Holiday Shop


WGBH Radio WGBH Radio theclassicalstation.org

Trombone Grande / Wim Becu, Oltremontano

Becu / Frescobaldi / Fontana / Monteverdi
Release Date: 06/19/2012 
Label:  Accent   Catalog #: 24263  
Composer:  Giovanni Martino CesareGioseffo GuamiMikolaj ZielenskiGiovanni Palestrina,   ... 
Performer:  Wim Becu
Orchestra/Ensemble:  Oltremontano
Number of Discs: 1 
In Stock: Usually ships in 24 hours.  
On sale! $25.98
CD:  $21.99
In Stock
MP3: $9.99
What's this?




Notes and Editorial Reviews



TROMBONE GRANDE: MUSIC FOR BASS SACKBUT AROUND 1600 Wim Becu (bs tbn, cond); Kris Verhelst (org); Ellen Schafraet (hp); Rainer Zipperling (vc); Andrea Baur (chitarrone); Oltremontano ACCENT 24263 (66:10)


Music by FRESCOBALDI, FONTANA, SELMA Y SALAVERDE, BASSANO, PALESTRINA, MONTEVERDI, ZIELIN´SKI, ROGNONI, LASSUS, CESARE, CIMA, GUAMI, CABEZÓN


No fanciful programs here. This is simply music emphasizing the bass sackbut, the so-called Read more trombone grande , composed around 1600. It was at the time among the most popular of ceremonial instruments, both for noble and civic use, as numerous surviving inventories and payment schedules of the period attest. These things change, of course, and by the end of the 17th century the entire trombone family had faded away—not to reappear on the international stage until 100 years later, in a different role, associated with the tonal expansion of the modern orchestra. (Both Gluck and Mozart set the trombone to accompany Don Giovanni on his trip to hell, but the instrument had a two-way ticket.)


But for all its popularity at the height of its earlier fame, the point needs to be made that much of the music performed on the instrument wasn’t written specifically for it. This could easily be forgotten with a cursory examination of this album, since the title doesn’t refer to arrangements, and every piece listed in the liner notes has its publication date listed, along with the instrumentation, which invariably includes the bass sackbut. But for example, although it is stated that Fontana’s Sonata Terzodecima is for two cornetts, bass sackbut, and organ, the 1641 publication it comes from is made up of six sonatas for solo violin and continuo, and 12 further sonatas for two violins and continuo. Or again, Monteverdi’s Ab aeterno , though performed here on bass sackbut, chitarrone, and organ, was written as a motet with voice, and is usually performed by a bass singer with organ accompaniment. There is nothing wrong with the stylish arrangements heard here, but some word about their origins would have been welcome, as well perhaps as an essay about the difficulty of making transcriptions that work in context.


These do work. Though Oltremontano itself is patterned here on a so-called loud ensemble of the period with three sackbuts and two cornetts, variety is provided through smaller or larger groupings within the main ensemble, and with the selective addition of harp, organ, cello, and chiatarrone—sometimes in a subordinate role, sometimes as an equal partner. I don’t recall having ever heard a piece such as Cesare’s La Hieronyma , for bass sackbut and harp; and I’m not yet convinced this could be done in concert without the mere presence of the sackbut drowning out the harp. But it is all very stylishly done, with appropriate grace notes and figurations, and without any attempt to thicken textures or employ anachronistic harmonies.


The music is sober and serious, mixing freeform fantasias (themselves a mix of recitative and dance movements) with instrumental canzonas, and arrangements of vocal material. The performances by Oltremontano are expert. Hearing anywhere from one to three sackbuts (alto, tenor, and bass) played together with ease at moderate speed with the occasional very quick run, as in Guami’s L’accorta , is a treat. The sound is crisp, with enough room to give body to instrumental resonance, and the balance subtly adjusts for softer instruments. In short, this is a release of largely Italianate material that should greatly please fans of the genre, and of the music from this period.


