Bernd Alois Zimmermann, Péter Eötvös, Heinz Karl "Nali" GruberGruber Clément Saunier, Sinfonia Varsovia & Wilson Hermanto

• Bernd Alois Zimmermann (1918 - 1970): Nobody knows de trouble I see - Concerto for Trumpet in C and Orchestra:
• 1 Zimmermann: Nobody knows de trouble I see - Concerto for Trumpet in C and Orchestra 14:51
• Péter Eötvös (1944 - 2024): Jet Stream for trumpet in B-Flat and Orchestra (Cadenzas 1, 2, 3 by Clément Saunier, Cadenza 4 by Péter Eötvös):
• 2 Eötvös: Jet Stream for trumpet in B-Flat and Orchestra (Cadenzas 1, 2, 3 by Clément Saunier, Cadenza 4 by Péter Eötvös) 22:01
• Heinz Karl "Nali" Gruber (b. 1943): Aerial - Concerto for Trumpet (doubling piccolo Trumpet and cow Horn) and Orchestra:
• 3 Gruber: Aerial - Concerto for Trumpet (doubling piccolo Trumpet and cow Horn) and Orchestra: I. Done with the Compass - Done with the Chart (after "Wild Nights" by Emily Dickinson) 12:24
• 4 Gruber: Aerial - Concerto for Trumpet (doubling piccolo Trumpet and cow Horn) and Orchestra: II. Gone Dancing 12:29
• Total Runtime 01:01:45

Info zu Bernd Alois Zimmermann, Péter Eötvös, Heinz Karl "Nali" GruberGruber

Das spektakuläre Aufblühen des Trompetenkonzerts in der zweiten Hälfte des 20. Jahrhunderts wurde unmittelbar von der Tradition des Jazztrompeten­spiels inspiriert – und im Besonderen vom Genie Louis Armstrongs[i]. Armstrong, und nach ihm andere Jazztrompeter wie Dizzy Gillespie und Miles Davis, führten eine völlig neue Art des Trompetenspiels ein, die sich auch in der klassischen Welt als bahn­brechend erwies.

Es überrascht daher kaum, dass alle drei Konzerte auf dieser CD ausdrücklich mit dem Jazz verbunden sind, auch wenn sie die Sprache (oder Sprachen) der zeitgenössischen klassischen Musik sprechen. Diese drei Werke und ihre Komponisten sind zudem auch persönlich miteinander verknüpft. Pétér Eötvös stu­dierte Komposition bei Bernd Alois Zimmermann. Als Dirigent nahm er sowohl Heinz Karl Grubers Aerial als auch sein eigenes Jet Stream auf – jeweils mit Håkan Hardenberger als Solisten. Hardenberger, für den Aerial geschrieben und Jet Stream revidiert wurde, war wiederum einer derjenigen, die Zimmermanns Nobody knows de trouble I see nach Jahrzehnten der Vernachlässigung wiederbelebten. Dieses Trio von Konzerten verdient es zweifellos, nebeneinander ge­hört zu werden; gemeinsam bezeugen sie das weite Ausdrucksspektrum der Trompete an der Schnittstelle zwischen klassischer und Jazztradition. In den letz­ten Jahren haben jüngere Interpreten wie Clément Saunier diese bedeutenden Werke übernommen, die inzwischen fest zum Trompetenrepertoire gehören und eine stetig wachsende Zahl neuer Interpreten wie auch begeisterter Zuhörer gefunden haben.

Bemerkenswert ist, dass keines der drei Werke schlicht Trompetenkonzert genannt wird. Jedes trägt einen beschreibenden Titel, der als „programmatisch“ gelten kann – allerdings nicht im Sinne der Programmmusik des 19. Jahrhunderts, die meist von vorbestehenden literarischen oder künstlerischen Quellen inspiriert war. Unsere drei Werke sind auf andere Weise pro­grammatisch. Zimmermanns Konzert, das älteste der drei, verwendet ein bekanntes Spiritual – eine musikalische Quelle – und führt es an Orte, an die es nie zuvor gelangt war. Die beiden jüngeren Werke hin­gegen basieren auf außermusikalischen Bildern und Ideen, die aus der Vorstellungskraft der Komponisten selbst stammen. Durch eine Vielzahl von Anspie­lungen auf andere Musik erschafft jeder Komponist ein besonderes assoziatives Netzwerk, und indem die entlehnten Elemente in neue Zusammenhänge gestellt werden, entsteht in jedem Fall etwas höchst Eigenständiges und Originelles.

Obwohl der Jazz eindeutig im Zentrum aller drei „Programme“ steht, bedeutete er für jeden Kompo­nisten etwas anderes. Diese Europäer haben nicht einfach Musik geschrieben, die vom amerikanischen Jazz beeinflusst ist, wie es Stravinsky, Ravel und viele andere vor hundert Jahren getan hatten. Stattdessen bieten sie ihre eigenen emotionalen Reaktionen auf diese Kunstform. Zimmermanns Werk ist vor allem eine persönliche Meditation über das Spiritual. Gruber verwendet Jazzrhythmen, um eine Art apokalyptische Endzeitvision zu evozieren, während bei Eötvös der Jazz als geheimnisvolle neue Welt erscheint, die sich gerade erst erschließt. - Dr. Peter Laki

Clément Saunier, Trompete
Sinfonia Varsovia
Wilson Hermanto, Dirigent

Zur Info: wir bieten dieses Album in der nativen Abtastrate von 48kHz, 24-Bit an. Die uns zur Verfügung gestellte 96kHz-Version wurde hochgerechnet und bietet keinen hörbaren Mehrwert!

