Luogo e data di registrazione		(luogo di registrazione non indicato) - 1965
	Registrazione: live / studio		studio
	Producer		-
	Prima Edizione LP		Telefunken | SLT 43091 (Stereo) | 1 LP - durata 40' 29" | (p) 1965 | ANA Telefunken | 6.41145 AW | 1 LP durata 40' 29" | (p) 1965 | ANA | Riedizione Telefunken "Aspekte" | 6.41145 AH | 1 LP durata 40' 29" | (c) 1982 | ANA | Riedizione
	Edizione CD		Teldec "I Love Classics" | 8.44079 HG | 1 CD - durata 40' 29" | (p) 1965 | AAD
	Cover		"Gottfried Reiche", Kupferstich von Rosbach nach dem Gemälde von G. Hausmann.
	Note		Gustav Leonhardt appears only in the compositions of Leopold Mozart and Telemann.

The works recorded on this disc do not only comprise a selection of better and lesser known items from the concerto repertoire; they provide at the same time an instructive survey of the development of the trumpet concerto in musical history, from in early baroque beginnings to the classical period. Joseph Haydn (1732-1809) wrote only one trumpet concerto, that in E flat major (Hokoken VII, e, No. 1). It is at the same time the last orchestral work of this great classical master, composed in 1796, after his second visit to England. It is dedicated to the Viennese court trumpeter Anton Weidlinger, who in the seventeen-nineties occupied himself with the development of a keyed trumpet, and sought a suitable concerto for his high trumpet in E flat. This work in three movements also provides the solo instrument with plenty of opportunity for displaying its virtuosity. The first movement is in sonata form. The second, in ternary form, lets the trumpet develop its possibilities of cantabile playing. The Rondo-Finale, on the other hand, places the virtuoso solo element decidedly in the foreground, yet without disturbing the well-balanced classicism of this late work of the composer. Henry Purcell (1659-1695) is the greatest English master of the early baroque period. He enjoyed no mean reputation in his day, not only as a composer but also as a musical theorist, and he prefaced his Twelve Trio Sonata published in 1683 with a "Foreword to the Reader" that gives us important basic information about his instrumental writing. We find these words in  it: "It was the author's sincere endeavour to imitate the most famous Italian masters, above all to help the earnestness and dignity of this kind of music to gain popularity and esteem among our people". The three-movement "Sonata for Trumpet and Strings" is a typical example of the adoption of Italian forms of music making that were developed in the early seventeenth century. Purcell, however, who had a fine ear for harmony and an original sense of the essence of polyphony, here demonstrates an individual transformation of the Italian models, so that his early baroque "pre-fugal" style and the many motif imitations that appear already anticipate the world of Bach and Handel. The first movement is a lively piece of 'concertante' music making, its most striking feature being the alternating play of motifs between the solo instrument and the strings. In the second movement (Adagio) the trumpet is silent, the homophonic piece in B minor being played by the strings alone. The Finale is a disguised dance movement in 3/8 time. The main theme, which enters in canon, is soon joined by a second, contrasting idea characterized by repeated notes. The movement closes with a fanfare typical of the solo instrument. In his "Report on the Present State of the Music of His High Princely Grace the Archbishop of Salzburg", written in 1757, Leopold Mozart (1719-1787) relates that during hisactivities as "Court and Chamber Composer" he had composed a large number of "Symphonies, thirty large Serenades" and also "many Concertos, particularly for the Transverse Flute, Oboe, the Bassoon, Horn, the Trumpet etc.". The Trumpet Concerto in D major heard on this record must be regarded as one of them master's many "occasional" compositions; its solo part was probably played by Andreas Schachtner on the occasion of a court concert. Schachtner was a friend of the Mozart family, and Leopold praises his "fine trumpet" and the fact that he knew how to play "with good taste". The two-movement work begins with an Adagio, whose conventional main theme is an embellished scale figure. There is no proper second theme, and thus the A major episode only has a modulatory character. The thoroughly homophonic writing lets the trumpet part stand out as a main impression, as a song-like melody full of feeling which, according to the prevailing aesthetics, was to sound "touching, emphatic and sublime" (Scheibe: "Kritischer Musikus"). The Allegro is a typical divertimento movement. Its echo effects recall the "terraced" dynamics of the baroque age, while the main theme with its sequence of triads and its note repetitions is based on the early classical Italian opera overture. Thus this carefree, easy-to-follow trumpet concerto can be identified as 'utilitarian' music of its age, also providing a document of Leopold's style of composition, which is characterized by a predeliction for the "popular". Georg Philipp Telemann (1681-1767) is one of the most universal musical personalities of the eighteenth century, and the gramophone record has played a decisive part in the revival of his works. A great number of compositions by this extraordinarily prolific and versatile representative of high baroque musical culture are still awaiting discovery and re-performance. Telemann was a musical 'grand seigneur', a highly educated man of the world who had visited many of the countries of Europe and mastered many foreign languages. From the German tradition he derived the contrapuntal mode of writing, from the Italians he adopted the song-like quality of their melody, from the French the 'galant' style and their colourful harmony. On his travels he made the acquaintance of the folk-music of various countries, as the result of which Slavonic rhythms in particular have found their way into his music. The manner in which Telemann has brought about a synthesis of these differing styles is truly daring; in addition, there is hardly any type of composition at which Telemann has not tried his hand. The four-movement trumpet concerto recorded here is similar in structure to the large-scale form of the church sonata, with a sequence of movements slow-quick. As regards the instrumentation, the work belongs to the category of the triple concerto, the virtuoso character of the trumpet part causing it to predominate in the solo group. Each of the four movements of this spontaneous piece of music making captivates the listener through its richness of expression, characteristic depiction of emotions and supreme mastery of writing. Günter Schneider Theo Mertens was born on February 10th, 1932, at Boechout near Antwerp in Belgium. From the age of eleven he took trumpet-lessons with the well-known pedagogue Emiel Maes and soon began a career as a child prodigy. By the time he was 18 he had already distinguished himself in winning high musical honours, The Royal Flemish Concervatory of Music, where he began as a pupil, has now won him as a member of its staff. In 1955 Theo Mertens was first prize winner in the "Concours International d'Exécution Musicale" at Geneva, and yjis was followed by a series of concert tours which took him all over the world. Theo Mertens repertoire includes not only classical but also modern music, and the virtuosity of his style, the neatness and elegance of his technique, as also musical sensitivity and the golden sound of his tobe give tise to praise and admiration wherever he goes.