Fürstbischofliches Bläserconsortium

Funkspot zum Jubiläumskonzert

FBC KONZERT AM 30.11.2019

Das "Fürstbischofliches Bläserconsortium zu Würzburg" (Prince Bishop of Wuerzburg's Windensemble) wurde 1999 von Richard Carson Steuart unter der Schirmherrschaft von Paul Graf von Schönborn-Wiesentheid gegründet.

Mitglieder dieses FBC Ensembles sind in erster Linie aus seinen ehemaligen "Meisterklassen" und "Konzertpodien" / Studenten Klassen aus dem früheren "Städtisches Konservatorium" und der "Hochschule für Musik Würzburg". Aber auch die Kollegen und Studenten, die seit 2001 dazu gekommen sind u.a. aus den nun vereinten Institutionen, die sich aktuell auf internationaler Ebene: "Bavarian State Univeristy of Music, Wuerzburg" bezeichnen. Das bis zu 21 Personen starke FBC Ensemble, ist je nach Konzertrepertoire unterschiedlich groß und besteht aus bis zu 8 modernen Trompeten, einschließlich den sogenannten Alt- und Bass-Trompeten, in tief F und B (auch mit Verdoppelung auf Natur- / Barocktrompeten), 1 Altposaune, 3 Tenorposaunen, eine Bassposaune, bis zu 3 Hörner, eine Tenortuba, eine Basstuba, eine Kontrabasstuba, Schlagzeug, Pauken und Orgel. Seit ihrer Gründung im Jahr 1999 konzertiert das Ensemble regelmäßig, sowohl in Würzburg als auch im Großraum Franken und hat mehrere Radioaufnahmen u.a. beim BR-Nürnberg bereits eingespielt. Durch internationalen Beziehungen Steuarts,nahm und nimmt weiterhin das Ensemble auch an internationalen Musikfestivals, darunter 3 Konzertreisen nach Italien, mit zusätzlichen Live-Radio-Konzerten, in Österreich und Slowenien. Zu Ehren des 250. "Jahre Todestag" von G.F. Händels gab Steuart, der in Freiburg im Breisgau lebende Musikhistoriker und Komponist Helmut M. Timpelan den Auftrag des gesamten G.F. Händels "Royal Fireworksmusic" für das FBC Ensemble zu schreiben. Das Werk ist im Herbst 1999 "Live" aufgeführt und aufgenommen. All dies geschah in der Residenz Hof-Kapelle zu Würzburg. Dieses speziell für das "Fürstbischof von Würzburgs Windensemble" geschriebene Werk ist als Teil der "Special Jubiläums" Edition CD für Sie für nur 10,- Euro erhältlich am Ende dieser Jubiläumskonzerte!

Bis spätestens 24. Dezember 2019 ist der "Special Jubiläums" Edition CD, wenn noch vorhanden, auch bei La Tromba Music Productions, Hofstrasse 10, Würzburg erhältlich.
Tel.: 0931 35 36 574 ; www.latrombamusic.com

 

 

 

A short Bio of Richard Carson Steuart as a part of his explaination as to his motivation to  offer this La Tromba Music Productions Website:

My studies of the trumpet began in 1965 (at age 9) in my home town of Regina, Saskatchewan, Canada.
At age 14 I became the main Trumpet Teaching-Assistant to the Head of the Brass Department, Dr. Mel Carey, at the University's Music Conservatory. After furthering my private Master Class Studies in the USA in 1976 (Philadelphia) and '77 (Chicago) and them in 1978 in London England, I came to Europe in the fall of 1978 (age 22) and began my European Classical and Orchestral Career.
During this time I also taught at Music Colleges and diverse Institutes of Higher Musical Studies here in Germany parallel to my performing career.
I taught first at the Franconian Regional Music Academy in Bad Königshofen (from 1979-1991) parallel to my position as co-founder and 1. Solo trumpeter of the German Brass Ensemble and the world touring Bamberg Symphony Orchestra. From 1982 to 2001 I taught at the City Music Conservatory in Würzburg where I had accepted a special position which was infact specifically created for me.
This city institution was intigrated into the Hochschule für Musik Wuerzburg in 2001 where I continue as Full-Tenured Lecturer, teaching an exclusive class of both private and "exceptionally gifted music students" at what now is called the Bavaian State "University of Music" (Hochschule für Musik) in Würzburg. 

During my entire time as professional musician here in Europe (since 1978) I have been very fortunate to have been able to be involved with and often personally organise and sponsor through for example this, my La Tromba Music Productions firm, various State-Wide Student Competitions here in Bavaria and to initiate and often "Chair" International Competions Master Classes (i.e. as member of the Jury for the International Munich "ARD- Wettbewerb"): I have organised diverse advanced Music Courses for Professionals and Grad-Students, many of these in cooperation with my own "European Brass Academy" (EBA), while others through the "European Trumpet Guild" (ETG) and/or the "International Trumpet Guild" (ITG).