Clément Saunier
is one of the most active French classical trumpeters on the national and international scene. A graduate of the Paris Conservatoire (CRR) and the Conservatoire National Supérieur de Musique de Paris, he studied with Pierre Gillet, Clément Garrec, Gérard Boulanger and Jens McManama, before further training with Pierre Thibault and Vladimir Kafelnikov.

His appearances at major international competitions have been rewarded with several top prizes, including Città di Porcia (Italy), the Prague Spring Competition, the Jeju Brass Competition (South Korea), the Théo Charlier Competition in Brussels, the Maurice André Competition in Paris and the Tchaikovsky Competi­tion in Moscow.

In 2013, he was appointed principal trumpet of the Ensemble intercontemporain. In this role, he collaborates with leading composers and conductors of our time. He performs and premieres a wide range of works for trumpet, including the Requiem by Hans Werner Henze, Mysteries of the Macabre by György Ligeti, Se­quenza X by Luciano Berio, Metal Extensions and Metallics by Yan Maresz, the NONcerto by Richard Ayres, Doppelgänger and Evil Twin by Yann Robin, Wild Winged One by Liza Lim, Triptyque Bleu by Hèctor Parra, Gnomon by José Miguel Fernández, and Soliloquy IX by Thomas Simaku.

He regularly appears in major international venues such as the Philharmonie de Paris, the Cologne Phil­harmonie, the Centre Pompidou, as well as at Carnegie Hall in New York, Suntory Hall in Tokyo, and the philharmonic halls in Berlin, Moscow, and Hamburg.

As a soloist, he performs with numerous orchestras and festivals in Europe and abroad, while also maintain­ing an active career in chamber music and recital. He is a founding member of the Trombamania ensemble and the Paris Brass Quintet.

His solo discography reflects the diversity of his artistic path, from Baroque repertoire to contemporary works. It includes the recording of Henri Tomasi’s concerto with the English Chamber Orchestra, concertos by Ida Gotkovsky, Charles Chaynes, Lalo Schiffrin, Roger Boutry and Anthony Girard, as well as the album Direction (2017), devoted to works for solo trumpet by Fedele, Maxwell Davies, Pintscher, Scelsi, Henze and Takemitsu. These recordings have been released on the Cristal Records, Maguelone, Klarthe and Corélia labels.

A committed pedagogue, Clément Saunier is professor at the Conservatoire National Supérieur de Musique et de Danse de Lyon and at the Paris Conservatoire (CRR), and regularly gives masterclasses at leading international institutions.

Since 1998, he has developed numerous artistic and educational projects dedicated to brass instruments. He is notably the founder of the international festivals Le Son des Cuivres in Mamers and the Surgères Brass Festival, as well as the Surgères Brass and Percussion Academy, which gathers several thousand festival-goers each summer.

He develops and performs on instruments by Antoine Courtois.

Sinfonia Varsovia
#has been an ambassador of Polish musical culture since its inception. Its international travels include thousands of meetings with conductors, composers, soloists, and finally – audiences. For nearly 40 years, the Orchestra has been a regular guest on foreign and domestic stages, providing listeners with an unforgettable musical experience.

The ensemble continues the tradition of the Polish Chamber Orchestra (PCO) founded in 1972 from which it evolved as new members came on. The impulse for expansion was provided in 1984 by the arrival of the legendary violinist Yehudi Menuhin who took over as the first guest conductor. “Working with no other orchestra gave me as much satisfaction as my work, as soloist and conductor, with Sinfonia Varsovia”, he said in interviews.

Soon after Sinfonia Varsovia began its world tour, performing in the world’s most prestigious concert halls such as Carnegie Hall (New York), Théâtre des Champs-Elysées (Paris), Barbican Centre (London), Wiener Musikverein (Vienna), Teatro Colón (Buenos Aires), Suntory Hall (Tokyo) and Herkulessaal (Munich). The Orchestra has performed under the baton of such conductors as Claudio Abbado, Witold Lutosławski, Lorin Maazel, Emmanuel Krivine, Jerzy Maksymiuk, and Krzysztof Penderecki (who served as musical director and afterwards the artistic director of the Orchestra between 1997 and 2020), as well as with soloists includ­ing Mstislav Rostropovich, Anne-Sophie Mutter, Alfred Brendel, Martha Argerich, and Piotr Anderszewski.

