hansjoergfink

What makes this music special is the development of melodic, harmonic and rhythmic structures that leave space for spontaneous interpretations and improvisations, thus giving the original chorals more depth. Improvisation is a form of making music, in which the tonal material has not been notated but developed during the performance. The art of improvisation is an essential part of the creational process in both church music and in jazz. Elmar Lehnen and Hansjörg Fink succeeded in bringing these two worlds together in a most exciting way.
With its unique sound possibilities, the grand Seifert organ from the papal Marienbasilica in Kevelaer played an important role in this process.

With his refined registrations and his virtuoso and creative style, Elmar Lehnen used the full range of countless timbres of the instrument.
Hansjörg Fink called upon his impressive technical skills to create a great diversity of colours from the wide sound range of the trombone.

Two Dutch composers, Henk Meutgeert and Robbert Scherpenisse, were specifically recruited to create new compositions Antiphon und Improvisation and Klangspektrum based on the chorals Alma Redemptoris Mater and Salve Regina.

(photo by ´Rolf Ehl)

Elmar Lehnen and Hansjörg Fink ventured to make their own arrangement of the organ piece L’ange à la trompette by Jacques Charpentier.
From Czech composer Petr Eben they chose a composition from the repertoire for trombone and organ (Two Invocations). This composition is based on the St. Wenceslas’ Choral.

                                     
(photo by Judith Olthuis)          (photo by Susanne Fink)                                               (photo by Hansjörg Fink)