- Concerto in B flat Major, for alto trombone
- Sonata à 3, for 2 violins, trombone & continuo
- Sonata quarta, for 2 instruments & continuo No. 4 in A minor (Sonata Concertate I/4)
- Concerto for trombone & string orchestra in D major
- Sonata à 3, for violin, trombone, bassoon & organ
- Per Ogni Sorte D'istromento Musicale, collection of instrumental pieces for 1-2 parts & continuo, Op. 22: Sonata à 4
- Concerto in E flat Major, for alto trombone
- Sonata à 3, for 2 violins, trombone (or bassoon) & continuo
Sackbuttby Jörgen Van Rijen
The repertoire for Baroque- and Classical-era trombone or sackbutt (or sackbut, or, least elegantly of all, sagbutt) as a solo instrument is not large, but it is larger than the rare performances of such works that have yet revealed; pieces like those heard on this disc require a different technique from that used for a modern trombone, and they must look technically intimidating indeed on music paper. The Baroque trombone has a gentler sound than its modern counterpart, somewhat resembling a horn. It requires much less breath than the modern trombone, enabling the player to produce a wide range of ornamentation. Examples abound in the first movement of the opening "Concerto for trombone and orchestra in B flat major" by Johann Georg Albrechtsberger, composed in 1769, and the work's discoverers initially questioned its designation as a trombone piece on the grounds that the solo line was too complex. Dutch trombonist Jörgen van Rijen shows otherwise in a smooth performance worked out in close collaboration with the Combattimento Consort Amsterdam, an early music group. Unlike so many orchestras oriented toward the Baroque, this ensemble has a nice grasp of the lightweight, mid-Classical idiom, and the contrast between the music's easygoing tone and the thorny quality of the solo part is very attractive. The other two concertos, one by Leopold Mozart (actually three recycled movements of a longer serenade) and one by the Viennese Georg Christoph Wagenseil, are less effective in this regard, but each is a compact, punchy piece that could enliven any concerto program. Interspersed among the three concertos are some little-known Baroque ensemble sonatas with trombone, and here again the players shine. The "Sonata à 3" by Johann Heinrich Schmelzer delightfully deploys a violin, bassoon, and trombone in constantly shifting relationships, delivered with just the right combination of reserve and wit. Save for some excessive key-clicking from the bassoon, the sound is fine. An offbeat disc that would make a good gift, or challenge, for brass players.
- Release Date:
- Channel Classics Nl
Performance CreditsJörgen Van Rijen Primary Artist
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I'd never heard of Van Rijen until my trombone professor mentioned him in a lesson. I bought his CD to increase my alto trombone recording collection and was AMAZED! This CD has standard alto pieces with orchestra and small ensembles. I ended up getting the sheet music for both the Albrechtsberger and the Wagenseil concertos because of this CD. His sound is clear and pure and what every trombonist should strive to sound like. This is a must have for any serious trombone player!