Joel Treybig & Andrew Risinger | Rhapsodia Sacra

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Rhapsodia Sacra

by Joel Treybig & Andrew Risinger

A diverse and colorful collection of works for trumpet and organ from the baroque period to the present, including compositions by Bach, Ives, Ketting, Koetsier, Krebs, Schmidt, as well as exciting new works Anthony Plog and Stanley Friedman.
Genre: Classical: Organ
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  Song Share Time Download
1. Gott fähret auf mit Jauchzen, BWV 43: VII. Aria: Er ists, der ganz allein
Joel Treybig & Andrew Risinger
3:06 $0.99
2. Rhapsodia Sacra
Joel Treybig & Andrew Risinger
8:48 $0.99
3. Partita per Tromba in Re e Organo: I. Allegro assai
Joel Treybig & Andrew Risinger
2:12 $0.99
4. Partita per Tromba in Re e Organo: II. Andante sostenuto
Joel Treybig & Andrew Risinger
3:05 $0.99
5. Partita per Tromba in Re e Organo: III. Vivace
Joel Treybig & Andrew Risinger
2:18 $0.99
6. Partita per Tromba in Re e Organo: IV. Moderato - V. Andante maestoso
Joel Treybig & Andrew Risinger
5:18 $0.99
7. Adeste Fidelis
Joel Treybig & Andrew Risinger
3:49 $0.99
8. Die sechs Choralvorspiele für Trompete und Orgel: II. Wachet Auf! Ruft uns die Stimme
Joel Treybig & Andrew Risinger
6:18 $0.99
9. Intrada
Joel Treybig
3:30 $0.99
10. Jocaan Trio: I. Andante – Allegro – Andante
Joel Treybig & Andrew Risinger
3:46 $0.99
11. Jocaan Trio: II. Moderato
Joel Treybig & Andrew Risinger
1:43 $0.99
12. Jocaan Trio: III. Adagio
Joel Treybig & Andrew Risinger
3:19 $0.99
13. Jocaan Trio: IV. Allegro moderato
Joel Treybig & Andrew Risinger
1:08 $0.99
14. Jocaan Trio: V. Adagio, with freedom
Joel Treybig & Andrew Risinger
2:23 $0.99
15. Jocaan Trio: VI. Freely - Allegro
Joel Treybig & Andrew Risinger
3:31 $0.99
16. Spin the Painted Pony
Joel Treybig & Andrew Risinger
6:20 $0.99
17. Amazing Grace
Joel Treybig & Andrew Risinger
3:14 $0.99
Downloads are available as MP3-320 files.


Album Notes
About the Performers

Joel Treybig has performed with symphony orchestras, pit orchestras and chamber groups throughout the United States and is an active solo recitalist and clinician who has performed by invitation at diverse venues such as International Trumpet Guild conferences, the Midwest Trumpet Festival, Piccolo Spoleto Festival, Spivey Hall, the Trumpet Festival of the Southeast, and the Victoria Bach Festival. Treybig’s performances of contemporary music have earned the praise of composers John Cheetham, Eric Ewazen, Stanley Friedman, Stephen Michael Gryc, Karel Husa, Kent Kennan, Kevin McKee, Anthony Plog, Joan Tower, and Luigi Zaninelli. He has published multiple articles in the International Trumpet Guild Journal and his compositions and arrangements are published by Eighth Note Publications. Treybig earned a Doctor of Musical Arts degree in performance from the University of Texas at Austin, his Master of Music degree in performance from the University of Akron and his Bachelor of Music Education degree from Baldwin-Wallace Conservatory of Music and has also completed postgraduate studies at the Royal Northern College of Music. He is a Professor of Music in the Belmont University School of Music where he works with undergraduate and graduate trumpet students, performs with the Belmont Brass Quintet, directs brass ensembles, and serves as Instrumental Coordinator. Treybig is a Yamaha Performing Artist and performs exclusively with Yamaha instruments.

