GABRIELI FOR BRASS
Venetian Extravaganza ROYAL ACADEMY OF MUSIC AND JUILLIARD SCHOOL BR AS S REINHOLD FRIEDRICH
GABRIELI FOR BRASS
Venetian Extravaganza ROYAL ACAD EMY O F M USIC AN D J U I LLIAR D SCH OO L B R AS S R EI N H O LD FRI ED RICH conduc tor
1. GIOVANNI GABRIELI (c. 1554/7–1612) Canzon duodecimi toni a 10 (II) ................................................. 5:03 from Sacrae symphoniae, 1597 2. GABRIELI Sonata octavi toni a 12 .................................................................................................................................................................................... 4:15 from Sacrae symphoniae, 1597 3. PIETRO LAPPI (c. 1575–1630) Canzon undecima ‘La Serafina’ a 4 ..................................................................... 2:43 from Canzoni per sonare, 1608 4. GABRIELI Sonata pian e forte a 8 ................................................................................................................................................................................. 4:27 from Sacrae symphoniae, 1597 5. GABRIELI Canzon V a 7 .................................................................................................................................................................................................................... 3:06 from Canzoni et sonate, 1615 6. GABRIELI Canzon septimi toni a 8 (II) ................................................................................................................................................................... 3:12 from Sacrae symphoniae, 1597 7. GIROLAMO FRESCOBALDI (1583–1643) Canzon terza a due canti, 1634............................................ 4:55 8. GABRIELI Sonata XVIII a 14 ........................................................................................................................................................................................................ 6:21 from Canzoni et sonate, 1615 9. GABRIELI Canzon VIII a 8 ............................................................................................................................................................................................................. 4:26 from Canzoni et sonate, 1615 10. TIBURTIO MASSAINO (c. 1550–1609) Canzon No. 33 a 8 ................................................................................................ 3:00 from Canzoni per sonare, 1608
Cover Image: St Mark’s Square, Venice, looking towards the Basilica by Canaletto (1697–1768) By kind permission of the Trustees of Thirlestane Castle Trust
Recorded in St Jude-on-the-Hill, Hampstead Garden Suburb, on 6–8 February 2017 Recording Producer: Jonathan Freeman-Attwood Recording Associate Producer: Mark David Recording Engineer: Philip Hobbs Assistant Recording Engineer: Robert Cammidge Post-production: Julia Thomas Design: toucari.live
We are grateful for Susie Sainsbury’s generous support of the Royal Academy of Music’s recordings with Linn.
11. GABRIELI Canzon ‘La Spiritata’ a 4 ......................................................................................................................................................................... 2:50 from Canzoni per sonare, 1608 12. GABRIELI Canzon noni toni a 12 ....................................................................................................................................................................................... 3:42 from Sacrae symphoniae, 1597 13. GABRIELI Sonata XXI ‘con tre violini’ .................................................................................................................................................................... 4:41 from Canzoni et sonate, 1615 14. LODOVICO VIADANA (c. 1560–1627) Sinfonia ‘La Bergamasca’ a 8 ............................................................... 