David L Scott | A Mighty Fortress - Dialogues for Trumpet and Organ

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A Mighty Fortress - Dialogues for Trumpet and Organ

by David L Scott

From Baroque to Contemporary, a powerful yet meditative collection of conversations for trumpet and organ.
Genre: Classical: Organ
Release Date: 

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  Song Share Time Download
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1. A Mighty Fortress Is Our God
6:05 $0.99
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2. Evocations: Introduction
1:43 $0.99
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3. Evocations: Evocation I
3:47 $0.99
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4. Evocations: Evocation II
4:49 $0.99
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5. Adagio in G Minor
8:06 $1.29
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6. Trois Prieres Sans Paroles: I. Moderato
3:26 $0.99
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7. Trois Prieres Sans Paroles: II. Andantino
3:31 $0.99
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8. Trois Prieres Sans Paroles: III. Allegretto
3:47 $0.99
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9. Thoughts
6:28 $0.99
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10. Soliloquy
7:09 $0.99
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11. Elegy
4:10 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
A Mighty Fortress -- Dialogues for Trumpet and Organ
David L Scott, trumpet; Alison Luedecke, organ
The Dialogues

James Stephenson (b. 1969) A Mighty Fortress “a joyful setting for trumpet and organ” Ein feste Burg

Stephenson is a composer with a background in trumpet performance. He holds a high esteem for the musical giants of the past and includes one of them here: even listeners who have never set foot in a church are likely to be familiar with A Mighty Fortress. Originally written by Protestant reformer Martin Luther around the turn of the fourteenth century, it was intended to usher in a new era of sacred music in which all- including the congregation- could participate. Stephenson’s setting aligns most with the chorale preludes of Bach. This setting introduces the melody, then elaborates on fragments before merging them once more to shed new light on the subject. The organ and trumpet are equals here, passing fragments back and forth in a jubilant and joyous conversation.

Jean Francois Michel (b. 1957) Evocations

Although the word “evocation” commonly connotes an emotional response, a religious context might suggest the invoking of a spiritual presence. This, too, may result in an emotional response. Michel cleverly weaves a tapestry of textural moods from the serene to the jubilant. The introduction, or invocation, invites the listener for a period of contemplation with a dramatic quasi-fanfare that subdues to the more serene character of the first evocation, which is inspired by some of the earliest Gregorian chants known today. The second evocation- which includes a fragment of a J.S. Bach cantata- continues the theme of religious music, with an exhilarating melody that returns to the contemplative space in which the piece began.

Tomaso Albinoni (1671-1751), arr. Remo Giazotto (1910-1998) Adagio in G Minor

There is still uncertainty about who composed this famous Adagio. It is attributed in part to 18th century Baroque composer Tomaso Albinoni, but the extent to which 20th century musicologist and biographer Remo Giazotto composed a setting of Albinoni’s fragment is a continued matter of debate. What remains uncontested is the piece’s serene and powerful mourning. Slow and stately descending lines in the organ impress the weight of grief, while sigh figures and soaring lamenting melodies in the trumpet reach ever new emotional heights.

Jean Michel Damase (1928-2013) Trois Prières sans Paroles (Three Prayers without Words)

Damase was a late twentieth century French composer, and despite the diversification of musical styles that characterized the twentieth century, his work still exhibits a strong influence of the French tradition that preceded him. The drifting trumpet melody of the first prayer over an oscillating organ is strongly evocative of the fluid melodies and unconventional harmonies of Debussy. The ascending and striving melodies of the second prayer are echoed in the organ, which supports the trumpet with the same unconventional harmonies. The final prayer is the liveliest and the most joyful of the three, with a lilting meter that lends it a warm character.

Anthony Plog, (b. 1947) Thoughts

In addition to being an acclaimed American composer, Plog also is a highly accomplished trumpet player- both of which are strongly apparent in Thoughts. Written to be performed either on trumpet or its more mellow-toned cousin the flugelhorn, the choice of flugelhorn for this recording invites the listener to feel the peace present within its rich timbre. The opening and closing monologue invoke deep contemplation referenced in the title. The faster middle section is filled with a playful dialogue between the flugelhorn and the organ, with the different timbral colors of the organ and flugelhorn mixing into a colorful weaving of melody and harmony. The return to the calm opening material with solo flugelhorn is thoughtfully joined by the organ as the conversation melts into a peaceful repose.

Erik Morales (b. 1966) Soliloquy

Many listeners will be familiar with the soliloquy, as they are defined simply by the act of conversing with oneself out loud and usually without any listeners. Their inherently contemplative nature is readily apparent Morales’ soliloquy as well. Very loosely structured in a binary form, the original disjointed motif is presented in the organ over rather foreign harmonies before being taken over by the trumpet, which soars in an almost triumphant arch. The following dialogue between the trumpet and organ is fantasia-like in its organic development that mirrors the internal conversation of a soliloquy. The first theme returns in a much more subdued and settled manner towards the end of the piece before swelling to a dramatic conclusion.

Oistein Sommerfeldt (1919-1994) Elegy

Sommerfeld was an important figure in post-World War II Norwegian music. He studied under Nadia Boulanger- the most influential composition teacher of the twentieth century- who encouraged him and many of his contemporaries to draw from the folk music of their countries for musical material. In keeping with this, Elegy blends fragments of traditional Norwegian melodies and the choral tradition that Sommerfeldt (who studied choral conducting) was so familiar with. Listen for very smooth melodies and a contemplative nature highly befitting of a lament.
Notes by Margaret Eronimous

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