 

The ITG is itself an very large organisation based in the US with over 6000 members worldwide and for which I have performed, recorded and co-produced CD recordings such as my: "Music for Guitar and Trumpet" CD, which I am proud to report became the ITG's "CD of the Year" in 2010!

 

Repeatedly honored by invitaions from the ETG and ITG to contribute to "Trumpet Artistry  as both a Lecturer and Artist , I have taught and performed as featured Soloist since 2000 in the USA as well as in England, the Ukraine, Russia, Poland, Solvenia, Croatia and Germany for the ETG/ITG.. These included the 2000, 2001 and 2003 ETG/ITG Conferences in Germany, the ITG Confernce in Manchester England in 2005 and at the first and 'til now only Canadian ITG Confernce in 2008, which took place at the Banff School of Fine Arts, in Alberta, Canada.

I have infact, been recently honoured by the Board of the ITG as I was asked once again to Perform as Featured Soloist in a "formal" Piano and Trumpet Recital at their Miami 2019 International Conference!

(INFO : Daniel Delgado, my young Spanish Pianist from Salamanca, Spain and I performed original historical works and presented on diverse "period instruments"- works from Girolamo Fantini, Giovani Bonaventura Viviani, Pavel Vejvanowsky and Johann Sebastian Bach to Josef Kail and Jean Baptist Arban as well as modern works by Herbert Lincoln Clarke and the Sonatas of Paul Hindemith, Kent Kennan and Bertold Hummel.
Further works include those from George Gershwin, (Rhapsody in Blue!) Henri Tomasi Concerto (2nd Mvmt. Noctura) and Leonard Bernstein (Rondo for Leifey) and yet still others from the 21st Century and "far beyond"... we performed on several special instruments including the new  La Tromba "Tromba da caccia"  and a very special "Electronic Flugelhorn/Trumpet Combination"... for which I am presently writing a new SOLO work, entitled "1776"!)


Over the past 50 (and more) years of my broad spektrum professional musical career, I have been very fortunate to meet and make friends with many fine Performing Artists and Teachers from Jazz to the Classic gendre (such as Fred Mills, Bobby  Shew, Philip Jones, Timofey Dokschitzer, Maurice Andr?©, Rafeal Mendez, Venjamin Margolin, Tiger Okoshi, Morris Murphy, Michael Laird and many many more throughout the world) and then inturn, to have the honor and pleasure of being able to personally invite many of them to come here to Germany to work and teach here with me as European Brass Academy / La Tromba Music Productions Professors!
It is because of their work, done over the past 40 years and more with many of my students (and those too of my colleagues!) here at the Würzburg University aswell in and through other institutions throughut Europe ,  combined with diverse Concerts and Recordings here in the EU, Canada, Russia and the USA that has not only brought a great deal of joy to me personally but has markedly generated a high degree of sincere musical inspiration and appreciation for virtually all that have been involved,... Concert listeners, Students and Professors alike! 

Since 1980 I have, parallel to these Artistic and Pedagogical activities, cooperated in various international Instrumental Research and Development capacties.
Interacting and consulting with Brass Intrument makers such with as Schilke Trumpets (and then the great Renold Schilke personally) of Chicago, USA; the Yamaha Musical Instrument Company of Hamamatzu, Japan (and Toshi Kamiama "San") I was involved in the development of special Rotary Valve intruments for both the Bamberg Symphony Orchestra "Trumpet Section" as well as for the "original" German Brass Trio,- Quartet,- Quintet- and lastly the GERMAN BRASS Large Ensemble Constellation begining in 1984/5.
More intensely though, here in Germany I have worked with amoung others, Herbert Laetzsch /Hans-Hermann Nienaber of Bremen and both Josef Tilz and Josef Klier of Neustadt an der Eisch, in the development of my own diverse line of La Tromba Trumpets and Mouthpieces.

Starting in 1997 I was asked to fly frequently to the USA to work personally with Zigmant Kanstul of Anaheim, California for the development of first his and eventually my own La Tromba high brass instruments. To this end I worked in both the USA and Germany with both Heinz Poggensee and Zigmand Kanstul on many Research and Development "Cooperations", including the further development of Modern and Traditional German and Austrian rotary-valve Symphonic Trumpets as well as authenic Romantic Piston Valve Cornets and Low F- trumpets. These we developed for both international Soloists and Orchestral Musicians in Asia, Europe and the USA.

