Fiala: Divertimento for Keyed Trumpet
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- Опубликовано: 24 окт 2024
- Josef Fiala (Joseph Fiala) (3 February 1748 - 31 July 1816), was a composer, oboist, viola da gamba virtuoso, cellist, and pedagogue. Fiala wrote a concerto for viola da gamba, a concerto in B-flat major for oboe and orchestra, a divertimento for Keyed Trumpet and Orchestra, various dances, chamber compositions and symphonies.
The Divertimento
Fiala must have written this piece for a bohemian virtuoso, since the performing material (which today in Prague) came from the library of the castle chapel of Kuks in northern Bohemia. The solo instrument has a moderate range from g to e'' (sounding a sharp to f sharp) and is fully chromatic from b (sounding c sharp) upwards. The pieces range corresponds most closely with that of Kozeluch's Sinfonia concertante (1798, now published by Spaeth & Schmid, no. 50309) Worthy of note is the cadenza, with is written out towards the end of the first movement. Fiala's cadenza contains only 26 notes. This simplicity might perhaps give a hint to today's soloists to show restraint in the appropriate place when performing the Haydn concerto ... (Prof. Dr. Edward H. Tarr, Karlsruhe University of music October 2004 / Easter 2009)
Prof. Markus Würsch
The Swiss trumpet virtuoso Markus Würsch was born in 1955 in Emmetten, Nidwalden in the spectacularly scenic region of lake Lucerne. He studied trumpet and brass ensemble conducting at the Conservatoire in Zurich and Lucerne where he received his degree with honours. He won the coveted Migros competition, and subsequently received a grant which enabled him to spend a year at the Conservatoire Nationale Supérieur in Paris. He also spent time studying with Charles Geyer at the Eastman School of Music (Rochester NY), with Vincent Cichowicz at Northwestern University of Chicago, and with Adolphe Herseth (principal trumpet of Chicago Symphony Orchestra). In 1981 Markus won the audition for principal trumpet with the Tonhalle Orchestra, Zurich, holding this prestigious post for fourteen years. In 1995, he spent a year studying at the Royal Academy of Music and the Royal College of Music, London. There he studied under Michael Laird and Crispian-Steele Perkins (Baroque-Trumpet), Jeremy West (Cornetto) and Phillip Jones (Ensemble Direction). He has performed as soloist at the Lucerne International Festival and with the Tonhalle Orchestra.
With the support of the Swiss National Fund and the Bern University of the Arts, Markus conducted extensive research and subsequently developed a reconstruction of a 19th century keyed trumpet, in collaboration with the instrument maker Konrad Burri. The original instrument, the focus of the research, was found in the private collection of Karl Burri, Zimmerwald, near Bern. With this reconstructed instrument, Markus went on to perform and produce a CD recording of the trumpet concertos of Joseph Haydn and Nepumuk Hummel in June 2013.
For some years now, he performs almost exclusively on historical instruments. He frequently appears with the ensembles “La Cetra” and I Barocchisti (RSI, Italian Swiss Radio) and continues to interpret the Haydn and Hummel trumpet concertos as soloist on the keyed trumpet.
Markus Würsch is professor of Modern, Natural and Romantic trumpet at Bern University of the Arts, and at Lucerne University of Applied Sciences and Arts.
Patricia Ulrich
The pianist Patricia Ulrich spent her early years in Wollerau, Switzerland. After completing her general education (Matura), she began her musical studies at the Conservatory of Lucerne with Yvonne Lang, receiving a Bachelor of Arts in Music in 2008. She continued her studies in Lucerne and in 2010 received a Masters Degree in Performance with distinction under Konstantin Lifschitz. In 2013 she went on to receive an additional Masters Degree in Chamber Music under Edward Rushton. She has attended master classes with Andrei Gavrilov, Geoffrey Douglas Madge, and with Juliane Banse with a concentration in Duo Performance. In addition to her present duties as accompanist at Bern University of the Arts and at Lucerne University of Applied Sciences and Arts, she is a highly sought after accompanist for master classes and competitions. An active chamber musician, Patricia Ulrich also appears regularly with orchestras such as the 21st Century Orchestra (Lucerne) and the Symphony Orchestra of Lucerne.
Recorded at Hochschule der Kuenste Bern, 2014.
Camera: Juerg and Peter Rufer
Editing: Juerg Rufer
Audio Engineering: Magnon Recording, Paul Niederberger
© 2014, Markus Wuersch and Patricia Ulrich
A Dingo and Fox Production
www.dingoandfox.ch
For further information please contact:
Bern University of the Arts
www.hkb.bfh.ch
markus.wuersch(at)hkb.bfh.ch
markus.wuersch(at)gmail.com
www.markuswuersch.ch
Toll, Markus, immer noch voll im Schwung! Bravissimo
Röbi Scheidegger
Lindo solo de trumpet e espetacular pianista. Parabéns.
I amazes me that Markus Würsch has learned to finger and tune this instrument at his age. I marvel at his performances of the Haydn and Hummel concertos, which, for me, are the most enjoyable of all. His recordings on modern trumpets are also excellent. Everything is very musical and tasteful.
