When we hear Trombone Unit Hannover’s second GENUIN release, we’re reminded of King Arthur and his round table: a dozen or so internationally award-winning young men with glistening metal and flaming audacity. But when the first notes of Handel’s Royal Fireworks overture blaze forth from the speakers, all we can think is “The world is sound!” Whether we’re fans of brass or ballet or orchestra: the virtuosity, drive, and glorious sound of these young knights of the trombone practically sweep us off our feet. Prokofiev’s Romeo and Juliet, Mussorgsky’s Pictures at an Exhibition, and Handel’s Fireworks music: who would ever want to hear these works again in a different version?

Helene Schuetz writes of this new release: “The inspiration for this recording and the choice of works came from the Gigue that ends J.S. Bach’s Partita in B flat major. When I first heard it in concert I knew immediately that this composition would work wonderfully for the harp. With the Gigue as my starting point, I began to arrange the Partita for harp. Of course, the instrument does have other tonal qualities than the piano – and, like any instrument, it has its technical limits when it comes to performance practice. When it comes to chromaticism, the mechanics of the harp are more limited than those of the piano, and one only has eight rather than ten fingers to play with. But it was precisely that challenge that fascinated me in the process of arranging the works: you first need to have a clear idea of the work's intention and to have formed your own view of its interpretation. The task then is to find ways and means to develop one's ideas and perhaps to achieve an even clearer interpretation than would have been possible on the original instrument. In this way, arranging the work for another instrument intensifies the performance, because the use of a new instrument allows other, new facets in the compositions to be illustrated and new tonal nuances achieved…”