Enjott Schneider: The Art of Trumpet Reinhold Friedrich, Munich Symphony Orchestra & Martín Baeza-Rubio

• Enjott Schneider (b. 1950): Vivaldissimo:
• 1 Schneider: Vivaldissimo: I. Allegro 05:04
• 2 Schneider: Vivaldissimo: II. Adagio 04:35
• 3 Schneider: Vivaldissimo: III. Vivo 03:25
• Altai "Traces to Infinity":
• 4 Schneider: Altai "Traces to Infinity": I. Endlessness of Mountains 05:39
• 5 Schneider: Altai "Traces to Infinity": II. Horses - Horse Ride - Eagle Flight 07:10
• 6 Schneider: Altai "Traces to Infinity": III. Moon over Mountains - Rest in Peace 06:53
• 7 Schneider: Altai "Traces to Infinity": IV. Rondo - Finale 05:36
• Diamonds Lost in the Darkness of Past "L'Angelica farfalla":
• 8 Schneider: Diamonds Lost in the Darkness of Past "L'Angelica farfalla": I. Intro & Amarilli 05:21
• 9 Schneider: Diamonds Lost in the Darkness of Past "L'Angelica farfalla": II. Ombra mai fui - Siam navi 07:36
• 10 Schneider: Diamonds Lost in the Darkness of Past "L'Angelica farfalla": III. Adagio 08:03
• Ikarus "Desire for Light":
• 11 Schneider: Ikarus "Desire for Light": I. Carpe diem. Life Now 04:35
• 12 Schneider: Ikarus "Desire for Light": II. Struggling & Disaster 05:49
• 13 Schneider: Ikarus "Desire for Light": III. Transition. Realm of Darkness 04:30
• 14 Schneider: Ikarus "Desire for Light": IV. The Garden of Spirits 05:28
• 15 Schneider: Ikarus "Desire for Light": V. Ikarus. Desire for Light 05:32
• Total Runtime 01:25:16

Info for Enjott Schneider: The Art of Trumpet

A very important release for me, because it presents - for the first time - Reinhold Friedrich, an excellent soloist, who is supported by congenial partners: Hannes Läubin (trumpet), Gregory Ahss (solo violin), Munich Symphony Orchestra, conducted by Martín Baeza-Rubio. Secondly, there are four special compositions of different character, - the double concerto VIVALDISSIMO with two trumpets chasing each other in a rush of sound, the double concerto ALTAI - TRACES FOR INFINITY with my Far Eastern longing (Central Asia, Siberia, China...) for an archaic world. ) for an archaic world, L'ANGELICA FARFALLA with "my" gems of early music, and finally IKARUS - DESIRE FOR THE LIGHT as an epic pictorial arc on the themes of "near-death experiences" and afterlife research, which have fascinated me for a long time. Thirdly, the "trumpet" was the first instrument of my musical education and still means a familiar timbre to me today.

Preface by the composer: The trumpet can be traced back for almost 4000 years in many cultures and more than any other musical instrument it is surrounded by the aura of something special: it was the signal giver at ritual, religious, military or royal state occasions. Not from wood or animal horn, but of metal hardened by fire whether bronze, silver or even gold it was manufactured already early. The sound of the trumpets captivated people already in Egyptian death cults, in temple rituals not only in Tibet, in warlike occasions and also in the biblical reports of the beginnings (in the books of Moses) as well as the concluding apocalypse and end-time revelation. When there the seventh seal is opened and seven angels give their signals, then this is connected with elementary shocks: with hail, fire, blood, - mountains of fire or stars of the universe fall into the oceans.

The sound of the trumpet is still ambivalent today: even where it presents itself as sweet, it always resonates with a near-death shaking that can also become infernal and violent at any time. This sound remains connected with cosmic, divine or at least princely royal attitude.

The trumpet is an honest instrument that unmistakably proclaims a "now", a dense present. It does not know half measures. One cannot shyly hide behind it. Anyone who plays the trumpet knows the merciless risk: either perfection and brilliance, or pitiful dilletantism. There are no compromises.

