Jonathan Freeman-Attwood, Daniel-Ben Pienaar – La Trompette Retrouvée (2007)
SACD Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 64:07 minutes | Front/Rear Covers | 3,55 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Front/Rear Covers | 1,08 GB
Features Stereo & Multichannel Surround Sound | Linn Records # CKD 294 | Genre: Classical
La Trompette Retrouvée is Freeman-Attwood’s second recording in his series with Linn Records and continues to explore his passion for expanding the limited chamber repertoire for trumpet by imaginatively arranging chamber works previously scored for alternative forces. He is joined on this recording by the pianist Daniel-Ben Pienaar. As the title implies, this album contains works by French composers, transforming works originally for forces such as cello, piano and orchestra into convincing transcriptions for trumpet and piano.
Arthur Butterworth, composer and former principal-trumpet of Barbirolli’s Hallé Orchestra, once lamented to me about the restricted use of the trumpet in the 18th-century orchestra, after the guilds of players that created the great Baroque tradition of high trumpeting had disappeared. But in the 20th century – not least with the coming of jazz – the trumpet has sustained a renaissance, and today there is almost nothing a top-class player cannot do within the instrument’s range (and even above it). Never better demonstrated than in this highly stimulating recital by Gramophone’s own Jonathan Freeman-Attwood with his splendidly responsive partner, Daniel-Ben Pienaar, who constantly illuminates the piano contribution. The transcription of Chabrier’s Pièces pittoresques stands out, full of charm, with the spiccato trumpet in the “Danse villageoise” (a real lollipop) and the galumphing “Scherzo-Waltz” irresistible, so perfectly suited to this instrument. Rameau’s Naïs Suite, which opens the programme, is remarkably successful too, stylish and characterful, with moments of real nobility. Apart from his nimble dexterity, Freeman-Attwood’s playing is just as striking for the beauty of his lyrical phrasing and his richness of colour, so well demonstrated by Saint-Saëns’s “Romanza”, and in the wonderful freedom of his playing in the transcription of Fauré’s Violin Sonata No 2, which at times (and specially in the finale) almost convinces one that it was written for the trumpet. I resisted this remarkable arrangement first time through, but on subsequent listenings put prejudice aside and revelled in the sheer musicianship of this splendidly matched duo. They are helped by absolutely natural recording in an ideal acoustic. It sounds first-class on CD equipment; but subtly bring in the back speakers and you will surely “retrieve” the image of the two players together with complete realism. And if you haven’t got the equipment yet for SACD, you don’t know what you are missing – a truly added dimension in music reproduction in the home!
La Trompette Retrouvée’ includes French chamber music recordings, from Rameau to Fauré, with trumpet. They were discovered’ again with fresh arrangements as the trumpet accompanies the piano. It is the second record in a series of trumpet playing recordings presented in a novel way. The third one is planned in 2008 and it also will include music from 17th Century. It is a brilliant record. The music and the performances are excellent (however, modern technological play doesn’t have to be liked by everyone). The sound quality is fantastic! I have to tell again- it is a fantastic record! There are just two instruments – trumpet and piano, but it sounds like a chamber orchestra. The trumpet plays with strong dynamic and gentle way of legato. This gives a fantastic effect in the sound. Both instruments have got a lot of air around them but they aren’t blurred, which often occurs in the multi-channel recordings. Between the listener and the audience is quite a distance like in a real concert, and we are sitting near to the trumpeter. Therefore, in reality we turn down and up, because we want to find the natural level of sound. However, we are enjoying the music and we just relax, and then the strong entry of the trumpet might punch us to the wall. Piano also is recorded from the long distance. However, we might feel that the piano plays the second role, because it plays less dynamic, in the ‘safe” way. To the perfect play of the record you have to have a system with very good resolution and dynamic.
01. Jean-Philippe Rameau: Suite from Nais – Ouverture (La Discorde et La Guerre)
02. Jean-Philippe Rameau: Suite from Nais – Entree majestueux des dieux
03. Jean-Philippe Rameau: Suite from Nais – Gavotte vive (pour les Zephirs)
04. Jean-Philippe Rameau: Suite from Nais – Sarabande
05. Jean-Philippe Rameau: Suite from Nais – Rigaudons
06. Jean-Philippe Rameau: Suite from Nais – Musette
07. Jean-Philippe Rameau: Suite from Nais – Tambourins
08. Jean-Philippe Rameau: Suite from Nais – Contredanse generale
09. Reynaldo Hahn: A Chloris
10. Emmanuel Chabrier: Suite for Trumpet and Piano – Aubade
11. Emmanuel Chabrier: Suite for Trumpet and Piano – Danse villageoise
12. Emmanuel Chabrier: Suite for Trumpet and Piano – Feuillet d’album
13. Emmanuel Chabrier: Suite for Trumpet and Piano – Scherzo-valse
14. Camille Saint-Saëns: From ‘Cello Sonata No. 2 – Romanza (Poco adagio)
15. Gabriel Fauré: Deuxieme Sonate, Op. 108 – Allegro non troppo
16. Gabriel Fauré: Deuxieme Sonate, Op. 108 – Andante
17. Gabriel Fauré: Deuxieme Sonate, Op. 108 – Allegro non troppo
Recorded at St George’s, Brandon Hill, Bristol, in July 2006.
Jonathan Freeman-Attwood – trumpet
Daniel-Ben Pienaar – piano