Fanfaren- und Eventmusik  für Ihren besonderen Anlass. Mit noblen und außergewöhnlichen Klängen wird Ihr Event zu einem unvergesslichen Erlebnis. 

 

LiveACTs für Events: FANFARENBLÄSER solo, TRUMPETS VIENNA, TRUMPETS & DRUMS, RHYTHM & BRASS, THE ART OF TRUMPET VIENNA, IMPERIAL FANFARES

Trumpets Vienna glänzt bei Ihrem Event je nach Anlass mit noblen, imperialen Klängen oder mit swingenden, happy songs oder mit Rhythmus & Brass oder mit energiegeladenen Sounds. Und Ihre Veranstaltung bekommt den richten akustischen und optischen Whau-Effekt. Die Live Acts treten in verschiedenen Outfit Varianten auf: Frack, Classic formal black, Casual  - siehe hiefür Fotogalerie LiveACTs.

Unter folgende Fanfarentypen können sie wählen: Fanfaren am Wiener Kaiserhof, Imperial Fanfares, Street Trumpets, Jubiläums-, Festtags-, Geburtstags- und Galafanfaren, Eventfanfaren, Fanfare for a special Moment, Ceremonies and other Entertainment Fanfares, Champagner- & Hochzeitsfanfaren.

Musical Interlude (Stücke zu je ca. 2:30 bis 3 min): locker beschwingt, ähnliche wie die Stücke „Her Royal Majesty“, „If my friends could see me“ oder energiegeladen wie  "Stomp", „Streettrumpet Nr1“ 

 

Buchen Sie die LiveActs / Musiker in verschiedensten Besetzungen. Nehmen Sie mit uns Kontakt auf und  besprechen wir gemeinsam ihr Vorhaben und Ihre Anforderungen!

In diesen Besetzungen wurden wir gebucht und das Publikum liebt es: 

o   Fundraising Dinner in der Wiener Hofburg / 650 Jahre Österreichische Nationalbibliothek am 10. April 2018 (Trumpets Vienna: 3 Trompeter)

o   Festakt anlässlich 650 Jahre Österreichische Nationalbibliothek am 22. Februar 2018. Die Österreichische Nationalbibliothek, eine der ältesten und bedeutendsten Gedächtnisinstitutionen des Landes, feiert 2018 ihr 650-jähriges Jubiläum (Trumpets Vienna: 3 Trompeten & Pauke).

o   Grundsteinlegung Boehringer Ingelheim Biopharma am 12. Oktober 2017, Wien. Unter Anwesenheit des Bundeskanzlers Mag. Christian Kern, des Bürgermeisters der Stadt Wien Dr. Michael Häupl, der Finanzministers Dr. Hans-Jörg Schelling, des Generaldirektors Boehringer Ingelheim RCV Philipp von Lattorff, des Vorsitzenden der Unternehmensleitung von Boehringer Ingelheim Hubertus von Baumbach und vieler anderere Ehrengäste wurde mit musikalischer Umrahmung von "Trumpet & Drums" der Grundstein gelegt. (Trumpet & Drums: 3 Trompeten, Tuba & 2 Drumer)

o   Inauguration des Bundespräsident Dr. Heinz Fischer am 8. Juli 2004 im Sitzungssaal der Bundesversammlung des Parlamentsgebäudes live in ORF 2 ausgestrahlt (The Art of Trumpet Vienna: 6 Trompeter, 4 Posaunen, 1 Tuba, 1 Pauker)

o   Botschafterempfang im Hotel Imperial Gleich 17 neu in Österreich akkreditierte Botschafter hieß SOCIETY-Herausgeberin Gertrud Tauchhammer beim traditionellen Empfang im Hotel Imperial willkommen. Die Neuankömmlinge wurden unter Fanfarenklängen der "Trumpets in Concert" von Leonhard Leeb feierlich begrüßt. Gemeinsam mit Imperial-Generaldirektor Klaus Christandl wurde auch der neue Staatssekretär im Außenministerium Dr. Reinhold Lopatka als Gast empfangen. Nach der Überreichung der Gastgeschenke gab die chinesische Starsopranistin Yuan-Ming Song ein Ständchen zum Besten. (Imperial Fanfares: 3 Trompeter)

o   Parlament (Charpentier Fanfare), EU-Feier (3 Trompeter)

o   Eröffnungsfeierlichkeit des Internationalen Festivals Carinthischer Sommer (The Art of Trumpet Vienna: 8 Trompeter & Pauke)

o   VIII. Franz Klammer Golf Charity Invitational (3 Trompeter)

o   Festveranstaltung im Wiener Rathaus, Empore großer Festsaal (Imperial Fanfares: 4 Trompeter)

o   Musikalische Antrée (Fanfare) zur Überreichung der Ehrenbürgerurkunde der Stadt Wien an Max Weiler  im  Stadtsenatssitzungssaal des Wiener  Rathauses (1 Fanfarenbläser)

o   Festakt „140 Jahre HAK I"  Fond der Wiener Kaufmannschaft (Fanfarenbläser: 2 Trompeter)

o   DER AMBASSDOR CLUB WIEN beehrt sich, seine Freunde mit Gästen zur Vernissage der Ausstellung THEO BRINEK „Globetrotting" ins Hotel Vienna Hilton Plaza A-10I0 Wien einzuladen (1 Fanfarenbläser)

o  private Geburtstagsüberraschung mit einem Ständchen ((1 Trompeter)

