Johann Christian Bach (1735-82)

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A Bach Notebook for Trumpet

A Bach Notebook for Trumpet

Bach, C P E:

Keyboard Sonata in G minor, Wq. 65/17 (H47): Movement III

Bach, H:

So oft ich meine Tobackspfeife

Sonata II in F major

Bach, J B:

La Joye (from Suite No. 4 in C)

Bach, J C:

Amadis des Gaules: Overture

Bach, J C F:

Rondo Allegretto: Sonata, F.X/2

Bach, J C'ph:

Ich lasse dich nicht

Bach, J Ludwig:

Overture in G Major

Bach, J M I:

Ach, wie sehnlich wart' ich der Zeit

Bach, J S:

Prelude & Fugue in G major, BWV541

Cantata BWV68 'Also hat Gott die Welt geliebt'

Chorale Prelude BWV653b 'An Wasserflüssen Babylon'

Oboe d'amore Concerto in A major, BWV1055: Movement III

Cantata BWV85 'Ich bin ein guter Hirt': Seht, was die Liebe tut

Chorale Prelude BWV622 'O Mensch, bewein' dein' Sünde groß'

Cantata BWV172 'Erschallet, ihr Lieder'

Chorale Prelude BWV656 'O Lamm Gottes, unschuldig'

English Suite No. 2 in A minor, BWV807: Prélude

Cello Suite No. 6 in D major, BWV1012: Sarabande

arr. Fryer

Bach, W F:

Polonaise No. 10

Jonathan Freeman-Attwood’s ‘A Bach Notebook for Trumpet’ is a celebration of the music of the famous Johann Sebastian and ten other lesser-known Bachs, re-imagined for the combination of trumpet and piano.

Bach specialist Daniel-Ben Pienaar has arranged music from a great uncle, close cousins, distant cousins, and five sons, all related to the great J. S. Bach in a wholly unique recital programme.

Aesthetic passions drive the repertoire and performance choices as the duo explore vocabularies not usually associated with trumpet and piano chamber music: brushing up against ‘period’ gesture, ornamentation and articulation, whilst also co-referencing less fashionable inspirations from the past, including those judged ‘romantic’ in coloration, whether in the use of the pedal, rubati or articulation.

Jonathan is an established authority on Bach interpretation, particularly as it challenges and refocuses historical  perspectives on ‘performance practices’ and how recordings of the past can influence current priorities and tastes.

As a trumpet player and recording artist, Jonathan Freeman-Attwood has attracted plaudits from the press; his producing career has resulted in over 200 recordings and several awards including Diapasons d’Ors, eight Gramophone Awards and many nominations.

Jonathan broadcasts regularly for BBC Radio 3 and is in demand as an essayist for EMI, Warner, Deutsche Grammophon and other major record labels.

Daniel-Ben is active as a recitalist and chamber musician. He has received great acclaim for his interpretations of Bach’s keyboard music: ‘Pienaar produces a breathless, highly energised reading’ Gramophone on his Goldberg Variations.

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Bach, J C:

Quartet in A-major


Suite in G minor

Jadin, L:

Nocturne No. 3 in G minor


Concerto Grosso Op. 1 No. 11


Adagio & Fugue in C minor for Strings, K546



Sammartini, G B:

Symphony No. 10 in F-major

“…highly polished, stylish playing…” Gramophone Magazine, Awards Issue 2005

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Oboe Quartets & Quintets

Oboe Quartets & Quintets

Bach, J C:

Quartet in B flat, Op. 8, No. 6 for Oboe, Violin, Viola and Cello

Bach, J S:

Easter Oratorio, BWV249: Adagio (sinfonia)


Phantasy Quartet for Oboe & String Trio, Op. 2


Oboe Quartet in F major, K370


Quintet in G minor, Op. 39 for Oboe, Clarinet, Violin, Viola and Double-bass

Keisuke Wakao (oboe)

Members of the Boston Symphony Orchestra

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Old, New & Blue

Old, New & Blue

Holland Baroque meets Eric Vloeimans

Bach, J C:

Lamento 'Ach daß ich Wassers gnug hätte'

Bach, J S:

Ertödt uns durch dein Güte from Cantata 22


Paduan à 5

Lennon & McCartney:





Pavane: Mille Regretz


If ye love me


Mine own King am I & Joel

Tender Mercies

Sans Parure

Wet Feet

Eric Vloeimans (trumpet)

Holland Baroque Society

Something old, something new, something borrowed, something blue is the traditional English bridal rhyme, ending with 'and a silver sixpence in her shoe'. Five little things, often pieces of clothes, small presents or even heirlooms to bring good luck to the bride. Something old stands for tradition and family, something new for a hopeful future and forthcoming happiness, something borrowed reminds the bride of all her friends, always ready to advise and assist, and something blue symbolises the love and fidelity of the new couple. And finally a silver sixpence to bring wealth. Whether superstitious or not, the message is clear: don't marry on the spur of the moment, it needs preparation and consideration. Or don't you think so? Would you dare to just tie the knot, confidently taking everything with you without a second thought? Do you believe in love at first sight? You just know it will be fine...The match between Holland Baroque Society and Eric Vloeimans has a little of both. One of the marriage partners - leaving aside who is the bride and who the groom - stands firmly in the world of the Baroque but pricks up its ears to the sounds of today. The other is a magician on the trumpet, improvising, composing, listening and ever ready to learn. A marriage between two such different partners inevitably blurs boundaries and makes time flow. The trumpet, bandoneon and historical instruments merge to create a colourful present for all listeners, like the icing on a wedding cake.

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Zu Gast Im Blauen Haus

Zu Gast Im Blauen Haus

Trio sonatas from the Music Ciollection of Lucas Sarasin

Bach, J C:

Trio Sonata in D major 'Notturna'


Trio Sonata in D major, Op. 3 No. 6


Trio Sonata in E flat major, Op. 3 No. 4

Sammartini, G:

Trio Sonata in A major

Trio Sonata in D major

Stamitz, C:

Trio in G major

Stamitz, J:

Orchestral Trio in A major, Op. 1, No. 2

Der Musikalische Garten

The ensemble Der musikalische Garten creates a “fine garden filled with fresh and natural playing”, according to a review on the Bavarian Radio website. Just like there are different paths and unusual flowers to be discovered in any garden, so it is with the four musicians of the ensemble – Karoline Echeverri Klemm, Germán Echeverri Chamorro, Annekatrin Beller and Daniela Niedhammer – and their quest for new and unfamiliar musical directions. In addition to his comprehensive musical instrument collection, Lucas Sarasin (1730-1802) also maintained a substantial music library. A detailed inventory, which survives today, lists all the musical scores that were in Sarasin’s possession and meticulously categorizes then by genre, providing us with a unique insight into the music performed at the Blue House (home of Sarasin).

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