Goried Reiche (1667–1734) Giovanni Bonaventura Viviani A Courtly Garland for Baroque Trumpet 1. ‘Abblasen’ in D for Solo Trumpet [0:34] Sonata No. 2 in C for Trumpet and Organ 17. [Andante] [1:00] Andrea Grossi (c. 1660–c. 1696) 18. [Allegro] [2:03] Sonata a 5 in D, Op. 3, No. 11 19. Adagio [1:54] 2. Vivace [1:18] 20. Aria [1:46] Robert Farley Baroque trumpet 3. Adagio [3:45] 21. Presto [0:55] Orpheus Britannicus 4. Grave [1:38] Andrew Arthur director 5. Allegro e spiritoso [1:35] Arcangelo Corelli (1653–1713) Sonata a 4 in D Giovanni Bonaventura Viviani (1638–c. 1693) 22. Grave [0:55] Sonata No. 1 in C for Trumpet and Organ 23. Allegro [1:22] 6. [Andante] [1:38] 24. Grave [1:47] 7. [Andante] [0:57] 25. Allegro [0:40] 8. [Allegro] [0:44] 26. Allegro [1:03] 9. [Allegro] [0:58] 10. [Adagio] [1:17] Girolamo Fanni (1600–1675) 27. Corrente dea dell’Elce [1:49] Goried Finger (c. 1655–1730) Sonata in C for Trumpet, Violin and Connuo Heinrich Ignaz Franz Biber (1644–1704) 11. [Andante] [1:21] 28. Sonata a 5, No. 10 in G minor [6:22] 12. [Adagio] [1:05] 13. [Andante] [2:15] Johann Heinrich Schmelzer (c. 1620/3–1680) 14. [Adagio] [2:10] 29. Sonata a 5 in C [8:45] 15. [Allegro] [1:26] Girolamo Alessandro Frescobaldi (1583–1643) Bernardo Pasquini (1637–1710) 30. Canzona Prima for Organ (1627) [4:10] About Orpheus Britannicus & Andrew Arthur: 16. Toccata for Solo Organ [2:04] ‘[...] stylishly delivered’ Gramophone

‘[...] relaxed freshness from these consummate musicians’ Organists’ Review Girolamo Fanni (1600–1675) A Courtly Garland for Baroque Trumpet performed in concert with Girolamo 31. Sonata No. 1 in C for Trumpet and Organ Frescobaldi (1583–1643), organist of St (dea del Colloreto) [1:40] Unl the middle of the seventeenth century, Peter’s Basilica in Rome and the most composers had rarely ulised the trumpet famous Italian keyboard player of his day. In Girolamo Alessandro Frescobaldi within art music; more readily associated aendance was the physician and writer on 32. Canzona Quarta for Organ (1627) [4:09] with the military, trumpeters had previously music, Pierre Bourdelet, who later reported been called upon to improvise relavely in a leer to Marin Mersenne that ‘Girolamo Girolamo Fanni primive fanfares (in bale and during Fanni is the most excellent trumpeter in 33. Sonata No. 2 in C for Trumpet and Organ ceremonial occasions) such as were naturally all of Italy’. But aside from the presge of (dea del Gonzaga) [2:47] suited to the limited widely-spaced lower the performers themselves, this concert notes of the harmonic series. But as players would seem to have been an event of Heinrich Ignaz Franz Biber began to successfully culvate the upper historical significance, it being the first ever 34. Sonata a 5, No. 4 in C [4:49] clarino register where the harmonics fell documented recital of music for trumpet closer together, composers increasingly and organ. Fanni evidently found the Girolamo Fanni saw an opportunity to employ the combinaon of instruments appealing as 35. Balleo deo il Luna [1:52] instrument’s newly found melodic he subsequently composed eight sonatas capabilies within concerted for the same forces, together with a series Giuseppe Torelli (1658–1709) instrumental music. of dances for trumpet and connuo (for Sonata in D (G.6) organ or harpsichord). These works, each 36. Vivace [1:34] Girolamo Fanni (1600–1675) was, by all dedicated to a family of nobility, remain 37. Adagio – Largo – Adagio [1:31] accounts, one of the most celebrated the earliest known music for trumpet and 38. Allegro come stà [1:58] trumpet virtuosos of his era. One connuo and form the lion’s share of the contemporaneous author wrote of him composer’s 1638 trease Modo per imparare that he ‘Makes knights and ladies [alike] a suonare di Tromba, published in Frankfurt. Total playing me [79:57] languish with joy, his maral talent put Fanni is also credited with encouraging to Love’s use [...] He is today the monarch two further developments in natural of the trumpet on earth!’ At the age of trumpet playing: firstly, having the ability twenty-six, Fanni entered the service of to ‘so regulate the breath’ (Mersenne) as Cardinal Scipio Borghese in Rome and, to produce non-existent notes (namely just five years later, was appointed chief those lower notes which do not form court trumpeter to Ferdinando II, Grand part of the harmonic series). An example Duke of Tuscany. During a return visit to of this can be heard in the triple-metre Rome in 1634, he is known to have secon of the Sonata seconda dea del Gonzaga, where a low ‘A’ (above ‘middle C’) of true note. arrived in Bologna where he would remain fact that on the tle pages of his Op. 1-4 is briefly required; secondly, he is seemingly