Quite by chance Georg Philipp Telemann became godfather for the title of this album. In the year of his 250th anniversary, the Pfeiffer Trumpet Consort concentrated on the oeuvre of one of the most prolific composers of music history. A variety of his compositions are still unpublished until today, an incentive for us to perform works which have never before been heard in this way. Telemann was an outspoken friend of the trumpet, who used this instrument in many of his pieces- whether it be his spiritual and secular oratorios, cantatas, orchestral works, chamber music, or solo concerts. Another special attraction for the ensemble was the adaption of music of the English renaissance originally written for keyboard instruments, which we consider suitable to present here with trumpets, organ, and timpani in an all new sound. Splendid arrangements emerged, giving the listener the chance to discover the richness of this centuries-old music in a new and entertaining way. The Pfeiffer Trumpet Consort presents with this album a varied program with many unknown treasures, making an important contribution to the Telemann Year.
George Frederic Handel's music has thrilled a wide audience for over 300 years. Today it is more popular than ever and you can find it almost everywhere: on opera stages, in churches and concerts, even on the TV broadcasts of the Football Champions League. Handel was celebrated throughout Europe during his lifetime, in Hamburg as well as in Italy - they called him "dear Saxony" (il caro Sassone) - and of course in England, his main place of work. For the Pfeiffer Trumpet Consort, which has dealt with Handel's work since it's foundation, it was only natural to design his fifth album on Cantate in the year of his 250th death exclusively with works by Baroque's most important composer besides Bach. In numerous works, the trumpets set the triumphal highlights, reason enough for the ensemble to make their own arrangements in the greatest possible variety. In addition to the main work - the "Fireworks Music" - a small insight into Handel's extensive oeuvre should be granted, for example with excerpts from the oratorio "Saul", the world-famous aria "Lascia ch'ío pianga" to the "Collection of Original Marches", a probably unique compilation of small cabinet pieces from Handel's operas, oratorios and instrumental music. - The Pfeiffer Trumpet Consort was founded by the brothers Joachim, Harald and Martin Pfeiffer together with the organist Peter Schumann at the Heiliggeistkirche in Heidelberg, initially with four trumpets. Mathias Müller, the timpanist, soon joined. When it comes to it's own arrangements, the Pfeiffer Trumpet Consort is particularly keen to combine the possibilities of today's instruments and baroque playing practice. The ensemble continues to appeal to a wide audience of audiences with great enthusiasm.
The Pfeiffer Trompeten Consort presents this lovely program of works by Telemann, Charpentier, Holborne, Frescobaldi, and more. Pfeiffer-Trompeten-Consort was founded by the brothers Joachim, Martin, and Harald Pfeiffer in 1985. They were soon joined by Dale Marrs, who has decisively put his stamp on the musical style of the group. Mathias Muller, tympanist, joined in 1992. Through Peter Schumann, organist, the group's musical home has always been the Heiliggeistkirche (Church of the Holy Spirit) in Heidelberg, Germany. Most of the works performed by the Pfeiffer-Trompeten-Consort, famous, as well as less-well-known pieces, are presented in new, festive arrangements, most of which (with the exception of a few original compositions) have been revised and adapted by members of the ensemble. These arrangements are unique in their style. It is always easy to recognize the concern for combining Baroque trumpet artistry with modern playing techniques. In addition to the original trumpet parts, the Pfeiffer-Trompeten-Consort tries to include as many of the other instrumental parts as possible, and thus to consider the musical compositions in their entirety. The possibilities of modem trumpets combined with the splendid sound of the instruments transform familiar compositions into a new listening experience.
Nobody has here a lasting place. This line from the spoken text of the Totentanz (Dance of Death) op. 12, No. 2 could serve as the motto for many of Distler’s sacred works. In particular, the motets of the “Geistli che Chormusik” (Sacred Choral Music) op. 12 deal pre dominantly with man’s transiency and his hope for salvation. Only three pieces, not included on the present re cording, deal with other themes. What significance does this all too familiar look at the here after, this “solicitation” for an escape from life have for us? Is this turning away from the world to be emulated, considering that it was set to music by someone who suffered badly from periodically recurring bouts of mental distress, by someone who was unable to deal with the political pressures in a time “in which God has apparently relinquished his power to the Evil One” (Distler), and in the end broke under the strain of this life? That it was not just a matter of inspiring hope in some thing unreachably distant can be seen in the text he wrote for his oratorio “Die Weltalter”: “The human being, in spite of all his faults, at the bottom of his heart still good and strong, summons the arms of the gods... Thus, humanity was saved once again from its imminent down fall through the mercy of the powers above, in that they granted mortals insight into the necessity of an unconditional reconciliation of human beings among them selves, between mankind and all living creatures, and above all between mankind and God.”