One special cooperation instrument of which I am most proud of to date, is my development of the now internationally celebrated Kanstul Model 1520 Bb/A/G piccolo trumpet! Knastul is now out of business but the Prototype "BAG" Trumpet, the very first Kanstul / La Tromba Cooperation from 1997, on which I still perform today is shown in the R and D section of this website and can
be heard at the beginning of the newest La Tromba "YouTube" which we shot "Live in Leipzig" in November 2017. In the mean time we build our own B/A/G piccolo trumpet with all materials made here in Germany.

Klick here to see the video.

My extended and intensively diverse Career (from the "kid" Solo Cornetist in my home town "Salvation Army Brass Band" at age ten) to my engagments as 1. Solo Trumpeter of the German Opera and World Touring "Bamberger Symphoniker" (at age 22) to my numerous Solo Concert and Recordings from Big Band and Film Music to "authentic" Baroque perfomance on "period2 instruments, has given me a broad spectrum insite into what I call the "Complete World of the Trumpet".
It is 
precisly because of all of the truly broad spectrum, often positive and always exciting experinces I have had during this wonderful musical journey of now more than 50 years, that it is my sincere wish to reach out to the intensively competitive "world of trumpeters" with a truly new, "open" approach and a sincerely friendly and collegial attitude towards our profession which, for many of us, is much more than that...it is our true passion!

Cooperation and consultation is, I have found, the true key to artistic development and the best way to  achieve one's highest goals and certainly not the common and all too often "selfish and cold-competitive attitudes" that cloud many minds and numb many ears!

Louis Armstrong had "King" Oliver... Miles Davis had Clarke Terry and "Dizzy" Gillespe, Ralf Mendez had Herbert L. Clark, Roy Hargrove had Wynton M., Ed Tarr had Adolf "Bud" Herseth...

Now!, who do you have to ask an important question or "compare notes" with?...

So, if  YOU TOO have a real problem or a simple honest question, be it from breathing techniques to emboucher, trumpets and mouthpieces, to study books and performance literature, or even have your own contributions as to how to make this Website an especially positive experience for you AND your fellow student or professional colleagues, please feel free to go to "Contact" me and leave your comment or question... I'll get back to you, for sure!... or better still, call and make an appoinment to see me personally in the La Tromba Studio here in Wuerzburg, Germany.
 

Sincerely yours,

Richard Carson Steuart
for

La Tromba Music Productions

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Reiches "Abblasen" Performed by Richard Carson Steuart on the prototyp LA TROMBA "Clarino" : "Baroque D" (A = 415 Hz). Recorded in Germany, August 2017.

Special "Lecture-Concert" and Interview in the "Historical City Hall" in Leipzig on Nov. 18th, 2017 at 3 P.M. Free Admission!

 

In August of 2017, Richard Carson Steuart completed the development of the new "La Tromba" Clarino trumpet, a "replica" of the special Clarino instrument that Johann Sebastian Bach's famous "Solo Trumpeter", Johann Gottfried Reiche originally performed on.

Mr. Steuart has named this endevor his "Clarino- Project zu Leipzig" since it honors the 350th year of Reiche's birth!

Just as Johann Gottfried Reiche's original instrument, shown in the Haussmann's original painting below, Steuart's La Tromba model, has no valves, no keys, no slides, and certainly no "hinden" anmd completely unauthentic intonation-holes of any kind!

This is truly the "real deal" my friends,  just as Reiche played it over 300 years ago!

 

Greatly inspired by both the mystery behind the famous Elias Gottlob Haussmann portrait of Reiche and by Bach's works, written specifically for Reiche, to be specifically played on his special "Clarino" Trumpet, Mr. decided to have the instrument built anew. Since there are no existing "historical" versions of this original instrument from which to make a copy nor any existing construction plans (other than Elias Gottlob Haussmann"s portrait itself!) Steuart decided to take the initiative,  having his Chief Accustical Engineer, Mr. Heinz Poggensee of Würzburg Germany, construct it as close as possible to the instrument shown  in the painting itself!

 

After countless hours of both trial and error AND methodical developmental construction attempts together, combined with new "Historical" mouthpiece development and of course intensive personal practise, Mr. Steuart sincerely believes he has finally re-created Reiche's original instrument and mouthpiece AND at the same time rediscoveredhis very special playing technique!

 

Yes! after almost 300 years he believes he knows exactly how Reiche was able to perform Bach's extremely demanding works on this mysterious and almost forgotten natural trumpet instrument!

Press here to LINK to a new La Tromba "YouTube", the first of a series of informative and instructive lectures produced by La Tromba Music Productions

 

Steuart's singular, abitious aim with his "Clarino- Project zu Leipzig" initiative is to revive the true and authentic playing tradition of this historical "Bach Trumpet" and to reaffirm it as the true instrument for which Bach wrote his Clarino parts.

 

 

With his initiative he hopes as well to especially inspire both Professionals  and young musicians like, to once again learn to play this intrument again and thereafter finally perform Bach's works "authenically" on the original Clarino Trumpet! 

