BACH-TROMPETEN-GALABACH TRUMPET GALA

VOL. 3Bach-Trompetenensemble München

Edgar Krapp • Orgel/Organ Arnold Mehl

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Marc-Antoine Charpentier (1636–1704) Deux Airs des Trompettes* für vier Barocktrompeten, Pauken und Orgel for four Baroque trumpets, timpani and organ1 Marche de triomphe [2:26]2 Second air de Trompettes [3:18]

3 François Couperin (1668–1733) Offertoire sur les Grands Jeux [7:27] (aus/from: „Messe pour les Paroisses”)

4 Johann Sebastian Bach (1685–1750) „Friede über Israel” BWV 34 Satz 5* [2:17] (aus der Kantate/from the cantata: „O ewiges Feuer” BWV 34) für drei Trompeten, Pauken und Orgel for three trumpets, timpani and organ

5 Anonymus (Süddeutschland, um 1760) „Sechs Münchener Aufzüge” (I) [2:38] für drei Barocktrompeten und Pauken

Francesco Maria Manfredini (1680–1748) Concerto D-Dur/in D major (1711)* für drei Trompeten, Pauken und Orgel for three trumpets, timpani and organ6 Allegro [2:57]7 Largo [1:38]8 Allegro [2:07]

9 Anonymus (Süddeutschland, um 1760) „Sechs Münchener Aufzüge” (II) [2:45] für drei Barocktrompeten und Pauken for three Baroque trumpets and timpani

Franz Xaver Schnizer (1740–1785) Sonata Nr. 1 C-Dur für Orgel/ in C major for organ0 Allegro [3:31]ß Minuetto [3:01]q Intermezzo [2:21]w Presto [3:20]

Antonio Caldara (um 1670–1736) Sonata Nr. 2 C-Dur/in C major* für vier Trompeten, Pauken und Orgel for four trumpets, timpani and organe Allegro [1:56]r Adagio [1:34]t Allegro da capo [1:57]

z Johann Sebastian Bach (1685–1750) Choralvorspiel BWV 720 [3:13] „Ein’ feste Burg ist unser Gott” für Orgel/for organ

BACH-TROMPETEN-GALABACH TRUMPET GALA

VOL. 3

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Bibliotheksaal in Kloster Metten

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Edgar Krapp has enjoyed international standing for many years now. Born in the south German town of Bamberg in 1947, he trained with Franz Lehrndorfer in Munich and then with Marie-Claire Alain in Paris. After winning the ARD Prize in Munich in 1971, he rapidly made a name for himself on concert tours of Europe, America and Japan as an artist who combines a high level of virtuosity, an unerring sense of style and marked musical individuality.

As Krapp’s many records and TV and radio broadcasts – most of them made on historic instruments – show, his broad repertoire ranges from the pre-Baroque period to contemporary music. He has played with orchestras led by such well-known conductors as Rafael Kubelik, Colin Davis, Horst Stein and Eliahu Inbal.

Since 1974, Edgar Krapp has taught an organ class at the Frankfurt College of Music as successor to Helmut Walcha, and he was also guest professor at the Salzburg Mozarteum from 1982–1991. He was awarded the highly coveted Frankfurt Mozart Prize in recognition of his services to music as an artist and teacher. He is one of the directors of the New Bach Society of Leipzig, and of the Bavarian Academy of the Fine Arts. At the beginning of the winter semester 1993/94, Edgar Krapp took up a position at the Munich College of Music.

English translations: Clive Williams, Hamburg

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u Johann Sebastian Bach (1685–1750) / Wilhelm Friedemann Bach (1710–1784) Choral (Aria) BWV 80 Satz 5* „Und wenn die Welt voll Teufel wär”/ „Manebit verbum Domini” [4:15] für drei Trompeten, Pauken, Posaune (cf.) und Orgel for three trumpets, timpani, trombone (c.f.) and organ

i Johann Pachelbel (1653–1706) Ciacona f-moll/in F minor [7:29] für Orgel/for organ

Jean-Joseph Mouret (1682–1738) Première Suite de Symphonies (1729)* Fanfares „pour trompettes, timballes et orgue” für vier Trompeten, Pauken und Orgel for four trumpets, timpani and organo Bourrée en rondeau [1:47]p Gracieusement sans lenteur [3:18]+ Gavotte [1:59]a Gai [0:45]s Gavotte (da capo) [1:09]

Total Time: 71:44

* Orgeladaption, Einrichtung und Bearbeitung: adaptation for organ, manuscript and arrangement:Arnold Mehl