FANFARE: Barry Brenesal
Read less

Works on This Recording

1.
La Heironyma by Giovanni Martino Cesare
Performer:  Wim Becu (Trombone)
Orchestra/Ensemble:  Oltremontano
Period: Baroque 
Written: Italy 
2.
L'Accorta by Gioseffo Guami
Performer:  Wim Becu (Trombone)
Orchestra/Ensemble:  Oltremontano
Period: Renaissance 
Written: Italy 
3.
Fantasia Secunda by Mikolaj Zielenski
Performer:  Wim Becu (Trombone)
Orchestra/Ensemble:  Oltremontano
Period: Renaissance 
Written: Poland 
4.
Viderunt omnes fines terra by Mikolaj Zielenski
Performer:  Wim Becu (Trombone)
Orchestra/Ensemble:  Oltremontano
Period: Renaissance 
5.
Tu es Petrus by Mikolaj Zielenski
Performer:  Wim Becu (Trombone)
Orchestra/Ensemble:  Oltremontano
Period: Renaissance 
6.
Tota pulchra es, amica mea by Giovanni Palestrina
Performer:  Wim Becu (Trombone)
Orchestra/Ensemble:  Oltremontano
Period: Renaissance 
Written: by 1584; Italy 
7.
Benedicta es, celorum regina by Josquin Des Préz
Performer:  Wim Becu (Trombone)
Orchestra/Ensemble:  Oltremontano
Period: Renaissance 
Written: by 1520; France 
8.
Selva morale e spirituale: Ab aeterno ordinato sum by Claudio Monteverdi
Performer:  Wim Becu (Trombone)
Orchestra/Ensemble:  Oltremontano
Period: Baroque 
Written: by 1640; Italy 
9.
Susana d'Orlando by F. Rognoni Taeggio
Performer:  Wim Becu (Trombone)
Orchestra/Ensemble:  Oltremontano
10.
Canzona no 13 by B. Selma y Salaverde
Performer:  Wim Becu (Trombone)
Orchestra/Ensemble:  Oltremontano
11.
Sonatas (6) "Concerti ecclesiastici": no 2 for Trombone and Cornetto by Giovanni Paolo Cima
Performer:  Wim Becu (Trombone)
Orchestra/Ensemble:  Oltremontano
Period: Baroque 
Written: by 1610; Milan, Italy 
12.
Sonate per il violino, o altro istromento: Sonata no 13 by Giovanni Fontana
Performer:  Wim Becu (Trombone)
Orchestra/Ensemble:  Oltremontano
Period: Baroque 
Written: by 1641; Italy 
13.
Il primo libro delle canzoni: no 7, La Tuccina by Girolamo Frescobaldi
Performer:  Wim Becu (Trombone)
Orchestra/Ensemble:  Oltremontano
Period: Baroque 
Written: by 1628; Italy 
14.
In partitura, il primo libro delle canzoni per sonare...con 2 Toccate: Nicolina by Girolamo Frescobaldi
Performer:  Wim Becu (Trombone)
Orchestra/Ensemble:  Oltremontano
Period: Baroque 
Written: by 1628; Rome, Italy 
15.
Il primo libro delle canzoni: no 17, La Diodata by Girolamo Frescobaldi
Performer:  Wim Becu (Trombone)
Orchestra/Ensemble:  Oltremontano

Sound Samples

In partitura il primo libro delle canzoni: Canzona No. 7, "detta la Superba"
Sonata Terzadecima
Canzoni fantasie et correnti da suonar: No. 23. Canzon per due Bassi
Tota pulchra es (arr. G. Bassano)
Selva morale e spirituale (arr. for chamber ensemble): Selva morale e spirituale: Ab aeterno (arr. for chamber ensemble)
Communiones totius anni: Fantazja II
Selva de varii passaggi: Susana d'Orlando
In partitura il primo libro delle canzoni: Canzona No. 22, "detta la Nicolina"
Musicali melodie per voci et instrumenti: La Hieronyma alla quinta bassa
Communiones totius anni: Viderunt omnes
In partitura il primo libro delle canzoni: No. 27. Canzona, "detta la Diodata"
Concerti ecclesiastic: Sonata per cornetto e trombone
Canzonette francese: L'accorta
Communiones totius anni: Tu es Petrus
Obras de Musica: Benedicta es Regina coelorum

Customer Reviews

Be the first to review this title
Review This Title
Review This Title Share on Facebook




YOU MUST BE A SUBSCRIBER TO LISTEN TO ARKIVMUSIC STREAMING.
TRY IT NOW FOR FREE!
Sign up now for two weeks of free access to the world's best classical music collection. Keep listening for only $19.95/month - thousands of classical albums for the price of one! Learn more about ArkivMusic Streaming
Aleady a subscriber? Sign In