Johann Sebastian Bach (1685-1750)
Concerto en ré majeur, extrait de l'Oratorio pour Pâques, BWV 249
Cantate "Jauchzet Gott in allen Landen", BWV 51
Concerto Brandebourgeois n° 2 en fa majeur, BWV 1047

Johann Georg Pisendel (1687-1755)
Concerto en mi bémol majeur

Antonio Vivaldi (1678-1741)
Concerto pour 2 cors en fa majeur, RV 539 (arr. de M. Fechner)

Georg Philipp Telemann (1681-1767)
Concerto pour violon et 3 cors en ré majeur, TWV 54:D2
Concerto pour trompette en ré majeur, TWV 51:D7

Johann Baptist Georg Neruda (1708-1780)
Concerto pour cor en mi bémol majeur

Johann Adolf Hasse (1699-1783)
Missa Ultima en sol mineur

Jan Dismas Zelenka (1679-1745)
Capriccio n° 5 en sol majeur, ZWV 190
Missa Dei Patric en do majeur, ZWV 19

Georg Friedrich Haendel (1685-1759)
Feuerwerkmusik, Musique pour les feux d'artifices Royaux, HV 351

Wolfgang Amadeus Mozart (1756-1791)
Sérénade n° 6 en ré majeur, KV 239 "Serenata Notturna"
Symphonie n° 36 en do majeur, KV 425 "Linzer Sinfonie"
Sérénade n° 10 en si bémol majeur, KV 361 "Gran Partita"

Joseph Haydn (1732-1809)
Concerto pour trompette en mi bémol majeur, Hob VIIe:1

Antonín Dvorák (1841-1904)
Sérénade en ré mineur, op. 44

Ludwig Güttler, trompette, direction

Ludwig Güttler has been one of Germany’s best known and most versatile trumpeters for more than 50 years. His concert activities have taken him beyond Germany across the whole of Europe. Shortly before his 75th birthday, he looks back and dedicates himself in this Edition to the continent united in music: Europe. Selected works and composers allow Güttler to show how music anticipated the political unification of Europe centuries ago. The individual works in this set, representative of many thousand such works and composers, demonstrate what paths music took in past times, what ground its creators covered and how their paths crossed. National boundaries may have kept changing, but music-makers stayed in touch with each other, emulated or challenged each other and picked up the latest fashions. Composers cross-fertilized each other at these points of intersection and created what we know now as “European classical music”. But they were not the only ones who regularly exchanged notes with their colleagues. Their compositions made the rounds too – from that day to this, but very much so even in those days of slow travel. Ludwig Güttler observes: “Sometimes it is the long journeys that indicate the works were durable, long-lived, exceptional – masterpieces, in fact.” The spectrum of this Edition ranges from Bach and his contemporaries Vivaldi, Telemann, Pisendel, Zelenka, Neruda and Hasse by way of travellers Haydn and Mozart to Dvorák, who made it across the Atlantic. Güttler himself knows better than practically anyone else how to draw together these threads. His intensive research throughout Europe has caused many forgotten works to see the light of day and enjoy the acclaim of audiences. He has made his own contribution to historically informed performance practice with the reconstruction of the corno da caccia. Edition Europa is also a retrospective. “Less in the sense of reflection than as a review of what has been achieved,” says Güttler. “I have been blowing the trumpet for 60 years now, conducting, fighting for what I believe in.” But even at 75, he is not ready to sit back. He still has a full concert diary and still spends a lot of time on his “excavations”. His goal? “I should like to bring to life as much good music as possible with my colleagues, and show what truly unbelievable riches are still awaiting us.”