Andrew Risinger holds a Bachelor of Music degree in Organ Performance from Baylor University, where he studied with Joyce Jones. He earned a double Master of Music degree in Organ Performance and Choral Conducting from The University of Alabama where he studied organ with J. Warren Hutton and conducting with Sandra Willetts. Mr. Risinger currently serves as Organist and Associate Director of Music of West End United Methodist Church, Nashville, and is an adjunct faculty member at Belmont University. In 2007 he was named Organ Curator for the Schermerhorn Symphony Center, which houses the Martin Foundation Organ built by Schoënstein & Co., and also serves as primary organist for the Nashville Symphony. In 1994 Mr. Risinger was awarded second prize in the American Guild of Organists' National Young Artists Competition in Organ Performance, and he is a past winner of the William C. Hall Organ Competition of San Antonio. As a concert artist he has performed throughout the United States including performances at the National Cathedral in Washington D.C., St. Patrick’s Cathedral in New York City, and Trinity Church, Copley Square in Boston. Mr. Risinger has also performed as a soloist with the Illinois Symphony as well as the Nashville Symphony. His performances have been heard on National Public Radio broadcasts of Performance Today as well as on Pipedreams.

Carolyn Treybig (flutist on "Jocaan Trio" and "Spin the Painted Pony") is an active solo and chamber performer who has performed as a guest artist throughout the United States and at numerous conferences and festivals, including those for the National Flute Association, the College Music Society, and the Piccolo Spoleto Festival. She has performed with symphony orchestras in Alabama, Mississippi, Ohio, Tennessee, and Texas, and has performed and recorded on flute and piccolo with the Nashville and Huntsville symphony orchestras. Treybig is an Altus Flutes Performing Artist and is a full-time faculty member in the Belmont University School of Music where she performs regularly with the Belmont Wind Quintet. An active guest clinician, Treybig presents clinics and masterclasses at high schools, universities, and the Tennessee Governor's School for the Arts. Treybig earned degrees from the Baldwin-Wallace College Conservatory of Music, the University of Akron, and the University of Texas at Austin, and completed postgraduate studies at the Royal Northern College of Music. Her primary instructors have included William Hebert (Cleveland Orchestra), Jaqueline Hofto (Interlochen Arts Academy), Peter Lloyd (London Symphony, London Virtuosi), and George Pope (Akron Symphony, Solaris Wind Quintet).

Monisa Angell (violist on "Adeste Fidelis") spent her early years studying and performing classical music in high profile venues, including summers at the Aspen Music Festival, studies with Atar Arad and the Cleveland Quartet at Eastman School of Music and a year with the St. Louis Symphony Orchestra under the direction of Leonard Slatkin. She moved to Nashville in 1991 and worked with the Nashville Recording Orchestra, served as Principal Violist with the Nashville Symphony, and performed and recorded with the Nashville Chamber Orchestra, later leaving orchestra ensembles to focus on chamber music and recording projects. It is this involvement with all types of music that has driven her to speak up for musicians' welfare concerning the evolution of digital technology and challenges to Intellectual Property Rights. As an Executive Board member of the Recording Musicians Association, she participated in Grammy's on the Hill in Washington, DC to push for intellectual property rights protection and radio airplay royalties. Angell earned a Bachelor of Music Performance from the Eastman School of Music and a Master of Music Performance from Rice University, and is married to violinist David Angell and has two wonderful young children. She performs on a viola made by Franz Kinberg (Chicago).


"Er ist's, der ganz allein die Kelter hat getreten" from Bach’s Cantata BWV 43 is originally scored for trumpet obbligato, bass voice, and basso continuo, and was composed during Bach’s third year in Leipzig, 1726, for the Feast of the Ascension. The arrangement by Eberhard Kraus presented here uses the same technique that Bach himself used in arranging his Schübler Chorales: although the trumpet part is Bach’s original, the vocal line is folded into the organ part and the arrangement maintains clear linear movement throughout without resorting to cumbersome chordal realization of the figured bass. The result is a well-defined texture wherein each of the contrapuntal lines can be heard with absolute clarity. The arrangement is published as the last movement of Arien und Choräle, a five-movement set of Bach’s pieces which was arranged to commemorate the first Bach Festival (1975) of the Collegium Musicum Regensburg, and was premiered at the Regensburg Cathedral by Rolf Quinque (trumpet) and the arranger (organ).