Yes, as Bach's works were performed almost 300 Years ago!

 

Mr. Steuart reports he has of course examined and personally tested several instruments from makers who too have quite seriously attempted to construct such a Clarino instrument in the past. Two of the best of these, he says, were both made in Leipzig and are infact on display in the Grazzi Museum and in the Old City Hall Museum of Leipzig even today. They are from the excellent workshops of Syhre in Leipzig and Volgt in Markt Neukirchen.

Although Syhre of Leipzig and Adolf and Rainer Egger of Basel, Switzerland not to forget mention Markus Rachet of Bamberg (who too built an excellent copy of a much later dated intrument, originally from Balthasar Fürst of Ellwangen - 1770,  on display in the German National Museum in Nuerberg) succeeded in building quite playable instruments of this kind, it is in truth virtually impossible to reconstruct such a instrument without direct interaction and cooperation with a truly experienced, virtuoso performers. One, who first and foremost clearly understands the instruments original playing technique.

 

Since no modern Artist at his level has made the concerted effort to first build and then actually learn to play this special original instrument before, it was necessary for Mr. Steuart to start from the very beginning in his research.

Past artist/historians like Walter Holy of Köln, Germany and most importantly, Donald L. Smithers of New  York City, U.S.A., should be clearly mentioned here aswell, to show do respect for their individual, ground- breaking contributions regarding their clear understanding of the original Clarino intrument and it's playing potential.  They too are to be noted as important initial sources of both historical as well as practical performance information. Both are/were in any case true inspirations for Steuart's Clarino Project zu Leipzig even though neither artist had in their time understood nor ever used "hand reflextion" in coordination with tounge and mouth compression techniques in their performances on similar Coiled Trumpets.

 

Steuart says, "it is not only difficult and strenuous to play the natural trumpet musically with or without the non-authentic "well tempered" intonation holes commonly used today, it also requires all the intelligence, experience and sensitivity that a seasoned and serious High Brass playing musician can muster. Therefore most professional trumpeters find it too tedious to spend the necessary time to first understand and then appreciate the Clarino or Tromba da caccia (Hunting Trumpet) the true Bach Trumpet, let alone try to master it and then to perform in public on it.

It therefore should be clearly understood that only through the combination of several physical and specific technical prerequisites, as well as years of patient practice, can this instrument be truly mastered!"

 

He adds, " the Clarino trumpet is an extremely "dangerous" intrument to perform on at the best of times, because like any natural instrument it is difficult to "control" in the high register, (especially without any intonation holes nor slides nor keys of any kind, just as the intrument was originally played ) and both excellent ear training and an advanced emboucher and breathing development are absolutely necessary to perform consistently on this extremely sensitive instrument.

Added to this and most importantly, a deep understanding and application of the both tounge positioning techniques and my newly rediscovered hand reflextion technique, cannot be circumvented if one wishes to master this fine instrument and to authenically play Bach's demanding works on it! "This" he says "is the ultimate challenge when playing the "Clarino" Trumpet!"

 

There are neither hand-written technical descriptions, printed method books, nor any historical performance explanations as to how this instrument was originally played. Never the less, after working on this project for three years, Steuart believes he has, through his own disaplined and methodical study, (re)discovered the true historical playing technique of the instrument and is now willing and able to share this special knowledge with "the trumpet world"!

His first Clarino Lecture-Concert took place in the "Historical City Hall" in Leipzig, Germany on the 18th of November 2017, the exact location where Johann Gottfried Reiche served his regular musical duties right up to the day of his sudden death in 1734.  

 

The original painting of Johann Gottfried Reiche (1667-1734) (Oil on Canvas) by Elias Gottlob Haussmann (1695-1774), dates from 1726/27 and hangs in the Historical City-Museum of the Old City Hall in Leipzig (Inv.Nr. Me 470). The instrument held in his right hand is described as a "Trompete in zirkulärer Form" (Trumpet in Cirular Form): Clarino, Jägertrompete, Tromba da caccia, Italienische Trompete.

Reiche's pure-silver and gold "Clarino" trumpet, obviously the true "Bach" trumpet, is quite without any intonation holes, nor keys, nor slides, nor valves of any kind! Steuart proposes that this special instrument was perhaps a gift from none other than "Kuerfuerst und Herzog" of Saxony Friedrich August I, also known as "August der Stärke" (1670-1733) who was from 1697 in "Personalunion", King August II of Poland and Lithuainia. This must have been a truly "Kingly" gift for Gottfried Reiche, in high appreciation of his exceptional musical service to Saxony and for his King!

Further info:

According to Steuart's research, the Haussmann painting was very possibly comissioned by the City Elders of Leipzig specifically to honor Johann Gottfired Reiche's 60th birthday!