Reinhold Friedrich is one of the most uncompromising artists in this field. He is one of the world's leading trumpeters - sometimes celebrated in the press as the "Trumpet God" - and impresses with a breathtaking variety of repertoire: whether classical valve trumpet, whether the high piccolo trumpet, natural trumpet, historical keyed trumpet , whether with the Jewish shofar or the softer flugelhorn, - his playing always becomes that event which is then able to provoke reactions ranging from goose bumps to a mental flight of fancy.

Whether a complex score of new music, whether baroque music and virtuoso classical music or "just" a little melody of folk music: Reinhold Friedrich always knows how to create with his playing that overwhelming presence of “Now!", which characterizes the trumpet so uniquely...

He is joined by equally exposed masters of their craft: solo trumpeter Hannes Läubin, long associated with Reinhold Friedrich as an equal duo partner and friend, and "Grisha" Gregory Assh, whose violin playing displays a similar stylistic breadth ranging from classical virtuosity to melodically heart-warming emotionality. This distinctive sound college is rounded off by the Munich Symphony Orchestra / Münchner Symphoniker, conducted by Martín Baeza-Rubio, which is as colorful as it is sensitive.

Reinhold Friedrich, piccolo trumpet (tracks 1-15)
Hannes Läubin, piccolo trumpet (tracks 1-3)
Gregory Assh, violin (tracks 4-7)
Münchner Symphoniker
Martín Baeza-Rubio, conductor

Reinhold Friedrich
Since his success at the ARD Competition in 1986, Reinhold Friedrich, born in Weingarten/Baden, has been playing on the world’s most famous stages. His debut at the Berlin Festival 1982 with „Sequenza X“ by Luciano Berio and his debut at Vienna Musikvereinsaal in 1994 with the Trumpet Concerto by Joseph Haydn, played on the historical keyed trumpet, show the wide spectrum of his activities. In 2003, Claudio Abbado (†) appointed Reinhold Friedrich the permanent principal trumpet of the Lucerne Festival Orchestra. He is also artistic director of the Lucerne Festival Orchestra’s Brass Ensemble.

For Reinhold Friedrich, early music and new music belong together – without contradicting each other. He has performed on period instruments with Capriccio Basel, the Orchestre des Champs-Élysées and the Vienna Academy. Equally, he has premiered many contemporary works by Wolfgang Rihm, Sir Peter Maxwell Davies, Carola Bauckholt, Hans Werner Henze, Adriana Hölszky, Nicolaus A. Huber, Rebecca Saunders and Caspar Johannes Walter. Solo concerts such as “Eirene” by Herbert Willi (Wergo) and “Nobody knows de trouble I see” by Bernd Alois Zimmermann, whose CD recording won an ECHO Klassik in 1994, form a vital part of his broad repertoire.



Martín Baeza-Rubio
The Spanish conductor and trumpet player Martín Baeza-Rubio has a highly versatile musical career, which includes a formidable career as Solo-Trumpet of the Deutsche Oper Berlin (2001-2013), the Lucerne Festival Orchestra (2003-2013), the Toscanini Philharmonic (2003-2006) and the Mahler Chamber Orchestra (1997-2002), as well as belonging to the Karajan Foundation of the Berlin Philharmonic Orchestra (1999-2002). He has performed as a guest Solo-Trumpet with an overwhelming number of ensembles worldwide, including the Berlin Philharmonic, Munich Philharmonic, Bayerische Rundfunk and most of the radio orchestras in Germany.

Martín Baeza-Rubio is Principal conductor of the Berlin Opera Chamber Orchestra since 2013. Musical director of the Kammerensemble Modern der Deutsche Oper Berlin since 2004, he has been conducting contemporary music throughout Europe for many years, being responsible for almost sixty premieres (most of them as a conductor). His Debut at the Musikverein in Vienna as conductor was in 2008, and at the Philharmonie in Berlin in 2013. He has always been deeply committed to the expansion of Spanish music. Since 2009 Baeza-Rubio has been the Artistic and Musical Director of the Almansa International Music Festival (FIMA).

Martín Baeza-Rubio studied orchestral conducting with the conductor and renowned professor, Jorma Panula. His direct and constant relationship with Lorin Maazel (between 2003-2007) and especially with Claudio Abbado (from 1996 to 2014) (with whom he worked on countless projects) taught him sensitivity, technique, flexibility, expression, vision, and an exceptional musicality, with which today permeates his work as a conductor.

