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.