Jüri Leiten (Trumpet) & Andres Uibo (Organ)

Contents:
Giuseppe Torelli (1651-1709) Sonata á 5
Joh. Seb. Bach (1685-1750) AIR aus der Suite No.3 D-Dur (BWV 1068)
Nicolaus Bruhns (1665-1697) Präludium e-Moll
J.Clarke (ca.1674-1784) Suite in D-Dur
Giamb.Martini (1706-1784) Largo
Georg Böhm (1661-1733) Präludium und Fuge in C-Dur
Joh. Seb. Bach Jesus bleibet meine Freude (Choral aus der Kantate "Herz und Mund")
G.Friedr.Handel (1685-1759) Sonate in F-Dur
T. Albinoni (1671-1695) Adagio in g-Moll
Henry Purcell (1659-1695) Trumpet Sonata No.2 (Ouvertüre / Marsch)

FESTLICHE BAROKMUSIK. Jüri Leiten, trumpet, and Andres Uibo, organ. Eres CD 04 [DDD] 61:39. Produced by Horst Schubert.
Torelli: Sonata a´ cinq; Bach: Air (Suite No. 3); Bruhns: Praeludium in e (large); Clarke: Suite in D; Martini: Largo; Böhm: Prelude und Fugue in C; Bach: Jesus bleibet meine Freude (Contafa 147); Albinoni: Adagio in g; Purcell: Trumpet Sonata No. 2.] If no new ground is explored in this Baroque mixed-grill album, digitally recorded "without editing" on an unidentified eclectic instrument (1981 Rieger-Kloss, IV/63 stops) at St. Nicholas Church in Tallinn, Estonia, the disc satisfies nonetheless with its expert, alert playing in a friendly, spacious room. Leiten, in his 30s, and Uibo, in his 40s, have been performing together since 1988, as their meticulous ensemble shows. The works by two young Estonian composers, if not timeless masterpieces, are worth hearing. Tüür's Spectrum II, for trumpet, organ, and percussion (from triangle to timpani), spirals along in a mostly minimalist mode, colorful and friendly in its beginnings, explosive and surprising in its later pages. Sisask's four movement solo organ symphony (26 minutes), "Geminorum Kastor," and the five movement "Uranus" (for organ, trumpet, shaman drum, and didgeridoo) seem caught up in the composer's fascination with the mathematics of planet rotation and other calculations derived from the "musical harmony of the Solar System." The results are harmonically rather simple and rhythmically rotational, though the symphony's "Cantilene" is quietly beguiling. Even if theory remains more intriguing than its present sometimes mundane application, the playing and recorded representation could hardly be more convincing.

(The American Organist March 1998)

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