Czechs and Baroque Europe / P.Hromádka trumpet, D.Foltýn oboe, T.Thon organ

Heinrich Ignaz Franz Biber (1644–1704) - Sonata X in G Minor for trumpet, oboe and organ 5:43

1. Adagio 1:04

2. Allegro 0:47

3. Allegro 1:40

4. Adagio. Presto 2:08

Jean-Baptiste Loeillet (1653–1728) - Sonata in C Major for Oboe and Organ 10:32

5. Largo 2:24

6. Allegro 2:26

7. Largo 3:07

8. Allegro 2:33

Bohumír (Gottfried, Godfrey) Finger (1656–1723) - Sonata in D Major for trumpet, oboe and organ 4:02

9. Allegro 1:04

10. Allegretto 0:58

11. Adagio. Allegro 1:57

Anonymous Composer - Organ Book from Bakov, Bohemia before 1747

12. Transitus per omnes Tonos 3:05

Anonymous Composer - Organ Book from Plzeň Region, Bohemia

13. Fugue in C Minor 2:28

Giovanni Buonaventura Viviani (1638–after 1692) - Sonata Prima for trumpet and organ 5:01

14. Andante 1:35

15. Allegro 0:48

16. Presto 0:43

17. Allegro 1:00

18. Adagio 0:51

Anonymous Composer - Organ Book from Slavkov near Opava, Silesia

19. Fugue in G Minor 2:56

20. Fugue in C Major 1:48

William Corbett (ca 1675–1748) - Sonata in C Major Op.1 No.12 for trumpet, oboe and organ 7:09

21. Adagio 2:48

22. Largo 2:05

23. Vivace 0:53

24. Allegro 1:22

Anonymous Composer - Organ Book from Jemnice, Moravia, 18th century

25. Preludium in D Major 2:56

26. Fugue on a Theme Dies est laetitiae 1:36

Francesco Geminiani (ca 1680–1762) - Sonata in E Minor for oboe and organ 7:16

27. Adagio 1:41

28. Allegro 1:58

29. Largo 1:50

30. Vivace 1:45

Bohumír (Gottfried, Godfrey) Finger (1656–1723) - Sonata in C Major for trumpet, oboe and organ 7:08

31. Andante 1:42

32. Adagio. Andante 1:21

33. Allegro 1:09

34. Grave. Allegro 2:54

Total time 62:46

Baroque Music Trio::

Pavel Hromádka trumpet, Dušan Foltýn oboe, Tomáš Thon organ in the parish church of st.John the Baptist in Hlučín

The programme reflects the strong presence and influence of Italian musicians in the Czech lands during the Baroque period, as well as the parallel development of local musical culture shaped by both imported and domestic traditions. Giovanni Buonaventura Viviani (1638–after 1692) represents the Italian musicians who travelled widely across Europe. His Sonata prima, originally written for a different instrumentation, became part of the trumpet repertoire through later adaptations. William Corbett (c. 1675–1748), an English violinist and collector, is included with a sonata from his Opus 1. Although intended for two violins, such works often circulated in arrangements suited to the needs of local performers in the Czech lands. Francesco Geminiani (1687–1762) composed sonatas whose titles explicitly allow performance on various solo instruments, including transverse flute or violin. This flexibility contributed to the wide dissemination of his music. Jean-Baptiste Loeillet (1680–1730), active in London and skilled on both flute and oboe, wrote chamber works that were performed across Europe. His sonatas reflect the cosmopolitan musical life of early 18th-century London. Bohumír (Gottfried, Godfrey) Finger (c. 1660–1730), a Moravian-born composer and virtuoso, worked in London and later at several aristocratic courts across Europe. A gifted gambist and trumpeter, he impressed contemporary audiences with his ability to perform trumpet music in minor keys, considered exceptional at the time. Heinrich Ignaz Franz Biber (1644–1704), one of the most celebrated violinists of the Baroque era, maintained connections with the Czech lands from his youth. His church sonatas were widely admired and performed, influencing sacred music throughout Central Europe. Pavel Josef Vejvanovský (c. 1633–1693), a prominent trumpeter and composer in Kroměříž, was closely associated with Biber. Their contact dates back to the 1660s, and their works for trumpet and ensemble were central to the musical life of Moravia. The recording also includes anonymous organ compositions from Czech, Moravian, and Silesian manuscript collections of the 17th and 18th centuries. These pieces illustrate the flourishing cantor tradition, in which local teachers—serving simultaneously as organists—compiled their own organ books containing preludes, fugues, accompaniments, and practical instructional material.

(Studio Matouš 2007)