3:11 from Sinfonie musicali, 1610 15. GABRIELI Canzon III a 6 .................................................................................................................................................................................................................. 3:04 from Canzoni et sonate, 1615 16. GIOVANNI BATTISTA BUONAMENTE (c. 1595–1642) Sonata a 6 ....................................................................... 2:39 from Sonate et canzoni, 1636 17. GABRIELI Sonata XIX a 15 ............................................................................................................................................................................................................ 5:34 from Canzoni et sonate, 1615 18. CESARIO GUSSAGO (fl. 1599–1612) La Bottana a 4 ....................................................................................................................... 2:43 from Sonate a quattro, sei et otto, 1608 19. GABRIELI Sonata XX a 22 ............................................................................................................................................................................................................. 6:39 from Canzoni et sonate, 1615 Total Running Time: 76 minutes 3
FROM THE GRAND CANAL TO THE THAMES AND HUDSON AN INTRODUCTORY NOTE FROM THE PRODUCER The prospect of recording Giovanni Gabrieli’s finest instrumental music is enough to whet any appetite that delights in what the contemporary English traveller Thomas Coryat described during his visit to Venice in 1608 as ‘the best music that ever I did hear in all my life…so good, so delectable, so rare, so super excellent’. So, musing a while back on what should be our next collaboration, colleagues at the Royal Academy of Music and The Juilliard School identified an irresistible opportunity in this gloriously sonorous but profoundly challenging repertoire. There have been several outstanding Gabrieli recordings over the last forty or so years, on both old and modern instruments. The performances are characterized by a striking polarity between a ‘historical’ approach on sackbuts and cornetts at one end and the combined brass sections of major symphony orchestras on the other (who has not heard the Cleveland, Chicago and Philadelphia extravaganza on CBS Records?). The same canzon can almost seem like two different creations. One of the primary artistic and educational motivations for this project has been to discover a ‘Third Way’, celebrating each school’s long-admired brass pedagogy and traditions of fine modern-instrument playing whilst also introducing aspects of ‘period style’ – matters of balance, tuning, perspective, gesture, ornament and texture – which, in 2017, have become a part of any versatile performer’s creative armoury. Such is the friendship between these two transatlantic schools that we all waited eagerly to observe a thrilling process of discovery in each other’s company. This is precisely what happened: 4
the players met and rehearsed in London, having been prepared beforehand for the challenges that this music uniquely throws up. As a happy spectator, what I delighted in most – apart from the ‘product’ itself – was an exacting, evolving synergy between different players (American, British, Colombian, Chinese, Spanish, French and Italian), experiences and traditions towards a spontaneous ‘house style’. This included full exposure to the world of embellishment, meantone tuning to the organ, identifying appropriate tempo relationships, cadential and dynamic variety as well as relishing, together, how the virtuoso filigree of the liberated instrumentalist must never forfeit the long lines of vocal polyphony upon which Gabrieli builds his inscrutable edifices. It was all guided by the astonishing, holistic direction of Reinhold Friedrich. Through a process of unyielding discovery, imagination and rigour – not to mention a call on stamina such as these students had rarely experienced – the various groups (always a deliberately changing mix of players from both institutions from