Pfeiffer-Trompeten-Consort - Trumpet Shall Sound - COMPACT DISCS [CD]

Possibly one of the back rows would have to assess the significance of Georg Druschetzky (1745-1819) only on the basis of it's popular timpani concerto, so it would concede. As a composer of wind music Druschetzky has, however, among his contemporaries almost unique importance. His extensive, almost all musical genres comprehensive oeuvre that counts 150 works for a variety of wind instruments. These have a variety and ingenuity that ever surpass itself so creative minds of music harmony as Franz Joseph Krommer or Triebensee in the best pieces. The Amphion Wind Octet here gives us an overview of the Bläsermusik Druschetzky's that can include even with even voices. The whole is so successful that we do not know which to admire more, the high art of wind ensembles or the ingenuity Druschetzky's. Undoubtedly one of the most accomplished harmony music albums of the last time!

With Handel's Music to the Royal Fireworks, adapted for four trumpets, timpani and organ, the first recording of an unusually successful series started that has grown in the meantime to seven productions festive trumpet sound with the Pfeiffer trumpet consort. Pfeiffer-Trompeten-Consort (The Pfeiffer Trumpet Consort = PTC) was founded by the brothers Joachim, Martin, and Harald Pfeiffer in 1985. They were soon joined by Dale Marrs, who has decisively put his stamp on the musical style of the group. Mathias Muller, tympanist, joined in 1992. Through Peter Schumann, organist, the group's musical home has always been the Heiliggeistkirche (Church of the Holy Spirit) in Heidelberg, Germany. Most of the works performed by the Pfeiffer-Trompeten-Consort, famous, as well as less-well-known pieces, are presented in new, festive arrangements, most of which (with the exception of a few original compositions) have been revised and adapted by members of the ensemble. These arrangements are unique in their style. It is always easy to recognize the concern for combining Baroque trumpet artistry with modern playing techniques. In addition to the original trumpet parts, the Pfeiffer-Trompeten-Consort tries to include as many of the other instrumental parts as possible, and thus to consider the musical compositions in their entirety. The possibilities of modem trumpets combined with the splendid sound of the instruments transform familiar compositions into a new listening experience.

Although the songs for voice play a comparatively minor role in Haydn's oeuvre with piano accompaniment, yet demonstrates the careful installation, preparation and clear differentiation from it's competitors in the intention to appropriate on the open market than in all musical genres, if not recommended as the superior composer and establish. The minor importance, playing his songs today, is one of the many injustices that never really called into question repertoire education, from an ignorant underestimation Haydn speaks. Anne Cambier and Jan Vermeulen spot him here for us again to be extremely skilful song composers.