Having been placed in a number of other locations over the past almost 3 centuries, this painting hangs once again in the same building where Reiche, employed his entire professional career by the City of Leipzig- ultumately reaching the status of "Senior Stadtmusicus" (Senior Performing City Musician) in 1719,  perfomed his daily duties as Head "Stadt Pfeiffer".

In the painting Reiche is  holding in his right hand, a pure-silver and gold ornimented "Clarino" trumpet in circular from, (and please, it is certainly not a horn!) which obviously is the true "Bach" trumpet, what else can it be?!  In his left hand he is holding an Abblas Solo, perhaps his own composition?,... very probably! A flashy "signature fanfare" which he very surely performed from the "Rathhaus Turm" as a part of daily musical duties as Senior Stadt Pfeiffer of the City of Leipzig.

 

Mr. Steuart speculates, that because this instrument was made of pure Silver and Gold it was therefore very rare and extremely expensive.

He suggests that the instruemnt  was most probably a personal gift from King August II to Reiche (for his 60th birthday?) in high appreciation of Reiche's  exceptional musical abilities and continued loyal service to the Duke of Saxony and King King of Poland! 

Other theories are that it is perhaps infact a much older instrument, made in the Nuernberg workshops of Johann Leonard Ehe I in the late 18th century or even earlier by another famous Nuernberg instrument maker, Johann Carl Ködisch, and originally for the Moravian Court of the Markgrafen of Olmuetz, that is, most specifically for the use of the composer and trumpeter Pavel Josef Vejvanovky (1633-1693). This however does not "fit" the time line.

 

Further speculations suggest it was even much older and that it was infact Anton Schnitzer who had built this special trumpet in the early 17th century, since Schnitzer had created the most innovative instruments of his time, including the very famous "Pretzel Trumpet" for none other than Ces?¡re Bendinelli, composer, author and principal trumpeter of both the Viennese court from 1567 to 1580 and later for the Bavarian Court in Munich from 1580 til his death in 1617.

These ideas and speculations however interesting and "Romantic" in nature are not atall historically documented. Some facts specific about the Tromba da caccia (â?Clarinoâ?) however, are very clearly documented:

 

The German musicologist Michael Praetorius mentions and even clearly illustrates the "Clarino Trumpet" (in Coiled form) in his "Syntagma Musicom" published in Wolfenbüttel and Wittenberg in three parts between 1614-1620. Therefore, this kind of Circular Instrument was well known and widely performed upon long before Reiche was even born.We know too that Cantata 215 "Preise dein Glücke, gesegnetes Sachsen" was written by Johann Sebastian Bach specificaly for Reiche and to be performed by him on October 5th, 1734.

 

We know that Reiche performed regularily on this special Clarino instrument in Leipzig and on the fatefull  night of October 5th to the 6th, 1734 he died of exhaustion (heart attack and/or a stroke?) on his way home, following the first performance of Cantata BWV 215!We know as well that the Concert took place outside and directly in front of the Historical City Hall in Leipzig and under no less than Johann Sebastian Bach's personal musical direction. We know hat Reiche was most certainly the Solo Trumpeter for whom Johann Sebastian Bach had written not only this work but as well as all of his most challenging and difficlut secular and religious compositions involving the Clarino dating from 1723 through to 1734, including the Christmas Oratorio. 

There is also no doubt that a very special colleagial relationship between these two exceptional musicians began immediately after Bach's arrival in Leipzig in 1723, when Bach assumed the prestegious position of "Director Chori Musici Lipisiensis" (Musical Director of the City of Leipzig), a position he was to maintain until his death in 1750.

 

 One last fact that we are sure of:The very last musical statement of Reiche's life, as 1st Clarino in the final Coro: "Stifter Reiche, Beherrscher der Kronen" of Cantata 215, was a beautifully lyrical melody where Reiche was allowed to "sing" with his "Clarino" above the whole ensemble, performing in perfect balance, intonation and musical inflection with the soprano voice part.

 

Steuart, who in an attempt to perfect it's construction and understand and revive the original playing technique of the  Coiled Trumpet /Tromba da caccia, has been seriously researching, building and rebuilding his own version of "Clarino" trumpet since 2015. He firmly believes that the special musical relationship between Reiche and Bach (although a total of only 11 years!) created the rare historical opportunity for the art of trumpet performance to develop above and beyond it's former limited role of loud and dramatic musical "sound and fury" and forcefull military fanfare style but in fact to be suddenly set and at the fore front of Bach's most sensitive and interactive musical expressions.

The combination of Bach's music for the trumpet and Reiche's special performance abilities was the beginning of a new and much more lyrical musical role for the instrument. One that through his special musical gifts and highly developed playing technique, Reiche quite obviously had perfected even in the early 18th century!