piece to piece) were gently let loose to make their collective mark on the music. In a demanding and intensive recording schedule in the vast space of St Jude’s, Hampstead, these splendid works revealed their exotic wonders, from exquisite and intimate chamber mosaics to the most burnished and stupefying polychoral tapestries. Apart from the remarkable students, I should like to thank President Joseph Polisi and Provost and Dean Ara Guzelimian from The Juilliard School and all those involved in the preparation, from both institutions, especially Mark David and Ray Mase, alongside the exceptional administrative teams at both schools and our fine recording and editing colleagues at Linn. © Jonathan Freeman-Attwood, 2017 Principal, Royal Academy of Music 5
CEREMONY, PRESTIGE AND SPLENDOUR Over 400 years since they were first heard, the works of Giovanni Gabrieli and his northern Italian contemporaries remain some of the most compelling and attractive instrumental music we have. Venice, where Gabrieli was born around 1554, was at its political and cultural zenith in the sixteenth century. Complementing the magnificence of the city’s incomparable setting, with its splendid architecture and art, music was an equally forceful – and more exportable – expression of Venice’s power, wealth and prestige. At the centre of the city’s musical life was the Basilica di San Marco, and Venice’s musical rise can be traced over the course of the century in the series of high-profile appointments to the position of maestro di cappella at the Basilica, beginning with the famous Flemish composers Adrian Willaert in 1527 and Cipriano de Rore in 1563. It was their successor, Gioseffo Zarlino, who founded an instrumental ensemble at St Mark’s that performed at Mass and Vespers, and on other important occasions. The flourishing of instrumental music at the Basilica in the last third of the sixteenth century was, however, due to two other factors: the musical direction of two outstanding organist-composers, uncle and nephew Andrea and Giovanni Gabrieli, and the development of a large ensemble of virtuoso instrumentalists under their care. Although both Gabrielis had a cosmopolitan education, working and studying at different times with Lassus in Munich in addition to their local Venetian training, most of their compositions are, uniquely, associated with just one building. Indeed, it could be said that the architecture of San Marco is hardwired into their music, with its practice of cori spezzati (‘split choirs’) involving the placement of voices and instruments in different galleries throughout the church. If Andrea, who was organist at St Mark’s from 1566, developed an unmistakable Venetian ceremonial style, then it was Giovanni, 6
appointed organist after his uncle’s death in 1585, who took particular advantage of the virtuosity of his players, as well as the sizeable forces at his disposal. Giovanni’s compositions range from three to thirty-three parts and were often written for voices, cornetts, violins, trombones and bassoons. The practicalities of performing cori spezzati called for distributed musical leadership, and the virtuoso cornettists who, as capo dei concerti, led the instrumental ensemble – Girolamo Dalla Casa, and from 1601 Giovanni Bassano – must be counted as a direct inspiration for the resplendent style of Giovanni Gabrieli’s music. The close affiliation between Andrea and Giovanni Gabrieli is apparent in publications that appeared after Andrea’s death. Their works appear side by side in Concerti…continenti musica di chiesa, madrigali & altro (1587) and Giovanni is described in the preface as ‘little less than a son’ to Andrea. Similarly, organ works by Giovanni are featured in Andrea’s Intonationi d’organo…libro primo (1593) and Ricercari…libro secondo (1595). In his later years, Giovanni Gabrieli’s reputation was international. He was so highly regarded that several north European princes sent their