pasticcio)* (aus/from “Rinaldo” 1711) für vier Trompeten, Pauken und Orgel/ for four trumpets, timpani and organr Marcia [0:55]

t Menuett I (Orgel/organ solo) [1:38]

z Allegro [4:42]u Menuett II (Orgel/organ solo) [0:54]

i Battaglia [2:14]

Total Time: 69:37

* Einrichtung und Bearbeitung: Arnold Mehl erschienen bei: Edition Brand, Ebersberg

Manuscript and arrangement by Arnold Mehl Publisher: Edition Brand, Ebersberg

Bach-Trompetenensemble MünchenLeitung/direction: Arnold Mehl

Trompeten/trumpets:

Friedrich HeldTrompete in hoch A (deutsches System,vertikal) von Martin Lechner, Bischofshofen(1 – 4, 6, w, r – i)Trompete in hoch G (deutsches System,vertikal) von Martin Lechner, Bischofshofen(8, 9 – ß)

Arnold MehlTrompete in hoch A (deutsches System,vertikal) von Martin Lechner, Bischofshofen(1 – 4, 6, w, r – i)Trompete in hoch G (deutsches System,vertikal) von Martin Lechner, Bischofshofen(8, 9 – ß)

Peter EppTrompete in hoch G (deutsches System,vertikal) von Martin Lechner, Bischofshofen(w, r – i)Trompete in D (deutsches System) von Martin Lechner, Bischofshofen (1 – 4, 6)Trompete in C (deutsches System) von Martin Lechner, Bischofshofen (8, 9 – ß)

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Fritz SchulerTrompete in D (deutsches System) von Martin Lechner, Bischofshofen (r – i)Trompete in C (deutsches System) von Martin Lechner, Bischofshofen (9 – ß)

Wolfgang Fischer Pauken/timpani

Hedwig Bilgraman der Steinmeyer-Orgel im GroßenKonzertsaal der Staatl. Hochschule für Musik München (1 – 4, 6, 9 – ß, w, r – i)und an der Jann-Orgel der Evang.-Luth. Kirche Bad Wiessee (5, 7, q, e)

1993 Freiburger Musik Forum© 2009 M.A.T. Music Theme Licensing Ltd.Manufactured by Membran Music Ltd.Aufnahmeleitung und Schnitt/Recording supervision andediting: Helene SteffanToningenieur/Balance engineer: Ulrich KrausTechnik/Technical equipment: Bayerischer RundfunkAufgenommen/Recorded: 3. – 5. August 1992,Staatliche Hochschule für Musik. München;17. August 1992, Evangelische Kirche, Bad Wiessee(Orgelsoli)Photo Titelbild/Front cover: Mateusz StachowskiRedaktion/Editing: Dr. Jens Markowsky

Eine Koproduktion mit A co-production withBayerischer Rundfunk, München

Disposition der Orgel von Bad WiesseeMechanische Schleifl adenorgel mit 30 Registern auf zwei Manualen und Pedal. Die Registermechanik ist als Doppelre-gistratur mit 30 Setzerkombinationen konzipiert. Das Gehäu-se ist aus Fichte massiv gearbeitet und als selbsttragende Konstruktion ausgelegt. Erbaut 1990

Hauptwerk C - g3 I. Manual

Bourdon 16’Principal 8’Gambe 8’Copula 8’Octave 4’Holzfl öte 4’Quinte 2 2/3’Doublette 2’Terz 1 3/5’Mixtur 4-fach 1 1/3’Cymbel 2-fach 1/2’Trompete 8’Spanische Trompete 8’

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employed elements of the gallant idiom which had come into fashion. These new stylistic elements, together with the abundant use of suspensions, sighing motives, and sentimental minor shadings, mark the character of his three-movement Sonata in C major, which is preserved in a manuscript score in the Sächsische Landesbibliothek, Dresden. The two violin parts and that of the Basso continuo accompanying the four trumpets and timpani have been taken over in our recording by the organ in a trio sonata-like setting.

With a construction avoiding the monotony so often found in this genre, the Anonymous Dresden Aufzug (fanfare) provides us with an outstanding example of the extraordinary capabilities of the Dresden court trumpeters around the middle of the 18th century.

As a student of Dietrich Buxtehude, Nicolaus Bruhns was a representative of the so-called North German organ school, whose typical elements are found also in his Praeludium in g minor: strongly contrasting structures (virtuoso-homophonic as opposed to contrapuntal sections), arpeggiated chords, chromatic voice leading in transitional harmonies, and virtuoso passages and trills in the pedal.

Johann Gottfried Walther belonged to the circle around J.S. Bach. Municipal organist and court musician in Weimar, he also achieved distinction as theorist through the publication of his Musicalisches Lexicon (1732). His Partita sopra “Jesu, meine Freude” stands in the tradition of the chorale variation of the second half of the 18th century, and distinguishes itself through a well considered structure, polished counterpoint, and song-like elegant melody, all this combined with strong contrasts between the two-part variations, extreme virtuoso sections, and organo pleno effects.