BACH-TROMPETENENSEMBLEMÜNCHENLeitung/direction: ARNOLD MEHL

Friedrich HeldTrompete in hoch A von Martin Lechner, Bischofshofen(4, 6–8,18, 20–24)Trompete in hoch G von Martin Lechner, Bischofshofen(14–16)Barocktrompete in D von Ewald Meinl,Geretsried 1988 (Modell nach Wolf Magnus Ehe, Nürnberg um 1720)(1–2, 5, 9)

Arnold MehlTrompete in hoch A von Martin Lechner, Bischofshofen(4, 6–8,18, 20–24)Trompete in hoch G von Martin Lechner, Bischofshofen(14–16)Barocktrompete in D von Ewald Meinl, Geretsried 1988 (Modell nach Wolf Magnus Ehe, Nürnberg um 1720)(1–2, 5, 9)

Fritz SchulerTrompete in hoch G von Martin Lechner,Bischofshofen(4,18)Trompete in D von Martin Lechner, Bischofshofen(6–8, 20–24)

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Trompete in C von Martin Lechner, Bischofshofen(14–16)Barocktrompete in D von Josef Monke, Köln 1992 (Modell nach einem alten Vorbild)(1–2)

Thomas WagnerTrompete in C von Martin Lechner, Bischofshofen (14–16, 20–24)Barocktrompete in D von Ewald Meinl, Geretsried 1974 (Modell nach Hans Hainlein, Nürnberg um 1630)(1–2, 5, 9)

Alexander LangBarockpauken (Modell nach einem Ansbacher Paukenpaar von 1770, süddeutscher Anonymus)

Hansjörg ProfanterTenorposaune in B von Vincent Bach, New York (18)

EDGAR KRAPPan der Sandtner-Orgel der StiftskircheSt. Michael der BenediktinerabteiKloster Metten/Niederbayern(1–4, 6–8, 10–24)

Orgel in der Stiftsbasilika St. Michael der Benediktinerabtei Kloster Metten/Niederbayern, erbaut von Hubert Sandtner, Dillingen/Donau 1989

Disposition: 43/III + PIII/Récit expressiv:1. Flauta 8’2. Salicional 8’3. Voix céleste 8’4. Prestant 4’5. Flûte octavin 4’6. Octavin 2’7. Cornet 3fach ab g°8. Plein-Jeu 4-5fach 2 2/3’9. Trompette harm. 8’10. Hautbois 8’ Tremulant

I/Hauptwerk:1. Bourdon 16’2. Principal 8’3. Copula 8’4. Viola da Gamba 8’5. Octave 4’6. Blockfl öte 4’7. Quinte 2 2/3’8. Superoctave 2’9. Cornet 5fach ab c’10. Mixtur 5fach 2’11. Fagott 16’12. Trompette 8’13. Clairon 4’

II/Positiv:1. Principal 8’2. Rohrfl öte 8’3. Quintade 8’4. Octave 4’5. Spitzfl öte 4’6. Nazard 2 2/3’7. Quart d. Nazard 2’8. Tierce 1 3/5’9. Larigot 1 1/3’10. Fourniture 4fach11/3’11. Cromorne 8’ Tremulant

Pedal:1. Principal 16’2. Subbaß 16’3. Quinte 10 2/3’4. Octavbaß 8’5. Gedecktbaß 8’6. Choralbaß 4’7. Hintersatz 4fach 2 2/3’8. Posaune 16’9. Trompete 8’

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Tage, the Ansbach Bach Week and the Salzburg Festival. They have played with a number of well-known conductors, Helmut Rilling and Wolfgang Gönnewein among them and have participated in many radio, TV and record productions. In 1984, the group appeared at the following events: the Johann Sebastian Bach Summer Academy in Stuttgart, TV productions of Bach cantatas, conducted by Helmut Rilling, to mark Bach Year 1985 (for ZDF/ORF), and a performance of Bach’s B minor Mass given by the New Bach Society in Kassel. 1985 was particularly busy, with the ensemble appearing in numerous concerts to mark Bach Year, including no fewer than 14 performances of the B minor Mass. They gave concerts at the European Music Festival in Stuttgart, and began regular collaboration with the Munich Bach Orchestra after fi rst cooperating with them at a performance of the B minor Mass in November 1985. 1987 saw the release of a record on the ARS MUSICI label featuring the ensemble together with the organist Franz Lehrndorfer. In the same year, the ensemble’s appearances in the fi nal concerts of the Ansbach Bach Week, again featuring the B minor Mass, brought acclaim from audiences and the international press alike. At the 1989 Ansbach Bach Week, the Bach Trumpet Ensemble of Munich took part in fi ve concerts: two each with the Bach Week soloists’ ensemble and the German Chamber Philharmonia of Frankfurt on modern piccolo trumpets, and a cantata concert with the Eric Ericson Chamber Choir and the Drottningholm Baroque Ensemble, playing natural trumpets. In 1990, the Trumpet Ensemble appeared at the 65th Bach Festival of the New Bach Society in Munich,

where they played in concerts given by the Munich Bach Choir and the Munich Bach Orchestra.