composers to Venice in order to learn from him. Most famously, Heinrich Schütz took leave from the Dresden court, studying with him for three years until Giovanni’s death in 1612. So it was in Germany that Giovanni’s influence was most strongly felt, and where his musical legacy was most obviously perpetuated. The first complete collection of Giovanni’s works was reprinted in Nuremberg in 1598 and 1601, and the fruits of Schütz’s Venetian sabbatical are clear in the polychoral works of his Psalmen Davids (1619), a publication that was heavily influenced by Giovanni’s compositional style. Giovanni Gabrieli’s best-known instrumental music appeared in two publications: Sacrae symphoniae (1597) and the posthumous Canzoni et sonate (1615). Canzon noni toni a 12, from the 1597 collection, features three 7
choirs of four ‘voices’ with irregular phrases and sequences. Sonata octavi toni a 12 and Canzon septimi toni a 8 (II) are for two equal choirs of instruments, whilst Canzon duodecimi toni a 10 (II) and Sonata pian e forte a 8 contrast high and low choirs. In the former, for two five-voice choirs, a recurring refrain is interspersed with florid solo passages, presaging the later development of the Baroque concerto; in the latter, for two four-voice choirs, Gabrieli pioneers the use of dynamics (loud and soft) to articulate his musical structure. From the 1615 collection comes Sonata XIX a 15 for triple choir, characterized by virtuosic, florid writing in the upper voices, and Sonata XX a 22 which, in twenty-two parts, is Gabrieli’s largest instrumental work. A slow theme is heard throughout Sonata XVIII a 14, a piece notable for its unusual ending. Harmonic peculiarities also appear in Canzon VIII a 8, in a refrain that occurs no fewer than fourteen times, and in the diminished intervals that characterize themes in Canzon III a 6 and Canzon V a 7. The more malleable expressive vocabulary of these canzons is also found in the final work of the 1615 collection: Sonata XXI, originally for three violins. Venice may have been at the pinnacle of Italian musical life in the decades around 1600, but the combination of vocal and instrumental music in the liturgy at San Marco was not atypical of practice in other parts of the Italian peninsula. A musical network of pupil-teacher and professional relationships also facilitated the rapid spread of new ideas, so the conditions were in place for composers working elsewhere in Italy to produce works worthy of a place beside Gabrieli’s. Such a network can be demonstrated by the works of other composers featured on this album. Girolamo Frescobaldi (1583–1643) was another northern Italian organist and keyboard composer whose influence spread to Germany: J. S. Bach studied his works some sixty years after Frescobaldi’s death. Born in Ferrara (just over fifty miles from Venice), Frescobaldi became organist at San Pietro in Rome and returned 8
there towards the end of his life, after six years as organist at the Florentine court of Grand Duke Ferdinando II de’ Medici from 1628. Frescobaldi’s canzons influenced the instrumental music of the violinist Giovanni Battista Buonamente (c. 1595–1642). Buonamente was born in Mantua, and during his teenage years there the post of maestro di cappella at the cathedral was held by Lodovico Viadana (c. 1560–1627). Viadana, who composed mostly sacred vocal music, was maestro di cappella at the convent of San Luca, Cremona, in 1602. Tiburtio Massaino (c. 1550–1609) was born in Cremona in the middle of the sixteenth century, returning there towards the end of the century, and was maestro di cappella at Lodi from 1600 to 1608. In 1609 Massaino returned to Piacenza – having spent some time there in the 1590s – to become maestro di cappella at the cathedral. Meanwhile, just thirty miles from Cremona, at the church of Madonna della Grazie in Brescia, worked Pietro Lappi (c. 1575–1630) as maestro di cappella and Cesario Gussago (fl. 1599–1612) as