Carlmann Kolb and Johann Ernst Eberlin belong to the South German/Austrian organ school at the time of the transition from Baroque to Classic. Whereas Kolb is considered to be the foremost representative of the “Bavarian Benedictine province” (R. Walther), Eberlin, as court and cathedral organist in Salzburg, was active in more visible-representative surroundings. This is evident also in his extensive oeuvre (above all sacred music, but also opera).

Carlmann Kolb’s Praeludium primum, which is distinguished by symmetrical structures and original invention, is found in the collection

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this Ouverture, Adagio, Minuet, and Marche is for Tromba I, II, Principale; Timpani; Oboe I, II; Violino I, II; Viola; Basso continuo.

In the third act of the opera Rinaldo (fi rst version from 1711) there are three movements which constitute Handel’s unique use of four trumpets: In Rinaldo’s aria (Allegro) “Or la tromba in suon festante” as well as in the Marcia (Allegro) and Battaglia (Allegro) four trumpets and timpani join the orchestra of strings and oboes. We have combined these pieces to a “Concerto” in the manner of the Baroque “Pasticcio”: In the central Allegro section, the organ takes over the concertante vocal solo part (contralto) in addition to that of the accompanying orchestra. In order to provide a tonal contrast, we have set this movement between two minuets for solo organ chosen from the rich store of Handel’s singly preserved keyboard works (HHA IV/19).

Johann Sebastian Bach’s “Finale”, the exciting fi nal chorus “August lebe, lebe König” of the congratulatory cantata Auf schmetternde Töne der munteren Trompeten (BWV 207a) in honor of August III’s name day, displays in its concise, straightforward rhythm a clearly dance-like character. In the original (S,A,T,B voices ; Tromba I - II, Timpani ; Flauto traverso I,

II; Oboe I – III; Violino I, II; Viola; Basso continuo) we have – as in numerous of Bach’s cantatas – an independent orchestral body set against a separate vocal group: two 16-measure homophonic choral sections as vocalizations of identical orchestral sections which follow frame an intermediate ritornello in the parallel minor, in which the trumpets are silent. The “Dona nobis pacem” from the B minor Mass (BWV 232), a fugue in the “stile antico”, was an obvious choice for an organ adaptation, for indeed, the two fl utes, two oboes, strings, and Basso continuo of the original version play colla parte with the four voice parts from beginning to end, while the trumpet-timpani choir expands and increases the texture step by step to seven parts. The “Dona nobis pacem” (1748/49) is a parody of the “Gratias agimus tibi” (1733) from the same work, which in turn is based on the movement “Wir danken dir, Gott, wir danken dir” from the cantata of the same name (BWV 29), and which according to Joshua Rifkin was also probably a parody of a yet earlier work.

With a strict contrapuntal compositional style, Franz Ignaz Anton Tuma originally stood very much under the infl uence of his most important teacher, Johann Joseph Fux. With the onset of the early Classic, he increasingly

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Schwellwerk C - g3 II. Manual

Rohrfl öte 8’Principal 4’Holzgedackt 4’Sesquialtera 2 2/3’ + 1 3/5’Octave 2’Blockfl öte 2’Quinte 1 1/3’Scharff 4-fach 1’Dulcian 16’Schalmey 8’TREMULANT

Pedal C -f’

Subbaß 16’Octavbaß 8’Rohrbaß 8’Nachthorn 4’Bauernfl öte 2’Bombarde 16’Posaune 8’

Koppeln:

II/I I/P II/P

Bach Trompeten-Gala, Vol. 2Die Kombination Trompete & Orgel ist keines-wegs eine Errungenschaft unserer Zeit, auch wenn sie durch Maurice André und Hedwig Bilgram vor ca. 25 Jahren ohne Zweifel neuar-tig „erfunden“ wurde und sich weltweit durch-setzen und etablieren konnte. Die Wurzeln dieser instrumentalen Partnerschaft reichen bis in das 17. Jahrhundert zurück: Übernimmt in diesem Zeitraum die Orgel in Sonaten mit ein bis zwei Trompeten lediglich Continuo-Funktio-nen (z.B. bei Fantini, Viviani, Pezel, Löwe v. Eisenach u.a.), die sich auch noch auf die mit bis zu sechs und acht Trompeten besetzten Werke beispielsweise von H.I.F. Biber erstrek-ken, so erreichen beide Instrumente voneinan-der unabhängig bis zur Mitte des 18. Jahrhun-derts in ihrer konzertant-virtuosen Ausprägung einen absoluten Höhepunkt u.a. in den Werken J.S. Bachs. Dennoch sind uns bis heute kei-nerlei Kompositionen aus dieser Epoche der Hochblüte von Barocktrompete und Barockor-gel bekannt geworden, die beide Instrumente ausschließlich und gleichberechtigt vereinen. Erst zu Beginnn des 19. Jahrhunderts entste-hen hier und da Originalwerke, die ein Ensem-ble mit Trompeten in meist unterschiedlichen Stimmungen, dazu Pauken, Hörner sowie eine Posaune als verstärkendes Baßinstrument mit