for all but three years of his life. He studied Sonate, published at Rome, Modena and the first to have extended the previously In 1682, during his tenure as violinist to the composion with Giacomo Antonio Per Bologna, he refers to himself as “Arcangelo expected range of the natural trumpet from Duke of Mantua, Andrea Grossi (c. 1660– and by 1684 had become a member of Corelli da Fusignano deo il Bolognese”. high ‘A’ up to high ‘C’, as repeatedly called c. 1696) published his Opus 3 in the relavely the Academia Filarmonica (as a violinist). Considering his associaons with Rome this for in his Balleo deo il Luna. nearby city of Bologna – a set of twelve For nearly ten years, he was also acve as was a great compliment to Bologna and an sonatas for two, three, four and five a viola player in the orchestra of the Basilica indicaon of that city’s musical reputaon’ Giovanni Bonaventura Viviani (1638–c. 1693) instruments (of which the last three employ di San Petronio and it was this laer context (Smithers). Corelli’s singleton sonata for was born in Florence but spent much of his a trumpet). The eleventh sonata of the set, in which he made the acquaintance of the trumpet, two violins and connuo (surely working life, as violinist and, subsequently, recorded here for the first me on period virtuoso trumpeter Giovanni Pellegrino inspired by the Bolognese trumpet tradion) as music director, at the Austrian Court of instruments, looks both forwards and Brandi. Torelli’s evident interest in the does not appear within his six printed Innsbruck under the rule of the Emperor, backwards styliscally speaking. Its primive trumpet was, no doubt, fuelled by this collecons and no autograph manuscript Leopold I. In 1678, Viviani returned to Italy fanfare-like opening, displaying the trumpet meeng and around 1690 Torelli began survives. However, it would seem to have and aer a snt working on two operas in in alternaon (rather than in combinaon) composing his first works for the enjoyed considerable fame in its me as Venice, he moved on to Rome where he with the strings is a clear call to the instrument: the Suonate con stromen e contemporary manuscripts and printed collaborated over an oratorio at San instrument’s maral heritage. But the tromba. He would go on to compose over versions sll exist today in Naples, Vienna Marcello with Arcangelo Corelli (1653–1713) wonderfully sustained cantabile wring for thirty concertos for one, two, three or and London (the laer edion published and Bernado Pasquini (1637–1710). That the trumpet featured in the ‘Adagio’ is quite four solo trumpets, making him the most by John Walsh in 1704). The lively, yet same year, forty years aer the publicaon remarkable for its me, and both the prolific Italian baroque composer for the elegant fugal themes heard in the second of Fanni’s trease, Viviani published his ensuing ‘Grave’ for strings and the final instrument. He is also recognised, alongside and fih movements are reminiscent of two sonatas for trumpet and organ. Like ‘Allegro e spirituoso’ display an almost Corelli, as having made an immense works by Torelli and others, including Fanni, he ulised the C trumpet whose reckless ‘modernity’ in their use of harmonic contribuon to the formal development of Alessandro Stradella and Henry Purcell, more ‘earthy’ mbre contrasted with the modulaon – the composer seemingly the seventeenth-century instrumental and the third movement displays Corelli’s brilliance of the D trumpet which had by determined in his regular forays into the sonata and concerto. exquisite mastery of the string trio sonata then become so fashionable in Italy. As most extreme of sharp keys, at one point texture. The five-movement work is an one would expect, however, these much travelling all the way to the desperately Whilst Corelli spent much of his working adapted version of a Sonata da Chiesa later works are on a far grander scale than stretched tonality of C-sharp/F-sharp life (from c. 1675) in Rome, he was born in whose usual four-movement scheme (with those of Fanni, each of them offering major – a long way indeed from the the small town of Fusignano, some thirty- alternang tempi: slow/fast/slow/fast) is five contrasng movements, juxtaposing comfortable ‘home’ key of D! five miles due east of Bologna. At the age here expanded by the inseron (before the declamatory recitave-like fanfares with of thirteen, he moved to Bologna itself, final movement) of an addional strikingly elegant melodic wring, developed Just one year prior to the publicaon of where he received much of his early musical militant movement for trumpet and imitave dialogue between treble and Grossi’s Op. 3, the celebrated violinist- training. ‘Proof of [Corelli’s] regard