Ach, soooooo klingt eine Trompete! Nicht wie "Star Wars". Wir müssen das im Laufe der letzten 150 Jahre irgendwie vergessen haben. Wer auch immer daran schuld sein mag, danke, Markus, dass Du es uns in Erinnerung rufst. Es gibt nichts Schwierigeres, als (scheinbar) einfache Sachen schön zu spielen. Du kannst es!
One can only speculate as to how much richer the brass harmony of the later classical/early romantic periods would've been had this instrument been taken more seriously. This is proof positive that, in the hands of a gifted player, the keyed trumpet can easily hold it's own against its valved counterparts. I'm willing to bet that, sight unseen, most people would've had no idea that they weren't hearing a valved trumpet!! Problem was - and is - that musicians often tend to be on the lazy side and didn't want to learn a new instrument in place of the one they'd been playing. Even "progressive" composers like Beethoven did not demand its use in their scores (two major exceptions at the time being Italians Bellini and Donizetti) It would take the younger men of the 1830's and 40's to finally establish valved instruments as being a permanent fixture in the ensemble. By then, keys were on the way out. For generations thereafter we were treated to nothing but negative reviews (ex. Mendelssohn's appraisal of Italian keyed trumpet playing) as to how badly sounding and out-of-tune these instruments were. We must heartily congratulate Herr Doktor Wuersch for his dedication to this sadly-neglected instrument's revival. It's also proof that a "new" instrument could have been learned by dedicated musicians no matter how late in life had the desire been there.
Wow that has an amazingly even tone for a keyed bugle and he made it himself ! 6 stars ! Well done !
This piece is one of the options available to play for my diploma and im strongly considering it, this performance is making me lean towards it!, well done both performers :)
Fantastic playing!
Although I rarely followed classical music (jazz instead, I am a fan of Dizzy Gillespie)... thank you, Markus Würsch, you are the best. Be sure, keyed trumpet one day will be the first one.
The first one was invented in the late 18th century by Anton Weidinger.
Hola Maestro quisiera algún día tocar como usted, pues usted domina el arte de hacer que parezca fácil lo que es difícil!
Saludos desde México!!
Toll!! Ganz große Klasse! Ich bin absolut begeistert!
Bravo! Beautiful work!
Brilliant playing. Wonderful sound.
An instrument not for the mechanically disinclined though.
Simply beautiful
Fantástico!!!!
thank you very much !
Belo timbre!
Extraordinario!
Wonderful player also.
So good! I really prefer the keyed trumpet over the standard 3-valves. Furthermore, I think it would be possible to make a similar trumpet using modern molded materials, although leaving keys and springs made of metal. More or less like the 1950s Grafton plastic saxophone. Such a keyed trumpet could be much cheaper and maybe capable of faster musical passages than a standard one. PS: I think it is a full-wavelength trumpet... much better.
I agree! There are a lot of interesting historical instruments that we could make so much better these days!
Honestly I think it is still lacking a little due to the keys. I'd love to see a good quality F, Eb, or D long trumpet with valves, to get that full length / natural trumpet sort of sound with complete chromaticism and total evenness.
Why skip the optional cadenza
Nice work 👌 I'd like to know more about the instrument.
It is Professor Doctor Würsch's design, based on a concept originally invented by Anton Weidinger, a turn of the 19th century trumpet virtuoso and friend of Josef Haydn. Haydn wrote his trumpet concerto for Weidinger's instrument. Unfortunately, Weidinger's instrument did not survive to our day and he was very secretive about his design. Würsch's instrument is a speculative guess at what Weidinger's trumpet might have been like. Having said that, it is a marvelous instrument and the professor plays this difficult instrument beautifully.
All closed, this seems to have a really long tube length. Perhaps an F fundamental?
If I give you my address, will you mail me that piano and that trumpet? They really should be in my living room. I'll give them a good home. I promise.
I want to hear jazz played on a keyed trumpet. Some Miles Davis and Chet Baker.
Lovet just lovet!!!!! Wohhh... what a playing. This trumpet have the same octave length than actual Eb or its one octave lower ? Thanks
Maybe it's in Bb, like most trumpets are...
It's chromatic.
It is in 6 1/2 foot Eb, twice as long as the common Eb sopranino or similar in length to a high pitch baroque D trumpet.
@@Metal-Possum In the era when these sorts of instruments were originally made, the modern short Bb trumpet did not exist. Years later when they started to get some use, they were ridiculed as being not real trumpets (which has a grain of truth -- the modern trumpet was developed from the valved cornet and not from historical trumpets)
nice sound
How many keys/ vent holes are needed to play a full chromatic scale 2 ½ octaves? I can see quite a few, his pinky has to operate quite a few.
To be honest , you only need three keys to play a chromatic scale. But to meet modern performance standards ,we require more keys to play in tune. And by that I mean , the holes must be in exactly the correct position to play in tune .
@@evocurl This is why the holes are quite clearly in pairs, providing (at least) two options for each note.