TRUMPET RENAISSANCE Includes Premiere Recordings Concertos by Birtwistle • Jost • Roger • Arutiunian

CHAN 10562 CHAN 10552 TRUMPET RENAISSANCE includes premiere recordings Concertos by Birtwistle • Jost • Roger • Arutiunian Philippe Schartz trumpet BBC National Orchestra of Wales Jac van Steen Trumpet Renaissance Sir Harrison Birtwistle (b. 1934) 1 Endless Parade (1986 –87) 18:02 for Trumpet, Strings and Vibraphone Commissioned by Paul Sacher for Håkan Hardenberger and the Collegium Musicum Chris Stock vibraphone Christian Jost (b. 1963) Photograph by Mykel Nicolaou © Lebrecht Music & Arts Photo Library premiere recording Pietà (2004) 22:45 in memoriam Chet Baker Concerto for Trumpet in B flat and Orchestra 2 = 63, gleichmäßig ruhig, nicht eilen – 7:06 3 [ ] – 3:24 4 [ ] – 3:42 5 [ ] 8:33 Sir Harrison Birtwistle, 2003 3 Trumpet Renaissance Kurt Roger (1895 –1966) The natural trumpet of the baroque period, and Arnold Schoenberg. He taught at the premiere recording with its specialist high-register technique, Vienna Conservatory from 1923 to 1938, Concerto Grosso No. 1, Op. 27 (1936) 15:50 played a significant role in the birth and when he was forced by the Nazi Anschluss for Solo Trumpet, Timpani and String Orchestra development of the concerto; and around to emigrate. He went via London to the 1800 the classic concertos of Haydn and United States, of which he became a citizen 6 1 Animato, ma pesante 4:40 Hummel were written to show off the short- in 1945. He held teaching posts in New York 7 2 Adagio, molto sostenuto ed espressivo – 6:29 lived keyed trumpet. But the invention of and Washington, D.C., and his music was the modern valve trumpet did not lead to performed by several leading American 8 3 Con brio 4:35 a flood of concertos by major composers: orchestras. In 1964, Roger moved with his in the late nineteenth and early twentieth Irish wife to Belfast, where he was a guest Alexander Grigori Arutiunian (b. 1920) centuries, the genre was virtually reserved lecturer at Queen’s University. Meanwhile, he for the piano, violin and cello. It was probably had also begun returning to Austria, notably 9 Trumpet Concerto (1950) 15:54 the prominent use of the trumpet in jazz that to lecture on American music at the Salzburg Edited 1972, with a new cadenza, alerted classical players and composers to Mozarteum. In 1965 the Austrian government by Timofei Alexandrovich Dokshitser (1921 –2005) the full potential of the instrument, and led to conferred on him the Order of Merit first class Andante – Allegro energico – Tempo I – Meno mosso – a revival of interest in it as a concerto soloist. in art and science. He died in August 1966 on Tempo I – Cadenza – Allegro con brio This revival has been accelerated in recent a visit to Vienna – where many of his scores years by the emergence of virtuoso trumpet have been preserved in an archive of the TT 73:02 soloists eager to enlarge the repertoire of the Gesellschaft der Musikfreunde. instrument with works by major composers. Roger wrote his Concerto Grosso No. 1 in Philippe Schartz trumpet Vienna in 1936. It is scored for trumpet with BBC National Orchestra of Wales Roger: Concerto Grosso No. 1 timpani and strings, and as its archaic title Lesley Hatfield leader One of the earliest twentieth-century trumpet suggests it is neo-baroque in orientation, Jac van Steen concertos is the Concerto Grosso No. 1 by with a strong tonal centre of B flat major. The Kurt Roger. Roger was born in Austria, and muscular counterpoint of the first movement, studied composition and musicology in and its concentration on a single theme, even Vienna, his teachers including Karl Weigl suggests a latter-day equivalent of Bach’s 4 5 Brandenburg Concertos – though the trumpet later when it was taken up by the influential recapitulation of his nimble theme. A last a varied role, sometimes adding resonance cadenza early in the movement strikes a more Ukrainian trumpeter Timofei Dokshitser – who reference to the stamping dance precedes to the trumpet or to one layer of the strings, rhetorical note. In the G minor slow movement, in 1972 produced a new edition of the work, Dokshitser’s cadenza, which combines sometimes emerging as a soloist in its own the title of ‘concerto grosso’ is reflected in solo including the cadenza in general use today. brilliant display with reminiscences of earlier right. writing for a string quartet, muted, and initially Taking advantage of the trumpet’s ability themes, and which leads into the very short Birtwistle has described the single- partnering muted trumpet; the latter part of to dominate the fullest of textures, Arutiunian coda. movement piece as ‘a moving frieze’, on the the movement brings what the composer scored the Concerto for a large orchestra, analogy of a parade he once witnessed in the himself described as ‘a passionate outcry’ for including a complete brass section. The Birtwistle: Endless Parade mediaeval Italian