Ludwig Güttler has been called "the Pavarotti of wind instruments" and the "King of Trumpets," but he is almost as well known for his research, teaching, and dedication to the culture of Saxony as for his playing of the trumpet and horn…
Ludwig Güttler has been called "the Pavarotti of wind instruments" and the "King of Trumpets," but he is almost as well known for his research, teaching, and dedication to the culture of Saxony as for his playing of the trumpet and horn. Güttler first took music lessons at the age of 5; when he was 14, he began playing the trumpet. At the Hochschule für Musik in Leipzig, he studied with Armin Mennel between 1961 and 1965. He then became solo trumpeter for Halle's Handel Festival Orchestra and then the Dresden Philharmonic, where he remained until 1980.
Wolfgang Güttler ist ein deutscher Kontrabassist rumänischer Herkunft. (…) Als Instrumentallehrer gab er Meisterkurse an der Juilliard School of Music und der Manhattan School of Music. (…) Sein Repertoire erstreckt sich von der Alten über den Jazz bis zur Zeitgenössischen Musik. Unter anderem haben ihm Jean Françaix und Hans-Joachim Hespos Kompositionen gewidmet. Für seine solistischen und kammermusikalischen Einspielungen wurde er mehrfach ausgezeichnet.
Jan Dismas Zelenka (1679 ‐ 1745) is one of the most enigmatic figures in the history of Baroque music. Very little is known of his early years, where he studied and who taught him. Born in a village to the south of Prague, he later travelled to Dresden where he joined the court of the Elector of Saxony, Friedrich August I. His position at the court was a lowly one, but he nonetheless composed many works there and his output of church music was particularly prolific.
The opening chorus "Jauchzet Frolocket" is absolutely awesome. I have never heard any other performance that captures the brilliance and power in that chorus the way Flamig and the Kreuzchor do. Equally amazing is the way they combine precision and expressive sensitivity (may have something to do with the influence of Heinrich Schutz on the Dresden Kreuzchor). It avoids the lush excesses of many "modern" performances as well as the weak sound of some "authentic" performances. This is Bach at its best.
"…If this imaginative mix of tenor/bass sonatas, rather than an all-cello recital, at first seems curious it works well in practice. Those already in possession of the rival accounts listed above may not want to duplicate these works further, though I would rate the present offering most highly; for those coming new to these works, start here." ~Grammophone
"Die Musiker des Ensembles Villa Musica spielen mit einer ansteckenden Begeisterung, mit der diese Werke geradezu wachsen und an musikalischer Bedeutsamkeit zu gewinnen scheinen." (FonoForum)