Since 1980, Steuart has aswell cooperated in research and development capacties on modern instruments, interacting and consulting with among other international instrument makers, the Yamaha Musical Instrument Company of Hamamatzu, Japan (i.e. when creating special instruments for the Bamberg Symphony Orchestras Trumpet Section and for both the "original" German Brass Quintet and later Large Ensemble), with Herbert Laetzsch / Hans-Hermann Nienaber, Bremen and  Josef Tilz /Hablowitz and Josef Klier, Diespeck and Neustadt an der Eisch, Germany, for La Tromba Mouthpieces in Würzburg and last but not least with Zigmant Kanstul Musical Instruments of Anaheim, California.

He worked in both California and Germany from 1997 with Zigmant Kanstul on many instrument design, research and development cooperations , including Traditional and Romantic German and Austrian rotary-valve Symphonic Trumpets for both Soloists and Orchestral Musicians. And as well and specifcally for Baroque Music, his most remarkable contribution to the world of the trumpet artistry to date, is the celebrated Kanstul Model 1520 Bb/A/G piccolo trumpet!  The original La Tromba Prototype "BAG", a Kanstul/ La Tromba Cooperation from 1997, is in fact shown on the R and D section of this website. Richard Carson Steuart continues to research, study  and build refined instruments and mouthpieces, both of historical and modern design, primarily, but not exclusively for his own Artistic needs and these under his own exclusive La Tromba Brand,... Made in Germany.

The most recent example of this, the new La Tromba "Clarinoâ? trumpet pictured below, will, together other "prototype" and original La Tromba Instruments as well as the newest Kanstul/La Tromba Cooperation Instruments, were presented and performed on for the first time in public by Richard Carson Steuart, in a special lecture / concert-- that was film- documented on the 18th of November, 2017 at 3 P.M., in the "Historical City Hall" in Leipzig, Germany.

This Lecture/Concert with Interview was open to the general public and admission was free of charge!

 

 

 

Photos: Bernd Cramer  

Introducing: The new La Tromba "Clarino"

In August of 2017 Richard Carson Steuart completed the development of his Clarino trumpet, a "replica" of the exact intrument that was performed upon by Johann Sebastian Bach's famous "Solo Trumpeter", Johann Gottfried Reiche. He admits he was greatly inspired by both the mystery behind Elias Gottlob Haussmann"s portrait of Reiche and Bach's works, written specifically for Reiche, to be played specicially on his Clarino instrument. The original instrument, shown in Hausmann's painting, has just as Steuart's replica, has no valves, nor keys, nor slides, nor "intonation" holes of any kind! 

Since there are no existing original historical versions of this intruments from which to develope construction plans (other than Elias Gottlob Haussmann"s portrait itself) Steuart decided to take the initiative and build the instrument himself, constructing it as close as possible to the intrument in the painting. Through personal and direct study, he has finally uncover the original technique of how Reiche, himself both a respected composer and a highly acclaimed virtuoso, was able to play Johann Sebastian Bach's demanding works on his mysterious and almost forgotten instrument!

 

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Gottfried Reiches
"Künstlerisches Genie" wiederentdeckt

Eine kulturelle Ausgrabung  

 

Richard Carson Steuart, Clarino-Projekt zu Leipzig

Der kanadische Trompetenvirtuose und ARD Preisträger Richard Carson Steuart beschäftigt sich aus seiner Praxis heraus nun seit über 5 Dekaden mit den Trompetenpartien, die Johann Sebastian Bach speziell für Johann Gottfried Reiche komponierte. Sie sind außergewöhnlich schwierig und passagenweise auf Gerade Naturtrompeten, wie sie zur Zeit Bachs geblasen wurden, nicht realisierbar. Weil Bach oft Töne verwendet, die auf der Naturtrompete sonst nicht vorhanden sind, werden Bachs Trompetenpartien in der modernen Zeit in der Regel auf kleinen, sogenannten Piccolo-Ventiltrompeten gespielt oder auf "Naturtrompeten" mit unhistorischen ??berblaslöchern oder wenn auf "authentisch" nachgebauten Instrumenten, dann leider mit historisch unbegründeten Feldtrompeten Mundstücken geblasen, um zu versuchen die schwierigen "Fremdtöne" leichter spielen zu können.
All dies ist leider im Tonlichen Ergebnis sowie im Sinne der homogenen und ausgeglichene Ensemblemischung in der praktischen Ausführung letztendlich unbefriedigend.

