Aureole etc.




Golden Age singers

Nimbus on-line




Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett


Some items
to consider


New App by the Gothenburg Symphony Orchestra for iOS and Android!

Schumann Symphonies Rattle


Complete Brahms
Bargain price

 

REVIEW



Gerard Hoffnung CDs

Advertising on
Musicweb


Donate and get a free CD

New Releases

Naxos Classical

Hyperion

Musicweb sells the following labels
Acte Préalable
Alto
Arcodiva
CDAccord
Cameo Classics
Centaur
Hallé
Hortus
Lyrita
Nimbus
Northern Flowers
Redcliffe
Sheva
Talent
Toccata Classics


Follow us on Twitter

Subscribe to our free weekly review listing
sample
 

alternatively
CD: MDT AmazonUK AmazonUS

Romantic Trumpet Sonatas
Edvard GRIEG (1843-1907) Holberg Suite, Op 40 (1884) (arr. Daniel-Ben Pienaar) [17:14]
Robert SCHUMANN (1810-1856) Sonata No 1 in A minor, Op 105 (1851)* [15:52]
Felix MENDELSSOHN-BARTHOLDY (1809-1847) Sonata No 2 in D, Op 58 (1843)* [22:34]
Karl PILSS (1902-1979) Sonata (1935) [14:16]
*Arranged by the performers
Jonathan Freeman-Attwood (trumpet); Daniel-Ben Pienaar (piano)
rec. 29-31 March 2010, St George’s, Brandon Hill, Bristol, England
LINN RECORDS HYBRID SACD CKD370 [69:56]

Experience Classicsonline



This disc is called Romantic Trumpet Sonatas. I hear you asking: “There are romantic trumpet sonatas?” The answer is, “Now there are!” Trumpeter Jonathan Freeman-Attwood and pianist Daniel-Ben Pienaar have transcribed Schumann’s first violin sonata and Mendelssohn’s second cello sonata for the trumpet, and Pienaar has added his own version of Grieg’s Holberg Suite. To this they have appended one of the tiny handful of ‘real’ Romantic Trumpet Sonatas, a very late (1935) work by Karl Pilss.

I was a bit skeptical about this, but it has turned out to be a lot of fun, for the trumpet arrangements are not as glitzy or unsubtle as one might fear. Freeman-Attwood and Pienaar are sensitive musicians and transcribers, and the disc brushes aside memories of the ‘originals’ in favor of appreciation for their new guises.

Examples abound in Grieg’s Holberg Suite: the very beginning is a series of flashy, carnival-like repeated notes for the trumpet, but the instrument changes tone almost immediately, so that the music remains a collaboration of equal partners. If anything, Freeman-Attwood’s biggest moments come in the witty gavotte. Throughout, I was impressed by how naturally the transcription worked, and how the music had a natural give-and-take between the performers. The trumpet takes a few moments off in the air and the rigaudon’s central slow section, but that’s good for our ears and the music’s character, too.

The Schumann is better yet. The first movement’s drama is very well-captured by these two artists, and the finale’s high spirits are very high indeed. I think it’s best to separate the original composition from the transcription, and judge the new work’s merits independently, because it deserves that kind of consideration. This is a very fine piece indeed, with a superb emotional arc and trumpet writing which combines tongue-twisting difficulties with endearing melody.

Mendelssohn’s sonata has a bit more glitter and brightness about it; the first movement is - I imagine - a hale welcome to a sunny day. The trumpet has some subdued moments in the development, but for the most part it’s a chance to ring out high, bright, and clear. The adagio is especially finely done, with outstanding emotional tenderness, before we get, in the finale, another dash forward with pianist and trumpeter competing to outdo each other in bravado. Given the bright, splashy sound the players make in the work, it is very easy indeed to forget that the original work was written for cello and piano.

Karl Pilss’ 1935 sonata somehow feels more Germanic than Mendelssohn or Schumann, maybe because its opening has a dark, searching quality, or because its development works out the theme - the first movement has only one theme, really; the second subject is only a bit player - following Brahms’ template. The finale has echoes of something I’ve heard before, though I’m not quite sure where; the short sonata (14 minutes) makes a lovely finish to the album as a whole. Aficionados could rightly accuse it of being empty calories, but they’re enjoyable calories, and who could deny that ending, with the piano rushing up to meet a proud trumpet fanfare?

Throughout, Freeman-Attwood has a simply golden tone and full command of his instrument; he makes this sound easy, except the really hard bits, which he at least makes sound non-fiendish, like they were written that way for expressive reasons rather than to trip lesser artists up. In the slow movements his brightness is handed in for lyrical warmth, just as polished, and Daniel-Ben Pienaar is a polished, sensitive accompanist everywhere who relishes the occasional spotlight moment. Engineering strikes the perfect balance: neither too close to hear performing sounds nor far enough for reverb. This really outstripped my expectations, and now I’ve gotten to thinking about some of this duo’s earlier discs. Linn have struck gold again.

Brian Reinhart



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 


EXPLORE MUSICWEB INTERNATIONAL

Making a Donation to MusicWeb

Writing CD reviews for MWI

About MWI
Who we are, where we have come from and how we do it.

Site Map

How to find a review

How to find articles on MusicWeb
Listed in date order

Review Indexes
   By Label
      Select a label and all reviews are listed in Catalogue order
   By Masterwork
            Links from composer names (eg Sibelius) are to resource pages with links to the review indexes for the individual works as well as other resources.

Themed Review pages

Jazz reviews

 

Discographies
   Composer
      Composer surveys
   National
      Unique to MusicWeb -
a comprehensive listing of all LP and CD recordings of given works
.
Prepared by Michael Herman

The Collector’s Guide to Gramophone Company Record Labels 1898 - 1925
Howard Friedman

Book Reviews

Complete Books
We have a number of out of print complete books on-line

Interviews
With Composers, Conductors, Singers, Instumentalists and others
Includes those on the Seen and Heard site

Nostalgia

Nostalgia CD reviews

Records Of The Year
Each reviewer is given the opportunity to select the best of the releases

Monthly Best Buys
Recordings of the Month and Bargains of the Month

Comment
Arthur Butterworth Writes

An occasional column

Phil Scowcroft's Garlands
British Light Music articles

Classical blogs
A listing of Classical Music Blogs external to MusicWeb International

Reviewers Logs
What they have been listening to for pleasure

Announcements

 

Community
Bulletin Board

Give your opinions or seek answers

Reviewers
Pat and present

Helpers invited!

Resources
How Did I Miss That?

Currently suspended but there are a lot there with sound clips


Composer Resources

British Composers

British Light Music Composers

Other composers

Film Music (Archive)
Film Music on the Web (Closed in December 2006)

Programme Notes
For concert organizers

External sites
British Music Society
The BBC Proms
Orchestra Sites
Recording Companies & Retailers
Online Music
Agents & Marketing
Publishers
Other links
Newsgroups
Web News sites etc

PotPourri
A pot-pourri of articles

MW Listening Room
MW Office

Advice to Windows Vista users  
Questionnaire    
Site History  
What they say about us
What we say about us!
Where to get help on the Internet
CD orders By Special Request
Graphics archive
Currency Converter
Dictionary
Magazines
Newsfeed  
Web Ring
Translation Service

Rules for potential reviewers :-)
Do Not Go Here!
April Fools






Untitled Document


Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.