Martín Baeza-Rubio has recorded for cinema, radio and television in 23 countries and participated in the recording of more than 100 CDs and DVDs. He has performed concerts in the most important concert halls and festivals in the world with the most prestigious conductors such as Abbado, Rattle, Petrenko, Haitink, Thielemann, Runnicles, Maazel, Prêtre, Chailly, Barenboim, Mehta, Boulez, Nelsons, Ozawa, Masur, Jansons, Welser-Möst, Harnoncourt, Gergiev, Wand, Nagano, Menuhin, Salonen, Fischer, Rostropovich, Termikanov, Harding, Marriner, etc.

As Orchestra Conductor his reviews have included: "great control of the orchestra, choir and soloists by the maestro Baeza-Rubio this evening at the opera in Basel, conducting Don Pasquale with an incredible musicality, great ingenuity and above all, full of life" (Michael Hug, Online Merker), "admirable enthusiasm, strength and musicality" (Luis Suñén, El País), "brilliant expressiveness" (Estrella Ortega, Classical Forum), "fundamental the work of Martín Baeza-Rubio as conductor" (Cosme Marina, La Nueva España), "with great efficiency and security, obtaining a great balance between choir, orchestra and soloists" (Tomás Marco, El Mundo), "and Maestro Martín Baeza-Rubio’s musical leadership enhanced the score, thanks to his serious and coherent interpretation, materializing the realization of a notable musical quality, with him as Maestro being the indispensable element" (Alberto González, ABC).

Among other orchestras, he has conducted the Deutsche Oper Berlin, the Menndelsohnn Kammerorchester at the Gewandhaus, the Toscanini Philharmonic, the Brass and Percussion Ensemble from the Lucerne Festival Orchestra, the Tenerife Symphony Orchestra, the Ruse Philharmonic in Bulgaria, the Extremadura Symphony Orchestra, the Hong Kong Sinfonietta in China, the Krasnoyarsk Chamber Orchestra, the Korean Chamber Orchestra from Seoul, the Symphony Orchestra in Costa Rica, the Symphony Orchestra from Extremadura, the Longwood Symphony Orchestra in Boston, the Göttingen Sinfonieorchester, etc.

His extensive operatic background has led him to conduct Don Pasquale by Donizetti at the Basel Opera with huge success, as well as Richard Strauss' production of Daphne, Carmen by Bizet in China at the Hong Kong Opera, etc. In Spain he conducted productions such as "Curro Vargas" by Ruperto Chapí with the ORCAM at the Theater of the Zarzuela in Madrid, the "European Classical Orchestra" at the Theater Calderón in Valladolid and the "Oviedo Filarmonía" at the Theater Campoamor in Oviedo (whose production won the Spanish Opera Award of the Year in Spain), "La del Soto del Parral" by Soutullo and Vert with the “Real Orquesta Sinfónica de Sevilla (ROSS)” in the Theater of the Maestranza in Sevilla and with the ORCAM in the Theater of the Zarzuela, always with great public and critical success.

Martín Baeza-Rubio earned in 2016 the Title of International Ph. Doctor with the highest qualifications and "Cum laude" by the “Universidad Autónoma de Madrid”. His research work on Maestro Enrique Fernández-Arbós was unanimously awarded First Prize in 2003 in the third edition of the International Music Research Competition organized by the University of the Basque Country and the “Orfeón Donostiarra”. He received numerous appointments, awards and distinctions as a performer, conductor, and recognition for his cultural and educational work both in Spain and abroad. He has given Courses, Conferences and Master Classes all over Europe, Asia and America.

Baeza-Rubio is the Delegate of the ARBÓS Foundation in Europe and America. Since 2010 he has served as faculty council and member of the jury of the Alexander von Humboldt Foundation (Wardwell Fellowship Programme) and since 2012, faculty council and jury of the Gustav Mahler Jugendorchester (Vienna).

Martín Baeza-Rubio upcoming schedule includes important commitments both symphonic and operatic, with various orchestras in Europe, Asia and America for the next few years, which he combines with the direction of the seasonal concerts of the Berlin Opera Chamber Orchestra and the “Kammerensemble Modern of the Deutsche Oper Berlin”.

Booklet for Enjott Schneider: The Art of Trumpet