Sinfonia Varsovia has played over 4,000 concerts all over the world and made over 300 records, including for Decca, Deutsche Grammophon, Naxos, Sony, and Warner. The recorded repertoire includes works from the 18th century to the present day. A special place in the Orchestra’s concert program is occupied by the works of Polish composers, such as Chopin, Penderecki, Paderewski, Lutosławski, Górecki, and Kilar. The Orchestra has premiered numerous works, including those by Henryk Mikołaj Górecki, Paweł Mykietyn, and Krzysztof Penderecki.

Wilson Hermanto
Praised for his deep musicality, natural authority, communicative energy and elegance, Wilson Hermanto has been the Principal Guest Conductor of the chamber orchestra Cameristi della Scala since 2017. During the 2025-26 season, he returns to the Elbphilharmonie Hamburg, this time with the Cameristi della Scala, having made his debut there the previous year with the Vienna Chamber Orchestra. Further concerts in Switzerland and abroad highlight the connection between Wilson Hermanto and the Milanese ensemble. During the same season, he also works with the Orchestra dell’Accademia Teatro alla Scala and the Bogotá Philharmonic Orchestra.

With the Cameristi della Scala, in addition to the concerts at Teatro alla Scala in Milan, Wilson Hermanto took the orchestra to perform in Italy, France, Germany, Austria, Switzerland, Turkey and Hong Kong and was also invited back to perform at the George Enescu Festival in Bucharest. In recent seasons, he collaborated with renowned soloists such as Veronika Eberle, Simon Trpčeski, Daniel Müller-Schott, Maxim Rysanov and Pierre Génisson. Wilson Hermanto also worked with the Warsaw Philharmonic Orchestra as well as the NFM Leopoldinum Orchestra in Wrocław. Since 2022, he is the co-founder and co-artistic director of the Vevey Spring Classic festival together with the cellist Daniel Müller-Schott.

As a guest conductor, Wilson Hermanto conducted Bernstein “Candide” with the Baltic State Opera in Poland and worked with Sinfonia Varsovia, Polish National Radio Symphony Orchestra, Orchestre National de Metz, George Enescu Philharmonic Orchestra, Heidelberg Philharmonic Orchestra, Argovia Philharmonic, Chilean National Symphony Orchestra, Mariinsky Orchestra, Szczecin Philharmonic Orchestra, North Czech Philharmonic Orchestra, Bogotá Philharmonic Orchestra, Orchestra dell’Accademia Teatro alla Scala and Swiss Youth Symphony Orchestra.

Wilson Hermanto performed with several of France’s major orchestras such as Orchestre National de Lyon, Orchestre Philharmonique de Radio France, Orchestre National du Capitole de Toulouse, Orchestre de Chambre de Paris, Orchestre National d’Île-de-France, and Orchestre National de Bretagne. Around the globe he has worked with the Cleveland Orchestra, Deutsche Radio Philharmonie Saarbrücken, Prague Symphony Orchestra, London Philharmonic Orchestra, BBC National Orchestra of Wales, Orchestra della Svizzera Italiana, Lausanne Chamber Orchestra, NDR Radio Philharmonie Hannover, Ulster Orchestra, Florida Orchestra, English Chamber Orchestra, Malaysian Philharmonic Orchestra, Geneva Chamber Orchestra, Ensemble Contrechamps and many others.

With a wide repertoire spanning from the Baroque period to the music of our time, Wilson Hermanto has worked with many renowned contemporary composers such as Zygmunt Krauze, Bruno Mantovani, Jörg Widmann, Agata Zubel, Thuridur Jónsdóttir, Helmut Lachenmann, Eric Montalbetti, Giovanni Sollima, Mag­dalena Długosz, H.K. Gruber, Matteo Franceschini, Enno Poppe, Teoniki Rożynek, Wojciech Błazejczyk and Lowell Liebermann. Among the soloists with whom Wilson Hermanto has worked together include Maxim Vengerov, Lang Lang, Francesco Piemontesi, Gautier Capuçon, David Fray, Till Fellner, Alexei Volodin, Sergei Babayan, Carolin Widmann, Alina Pogostkina, Nils Mönkemeyer, Kian Soltani, Richard Galliano, Radek Baborák, Michael Barenboim and the Trio Wanderer.

Born in Indonesia and a long-time resident of Switzerland, Wilson Hermanto graduated from the Peabody Conservatory of Music. After earning a bachelor’s degree in violin, he obtained a master’s degree in conduct­ing from the Manhattan School of Music where he studied with the Swedish maestro Sixten Ehrling. As a close mentor during more than a decade, Sir Colin Davis took a keen interest in Wilson Hermanto’s musical development. He was also one of the last students in Carlo Maria Giulini’s conducting class at the Scuola Musica di Fiesole in Italy. In addition, he studied at the Tanglewood Music Center with Seiji Ozawa and at the Lucerne Festival Academy on invitation of Pierre Boulez.

Wilson Hermanto and the Cameristi della Scala released an album in late 2024 featuring Beethoven Symphony No. 2 and Mozart Symphony No. 35, known as the «Haffner» Symphony (CD Claves 3096).

Booklet für Bernd Alois Zimmermann, Péter Eötvös, Heinz Karl "Nali" GruberGruber