The third CD:
bach, blech & blues

In May 1999 the new CD was released at BERLIN CLASSICS, titled "Triptychon". Under the direction of Jörg Achim Keller und Till Weser and together with Till Brönner (trumpet) und Adrian Mears (trumbone) as soloists it will be a recording focussed on Jazz and Avantgarde.

DM 40,00 + shipping

Content:
 
1
 Till Weser Danserye
Paraphrases of a theme by Tylman Susato
2
 Frank Reinshagen Michs Delight
(Flgh Solo Till Brönner)
3
 Lutz Landwehr von Pragenau Running Riot
4
 Adrian Mears Intuition of Sacred Hearts
(Trb Solo Adrian Mears)
 
B,A,C,H - TRIPTYCHON		  
5
 J.S. Bach /
Arr. Till Weser		 Contrapunctus XIX
from "Die Kunst der Fuge"
6
 Walter Zimmermann /
Till Weser		 Die Menschen mit den Steinen wiederversöhnen
from the Zyklus "Lokale Musik": Keuper
7-10
 Steffen Schorn Bb . A . C . B
(feat. Till Brönner & Adrian Mears)
11
 Jörg-Achim Keller C.T.D.
(Flgh Solo Till Brönner)
12
 Duke Ellington
Arr. Rob Pronk		 Mood Indigo
(Flgh Solo Till Brönner)
13 Arrangement Ingo Luis bach, blech & blues brothers
14
 comp. by Henry Mancini Peter Gunn
(Trb Solo Adrian Mears)
15
 comp. by Cab Calloway, Irving Mills, Clarence Gaskill Minnie the Moocher
(Trp Solo Till Brönner)
16
 comp. by Berns, Burke, Wexler Everybody needs somebody
     
Conductors: Dirigent & Einstudierung Klassik: Till Weser
Dirigent & Einstudierung Jazz: Jörg-Achim Keller
Soloists: Till Brönner, trumpet, flugelhorn
Adrian Mears, trumbone




bach, blech & blues has made a fantastic new CD. This ensemble has proved once again, that it belongs to the international elite of brass ensembles. Therefore are standing extraordinary soloists, a stylish „mixed pickles“-program and throughout well cared soundculture, made by young german top brass players.
Prof. Reinhold Friedrich (International Trumpet-Soloist)

The music of this extraordinary concept, as performed by bach, blech & blues including Till Broenner and Adrian Mears, sounds precisely, most characeristic and is of a special flair.
With these exeptionally created compositions and arrangements, the fusion of "classical music" and "jazz" develops into a new dimension.
A big compliment to all performing members of this project.
Prof. Jiggs Whigham (Leader of the RIAS - Big Band, Berlin)








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bach, blech & blues:
Festive Brass Music
of the Renaissance

published in 1997 by ARTE NOVA
distributed by BMG Classics
DM 20,00 + shipping

Monteverdi, Toccata Monteverdi, Toccata

Content:
1-3 Claudio Monteverdi (1567-1643) Nisi Dominus from the "Marienvesper"
Lauda Jerusalem from the "Marienvesper"
Toccata from the "Marienvesper"
4 Giovanni Gabrieli (um 1553/57-1612) Canzon per sonar duedecimi toni a 10
5 Samuel Scheidt (1587-1627) Canzon super intradam aechiopicam
6 Ludovico Grossi da Viadana (1560-1627) Sinfonia 'La Padovana'
7 Giovanni Gabrieli (um 1553/57-1612) Canzon III a 6
8-9 Giuseppe Guami (um1540-1611) Canzon vigesimaquarta a 8
Canzon vigesimaquinta a 8
10 Giovanni Gabrieli (um 1553/57-1612) Canzon VIII a 8
11 Orlando di Lasso (1532-1594) Ola! O che bon echo!
12-16 Giovanni Gabrieli (um 1553/57-1612) Canzon XXVIII a 8
Canzon XVI a 12
Sonata octavi toni a12
Motette 'Jubilate Deo'
Sonata 'Pian e Forte' a 8

About this CD:

Since the 15th century the ranks of authority have supported brass bands, in which the most important instruments - at least from the 16th century forward - were the zink (an early form of cornet) and the sackbut (an early form of trombone). Each player in such an ensemble also mastered a number of other instruments. Two of the most well-known wind groups in the Renaissance were the "Leipziger Stadtpfeifer", which enjoyed great fame even until the time of J.S. Bach, and the "Concerto Palatino di Bologna", which for 242 years (1537 - 1779) maintained an unchanging instrumentation of 8 trumpets, 4 piafi (later called zinks), 4 trombones, 2 plucked instruments and a drummer. At the Cathedral of San Marco in Venice - where Giovanni Gabrieli was active as composer, kapellmeister and organist - salaried brass players were retained to play on festive occasions. The unusual architecture of this edifice, with its wide-flung but focing lofts, inspired Gabrieli to write his multiple-(brass)choir works such as the Sonata octavi toni a 12 or the triple-choired Canzon XVI o 12. In addition to sacred works, the Renaissance also produced secular music, such as Ludovico Grossi da Viadana's Sinfonia "La Padovana", which he named after the city of Padua. This piece combines the tonal language of church music with the exuberant spirit of the dance. Another example is Orlando di Lasso's Ola! O che bon echo!, in which a teasing playfulness is created through the ensemble's own echo. In addition, the individual parts in Renaissance vocal music were often doubled on wind instruments ("colla parte") in order that the diversity of available sonic combinations might increase the overall expressive possibilities of a work. bach, blech & blues [literally: bach, brass & blues] had the idea that it might be nice to extend the "colla parte" idea so that the instruments as a group might play alone. The vocal works Toccato, Nisi Dominus and Laudo Jerusolem, as well as the motets Jubilate Deo and the secular Ola! O che bon echo! have been presented here entirely by our brass players. The loss of the texts has been partially restituted with the help of appropriate articulation and phrasing designed to restore the original musical context to these works.
For the ensemble, the greatest challenge has been to recreate the musical thoughts of the past on modern instruments. In order to achieve this goal, we have called upon practically the entire gamut of instruments available to us, from high "g" trumpets to flugelhorns and low "f" trumpets to a tuba-like instrument called the cimbasso.

