The longtime friends Moritz Görg and Michael Riedel have been performing together since 2013.
The Trumpet-Organ-Duo bestows great care on appropriate performance. Music of the 17th and 18th century which was originally written for trumpet is played with the valveless natural trumpet how it was used back then.
The other focus in their collaboration is the performance of Contemporary Music written for trumpet and organ, such as pieces by Henri Tomasi, Naji Hakim, Marius Constant, André Jolivet among others.
Both musicians are fascinated by the connection of Early and Contemporary Music, that leads to varied concert programs where those different styles are combined and performed on historically adequate musical instruments.
Moritz Görg and Michael Riedel give concerts in major churches such as the cathedral in Lübeck and Verden, in Bayreuth, Frankfurt and Nürnberg as well as in churches with famous historical organs such as monastery Ebrach, Castle Burgk, castle church Lahm, Lambrecht and Eisenach among others.
The Duo has been guest at several music festivals, such as summer concerts in Preetz, Organ Festival in Austin (Texas/USA) among others.
Since the 16th century, the trumpet corps has belonged to the court just like the prince and princess itself.
The corps, consisting of trumpets and kettledrums, represented the glory and power of the court like no other group. It primary played fanfares which were performed at court festivities and ballets for horses. Only mid of the 17th century the trumpet became a part of the art music.
The Trompetenspektakel with its international celebrated musicians presents a multifaceted program full of gorgeous and festive music for six trumpets, timpani, trombone and organ – from fanfares of the 16th century to virtuosic court music of the 17th and 18th century like it was composed and played at the famous courts of Kroměříž/Moravia, Vienna at King Leopold I. among others.
Since its founding in 2019 the Trompetenspektakel has been guest at several music festivals, such as Balthasar Neumann Musiktage Gößweinstein, Osnabrücker Kulturnacht among others.
Moritz Görg, Rudolf Lörinc, Tibor Mészáros, Björn Kadenbach, Lukas Reiß,
Pavel Janeček, Emilia Suchlich
Michael Juen, Johannes Simmat
The exist of the Corno da tirarsi is only documented in the music by a single composer:
Johann Sebastian Bach (1685 – 1750).
In 1723, when Bach started his job as a cantor in St. Thomas Church in Leipzig, he first used the instrument Corno da tirarsi. It only appears in his cantatas within the time 1723 to 1731.
The biggest and most demanding parts were written in the years 1723 and 1724 followed by cantus-firmus-parts until the year 1726. Only three cantatas were composed outside the first two cantata years (1723/24 & 1724/25): BWV 16 und 27 in 1726, and BWV 140 in 1731.
Three cantatas call for the Corno da tirarsi by full name with Bach‘s handwriting:
BWV 46 Schauet doch und sehet, ob irgend ein Schmerz sei
BWV 162 Ach! ich sehe, itzt, da ich zur Hochzeit gehe
BWV 67 Halt im Gedächtnis Jesum Christ
26 more cantatas require a Corno but aren‘t written within the boundaries of a natural instrument. Thus, they must be added to the list of the works with Corno da tirarsi:
BWV 3 Ach Gott, wie manches Herzeleid 14.01.1725
BWV 8 Liebster Gott, wenn werd ich sterben 24.09.1724
BWV 16 Herr Gott, dich loben wir 01.01.1726
BWV 24 Ein ungefärbt Gemüte 20.06.1723
BWV 26 Ach wie flüchtig, ach wie nichtig 19.11.1724
BWV 27 Wer weiß, wie nahe mir mein Ende 06.10.1726
BWV 60 O Ewigkeit, du Donnerwort 07.11.1723
BWV 62 Nun komm, der Heiden Heiland 03.12.1724
BWV 68 Also hat Gott die Welt geliebt 21.05.1725
BWV 73 Herr, wie du willt, so schicks mit mir 23.01.1724
BWV 78 Jesu, der du meine Seele 10.09.1724
BWV 89 Was soll ich aus dir machen, Ephraim 24.10.1723
BWV 95 Christus, der ist mein Leben 12.09.1723
BWV 96 Herr Christ, der einge Gottessohn 08.10.1724
BWV 99 Was Gott tut, das ist wohlgetan 17.09.1724
BWV 105 Herr, gehe nicht ins Gericht 25.07.1723
BWV 107 Was willst du dich betrüben 23.07.1724
BWV 109 Ich glaube, lieber Herr, hilf meinem Unglauben 17.10.1723
BWV 114 Ach, lieben Christen, seid getrost 01.10.1724
BWV 115 Mache dich, mein Geist, bereit 05.11.1724
BWV 116 Du Friedefürst, Herr Jesu Christ 26.11.1724
BWV 124 Meinen Jesum laß ich nicht 07.01.1725
BWV 125 Mit Fried und Freud ich fahr dahin 02.02.1725
BWV 136 Erforsche mich, Gott, und erfahre mein Herz 18.07.1723
BWV 140 Wachet auf, ruft uns die Stimme 25.11.1731
BWV 178 Wo Gott der Herr nicht bei uns hält 30.07.1724
(Source: A. Dürr / Y. Kobayashi (Ed.): Bach-Werke-Verzeichnis. Kleine Ausgabe, Breitkopf & Härtel)
Except the music of JSB there are no pictures, treatises or other evidence concerning this instrument. No such an instrument has been found until this day and age.
It‘s Moritz Görg‘s strong interest to perform those cantatas on that instrument Bach had in mind and composed for. In close collaboration with brass instrument maker Norbert Neubauer (Nuremberg/Germany), a new version of this unknown instrument has been formed how it could have been used in Bachs cantata performances long time ago.