Sackbutt - Trombone in the 17th & 18tth Century
A case of 1776 Trombones? The Dutch player is an enthusiastic old-music man
View record and artist detailsRecord and Artist Details
Composer or Director: Antonio Bertali, Biagio Marini, Johann Heinrich Schmelzer, Dario Castello, Georg Christoph Wagenseil, Leopold Mozart, Johann Georg Albrechtsberger
Label: Channel Classics
Magazine Review Date: 10/2008
Media Format: Super Audio CD
Media Runtime: 0
Mastering:
Stereo
DDD
Catalogue Number: CCSSA26708
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Trombone and Orchestra |
Johann Georg Albrechtsberger, Composer
Amsterdam Combattimento Consort Johann Georg Albrechtsberger, Composer Jörgen Van Rijen, Trombone |
Sonata à 3, Movement: No 1 in D minor |
Antonio Bertali, Composer
Antonio Bertali, Composer Jörgen van Rijen, Sackbut |
Sonata à 3, Movement: No 3 in A minor |
Antonio Bertali, Composer
Antonio Bertali, Composer Jörgen van Rijen, Sackbut |
Sonata quarto á 2 soprani |
Dario Castello, Composer
Dario Castello, Composer Jörgen van Rijen, Sackbut |
Sonata a tre |
Johann Heinrich Schmelzer, Composer
Johann Heinrich Schmelzer, Composer Jörgen van Rijen, Sackbut |
Sonate, symphonie ... e retornelli, Movement: Sonata quarta, per il violino per sonar con due co |
Biagio Marini, Composer
Biagio Marini, Composer Jörgen van Rijen, Sackbut |
Author: David Vickers
The agility of his playing in the finale of Albrechtsberger’s Concerto is impressive, and the orchestra’s playing is superbly alert and graceful. Running at just under an hour of undiluted old trombones, potential monotony is intelligently avoided by larger Classical concertos being interspersed with smaller scale early Italian Baroque sonatas. In fact, two impressive sonatas in three parts (trombone and two violins, plus basso continuo) by Antonio Bertali (1605-69) are perhaps the finest and most striking music on offer, with an appealing liveliness, communicative sonority and zesty personality. Likewise, a sonata by Johann Heinrich Schmelzer (1623-80) is rich in rhetorical inquiry, and requires a much mellower tone from Rijen than the typically festive atmosphere of Leopold Mozart’s Concerto (although Mozart Senior’s central Adagio has some touching moments). Fans of the trombone will no doubt find this of interest, but the music turns out to be far more worthwhile and rewarding than just a sackbut showcase.
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