for connuo. bass line and expressive Adagio passages composer, Giuseppe Torelli (1658-1709) Bologna and its musical instuons is the Goried Finger (c. 1655–1730) was known which weaves its way effortlessly to an enjoyed great success during his lifeme The highly disnguished violinist-composer, principally as a virtuoso upon (and composer extended ‘Adagio’ secon which stands in and was ulmately ennobled by the Heinrich Ignaz Franz Biber (1644-1704), was for) the viol. Born in the Moravian town of stark contrast to the rest of the sonata; set Emperor, Leopold I, whose patronage he born in the small Bohemian town of Olmütz (now Olomouc), he moved to England in the mournful key in C minor and had enjoyed throughout his career. He Wartenberg (now Stráž pod Ralskem). Lile in 1685 where he served at the Court of somewhat funereal in nature, the trumpet was appointed Kapellmeister in 1679, but is known of his early educaon but before James II before working successfully as a returns to join the violin in its expressive a few months later his tenure was cut 1668 he worked at the court of Prince freelance musician in London’s theatres exploraons but here it is largely restricted brutally short by the plague. The Sonata Johann Seyfried von Eggenberg in Graz and new concert halls. In 1700, in to simple slow-moving notes which, with a 5 recorded here is scored for trumpet, before gaining employment under the response to an announcement in the one momentary excepon, act less as an two violins, bassoon, and connuo. Bishop of Olmütz, Karl II von Lichtenstein- 18 March edion of the London Gazee, equal partner to the solo violin and more Schmelzer assigns the greater part of the Kastlekorn, in Kremsier (now Kroměříž). Finger entered a contest to set William toward a textural realizaon (albeit laer role to the keyboard alone (the There he would meet, for the first me, Congreve’s libreo The Judgment of Paris disncve in mbre) of the connuo viola da gamba only being granted the virtuoso trumpeter and composer, as a fully-sung opera. Unfortunately, his bass-line. It is a remarkable lament which occasional appearances). The bassoon is Pavel Josef Vejvanovský, who also worked composion achieved only fourth place provides a perfect foil to the sonata’s also largely freed from its typical connuo in Kremsier as director of the Kapelle. In (last) to John Weldon, John Eccles and otherwise cheerful affect. funcon and is instead given a prominent 1670, Biber le his employment without Daniel Purcell. Seemingly outraged by this obligato role which frequently engages permission, seling in Salzburg under the outcome, and ‘blaming Weldon to have Johann Heinrich Schmelzer (c. 1620/23–1680) in characterful dialogue with the trumpet new employ of the Prince-Archbishop, “fixed” the result through bribing the was engaged as a musician at the Habsburg and two violins. But perhaps the jewel of Maximilian Gandolph von Kuenburg, to jury’ (Smithers), he departed England for court in Vienna throughout his working life. this work lies centrally between the two whom the Sonatae tam aris quam aulis Germany in 1701. Finger’s sonata, scored His fame as a virtuoso violinist (a field which, substanal fully-scored outer secons, servientes are dedicated. Issued by the for trumpet, violin and connuo survives, up to then, had been largely dominated by where Schmelzer demonstrates his Salzburg publisher J.B. Mayr in 1676, these alongside various instrumental works, in Italians) spread quickly throughout Europe invenon in the stylus phantascus with twelve colourful instrumental sonatas ‘as an early eighteenth century manuscript and he became the foremost Austrian a triptych of solo passages for each of the much for the altar as for the table’ – i.e. for in the Brish library (Add. MS 49599). For composer of his generaon. In 1662 he treble instruments. Two themacally- sacred or secular use, were Biber’s first the most part, Finger presents an equally published the highly influenal collecon linked solos are offered by each of the published works and, no doubt, they made melodious dialogue between trumpet of sonatas Sacro-profanus concentus violinists in turn, as if to serenade one a strong impression. The two mul-seconal and violin. However, the work’s mul- musicus upon which Heinrich Biber’s Sonatae another with their art. But it is the five-part sonatas recorded here (IV and X) seconal single movement form – an tam aris quam aulis servientes appears to trumpeter who is then given centre-stage, offer ample insight into the abundant aestaon of the composer’s Bohemian have been modelled. Two years later he exhibing a passage of staggering musical variety and sense of theatre which heritage – allows Finger to