 

Unsere aktuellen Fanfaren-Auftritte finden Sie auch unter History & Highlights
 

Reviews

---

 

 "The performances are appropriately stirring, ceremonial, attention-grabbing, even mournful... For what it is...this CD is excellent."

- Scott Morrison, Amazon.com, July 2003

 

---

 

IMPERIAL FANFARES

The Art of Trumpet Vienna/Leonhard Leeb   Naxos 8.555879

If you've ever wanted to test your tolerance of the art of fanfaring, this is the disc for you. The Art of Trumpet Ensemble from Vienna squeeze 76 fanfare or fanfare-like pieces into 68 minutes, and broaden the choice of music from the "Imperial Fanfares" of the title to include recent pieces, even a three-minute elegiac contribution written by Leon Bolten on September 11th, 2001. There may not be an incredible amount you can do with fanfares, though drums (which are of course used in some of the pieces here) add significantly to the possibilities. Lully, Salieri, Biber and Charpentier are the best known names to feature in a finely-performed collection that will amply reward anyone curious about the nature and scope of an art that remains an integral part of modern ceremonial.

www.naxos.com

 

This is what you'd have to call a specialty CD. It consists entirely of fanfares--nothing but fanfares--some of them as short as 10 seconds long. An interesting idea for a CD, perhaps, but I would guess it is primarily for directors of costume dramas, period pieces, and ceremonies of various sorts.

There are 76 fanfares on the disc covering composers ranging from Monteverdi to a trio of modern composers, all of the latter associated with the CD itself. They are played by an outfit called 'The Art of the Trumpet,' a coalescence of 24 Austrian trumpeters and a couple of timpanists (and on occasion a single trombone). Some of the fanfares use the whole group, there are others for solo trumpet, and for all combinations in between. They are led by a trumpeter from Vienna named Leonhard Leeb who is not only one of the trumpeters but also one of the composers--the other two modern composers are Leon Bolten and Joel Modart (I almost typed 'Mozart' but no!...).

Other composers include Salieri, Lully, Biber, J.H. Schmelzer, Pezel (often spelled Petzel here in America), Philidor (yes, the chess master of that name), Marc-Antoine Charpentier, and the multi-talented A. Nony Mous.

The performances are appropriately stirring, ceremonial, attention-grabbing, even mournful (one, Bolten's 'Wrapped in Mystery,' was dedicated to the victims of the World Trade Center tragedy of September 11, 2001). I would strongly suggest you not listen to the whole CD at one sitting--actually, it's hard to imagine anyone would--because too much B flat can fry your brain unless you yourself are a brass player or bagpiper.

For what it is, though, this CD is excellent.

Review by Scott Morrison (Prairie Village KS USA)

 

 

 

If you think 76 tracks of fanfares are too much to endure, then I don't suppose I can change your mind, though the beauty of the disc is the ability to dip into it to hear how composers over the centuries provided introductions to great occasions. Leonhard Leeb has created a very varied choice, from the conventional 'call to arms', to the more stately entrance pieces, together with fanfares that call for an individual show of virtuosity. Still not convinced? Then give track 10 a try - the sombre fanfare for Court Church Ceremonies by the 16th century composer, Moritz von Hessen - and run into the following fanfare for the same ceremonial purpose by Salieri, and maybe you will get hooked. There is also a section given to modern fanfares, a number by the ensemble's director. The playing - presumably on period instruments where appropriate - is of high quality, the engineers providing an 'out of doors' sound environment. The disc was released in the German and Austrian markets over a year ago, and now makes its international debut.

David's Review Corner, US 2004

 

 

 

There’s nothing better than a bright fanfare to start the day with but there is also such a thing as the law of diminishing returns. In the same way as, just because one apple a day keeps one doctor away it doesn’t necessarily follow that you can keep 76 of them from baying at your door by stuffing 76 apples down your throat in 24 hours, a day which begins with 76 fanfares, imperial or not, will not necessarily be 76 times brighter. There used to be a jolly song about "76 trombones all in a row" but I forget what happened to them.