organist. Both composed instrumental and vocal music for church use, and Gussago wrote double-choir motets comparable to those of Gabrieli. The expansive, majestic sonorities of Massaino’s Canzon No. 33 echo the splendour of Gabrieli’s masterpieces. Written specifically for eight trombones, it was published in Alessandro Raverii’s Canzoni per sonare con ogni sorte di stromenti (Venice, 1608). This collection of thirty-six canzons for four to eight players also includes Gabrieli’s Canzon ‘La Spiritata’ and Lappi’s Canzon undecima ‘La Serafina’ which, like Gussago’s La Bottana, uses two upper and two lower voices imitatively and in pairs. Although these three works are spritely, ‘La Spiritata’ and ‘La Serafina’ incorporate syncopated, dance-like sections in triple time, whereas La Bottana – from Gussago’s Sonate a quattro, sei et otto, also published in Venice in 1608 – remains in duple time throughout. Works by Frescobaldi also appear in the Raverii publication. However, Canzon terza a due canti, memorable for its striking chromaticism, was printed in 9
Rome in 1628 and only later in Venice in 1634. Buonamente’s Sonata a 6 was published in his own Sonate et canzoni…libro sesto (Venice, 1636) and therefore likely to have been composed during his final post at Basilica di San Francesco d’Assisi, where he was violinist in 1633 and maestro di cappella the following year. Like Viadana, he was known to write music inspired by popular music of the time, including the harmonic progression known as the romanesca. ‘La Bergamasca’ by Viadana is based on the chordal sequence of a rustic dance from Bergamo and can be found in his only instrumental publication, Sinfonie musicali (Venice, 1610). This repertoire continues to be as captivating and challenging today as ever before. Venetian pitch of the time was higher than it is today and is standardized by contemporary historical performers as A = 465Hz, approximately a semitone higher than modern concert pitch. Though performed and recorded here at A = 440Hz in order to accommodate modern rather than historic brass instruments, this project was played in quarter comma meantone – a common historical tuning system – rather than in equal temperament. Suggested ornamentation was notated in the scores by a historically informed brass specialist – including examples from the extemporization treatises of Dalla Casa and Bassano, both directly associated with Gabrieli – in order to inspire the performers to improvise their own embellishments. These processes result in a unique fusion of modern conventions with historical performance practices, mirroring the unique fusion of the old and the new in the music itself. This joint undertaking between two of the world’s leading music institutions is a fitting testament to the enduring masterpieces by Gabrieli and his northern Italian counterparts, from the height of the late Renaissance era. © Stephanie Dyer, 2017 10
ROYAL ACADEMY OF MUSIC/JUILLIARD SCHOOL COLLABORATIVE SERIES This special friendship began in 2004, in the company of Sir Elton John, when an orchestra made up of students from the Academy and Juilliard performed a series of concerts with our famous Junior Academy Exhibitioner, at New York City’s Radio City Music Hall. That same year, in both London and New York, a combined ensemble showcased repertoire by Academy and Juilliard composers, including Nico Muhly, leading to an album recording. The following year the two institutions came together again under the baton of Sir Colin Davis in a BBC Proms concert that was described by BBC Radio 3 as ‘a transatlantic musical collaboration of the highest level’. In 2009 the Academy’s elite string ensemble, the Sainsbury Royal Academy Soloists, was joined by top string players from Juilliard and soloists from both institutions at Wigmore Hall, and, next, Academy students joined in with Juilliard’s ChamberFest, the School’s marathon chamber music event at Lincoln Center. The