Related Reviews
International Record Review
'wonderfully clean and vibrant lines contrast with the elaborate shapes of J.S. ...The programme is very well sequenced. As for the playing itself, I can find no fault: Jonathan Freeman-Attwood is clearly an amazing trumpeter and Daniel-Ben Pienaar, who has arranged all but one of the items deftly, is more than equal to the technical demands he sets himself. A very enjoyable release.’
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Northamptonshire Telegraph
‘…all-round Renaissance Man Jonathan Freeman-Attwood appl[es] is his vibrant technique…in a unique recital…well worth investigating.’
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artswrap.co.uk
'Jonathan Freeman-Attwood has attracted much attention for his standard of playing on the trumpet and is an established Bach interpreter.'
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BBC Radio 3 'CD Review'
'...a nice combination of shameless ingenuity, infectious verve, and genuine panache'
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AllMusic.com
3½ Stars
'...for sheer originality this has to take some kind of prize.'
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Brass Band World
4 Stars
'Freeman-Attwood's warm tone and crystalline articulation in fact blends beautifully with the piano, whilst the sense of synergy between the two performers keeps the listener focused on the direction of the music.'
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Brass Band World
Q&A session with Jonathan Freeman-Attwood
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Gramophone
'A totally refreshing disc.'
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Jonathan Freeman-Attwood - A Bach Notebook for Trumpet - Limelight


17 September 2013
Limelight
R.J. Stove
4½ Stars

An agreeable Bachian tonic to cure jaded musical sensibilities

The Bach family seems set on becoming as inescapable as the Kardashian fungibles. Once again, music by all sorts of profoundly obscure Bachs, as well as by J.S. Bach, Carl Philipp Emmanuel, Wilhelm Friedemann, and Johann Christian, has been covered.

And yes, we behold here a piano in all its tonal glory, not a harpsichord, let alone a clavichord. The trumpet-piano combination has seldom generated original music (among front-ranking composers only Hindemith employed it, and even he struggled to make it interesting). Still, in these arrangements, carried out by pianist Daniel-Ben Pienaar from a bewildering variety of organ, chamber, and orchestral originals - even the theatre is acknowledged, an overture from J.C. Bach's 1779 opera Amadis of Gaul having been included - it works like the proverbial charm.

Jonathan Freeman-Attwood is a real find. His trumpet timbre resembles the late Maurice Andre:
intrinsically straightforward but with judicious vibrato for emotive purposes, and with boundless panache. The pianism of his colleague avoids both undue pedalling and tiresomely excessive staccato. On occasion fast speeds impair chorale-preludes contrapuntal lucidity; yet overall, jaded sensibilities will consider this production a very agreeable tonic. Both performers benefit from remarkably vivid, well-balanced sound. May we have a sequel, please?


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Daniel-Ben PienaarDaniel-Ben Pienaar
Jonathan Freeman-AttwoodJonathan Freeman-Attwood
A Bach Notebook for TrumpetA Bach Notebook for Trumpet