Neither party will be disappointed by harpsichordist Drahomíra Pelantová’s pleasantly directed performances. One suspects that the appeal of this disc might be firmly confined to either aficionados of the instrument or admirers of the repertoire showing the transition from high Baroque to the Classical style. Much of the music demands a mastery of the instrument’s stratospheric register, yet Zvolánek discharges the fiendish technical challenges with apparent ease. However, his disciplined playing is clearly defined: he meets the staggering challenges presented to him by these four composers with disarming flair. Perhaps the historical curiosity of the repertoire makes it a little disappointing that Marek Zvolánek does not use a natural trumpet for any of these performances. You Might Also Like Eric Aubier - French Trumpet Music. Masterclass Series: Baroque Trumpet Repertoire. Brought about in the mid-20th century, the baroque trumpet is essentially a replica of the natural trumpet, which you would have heard in the music of Purcell, Handel and Bach. ![]() The hybrid instrument is most often employed by period instrument ensembles when choosing historically informed performance practice. The Baroque Trumpet presents some of the finest music ever written. Listen to David Hickman, Trumpet by David Hickman, Pauline Soderholm & Eric Dalheim on Apple Music. Alison Balsom OBE, one of the world’s most famous trumpet virtuosos, has just recorded a new album Royal Fireworks on this wonderful baroque instrument. Modern reproductions The term 'baroque trumpet' has come to mean a version of the original natural trumpet, with changes to suit modern players, who tend to play both the modern trumpet and this hybrid. Rather than Baroque concertos that feature trumpets, these lesser-known later-18th-century concertos give us a glimpse of the genre’s development prior to Haydn’s famous concerto composed for keyed trumpet in 1796. This book is a colourful collection of 16 repertoire pieces from the Golden Age, for trumpet. Only Giuseppe Tartini’s concerto seems to date from the period generally accepted as ‘Baroque’ (up to about 1750), although he composed it as a violin concerto. ‘Baroque Trumpet Concertos’ is a misleading title: Johann Wilhelm Hertel, born at Eisenach in 1727, composed three trumpet concertos, but this one was probably composed in 1754 Michael Haydn, born a decade later, presumably composed the concerto featured here at Salzburg in the 1760s Frantisek Xaver Richter’s concerto was presumably composed at Strasbourg after 1769 (the booklet essay does not make this entirely clear). An exten- sive appendix (43 pages) inventories sources of music for the Baroque trumpet, and this is followed by a selective. The Baroque Trumpet progresses gently, the range and difficulty of the music increasing as the developing embouchure gets stronger.
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