next major event was the joint commission of the opera Kommilitonen! by the late Sir Peter Maxwell Davies, who was Visiting Professor of Composition at the Academy. David Pountney directed the premiere performances at the Academy in March 2011 and at Juilliard in November of that year. The New York Times wrote of an ‘energy and a dynamism that outclassed anything seen on the stage of a British conservatory in living memory’. The following year John Adams conducted a joint symphony orchestra at Lincoln Center Festival and the BBC Proms in a programme that included his City Noir and Respighi’s Feste Romane. In 2015, these conservatoires joined with Masaaki Suzuki and Rachel Podger in a Bach tour of New York, Boston, Leipzig (in St Thomas’s as part of the annual Bachfest) and London. 11
ROYAL ACADEMY OF MUSIC AND JUILLIARD SCHOOL BRASS GABRIELI Canzon duodecimi toni a 10 (II) Trumpet I Trumpet II Trumpet III Trumpet IV Trumpet V Trumpet VI Trombone I Trombone II Trombone III Bass Trombone Organ
Paul Bosworth Cameron Johnson Federico Montes Samuel Pierce Jason Owen Lewis Maximilian Morel Katie Smith Emily Mitchell Jacob Mezera Ricardo Pedrares Patiño Alistair Welsh Josh Cirtina Benedict Williams
GABRIELI Sonata octavi toni a 12 Choir I Choir II
Trumpet I Trombone I Trombone II Trombone III Trombone IV Bass Trombone Trumpet I Trombone I 12
Anthony Limoncelli Elliot Pooley Jacob Mezera Brian Wendel Benny Vernon Alexander Kelly Samuel Pierce Ricardo Pedrares Patiño
Trombone II Trombone III Trombone IV Bass Trombone Organ
Andrew McCoy Alistair Welsh Jamie Tweed Matt Winter Benedict Williams
LAPPI Canzon undecima ‘La Serafina’ a 4 Trumpet I Trumpet II Trombone I Trombone II Organ
Katie Smith Paul Bosworth Federico Montes Elliot Pooley Ricardo Pedrares Patiño Benedict Williams
GABRIELI Sonata pian e forte a 8 Choir I Trumpet I Trumpet II Trumpet III Trombone I Choir II Trombone I Trombone II Trombone III Bass Trombone Organ GABRIELI Canzon V a 7 Trumpet I Trumpet II Trumpet III Trumpet IV
Jason Owen Lewis Maximilian Morel Katie Smith Anthony Limoncelli 13
Tom Freeman-Attwood Federico Montes Emily Mitchell Elliot Pooley Ricardo Pedrares Patiño Brian Wendel Jamie Tweed Matt Winter Benedict Williams
Trombone I Trombone II Trombone III Organ
Andrew McCoy Brian Wendel Benny Vernon Benedict Williams
GABRIELI Canzon septimi toni a 8 (II) Choir I Trumpet I Trumpet II Trombone I Trombone II Choir II Trumpet I Trumpet II Trombone I Trombone II Organ
Katie Smith Anthony Limoncelli Elliot Pooley Josh Cirtina Maximilian Morel Jason Owen Lewis Huw Evans Benny Vernon Benedict Williams
FRESCOBALDI Canzon terza a due canti Trumpet I Trumpet II Bass Trombone Organ
Maximilian Morel Jason Owen Lewis Alexander Kelly Benedict Williams
GABRIELI Sonata XVIII a 14 Choir I Choir II
Trumpet I Trumpet II Trombone I Trombone II Bass Trombone Trumpet I Trumpet II 14
Katie Smith Federico Montes Andrew McCoy Elliot Pooley Alexander Kelly Maximilian Morel Tom Freeman-Attwood
Trombone I Trombone II Bass Trombone Choir III Trombone I Trombone II Trombone III Bass Trombone Organ
Huw Evans Ricardo Pedrares Patiño Josh Cirtina Jacob Mezera Alistair Welsh Jamie Tweed Matt Winter Benedict Williams
GABRIELI Canzon VIII a 8 Choir I Trumpet I Trumpet II Trumpet III Trombone IV Choir II Trombone I Trombone II Trombone III Bass Trombone Organ MASSAINO Canzon No. 33 a 8 Trombone I Trombone II Trombone III Trombone IV Trombone V Trombone VI Trombone VII Bass Trombone Organ
Brian Wendel Huw Evans Jacob Mezera Andrew McCoy Ricardo Pedrares Patiño Alistair Welsh Benny Vernon Josh Cirtina Benedict Williams 15
Anthony Limoncelli Jason Owen Lewis Emily Mitchell Jacob Mezera Alistair Welsh Ricardo Pedrares Patiño Alberto Belzunegui Moreno Alexander Kelly Benedict Williams
GABRIELI Canzon ‘La Spiritata’ a 4 Trumpet I Trumpet II Trombone I Bass Trombone Organ
Paul Bosworth Anthony Limoncelli Jacob Mezera Alexander Kelly Benedict Williams
