Trumpet Concertos
View record and artist detailsRecord and Artist Details
Composer or Director: (Johann) Michael Haydn, Johann Melchior Molter, Johann Wilhelm Hertel, Franz Xaver Richter, Leopold Mozart
Label: Philips
Magazine Review Date: 3/1991
Media Format: CD or Download
Media Runtime: 58
Mastering:
DDD
Catalogue Number: 426 311-2PH
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Trumpet and Strings |
Franz Xaver Richter, Composer
Elgar Howarth, Conductor Franz Xaver Richter, Composer Håkan Hardenberger, Trumpet London Philharmonic Orchestra |
Concerto for Trumpet and Orchestra |
Leopold Mozart, Composer
Elgar Howarth, Conductor Håkan Hardenberger, Trumpet Leopold Mozart, Composer London Philharmonic Orchestra |
Concerto for Trumpet and Strings No. 1 |
Johann Melchior Molter, Composer
Elgar Howarth, Conductor Håkan Hardenberger, Trumpet Johann Melchior Molter, Composer London Philharmonic Orchestra |
Composer or Director: (Johann) Michael Haydn, Johann Melchior Molter, Johann Wilhelm Hertel, Franz Xaver Richter, Leopold Mozart
Label: Philips
Magazine Review Date: 3/1991
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 426 311-4PH
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Trumpet and Strings |
Franz Xaver Richter, Composer
Elgar Howarth, Conductor Franz Xaver Richter, Composer Håkan Hardenberger, Trumpet London Philharmonic Orchestra |
Concerto for Trumpet and Orchestra |
Leopold Mozart, Composer
Elgar Howarth, Conductor Håkan Hardenberger, Trumpet Leopold Mozart, Composer London Philharmonic Orchestra |
Concerto for Trumpet and Strings No. 1 |
Johann Melchior Molter, Composer
Elgar Howarth, Conductor Håkan Hardenberger, Trumpet Johann Melchior Molter, Composer London Philharmonic Orchestra |
Author: Ivan March
The programme opens with a concerto by Franz Xaver Richter (1709–89) which is notable for its fiendishly high tessitura, ranging up to the written F above high C (sounding G). The soloist—as at his very first appearance—is required to make frequent entries 'out of the blue' on high notes, and the rather agreeable main theme of the opening movement encompasses an octave in its structure. Needless to say Hardenberger relishes the writing, and plays with an easy elegance, picking out the top notes like ripe berries from the top of a bush. The work has an agreeable Andante and a finale which echoes the octave idea of the first movement.
Leopold Mozart's Concerto (in two movements) is more conventional, although it has a robust, tuneful finale, recalling the Handel of the Water Music. Hertel's work has a gracious central Adagio, which involves a quiet, sustained crescendo entry on a long note, which Hardenberger places superbly—the phrase seems to appear out of the air as if by magic. The finale involves rather prettily pointed use of the upper range, calling for crisp, light articulation, and the response here is captivating.
Molter's piece is rather like a concerto grosso with trumpet lead, and again the cantilena of the Andante is demandingly high. Michael Haydn's concerto is even more daunting and is made to sound forward-looking by the use of flutes to add colour and grace to the string texture in the first movement. The finale is contrastingly jolly and full of sparkle. Like the Richter work the solo line floats and leaps around freely in the highest range, making no concessions. Hardenberger clearly enjoys himself (even putting in a bravura cadenza just before the coda), and so do we.'
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