Notes al programa
Leipzig / Dimecre 6 d'octubre de 1734
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Mentre camina pel carrer, Gottfried Reiche, Stadtpfeifer de Leipzig i principal trompetista de J. S. Bach, pateix un ictus i cau mort a prop de casa seva. La precisa crònica dels fets ens arriba a través d’una anotació al diari de J. S. Riemer, cronista de l’època. La narració afegeix que la causa d’aquest tràgic esdeveniment podria deure’s a l’esforç que el músic va realitzar el dia anterior, donades les exigències de la partitura i el fum de les torxes que va empassar-se per anar bufant i bufant la trompeta. La música en qüesti., irònicament, era força festiva: es tractava de la cantata BWV215 – més endavant, reutilitzada a l’Osanna de la Missa en si menor.
D’aquests fets prové la famosa anècdota segons la qual Bach, amb la seva copiosa escriptura per trompeta, va contribuir tràgicament a acabar amb la vida del seu magnífic trompetista. Però, tractant-se d’un instrument tradicionalment associat a funcions socials I formes musicals més aviat rudimentàries, com s’havia arribat a aquest nivell de floriment que va acabar amb la vida del malaurat Gottfried Reiche? On va començar tot plegat?
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Amid exhaustion, Reiche might have also asked himself these questions. In that feverish state, from smoke and effort, he might have begun to think of those who preceded him, of the great musicians who had made his instrument something he found wonderful enough to dedicate his life to…
In his initial thoughts, three young boys appeared, now 80 years ago companions at the Jesuit school in the city of Opava; Rittler (1637 – 1690), Vejvanovský (1639/40-1693), and the famous Biber (1644-1704).
All three extraordinary trumpeters, especially the second; all three good friends and all three decisive regarding the musical innovations of their instrument and the influence they exerted throughout Europe.
He had heard about the golden age of the trumpet in the city of Kroměříž, where the three musicians began working while still quite young at the court of the Prince-Bishop of Olomuc. Biber, with higher aspirations, would soon depart for Salzburg until the end of his days, but he was so good that they asked him to continue sending scores to Olomuc. In Salzburg, his exploits would still echo half a century later, when a genius who would eclipse them all was born. Although Reiche, no matter how prescient he was, could not know this.
Then he thought about the veteran G. Finger (1660 -1730), born in Olomuc indeed, and who had been fortunate to meet all those great musicians. They might have met when Finger returned from London around 1703, after spending over 20 years there. And perhaps Finger would have told him about an extraordinary musician, who died too young, but with whom they had shared knowledge and experiences. He believed his name was H. Purcell, but sometimes confused him with his brother Daniel…
As the minutes passed, his thoughts took him to Pezel, the great Christoph Pezel (1639-1694), the best trumpeter he had ever heard. Of him, he knew all the details; he knew that he had come to Leipzig around 1661 - undoubtedly many years ago - and stayed there until 1681, scarcely seven years before he arrived. They never got to work together, but he vividly remembered how he had been impressed as a child by the sound of that instrument so noble and powerful, but also capable of the most unlikely virtuosity.
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There he decided that this was what he wanted: to play like that musician, that instrument, and that music. And he achieved it, so much! These last years, especially since Herr Bach's arrival in the city, he felt he had worked too much and felt tired. But he had had fun, and nobody could take that away from him.
Tired of words and images, he let the works of these great musicians resound in his head, until slowly, he fell asleep...
Program
Heinrich Ignaz von Biber
· Sonata in C (3 trompetes, sacabutx, timpani, 2 oboès i orgue)
Gottfried Finger
· Sonata a 7 (3 trompetas, timpani, 2 oboes, continuo y órgano)
Pavel Josef Vejvanovsky
· Tam aris quam aulis n. 10 (trompeta, 2 oboes, continuo y órgano)
Heinrich Ignaz von Biber
· Tam aris quam aulis n. 10 (trumpet, 2 oboes, sackbut and organ)
Pavel Josef Vejvanovsky
· Sonata in g minor (trompeta, 2 oboes, continuo y órgano)
Johann Christoph Pezel
· Sonatina 69 (2 trumpets and organ)
Johann Sebastian Bach
· Gratias BWV 232 (3 trumpets, timpani, 2 oboes, sackbut and organ)
· Sinfonia BWV 249 (3 trumpets, timpani, 2 oboes, sackbut and organ)
· Vater unser BWV 737 (organ)
Philipp Jakob Rittler
· Ciaccona a 7
(2 trompetas, 2 oboes, continuo y órgano)
Heinrich Ignaz von Biber
· Sonata Sancti Polycarpi
(3 trumpets, sackbut, timpani, 2 oboes and organ)
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