Nun, fragt Steuart, warum hat der berühmte Senior Stadtmusicus Johann Gottfried Reiche sich von Elias Gottlob Haußmann nicht mit der damals gebräuchlichen geraden Naturtrompete oder mit einem seiner vielen anderen Dienstinstrumente - Cornetto, Sackbutt, Waldhorn oder Geige - porträtieren lassen, sondern stattdessen mit einer "Trompete in Form eines Horns" - das "Clarino" oder auf Italienisch: "Tromba da caccia" (Jägertrompete)?

Um diese Frage zu beantworten, ließ sich Richard Carson Steuart Reiches Clarino Trompete und zahlreiche nachweislich zugehörige Mundstücke genauestens nachbauen. Er hat während seiner 3 jährigen Clarino Trompeten Forschung herausgefunden, dass Gottfried Johann Reiche eine spezielle Handreflexionstechnik anwendetet haben musste, die sonst nachweislich erst viel später in den Klassischen und Romantischen Epochen (spätes 18. bis Mitte 19. Jahrhundert) von Waldhornisten in ganz Europa verwendet wurde. ReicPartien he hatte diese Technik offenbar eigenständig zu so einer hohen Kunstform entwickelt das er Johann Sebastian Bach inspirierte noch längerer und noch virtuosere Clarinopartien zu Schrieben b.z.w. seine alte für Reiches extraordinäre kunstlerische fähigkeiten neu um zu Schreiben.

Gottfried Reiches Spieltechnik war offenbar revolutionär und einmalig für Leipzig, vielleicht sogar weltweit im späten 17. und frühen 18. Jahrhundert. Es ermöglichte dem ehrgeizigen Johann Sebastian Bach gleich bei seiner neuen Einstellung als Thomaskantor außergewöhnlich beeindruckende, sehr exponierte und höchst anspruchsvolle Trompetenpartien schon ab 1723 und bis hin zu Reiches plötzlichem Tod im Jahre 1734 explizit für ihn zu komponieren, so Steuarts These.

Erst nach intensiven ??bungen ist der internationale ARD Preisträger, Richard Carson Steuart inzwischen selber in der Lage auf diesem Instrument Reiches jene Töne, die innerhalb der Naturtonreihe sonst nicht existieren, sicher, kunstvoll, stark, sauber und vor allem dynamisch differenziert, gesanglich und expressiv musikalisch zu blasen.

Richard Carson Steuart wird die ursprüngliche und wahre "Bach"-Trompete Johann Gottfried Reiches als Solist und als musikalischer Leiter des von ihm neu formierten "Gottfried Reiche" Clarino-Ensembles zu Leipzig (zunächst in Streicher-Ensemble-Besetzung), bestehend aus sorgfältig ausgesuchten Spezialisten der Internationale und Leipziger Historischen Musikszene, offiziell präsentieren, erklären und zusammen mit der Star-Sopranistin der Oper Hannover, Carmen Fuggiss, die Kantate BWV 51 "Jauchzet Gott in allen Landen" von Johann Sebastian Bach am 18. November 2017 nach nun fast 300 Jahren in authentisch originaler Besetzung im Historischen Rathaussaal des Stadtgeschichtlichen Museums Leipzig wieder aufführen!


 

Der kanadische Trompetenvirtuose und u.a. ARD Preisträger Richard Carson Steuart beschäftigt sich seit  5 Decaden mit den berühmten Trompetenpartien, die Johann Sebastian Bach speziell ab 1723 für Johann Gottfried Reiche komponierte.

Steuart ließ Reiches Clarino-Trompete, verewigt in dem von Elias Gottlob Haußmann gemalten Portrait Reiches von 1726, genauestens nachbauen und wird diese ursprüngliche und wahre "Bach"-Trompete Reiches als Solist und als musikalischer Leiter des von ihm neu formierten "Gottfried Reiche" Clarino- Projekt zu Leipzig und The European Baroque Ensemble, bestehend aus Spezialisten der internationalen und Leipziger historischen Musikszene, offiziell präsentieren und erklären.

Zusammen mit der Star-Sopranistin der Staatsoper Hannover Carmen Fuggiss
und Prof. Dr. Pauline Nobes, London England, als Leader / 1. Violine, wird Steuart mit Unterstützung des Direktors des Stadtgeschichtlichen Museums in einem Sonderkonzertu.a. die Kantate BWV 51 "Jauchzet Gott in allen Landen" von Johann Sebastian Bachnach fast 300 Jahren in authentisch originaler Besetzung am 18. November 2017, dem 350. Geburtsjahr von Johann Gottfried Reiche, im Historischen Rathaussaal des Stadtgeschichtlichen Museums Leipzig konzertant vorführen! 

 

The Canadian Benefit Tour CD:

Music for the Trumpet Vol. I

 

Richard Carson Steuart's Early Study and Artisic Biography

Born on January 31st, 1956 in Weyburn, Richard moved with his family to Regina in 1960. His first musical instruction began on his 9th birthday under the tutelage of his father, Kenneth Leslie Steuart, a SaskTel Telecommunications Engineer and a serious brass-playing hobby musician.
Richard performed his first public concert as Cornet Soloist in Rosemont United Church in Regina, in 1966 together with Ms. Edith Chisholm and this after only one year of any kind of musical studies.