In summer 1992, Bavarian radio and ARS MUSICI produced the second volume of the “Bach Trumpet Gala” with the Bach Trumpet Ensemble of Munich and the organist Hedwig Bilgram. In October of that year, the ensemble gave its fi rst recital in the famous Leipzig Gewandhaus together with the resident organist Michael Schönheit, and the great success of this occasion prompted them to give a ‘repeat performance’ in the Gewandhaus in December 1993. May 1994 saw Arnold Mehl and his friends invited to a trumpet gala in the Berlin Schauspielhaus. In cooperation with some of today’s outstanding organists, the Bach Trumpet Ensemble of Munich has been able to establish recitals of music for trumpet ensemble and organ as a new form of concert that is attracting more and more music-lovers.

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while the middle section offers a refl ective contrast, fi rstly in the form of a trio between the cromorne, the cornet and the fl ute, then with the dark mixture of the foundation stops (“fond d’orgue”).

Johann PachelbelChaconne in F minorPachelbel was born in Nuremberg in 1653. After various positions in Vienna, Eisenach, Erfurth, Stuttgart and Gotha, he took over the post of organist at St. Sebald’s in Nuremberg in 1695, and held it until his death in 1706. In his F minor Chaconne, the four descending pedal notes F, E fl at, D fl at and C make up the simple ostinato theme, over which Pachelbel then constructs a whole number of variations full of diversity. The identical opening and closing bars give a pleasing sense of well-roundedness to this work, which is pervaded by a slightly melancholy mood throughout.

Franz Xaver SchnizerSonata no. 1 in C: Allegro – Minuetto – Intermezzo – PrestoFranz Xaver Schnizer was born in 1740 in Bad Wurzach. He entered the abbey at Ottobeuren as a Benedictine monk, and in 1766 he played at the inauguration of the two famous choir organs built by Riepp. In addition to vocal music, his oeuvre includes a harpsichord concerto and six sonatas for organ or harpsichord. The sonata in C recorded here is in four movements, and is written in a transparent chamber-music style that was typical of 18th century South German organ music with its strong Italian infl uence.

Johann Sebastian BachChorale prelude BWV 720“Ein’ feste Burg ist unser Gott”.The chorale prelude BWV 720 “Ein’ feste Burg ist unser Gott” is one of Bach’s most interesting organ works, not least for the unusual marking “à 3 claviers et pédale” and the precise instructions as to the registration, which can be linked to the composer’s organ in Mühlhausen. When this instrument was restored at his instigation in 1708/09, Bach had a third manual and several new stops added, among them a Fagotto (bassoon) 16’ “which will be useful for all manner of new invention, and sounds very delicate when played”, an Untersatz (double-stopped diapason) 32’ “which lends the organ the best gravitas” and a bass trombone 16’ “so that much better gravitas can be obtained”. These are the registers noted in J. G. Walther’s copy of the score, and can be employed to great musical effect in the course of the chorale prelude, providing a rare example of Bach’s colourful art of registration.

The Bach Trumpet Ensemble of Munich was founded by Arnold Mehl. As the name suggests, the foremost aim of the group is to give exemplary performances of the trumpet parts in J. S. Bach’s music, paying particular attention to phrasing, articulation and dynamics.

The Bach Trumpet Ensemble of Munich has appeared at a variety of music festivals: the Flanders Festival in Bruges, the Festival Estival de Paris, the Aix-en-Provence Festival, the Würzburg Bach-

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Spielhilfen:Organo-Pleno

Einzelappelle als Tritte:Trompette 8’ HWPosaune 16’ Ped.

Mechanische Spiel- und Registertraktur, Schleifl adenStimmung: Werckmeister III

1994 Freiburger Musik Forum 2009 M.A.T. Music Theme Licensing Ltd.

Manufactured by Membran Music Ltd.

Aufnahmeleitung & Schnitt/ Recording supervision & Editing: Helene SteffanToningenieur/Balance engineer: Carsten VollmerTechnik/Technical equipment:Michael KammerbauerAufgenommen/Recorded:1.–4. August 1994, Klosterkirche MettenTitelbild/Front cover picture: Valentina JoriPhoto Rückseite/Back cover: privatRedaktion/Editing: Dr. Jens Markowsky

All rights reserved

Eine Koproduktion mitA co-production withBayerischer Rundfunk, München

Koppeln: III–II III–I II–I

III super –PIII –PII –PI –P

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