The Glory of Baroque Trumpet
Soloists : John Foster and John Coulton
Director : Rebecca Livermore
Concerto in 7 parts Op.2 no.1 - Stanley
Sonata IV a cinque - Biber
Concerto Grosso Op.6 no.12 - Handel
Sonata Sancti Mauritii - Vejvanovsky
Concerto for trumpet - Torelli
Concerto Grosso - Op.6 no.12 - Corelli
Suite in D major for trumpet, strings and continuo - Handel
REVIEW - Eastern Daily Press
PRECISE ELEGANCE AND FRESHNESS HAD THE EDGE
A large eager audience in St. Peter Mancroft was proof of the following that Norwich Baroque has built up in a few years and of the rising interest in performance on period instrumetns in historic style.
The extra attraction on this occasion was the natural trumpet, several feet of brass with no valves. With the mouthpiece the player can change pitch by exploiting the physical properties of a hollow tube by altering breath pressure and tightening or relaxing his lip positions.
Just how much could be done with such limited means was admirably demonstrated by John Foster, an Australian virtuoso. In some pieces he was partnered by John Coulton, a fellow countryman currently living in these parts.
Though the Sonata by Biber was not so thrilling as some of his other works, an athentic account of Torelli's Concerto had the edge on up-dated interpretations. A suite based on Handel's Water Music had a certain freshness too, and it was good to be introduced to the Czech composer Vejvanovsky.
Directed by Rebecca Livermore, Norwich Baroque showed discretion in string accompaniment and was thoroughly at home in a concerto grosso by Corelli. Confidence found expression in restrained dynamics and precise elegance.