Born in Neuchatel, Switzerland, Eric Schmidt studied piano with Alexandre Mottu and organ with William Montillet in Geneva and led a career as a pianist and organist before becoming the director of the keyboard department of the Geneva Conservatory. Schmidt’s compositional output focused primarily on vocal and instrumental works such as cantatas, concerti, and chamber pieces. His Rhapsodia Sacra is a subtly cast fantasy for trumpet and organ in which the basis is a plainchant melody (first heard in the organ about two minutes into the piece). This chant melody is the basis for the piece throughout, and the composition culminates in a finale in which counterpoint within the organ manuals and trumpet weave above the theme played by the organ pedals. The ever-changing textures within the composition allow both instruments to perform together in a variety of styles from warm and lyrical to jubilant and heroic, and the piece highlights Schmidt’s mastery of organ composition as well as his understanding of the trumpet’s flexible nature.

Although he is now best known as a composer, Dutch musician Jan Koetsier was successful as a conductor in Lübeck, Berlin, The Hague, as well as of the Concertgebouw Orchestra in Amsterdam and Bavarian Radio Symphony Orchestra. Koetsier was an extremely active composer who wrote more than 170 works for a variety of orchestral configurations, including numerous quality works for brass instruments, and trumpet specifically, in solo, chamber, and ensemble settings. The neo-classical works of Stravinsky influenced Koetsier’s compositional style, and the Partita on this recording is written very much in the style of an altered baroque suite, with the final two movements being based on the well-known chorale melody, Lobe den Herren. Like many of his later works, the Partita combines Koetsier’s gift for melodic invention imbued with strong rhythmic articulations, counterpoint, and his harmonic progressions and modern rhythmic variations add the composer’s unique character to this bright and colorful composition.

Charles Ives wrote his organ prelude on Adeste Fidelis in 1897 while he was still a student at Yale. Ives’ succinct prelude consists of a complete inverted statement of the famous Christmas melody followed shortly thereafter by the original melody played by cornet and simultaneously harmonized by the inverted form of the tune played by viola. Although the piece can be played by organ alone, Ives’ own notes in the score recommend the option of using cornet and viola (or alternately viola and violin) in addition to the organ, indicating that the viola part is to be performed at a much lower dynamic level than the cornet, creating the effect of a distant voice, or perhaps a shadow of the melody. Ives performed the piece as part of the Christmas services at the First Presbyterian Church in Bloomfield New Jersey in 1898, where he was the choir director and organist. Related to that performance, the manuscript of the work bears the note in Ives’ hand “Rev. J.B. Lee, others, and Mrs. Usher said it was awful.” While the piece is unconventional, particularly for the time in which it was composed, it is an extremely effective and succinct work that exhibits Ives’s inimitable compositional style and utilizes a typically joyful Christmas hymn to evoke a soulful, introspective mood.

Johann Ludwig Krebs attended the St. Thomas School in Leipzig from 1726 to 1735 and was considered to be a favorite pupil of his teacher there, J.S. Bach. Krebs’ counterpoint is thought by many to be comparable to Bach’s, as was his performance ability on the organ. Krebs held positions as organist in Zwickau and Zeitz, and was appointed court organist of Saxe-Gotha-Altenburg under Prince Friedrich. The melody to Wachet Auf! Ruft uns die Stimme ("Awake, the voice is calling us") was written by Philipp Nicolai and first published in 1599. Krebs’ chorale prelude on the melody is one of only six known chorale preludes that he wrote for organ with trumpet obbligato. As with most chorale preludes, the tune is heard plainly stated in one voice (here, the trumpet in the “clarino” register) while simultaneously serving as the basis for Krebs’ masterful contrapuntal treatment throughout. The trumpet and organ have divergent challenges within the piece: for the organist, it is the constant counterpoint, while for the trumpeter it is the extreme tessitura of the melody.

Dutch composer Otto Ketting was born in Amsterdam, where his father was successful as a composer, pianist, and conductor. He was trained at the Conservatory of the Hague and also studied in Munich with Karl Amadeus Hatmann. Ketting served as a trumpeter in the Hague Philharmonic Orchestra until 1961, at which time he began to devote himself entirely to composition, and he taught compostion at the Royal Conservatory in The Hague and also at the Rotterdam Conservatory. Ketting has written many works for chamber ensembles and orchestras and music for the stage and film. His Intrada was composed in 1958, while he was still performing as a member of the Hague Philharmonic Orchestra. The piece has become a true standard in the repertory for unaccompanied trumpet and is an engaging piece composed as a dichotomy of lyric, brooding passages juxtaposed against martial, articulated quartal fanfares.

