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…
Fame is a strange thing. Although Johann Friedrich Fasch was highly esteemed by his contemporaries and the generations of musicians who followed him, in the concert repertoire of today he is grouped together with many minor masters who wrote a lot of works that sadly communicate very little. Yet music scholar Johann Adolf Scheibe put Fasch into the same class as Telemann, and J.S. Bach possessed copies of several of the composer's works. This release therefore aims to expose the genius of Fasch, and in doing so to help restore appreciation for what has become a largely forgotten corpus of deftly written, utterly absorbing music.
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.
Here’s a collection unrivalled in its scope within the current catalogue, of orchestral works by one of the most prolific of 20th-century, Paul Hindemith, whose reputation as a purveyor of ‘useful’ music has perhaps overshadowed his colourful orchestrations and often powerfully dramatic transformations of a wide range of extra-musical inspirations. His masterpiece may be the opera he based on the life and work of the painter of the Isenheim alterpiece, Matthias Grünewald, but the Mathis der Maler symphony he derived from its music is hardly less emotive.