GABRIELI Canzon noni toni a 12 Choir I Trumpet I Trumpet II Trombone I Trombone II Choir II Trumpet I Trumpet II Trombone I Bass Trombone Choir III Trumpet I Trumpet II Trombone I Bass Trombone Organ GABRIELI Sonata XXI ‘con tre violini’ Trumpet I Trumpet II Trumpet III Trombone Organ
Paul Bosworth Anthony Limoncelli Katie Smith Elliot Pooley Benedict Williams 16
Paul Bosworth Federico Montes Anthony Limoncelli Huw Evans Laura Agut Maximilian Morel Tom Freeman-Attwood Jacob Mezera Matt Winter Samuel Pierce Emily Mitchell Brian Wendel Alexander Kelly Benedict Williams
VIADANA Sinfonia ‘La Bergamasca’ a 8 Choir I Trumpet I Trumpet II Trombone I Trombone II Choir II Trumpet I Trumpet II Trombone I Bass Trombone Organ GABRIELI Canzon III a 6 Trumpet I Trumpet II Trombone I Trombone II Trombone III Bass Trombone Organ
Emily Mitchell Federico Montes Andrew McCoy Ricardo Pedrares Patiño Benny Vernon Matt Winter Benedict Williams
BUONAMENTE Sonata a 6 Trumpet I Trumpet II Trombone I Trombone II Trombone III Bass Trombone Organ
Paul Bosworth Cameron Johnson Brian Wendel Ricardo Pedrares Patiño Matt Winter Josh Cirtina Benedict Williams
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Federico Montes Tom Freeman-Attwood Ricardo Pedrares Patiño Jamie Tweed Cameron Johnson Samuel Pierce Jacob Mezera Alexander Kelly Benedict Williams
GABRIELI Sonata XIX a 15 Choir I Trumpet I Trombone I Trombone II Trombone III Bass Trombone Choir II Trumpet I Trombone I Trombone II Trombone III Bass Trombone Choir III Trumpet I Trombone I Trombone II Trombone III Bass Trombone Organ GUSSAGO La Bottana a 4 Trumpet I Trumpet II Trombone I Bass Trombone Organ
Cameron Johnson Maximilian Morel Alistair Welsh Matt Winter Benedict Williams
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Anthony Limoncelli Jacob Mezera Andrew McCoy Ricardo Pedrares PatiĂąo Alexander Kelly Jason Owen Lewis Brian Wendel Benny Vernon Jamie Tweed Josh Cirtina Tom Freeman-Attwood Huw Evans Elliot Pooley Laura Agut Matt Winter Benedict Williams
GABRIELI Sonata XX a 22 Choir I Trumpet I Trombone I Trombone II Trombone III Trombone IV Bass Trombone Choir II Trumpet I Trombone I Trombone II Bass Trombone Choir III Trombone I Trombone II Trombone III Bass Trombone Choir IV Trumpet I Trumpet II Trombone I Trombone II Choir V Trumpet I Trombone I Trombone II Trombone III Organ
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Federico Montes Benny Vernon Brian Wendel Alberto Belzunegui Moreno Ricardo Pedrares PatiĂąo Josh Cirtina Cameron Johnson Andrew McCoy Laura Agut Alexander Kelly Huw Evans Jacob Mezera Stephanie Dyer Matt Winter Katie Smith Emily Mitchell Alistair Welsh Xiao Yang Tom Freeman-Attwood Elliot Pooley Jamie Tweed Christopher Brewster Benedict Williams
credit: Liz Williams
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ROYAL ACADEMY OF MUSIC Since its foundation in 1822 the Royal Academy of Music has had an inestimable impact on musical life, both in the United Kingdom and abroad. The music profession is permeated at all levels with Academy alumni, including classical giants Sir Simon Rattle and Sir Harrison Birtwistle and pop stars Sir Elton John and Annie Lennox. Every year talented young musicians from over fifty countries come to study here, attracted by renowned teachers and a rich culture that broadens their musical horizons, develops their professional creativity, and fosters their entrepreneurial spirit. Students benefit from an unrivalled calendar of concerts, operas, musical theatre shows and other events, in which they work regularly with leading practitioners. In 2012 and 2015, the Academy and New York’s Juilliard School joined forces in sensational concerts at Lincoln Center, Boston Early Music Festival, Leipzig Bach Festival, BBC Proms and the Academy’s own Duke’s Hall. All these facets of Academy life contribute to what The Guardian has described as the Academy’s ‘cosmopolitan confidence that is in tune with the global music industry’.