Anthony Plog was born in Glendale, California, and began studying music by the age of 10. In 1990 he moved to Europe to perform with the Malmo Symphony in Sweden, and from 1993 to 2013 was a professor at the Staatliche Hochschule fur Musik in Freiburg, Germany. He is the recipient of numerous grants and commissions, and his works have been performed in over 30 countries around the world. About his Jocaan Trio (the title of the work comes from the combination of the first two letters of each of the original performers’ given names), Plog wrote: “When Joel Treybig suggested to me the idea of writing for flute, trumpet, and organ, this combination seemed like a wonderful possibility to work with the different color potentials of three different instruments and their combinations. So all six movements use different approaches to the thematic material, and at times the concept of color dictates the direction and use of a theme.” To that end, Plog uses auxiliary instruments (piccolo flute, flugelhorn, piccolo trumpet), various mutes, and organ registrations to achieve individualistic colors to great effect within this challenging piece. Commissioned by Belmont University, Jocaan Trio was premiered by Joel Treybig, Carolyn Treybig, and Andrew Risinger at West End United Methodist Church in Nashville, TN on September 14, 2010 with the composer in attendance. The group has since performed the piece by invitation at conferences of the International Trumpet Guild, the National Flute Association, the Piccolo Spoleto Music Festival, and at Spivey Hall in Atlanta.

Performer/composer Stanley Friedman earned his DMA in composition from the Eastman School of Music and has performed as principal trumpet with the New Zealand Symphony, the Hong Kong Philharmonic and the Israel Philharmonic. Friedman is widely known for his music for brass and has won awards and commissions from the International Trumpet Guild, the International Horn Society, and the International Trombone Association. Spin the Painted Pony was commissioned by trumpeter Joel Treybig on the occasion of the twenty-first anniversary of his marriage to flutist Carolyn Treybig, and is written for flute, cornet, and organ. The somewhat cryptic title of the piece alludes to the inspiration for the composition: the image of an amusement park and the last spin of the carousel as evening falls. The piece is based on four triads of different qualities: C-major, G#-diminished, Eb-minor and F-augmented. Collectively, these chords comprise all 12 pitches of the chromatic octave, and Friedman arranged the triads to form a dodecaphonic row that receive nominal serial treatment. Spin the Painted Pony was premiered by the Treybigs and organist Gregg Bunn at Spivey Hall in Atlanta, Georgia on September 12, 2015, as part of their opening concert of the 25th season of Spivey Hall.

Amazing Grace, with words written by John Newton and joined with the "New Britain" hymn tune, appeared for the first time in William Walker's shape note tunebook "Southern Harmony" in 1847. The present arrangement for flugelhorn and organ openly draws on folk and shape note traditions, and was premiered by the arranger (flugelhorn) and Gerry Senechal (organ) at the wedding ceremony of Helen Parham Scoville and Ryan Matthew Pemberton at St. George’s Episcopal Church in Nashville, TN on August 1, 2015.

Recorded in McAfee Concert Hall at Belmont University on August 10 – 12, 2016.

Instruments used:
Organ: Aeolian-Skinner Opus 1504 with 3 manuals and 54 ranks, built in 1969.
C trumpet: YTR-9445CHSII
C rotary trumpet: YTR-947X
F/G trumpet: YTR-9710
B-flat/A piccolo trumpet: YTR-9825
B-flat cornet: YCR-6330S
B-flat flugelhorn: YFL-6310Z
Mouthpieces by Karl Breslmair and Peter Pickett.

Most sincere thanks to:
Kenyon and Chris Carter with Curvepoint Media, Trammell Starks, Joshua Coble, Stephanie Bettig, Michael Arndt, the administration and staff at Belmont University, Mark Metzler at Metzler Brass, Yamaha Artist Services Indianapolis, and special thanks to our wonderful collaborators Carolyn Treybig and Monisa Angell.

Cover photo: “Second Coming of Christ” (detail) by Louis C. Tiffany & Co. Christ Church Cathedral, Nashville, TN. Photo by Michael Arndt.



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