Well, having got the wisecracks off my chest it would be nice to say that in the event it was all much more varied than I feared, and up to a point it was. Within the limits of the genre there is a fair contrast between lively ones and solemn ones, and by stretching the genre such pieces as Altenburg’s touching "Prière du Matin" and the well-known Monteverdi piece have got in. Other high points along the way are Pezel’s perky "Intrada" which seems to have the "Trumpet Voluntary" on its brain, except that it must be pure coincidence, and Biber’s "Intrada" in which a solo trumpet gives out typical fanfare motives while the others hold a single chord for 2’ 14". Did circular breathing already exist in those days or is staggered breathing cunningly used to give the illusion of a single, sustained chord? Either way, I felt my own breath running out as I listened.

The better-known names do not always stand out above the crowd; of the French group Lully does not sound anything special, Charpentier perhaps does. Many of the modern fanfares last a bare 11 seconds and one’s reaction is inclined to be "and so what?" On the other hand, when Modart ("Il Giorno del silenzio") and Bolten ("Wrapped in Mystery", an instant reaction to the terrorist attack of 11^th September) are allowed to spread themselves a little (respectively 1’ 55" and 2’ 59", the longest piece on the disc), they do not appear to have a lot to say.

I also wonder why there is a chronological gap between the mid-19^th Century Gordigiani and the contemporary pieces. Just to remain with my own particular obsession, it might have been interesting to have heard Stanford’s "Flourish of Trumpets for the Imperial Durbar of Delhi" (you can’t get much more imperial than that!) but there must be plenty of other material from the late 19^th Century and the 20^th.

In short, if you have to compile a disc of 76 fanfares, given the reservation above, this is the way to do it. But why should you have to? One reason might be, if you are trying to sell the music, and in fact we are given an address from which sheet music of the anonymous works and those of Bolten, Leeb and Modart can be obtained. So perhaps the original idea was simply to provide an illustrated catalogue. But even so, I’m not convinced that band leaders will flock to buy. Do Leeb’s solo fanfares, for instance, contain anything that any competent trumpeter could not improvise for the occasion rather than have scores sent from Vienna? And might not the ensemble fanfares similarly stimulate emulation rather than purchase?

It remains to be said that the ensemble is a fine one, well-recorded, and might profitably give us some more sustained works. In truth, all this fanfare material would have been better used to fill odd spaces in such discs.

It’s difficult to see who to recommend this to, but if you want 76 fanfares you know where to get them.

Christopher Howell

 

 

Jonathan Woolf has also listened to this disc

Hell’s Bells how am I going to review this one? 76 Imperial Fanfares, 76 Trombones, Four and Twenty Blackbirds – where does one start. How, in actual fact, does one start? Well then, the disc is divided into types – Processional, Occasional, Ceremonial, Table – and we’re already sounding suspiciously like Hamlet’s advice to the Player King; there’s Ceremonial-Gala, there’s Processional-Electoral, there’s Equestrian-Aria. The sub divisions are seemingly – but thankfully not – endless.

Take a look at the composers; then reflect on the fact that most of these pieces last between thirty seconds and one minute thirty-five. When we get to the oddly tacked on Contemporary Fanfares from Joel Modart (b. 1962), Leonhard Leeb (b.1962 – and the director of the band) and Leon Bolten (b.1962 – what was it about 1962?) and you find that some of them last just eleven seconds. I don’t know what you can get up to in eleven seconds but I can tell you that a Contemporary Fanfare doesn’t cover a great deal of Monteverdian ground in that time.

All right, what have we got here? Salieri was clearly a master of this most external of musical arts – his Imperial Fanfare is striking but there’s a most diverting and anonymous Procession from Salzburg (the aptly titled Majestic Procession) that really does live up to its name and makes one inquisitive as to its composer. I enjoyed the antiphonal effects of Altenburg’s Morning Prayer, the crispness of Pezels’ brief Intrada (brief is I suppose in this context oxymoronic) and the amplitude of the Cavalli. The Monteverdi is the Prelude to Orfeo. As usual Biber turns in one of the more extraordinary compositions; if you thought he confined technical challenges to the violin think again when you hear his amazing Intrada for Trombet undt musicalischen Tafeldienst. The solo trumpet plays over a massed sustained note from the band - a remarkable feat. Lully’s The Descent of Mars starts rather innocuously but then becomes decidedly and determinedly – almost daemonically – Olympian and there’s some wrong note wit from Philidor. As for the contemporary works, well I’m not quite sure what they’re doing here, unless it’s to demonstrate a continuum of some sort. There’s a touch of the Coplands about Modart’s Entrée Fanfare and Bolten’s New Palace Fanfare (37 seconds long) is grand and knowingly old fashioned. The only piece to get one’s musical teeth into is his Wrapped in Mystery, a three-minute work strong on pensive intensity and inspired by the World Trade Centre attack – but it seems in this line-up to have wandered in by mistake from some album of brass tone poems. We end with three older Fanfares – to round things off I suppose. In our end is our beginning; it’s back to confident Salieri to transport us to Vienna.

Who is this disc for? Who will listen to it? How did I manage to write this much? I have no answers to any of these questions – but I am off to listen to Bruckner 7.

Jonathan Woolf