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The Academy’s Museum is home to one of the world’s most significant collections of instruments and artefacts. These include stringed instruments by Stradivari, Guarneri and the Amati family, manuscripts by Purcell, Handel and Vaughan Williams and an incomparable and growing collection of performing materials that belonged to eminent musicians. As the Academy approaches its bicentenary it goes from strength to strength, and regularly tops league tables for teaching and research. Nicola Mutton Director of Artistic Planning Liz Williams Senior Concert and Orchestra Manager Stuart Garden Orchestral Librarian Kathleen Rule Concerts and Programmes Administrator
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THE JUILLIARD SCHOOL Founded in 1905, The Juilliard School is a world leader in performing arts education. Juilliard’s mission is to provide the highest calibre of artistic education for gifted musicians, dancers and actors from around the world so that they may achieve their fullest potential as artists, leaders and global citizens. Located at Lincoln Center in New York City, Juilliard offers undergraduate and postgraduate degrees in dance, drama (acting and playwriting) and music (classical, jazz, historical performance and vocal arts). Currently more than 800 artists from forty-four states and forty-two countries are enrolled at The Juilliard School, where they appear in over 700 annual performances in the School’s five theatres; at Lincoln Center’s Alice Tully and David Geffen halls and at Carnegie Hall; as well as other venues around New York City, the country, and the world. Beyond its New York campus, Juilliard is defining new directions in global performing arts education for a range of learners and enthusiasts through The Tianjin Juilliard School and K-12 educational curricula. Adam Meyer Associate Dean and Director, Music Division Joseph Soucy Assistant Dean for Orchestral Studies Joanna K. Trebelhorn Director of Orchestral and Ensemble Operations Lisa Dempsey Kane Principal Orchestra Librarian
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REINHOLD FRIEDRICH Since winning second prize at the ARD International Music Competition in Munich in 1986 Reinhold Friedrich has appeared on all important stages of the national and international music scene. His repertoire ranges from the latest solo compositions to ancient music on historical original instruments, including the Baroque and keyed trumpets. In 1982 he made his debut at the Berliner Festwochen, performing Luciano Berio’s Sequenza X and in 1994 at the Wiener Musikverein playing Joseph Haydn’s Trumpet Concerto on the keyed trumpet. Since its founding in 2003 Reinhold Friedrich has been Principal Trumpet of the Lucerne Festival Orchestra and Artistic Director of the Lucerne Festival Orchestra Brass Ensemble. Reinhold Friedrich has played with the Capriccio Barockorchester, Orchestre des Champs-Élysées and Vienna Academy on historical instruments, and has premiered works by Wolfgang Rihm, Sir Peter Maxwell Davies, Rebecca Saunders, Hans Werner Henze, Nicolaus A. Huber and Adriana Hölszky. The concertos Eirene by Herbert Willi and Nobody knows de trouble I see by Bernd Alois Zimmermann (ECHO Klassik Award-winning performance) hold an important place in his core repertoire. As a solo player Reinhold Friedrich has performed with such ensembles as the Berliner Barock Solisten, La Stagione Frankfurt, Wiener Kammerorchester, Kammerorchester Basel, Bamberger Symphoniker, Wiener Symphoniker, Orchestre philharmonique de Radio France, Deutsches Symphonie-Orchester Berlin, Royal Concertgebouw Orchestra, BBC Symphony Orchestra and all orchestras of the ARD. These performances were conducted by, amongst others, Claudio Abbado, Semyon Bychkov, Dennis Russell Davies, Peter Eötvös, Reinhard Goebel, Martin Haselböck,
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credit: Rosa Frank
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Philippe Herreweghe, Christopher Hogwood, Eliahu Inbal, Kristjan Järvi, Neeme Järvi, Dmitrij Kitajenko, Sir Neville Marriner, Ingo Metzmacher, Jonathan Nott, Kazushi Ono and Hans Zender. His recent partners in the field of chamber music are Eriko Takezawa (piano), Robyn Schulkowsky (percussion), Martin Lücker and Sebastian Küchler-Blessing (organ). Since its foundation in 2013 he has performed in the ensemble L’éventail de Jeanne with Claudio Bohórquez (cello), Sascha Armbruster (saxophone) and Eriko Takezawa. Numerous recordings give evidence of his comprehensive work. The recording with the Göttinger Symphonie Orchester under the baton of Christoph-Mathias Mueller, entitled Russian Trumpet Concertos, has been awarded an ECHO Klassik Award. In 2016 Reinhold Friedrich recorded Bach’s Brandenburg Concerto No. 2 with the Berliner Barock Solisten, conducted by Reinhard Goebel. Reinhold Friedrich is professor in Karlsruhe, Germany, and Hiroshima, Japan, as well as Visiting Professor of Trumpet at the Royal Academy of Music. He regularly holds masterclasses all over the world. His former students are now professors at the universities of Hannover, Freiburg, Essen, Detmold and Budapest, as well as members of renowned orchestras in Berlin, Munich, Paris, Hamburg, Stuttgart, Moscow, Tokyo and Rio de Janeiro.
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