Text: Harry Ries/Till Weser
Translation: David Lawrence













bach, blech & blues


Bach, Vitali, Henze,
Bourgeois, Skrjabin, Viadana,
Botschinski, Maaß

published in 1994

DM 35,00 + shipping

Content:
1 Johann Sebastian Bach (1685-1750)
arr. Till Weser 		Präludium Nr. VII Es-Dur from
"Das wohltemperierte Clavier I" (1722)
2-10 Tomaso Anatonio Vitali (1663-1745) Sonata di Chiesa, op.4/11 (1701)
3-11 Hans Werner Henze (*1926) Sonata per otto ottoni (1983)
12 Johann Sebastian Bach (1685-1750)
(Schein / Bach / Weser) 		"Des Heil'gen Geistes reiche Gnad"
Choral-Collage (1992)
13 Derek Bourgeois (*1941) Concerto Grosso op.61 (1979)
14 Alexandr Nikolajewitsch Skrjabin Prélude II aus: 3 Préludes op.35 (1903)
15 Ludovico Grossi da Viadana
(1564­1645) 		Sinfonia "La Bergamasca" (1611)
16 Allan Botschinsky (1940) Jazz Antiphony (1985)
17-21 Torsten Maaß (*1967) Papa Hemingway's Cocktail-Party (1992)
 Indian Eliza, Manhattan, Jimmies Dream, Golden Cadillac, Caipirissima



Sound sample:    

 Henze, Rondino Henze, Rondino



About this CD:

The compositions on this CD are grouped in three parts like in a three-part-concert. The first part is in brackets with of one of the most important composer of his epoche: Johann Sebastian Bach. His "Praeludium No. VII" from "Das wohltemperirte Clavier I" contains this strenght which influences the whole part. The confrontation of the movements by Vitali and Henze explains one piece with each other and demonstrates the relationship of old music and contemporary music. The choral by Schein/Bach/Weser is closing the bracket but breaks it at the same time for showing the idea of bach, blech (brass) and blues.
The second part offers a contrast most possible: the very "brassy" "Concert Grosso" by Bourgeois and the "Prélude" by Skrjabin with its contemplative nature - in the center of this CD are the longest and the shortest piece, the loudest and softest sounds, the brightest and darkest colours.
In the third part we jump again between centuries with a simple idea: the antyphony and the music exulting with joy. The mounting of the "Sinfonia La Bergamasqua" composed by Viadana and the "Jazz Antyphopny" written by Allan Botschinsky may be unexpected but, it shows also the consistency of this idea till today. From this point it is easy to share the "Cocktail-Party" by Thorsten Maass.

Heinrich Schütz
Giovanni Gabrieli

Windsbacher Knabenchor
Karl-Friedrich Beringer
Ensemble bach, blech & blues

Rondeau Production ROP1019
www.rondeau.de

Content:   
1. Canzon per sonar duodecimi toni à 10
Aus der Geistlichen Chormusik 1648:		 5,28
2 Herr, auf dich traue ich
Motette Nr. 9, SWV 377Für fünfstimmigen Chor und Instrumente		 2,54
3. Die Himmel erzählen die Ehre Gottes
Motette Nr. 18, SWV 386
Für sechsstimmigen Chor und Instrumente		 4,32
4. Also hat Gott die Welt geliebt
Motette Nr. 12, SWV 380
Für fünfstimmigen Chor und Instrumente		 2,42
5. Tröstet, tröstet mein Volk
Motette Nr. 14, SWV 382
Für sechsstimmigen Chor und Instrumente		 3,46
6. Die mit Tränen säen
Motette Nr. 10, SWV 378
Für fünfstimmigen Chor und Instrumente		 3,39
7. Sonata octavi toni à 12 4,00
8. Ich bin die Auferstehung und das Leben
Parentationsmotette SWV 464 (1620)
für zwei vierstimmige Chöre und Basso continuo		  
9. Deutsches Magnificat
Meine Seele erhebt den Herren
SWV 494 (1671)
für zwei vierstimmige Chöre und Basso continuo		 7,33
10. Dialogo per la Pascua
Weib, was weinest du
SWV 443 (1624)
Motette für zwei Sopranstimmen, Alt, Tenor und Basso continuo		 5,12
11. Canzon VIII à 8 4,39
12. Canzon XVI à 12 3,41
13. Psalm 73
Herr, wenn ich nur dich habe
SWV 280 (1635) Teil 2 der „Musikalischen Exequien“
für zwei vierstimmige Chöre und
Basso continuo		 3,39
14. Psalm 119
Wohl denen, die ohne Tadel leben
SWV 482 (1671)
für zwei vierstimmige Chöre und Basso continuo		 4,48
15. Sonata „Pian e Forte“ à 8 4,08
16. Canzon XXVIII à 8 1,28