clarincanto

[...] As a trumpeter, Williams uses techniques based on written 17th-century sources that describe the clarino as mirroring vocal production and eloquence... exciting a performance of overtly martial music as I’ve ever encountered for its accuracy and spirit, rather than any sonic bombast. [...]
Fanfare Magazine, May/June 2007

Program 1: Songs of Love and War

For Soprano, trumpet and Basso Continuo
Repertoire from Purcell, De la Roca, Duron, Melani

This is a dialogue between the clarino trumpet and the voice, enhanced by a colourful basso continuo. The trumpet in the 17th century enjoyed a transformation from it’s military and ceremonial role to that of a true art instrument. At this time in history, the trumpet was capable of „..sweetening his proudest sounds, Makes knights and ladies [alike] languish with joy, his martial talent put to love’s use.“ (‚Di Tromba tanto di Guerra’, Girolamo Fantini 1638).

The Theme of ‚Songs for Love and War’ illustrates the passion and clarity of the soprano with the surprising vocal capacity of the natural trumpet.

Program 2: Singet dem Herrn aller Welt

For Bass, 2 trumpets and Basso Continuo
Repertoire from Pezel, Krieger, Mayer

The combination of Bass singer and trumpet is found often in the Cantatas of J.S.Bach, and in the oratorios of Händel, using the trumpet as a symbol of power and illumination - associated with God and Kings. In these sacred chamber works by lesser known German baroque composers, this combination is shown to full advantage, the dialogue between the bass singer and the trumpets (several octaves higher).

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