With Handel‘s Music to the Royal Fireworks, adapted for four trumpets, timpani and organ, the first recording of an unusually successful series started that has grown in the meantime to seven productions: festive trumpet sound with the Pfeiffer trumpet consort. Pfeiffer-Trompeten-Consort (The Pfeiffer Trumpet Consort = PTC) 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.

Reaching the heart of new music – this is what drives organist Wolfgang Kogert: “It is incredibly inspiring for me to know the people who created these compositions. As a result their music reaches me in a much more comprehensive way.” A great number of works have been premiered by Wolfgang Kogert and were dedicated to him trusting in his respectful approach, virtuosity and meticulousness. He spares no effort in visiting composers for joint rehearsals at their working place and in doing so he has gained a well-based overview of musicians from many countries, generations and styles over the past fifteen years. The internationally sought-after musician and teacher at the Mozarteum University in Salzburg has also observed that “music and composer often seem to form a unit – finding it’s expression in the whole personality, in the habitus, in the use of language and of course in the rehearsal work.”

For his album “Horizon” the Viennese-born organist of the traditional court chapel in his home-town has found a coherent series of pieces, a collection that has grown gradually. Without placing a work in the center these compositions created around the year 2000 are (in his view) successful examples of the diversity of today’s music and the tonal possibilities offered by the organ as an instrument. Wolfgang Kogert must find two criteria fulfilled when dealing with a composition: emotion and inspiration. “Does the piece evoke strong emotions in me at first glance and does it inspire me long term in the sense that this music won’t let me go?” With the exception of “Péan IV” by Jean-Pierre Leguay, all works are premiere recordings. In order to ensure the greatest possible authenticity, the performer worked in close artistic exchange with all composers throughout the entire process of creating the album.