demonstrate released the Sonatae unarum fidium – the virtuosity – Schmelzer’s seemingly clear permeates the collecon: balefield cameos, his skills in the stylus phantascus. Two first ever collecon of sonatas for violin and objecve being to firmly establish the virtuosic violin riffs, rhetorical dialogue, harmonically adventurous solo violin basso connuo to be published by a trumpet’s melodic and technical studious fugal passages, dance-rhythms, passages are incorporated, the second of German-speaking composer. Schmelzer capabilies on a par with those of the violin. expressive passages for string-consort, colourful scoring and disncve cadences composer’s tenure as Cantor of the are all in evidence. Sonata X makes an Thomaskirche. Judging from the unparalleled especially memorable impression given clarino parts wrien for him by Bach, there its unusual key (for the natural trumpet) can be no doubt that Reiche was a player of of G minor whose characteriscs of exceponal skill. As a product of the ‘yearning’ and ‘tempered joyfulness’ eighteenth century, Reiche’s virtuosic (Maheson) are captured perfectly by Abblasen (fanfare) which opens this Biber. The sonata was likely inspired by recording forecasts the culminaon of the the composer’s former colleague in huge developments in trumpet technique Kremsier, Pavel Vejvanovský, who had which took place during the laer half of himself wrien a trumpet sonata in the the previous century. The music itself is same key. Evidently, ‘Vejvanovský had depicted in Elias Golob Haussman’s famous mastered the art of lipping the flat seventh portrait of Reiche (which now hangs in the harmonic (‘b’ flat) into tune and obtaining council chamber of the old Leipzig town the non-harmonic tone e’’ flat so as to be hall), painted in 1727 to publicly honour able to play in G minor on a normal C the musician on the occasion of his sixeth trumpet’ (Holman). birthday.

The eminent trumpeter, Goried Reiche © 2018 Andrew Arthur (1667–1734) was born in the Saxon town of Weissenfels. Lile is known of his life and early musical training prior to his arrival in Leipzig in 1688, other than that he served his apprenceship with a local Stadtpfeifer (city piper) as a teenager. In Leipzig he worked his way through the ranks, inially as assistant and, later, as senior Stadtpfeifer before eventually succeeding the trumpeter, Johann Genzmer, as senior Stadtmusicus in 1719. Four years later, Reiche became Johann We should like to offer our sincere thanks to Andrew Arthur & Robert Farley Sebasan Bach’s principal trumpeter in Robert & Betsy Sullivan whose generous Leipzig for the first eleven years of the financial support made this recording possible. Robert Farley (Baroque trumpet) masterclasses at many of the world’s leading conservatories. He has also published a Robert Farley studied Baroque trumpet at number of books, including Natural Trumpet the Royal College of Music, where he won Studies by Brass Wind Publicaons. several prizes including the Ernest Hall Memorial Prize. He currently holds the Robert plays on a Baroque trumpet made posion of Principal Trumpet with The for him by Mahew Parker, based on an Orchestra of the Sixteen, Orpheus instrument by Johann Leonhard Ehe II Britannicus, The Hanover Band, Concerto from Nürnberg, circa 1700. Copenhagen, and the Carmel Bach Fesval California. He is also a regular Guest Principal with Stugart Baroque Orchestra Andrew Arthur (director, organ & harpsichord) and Oregon Bach Fesval. With these ensembles he has appeared as Principal Andrew Arthur is Fellow, Director of Music Trumpet on numerous crically acclaimed and Director of Studies in Music at Trinity Hall, recordings, including J.S. Bach’s Mass in B Cambridge where, in addion to his College Minor and Orchestral Suites and Handel’s responsibilies, he is also an Affiliated Messiah & Coronaon Anthems. He has Lecturer in the University’s Faculty of Music. also played as a soloist and as Guest An acknowledged specialist in the music of Principal with The Orchestra of the Age the Baroque and Classical periods, he has of Enlightenment, Academy of Ancient toured extensively across Europe and the Music, The English Concert and the USA as a keyboard soloist, connuo-player Canadian ensemble, Tafelmusik. Robert’s and conductor. He is currently Associate solo work includes recordings of Bach’s Director of The Hanover Band, Musical Brandenburg Concerto No. 2, Vivaldi’s Director of Orpheus Britannicus and Concerto for Two Trumpets, Mozart’s Principal Organist & Harpsichordist at ‘Queen of the Night’ aria from The Magic the Carmel Bach Fesval in California Flute, Handel arias with Emma Kirkby where he also sits on the Commiee and Bach’s Cantata, BWV 51. of Arsc Directors.