town of Lucca: the full forces, before a return to the ‘quiet, work is in a single movement. The Andante The pre-eminent British composer Sir Harrison I became interested in the number of veiled mood’ of the opening. The finale is a introduction brings the soloist into action Birtwistle has written prolifically for orchestra, ways you could observe this event: as a fugue on two subjects, both introduced in at once with a little circling figure. In the but only rarely with a solo instrument. One of bystander, watching each float pass by, the opening build-up; the fugue is interrupted following Allegro energico, this circling figure his few concertante works is Endless Parade, each strikingly individual yet part of the by a cadenza for the trumpet and then the is transformed into a stamping dance for composed in 1986 and ’87 in response to a whole; or you could wander through side timpani, and culminates in the combination the strings, heralding a nimble trumpet commission from the conductor and patron alleys, hearing the parade a street away, of the first subject in its original form with the theme which is later freely extended. The Paul Sacher for the Swedish trumpeter glimpsing it at a corner, meeting head same theme played at half speed by the solo tempo slows to half speed for a contrasting Håkan Hardenberger. The work is scored for on what a moment before you saw from trumpet. lyrical melody, begun by the clarinet and trumpet with twenty-four strings, often given behind. taken up by the soloist. A quick-moving independent parts, and vibraphone. The solo This experience suggested not only the Arutiunian: Trumpet Concerto development section at the previous Allegro part includes some passages true to the bright, extrovert colouring of the work, A staple item of the twentieth-century tempo eventually arrives at a massively traditional nature of the instrument, such but also its structure: the basic material trumpet repertoire is the Concerto by scored return of the lyrical melody, now in as repeated notes and fanfare figures, but is viewed from a number of different Alexander Arutiunian. Arutiunian is the double note values so that it sounds at the also some woodwind-like writing requiring perspectives, in episodes with varying leading composer of the former Armenian same speed as before, and soon combined considerable virtuosity; there are also two tempos and textures – though grouped to Soviet Socialist Republic, now simply with the stamping dance idea in rough- passages of low fundamental notes. In produce an extended ‘middle section’ of Armenia. He was born in the capital, Yerevan, hewn textures. A slow interlude begins with Birtwistle’s characteristic manner, the body generally slower, stiller music. As a reminder and studied at the Conservatory there and, a sustained singing melody for the muted of strings is frequently divided into different of the unity which underlies the work’s after the Second World War, in Moscow. trumpet over pulsing strings, and ends with layers, each with its own type of activity. diversity, a falling four-note trumpet figure Many of his works draw on Armenian musical quiet, high clarinet arabesques. Back in the The trumpet frequently aligns itself with one recurs frequently at junctions between and cultural traditions. Arutiunian’s Trumpet Allegro tempo, the orchestra develops its or other of these layers, either in rhythmic sections. And towards the end, there are two Concerto, in A flat major, was completed in earlier stamping dance, before the soloist unison or in interlocking patterns, but at literal repetitions of the opening gesture, 1950, but became popular only some years finally arrives at the previously withheld other times stands apart. The vibraphone has consisting of that falling figure followed by 6 7 an accelerating ascent against regular string The work also has a sub-title dedicating it the half-way point, the soloist is joined by Chamber Orchestra and, currently, of the rhythms: the first return gives rise to the only to the memory of Chet Baker, the American substantial sections of the orchestra in a BBC National Orchestra of Wales, he has extended passage in which the solo trumpet jazz trumpeter, flugelhorn player, singer and seething build-up to a climax, followed by performed to much critical acclaim under rests; the second leads to a dancing coda, composer who was a leading figure in the a silent pause. And in the later stages, the conductors such as Claudio Abbado, Pierre and a final emphatic crescendo which brings ‘cool jazz’ of the post-war era; his career was trumpet draws closer to sections of the Boulez and Bernard Haitink. He has given the apparently ‘endless parade’ to a halt. blighted by drug addiction, and he died after orchestra in rhythmic and even melodic recitals and performed as concert soloist all a fall from an Amsterdam hotel window in unison.

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