vibrazioni consonanti frugoni frigo

vibrazioni consonanti frugoni frigoCONSONANT VIBRATIONS (CVLD212) Author: ARBAN, TOMASI, BOZZA, PENNEQUIN, JOLIVET, SAINT SAENS, FRANCAIS Performer: ALBERTO FRUGONI, IRENE FRIGO Available in: HD File, CD Production: Velut Luna Executive producer: Marco Lincetto Musical producer: Gianni Mascotti Recording & Mastering engineer: Marco Lincetto Editing engineer: Michele Sartor Design: limage Photo: Ilenco Tracmot Marketing: Francesco Pesavento Sales Manager: Moreno Danieli & Patrizia

CONSONANT VIBRATIONS (CVLD212)

Author: ARBAN, TOMASI, BOZZA, PENNEQUIN, JOLIVET, SAINT- SAENS, FRANCAIS
Performer: ALBERTO FRUGONI, IRENE FRIGO

Available in: HD File, CD

Production: Velut Luna
Executive producer: Marco Lincetto
Musical producer: Gianni Mascotti
Recording & Mastering engineer: Marco Lincetto
Editing engineer: Michele Sartor
Design: l’image
Photo: Ilenco Tracmot
Marketing: Francesco Pesavento
Sales Manager: Moreno Danieli & Patrizia Pagiaro
Press Agent: Emanuela Dalla Valle
World Wide Contacts: Cristiana Dalla Valle

Tracks

01 - Arban - Fantasie et variations sur -Le carnaval de Venise-
02 - Tomasi - Triptyque-Scherzo
03 - Tomasi - Triptyque-Largo
04 - Tomasi - Triptyque-Salterelle
05 - Bozza - Rustiques
06 - Bozza - Aria
07 - Pennequin - Morceau de concert
08 - Jolivet - Air de bravoure
09 - Saint-Saens - Fantasie en Mib magg
10 - Francaix - Sonatine-prélude
11 - Francaix - Sonatine-Sarabande
12 - Francaix - Sonatine-Gigue

Notes

Classical. Original compositons by: J. J. B. L. Arban, H. Tomasi, E. Bozza, J. G. Pennequin, A. Jolivet, C. Saint-Saens, J. Francais. Alberto Frugoni trumpet, Irene Frigo piano.
24 bit/88kHz digital recording made at MagisterAreaStudios, Preganziol on April 2, 3, 5, 2011

In the first decades of the 19th century, the introduction of the mechanism, which made the trumpet a chromatic instrument even in the low register, was the answer to the creative needs of composers of the time. This new invention radically changed the characteristics of the instrument, marking the beginning of a new musical approach. The first mechanism, invented by the Irishman Charles Clagget, was not successful: patented in 1788, it did not clearly explain how the valves were to be applied to the instrument. The model by horn player Heinrich Stoelzel, introduced by him in July 1814 in Berlin, had greater success. Four years later, Blühmel also patented his "Röhren-Schiebe Ventil or Schieberröhren", subsequently produced by the Schuster company; the first of these instruments built in Berlin was sent to Paris in 1826. There, F.G.A. Dauverneé (1800-1874), immediately recognizing the enormous potential of the new instrument, wrote the first method for the 3-valve trumpet (Méthode Théorique & Pratique de Cornet à Pistons ou à Cylindres, Paris 1840) accurately explaining its evolution and use. Following in Dauverneé's footsteps, in 1864, Joseph Jean-Baptiste Laurent Arban (1825-1889), his student and professor at the École Militaire, wrote the Grande Méthode complète pour cornet à pistons et de saxhorn, still considered one of the main reference texts for the trumpet. In this work, which aimed to propose a solo repertoire for trumpet and piano of French compositions, the B-flat trumpet with key mechanism and the C trumpet with piston mechanism were used, the latter now widely used in the French solo repertoire and in symphony orchestras. The former, with a softer sound, was introduced for the first time in military bands around 1830 and in orchestras 20 years later; the latter, with a brighter sound and precise articulation, was introduced in France later and has been continuously used for over a century, as well as played by many of the most important French trumpeters such as G. Mager, R. Voisin and R. Sabarich.