At age 11, Richard undertook his first "Jazz� tour as featured "junior� Trumpet Soloist as a part of the 1967 Canadian National Centenary Concert Festivities. He was accompanied by a professional Big Band led by his first teacher, Dr. John Harding.
Richard was a repeated Class A-Open First Prize winner in the Regina and Saskatchewan Music festivals and was as well the Junior First Prize Winner (at age 11) of the Canadian National Music Festival in 1967. Intensely involved in various musical groups in Regina and throughout Saskatchewan from the very beginning of his studies, he performed with the Salvation Army Brass, the Regina Police Boys and the Saskatchewan Youth Bands, the Regina Inter- Collegiate and Saskatchewan Youth Orchestras and the University of Saskatchewan Brass Quintet, Symphonic Concert and Jazz Big Bands.  

Richard became a member of the Regina Symphony Orchestra 1969 at age 13, advancing to the Solo Trumpet position in the 1971/72 season.  In 1970, at the age of 14, he accepted his first Trumpet Teaching- Assistantship under Dr. Mel Carey at the University of Saskatchewan, Regina Campus. Having previously studied Saxophone, Clarinet, Oboe and Piano at the Regina Conservatory, he also found time to teach beginner Clarinet and Saxophone for the Regina City School District.

From 1970 to 1975, he was Solo Trumpeter and featured Solist of the National Youth Chamber and Symphony Orchestras of Canada performing on extended Summer Concert tours in among other major Canadian cities: Vancouver, Toronto, Ottawa, Quebec and Montreal. 
In 1976, at age 20 and already CBC Radio Soloist and Solo-trumpeter of Canadian Chamber Orchestra, he won both the First Prize at the Canadian National Music Festival in Toronto and the Canadian Broadcasting Corporation's Radio and Television Classical Solo-Instrumental Competition - the "CBC Talent Festivalâ? and this for all Wind Instruments. There after he was accepted into the famous Curtis Institute of Music in Philadelphia, USA receiving a full 4 year Scholarship. He was as well awarded the first of three consecutive international Study Grants (1976-1978) from the Arts Council of Canada, with which he subsequently studied in Chicago and New York with the foremost members of the Symphony and Opera Orchestras of those major American cultural centres.

Travelling to Europe in the summer of 1978 as Solo Trumpet of the World Youth Orchestra, he completed his studies first in London and then Munich and accepted on November 4th the Solo Trumpeter position in the German Opera in Düsseldorf.

In February of 1979 he accepted the position as Solo Trumpeter of the world touring, "Bamberg Symphonikerâ?. He is the co-founder of among several other high profile ensembles, the German Brass Ensemble (1979), the Munich Brass (1983) the European Baroque (1989) and the "Prince Bishop"s Wind Ensembleâ? (1999).

Richard competed for and won both the German- ARD (1980) and Swiss- SRF (1981) International Radio and Television Competitions for the Trumpet as Solo Instrument.

His musical accomplishments were officially honoured by the Bavarian State Ministry of Culture when they created a special position for him in 1983 at the Music Conservatory / State University of Music in Wuerzburg, Northern Bavaria where he continues to teach both Historical and Modern Trumpet and Chamber Music today.

Through performing thousands of live concerts, producing over 20 Solo and Ensemble CDs from Classic to Jazz for his own CD "La Tromba Music Productionsâ? company alone, as well as recording with various top musical constellations as both  Opera and Symphonic Solo-Trumpeter, Solo Concert Soloist, Chamber Ensemble and "Soloist-Leaderâ?, Mr. Steuart"s Classical Music experience has over the 50 years of his musical career become truly extensive.

As featured Recording-Artist for the CBC, WDR, BR, SDR, ARD, SRF, Radio and Television stations as well for the RCA, BMG, EMI, MMO and Konstantin and Koch- International CD and Film production companies and through touring with groups ranging from English and German Pop and Rock to Brass and Symphonic Concert Bands, diverse Jazz and Modern-Fusion Orchestras as well as international Historical Music Ensembles, yes even for major European and Hollywood Films his musical knowledge and experince has developed in a very broad spectrum.

Richard Carson Steuart"s teaching as Guest Professor in major conservatories and universities internationally and his Concert touring in Germany, Russia, the United States, Canada, China, Japan and throughout Europe, has contributed to the high acclaim he receives from his general public and his peers alike, and this as not only one of the foremost Trumpeters of his generation, but also as one of the world's most experienced, versatile and knowledgeable trumpet performers and teachers today.