Robert is Professor of Baroque Trumpet www.andrewarthur.com at both The Royal Academy of Music and Trinity Laban in London, and has given More titles from Resonus Classics Orpheus Britannicus Trumpet Director: Andrew Arthur Robert Farley Et in Arcadia ego: Italian Cantatas and Sonatas Trumpet by Mahew Parker, 1996, aer Concentus VII Orpheus Britannicus was founded by Johann Leonhard Ehe II, c. 1700 RES10142 Andrew Arthur in 2002; consisng of a Violin I period-instrument ensemble and vocal ‘Period-instrument group Concentus VII brings Theresa Caudle† vivacious colour to these melodramatic scenes’ consort, its players and singers are drawn Violin by Edward Pamphilon, c. 1685 Classical Ear from some of the UK’s leading performers in their field and the ensemble has Violin II developed a reputaon for its expressive Kelly McCusker and historically informed approach to the Violin by Chris Johnson, 2003, aer Guarneri del Gesù, seventeenth-century rich vocal and instrumental chamber G.P. Telemann: Fantasias for Viola da Gamba, repertoire of the seventeenth and Viola I TWV 40:26-37 eighteenth centuries. The name ‘Orpheus Kate Fawce Robert Smith (viola da gamba) Britannicus’ is taken from the tle of Viola by Anon. German, aributed to RES10195 Henry Purcell’s two great volumes of Johann Georg Voigt, eighteenth-century songs, published by Henry Playford in ‘[...] the expressive quality which [Smith] brings 1698 and 1702 respecvely. Viola II to these attractive pieces together with a feeling Emilia Benjamin* for rhetoric and an accomplished technique Viola by Anon. English eighteenth-century deserve to win many friends.’ BBC Music Magazine (5 stars, performance & recording) Keyboard instruments loaned by kind Bass Violin & Viola da gamba permission of Jesus College, Cambridge. Henrik Persson Bass Violin by Mark Caudle, 2015, aer Anon. © 2018 Resonus Limited Bass Violin loaned by kind permission North Italian School, late seventeenth-century è 2018 Resonus Limited Viola da gamba by Jane Julier, 2012, aer M. Colichton, 1695 of Louise Jameson. Recorded in Recorded in the Chapel of Jesus College, Cambridge on 9–11 January, 2017 by kind permission of the Master & Fellows Bassoon Producer: Andrew Arthur † soloist for tracks 11–15 Zoe Shevlin Engineer & editor: Paul Crichton * tracks 28 & 34 Bassoon by Mahew Dart, 1999, aer Denner, c. 1705 Executive producer: Adam Binks Artist photographs: Jenny Farley Keyboard technician: Dan Tidhar Pitch: a=415’ Organ & Harpsichord Cover design: David Hughes (www.davidhughesdesign.co.uk) Werkmeister I/III (tracks 1-5, 11-15, 22-26, 28-29, Andrew Arthur 34 & 36-38) ‘Rawlinson’ Chamber Organ by Kenneth Tickell & Company, 2010 RESONUS LIMITED – UK ¼-comma Meantone (tracks 6-10, 16-21, 27, Harpsichord by Philip Kennedy, 2012, aer Chrisan Zell, 1728 30-33 & 35) [email protected] www.resonusclassics.com RES10220