In the Press

"Reiner proved with his non-declining delight in playing why he has been celebrated for some time now as the new “trumpet star”. He unites a dazzling technique and musicality to create an expressiveness that is not just showing in flowering expression, but also in his supply flowing melody lines and his lithely modulated legato." (Suedwest Presse, January 2009)

"Now invitations from foreign countries become more and more frequent. Stations from Radio New Zealand to BBC Radio in Great Britain play pieces from Thomas Reiner’s CD and music magazines print cover stories about him." (Stuttgarter Zeitung / Stuttgarter Nachrichten, December 2008)

"Thanks to effortless virtuosity, sparkling facility and baroque joy of playing, an unpretentious fine naturalness unfolds, […] offering an inexhaustible feast for the ears." (Das Orchester, July/August 2008)

"This CD brings fresh interpretations to a broad range of Baroque repertoire. Throughout the recording, Reiner plays with a beautiful resonant sound, wellcrafted ornamentation, and a true melodic flair." (ITG Journal, June 2008)

Klassik heute 11/2007


The complete mastery even in the highest register of the piccolo trumpet, combined with a beauty of tone, is in the trumpet scene without any doubt what separates the wheat from the chaff. After listening to his new CD one can agree without hesitation to the fact that Thomas Reiner, who was born in Ludwigsburg/Baden-Wurttemberg, is – as indicated in the booklet – one of the few handpicked artists capable of playing for example the technically extremely challenging trumpet part in Bach’s Brandenburg Concerto No. 2 as if there was nothing special about it. Moreover, this recording of baroque trumpet concertos communicates to the listener directly Reiner’s great delight in playing the trumpet, his refined and well devised art of decoration, his understanding of tone and his love for baroque music as well as for the piccolo trumpet.

There is not really a lack of CDs with baroque trumpet music on the market, but there are a number of instances that make Reiner’s debut on Naxos stand out from the multitude of rival products. To begin with, it is striking that Thomas Reiner – in spite of his rather sportive embouchure – does not dazzle simply with a sparkling display of trumpet fireworks; in witty interaction with the Southwest German Chamber Orchestra conducted by Sebastian Tewinkel, he knows how to fathom every nuance of a musical score with playful, flexible lightness and elegance. Secondly, there is the repertoire: original works by Giuseppe Torelli, George Frideric Handel, Johann Friedrich Fasch, Domenico Gabrielli and Georg Philipp Telemann alongside transcriptions of three oboe concertos by Albinoni, Handel and Telemann. The latter pose an enormous challenge for every trumpeter due to the minor keys and the fact that they were tailored for the oboe. But Thomas Reiner, a former student of Professors Erb and Komischke, masters these challenges with his immaculate embouchure and impressive support of air. In addition to that he possesses great creative abilities: extremely natural and precise articulation as well as phrasing full of expression, thus creating the impression these works had originally been intended for the trumpet.

Another peculiarity of this recording: Handel’s Oboe Concerto No. 3 in G minor, HWV 287, had last been recorded forty years ago – by Maurice André. One does indeed believe to perceive similarities in the art of André and Reiner. Reiner sounds much livelier and more terpsichorean though, and so he forms in Handels Oboe Concerto a downright electrifying tone between lyrical lament and radiant rejoicing. The climax and highlight of this recording, however, is definitely the rendering of Albinoni’s Oboe Concerto in D minor, Op. 9/2, which sparkles in a perfect balance between (unobtrusive) virtuosity and lithely sounding cantability even in the upper register.

Last but not least Reiner convinces with the freshness and confidence in style he uses to dust off the presented baroque repertoire – in doing so he clearly surpasses the Pforzheim Orchestra that plays homogeneous, but every now and again a little too well-proportioned.

on a scale from 1-10 (ten being the best):

Rondo 12/2007


The world is in perfect order. The Southwest German Chamber Orchestra under Sebastian Tewinkel strides ahead light of foot, delicately textured and transparent in structure. Typically baroque it forms the rank and file - but yet it is more than just a plain mass, for every instrument remains clearly discernable as an individual contributor to the homogeneous overall sound. Above this ensemble of individuals Thomas Reiner rises as dominant soloist. Hardly has his tone rung out when the crowd – true to the composition – adjusts itself to it, they react, answer, provide the background for him. Reiner leads with litheness, he surpasses the ensemble and dominates it without setting himself up as a dictator, oppressing his accompanists. His tone is well-balanced in every register and range, his melodic line is elastic and precise, the modern piccolo trumpet allowing him to perform even higher trumpet passages lightly and resiliently. In this respect the piccolo trumpet is superior to the contemporary baroque trumpets. Hence it suggested itself to record not only original works for the trumpet, but also transcriptions of works for the oboe, which were naturally set in the upper register. Reiner’s renderings of Tomaso Giovanni Albinoni’s Oboe Concerto in D minor, Op. 9, No.2, George Frideric Handel’s Oboe Concerto No. 3 in G minor or Georg Philipp Telemann’s Oboe Concerto in F minor appear so homogenous as if they – like Giuseppe Torelli’s Sinfonia for Trumpet in D major, Handel’s Suite in D major ”The Famous Water Piece”, Johann Friedrich Fasch’s Concerto à 8 in D major, Domenico Gabrielli’s Trumpet Sonata No. 4 in D major or Telemann’s Sonata in D major – had been written originally for the trumpet from the outset.

Clarino.print 10/2007


Torelli, Albinoni, Handel, Fasch, Gabrielli und Telemann probably never would have dreamed that they created music for eternity with their trumpet concertos. Neither would they in all likelihood have dreamed that one day these concertos would be played on a short, fully chromatic instrument. But this is exactly what Thomas Reiner does – and how well he does it. Together with the Southwest German Chamber Orchestra Pforzheim he interprets great baroque trumpet concertos and oboe concertos transcribed for the trumpet with a beauty of tone, technically brilliant and musically convincing. An excellent CD that creates an appetite for more.

International Trumpet Guild Journal 01/2004

Thomas Reiner – Concerto fantastico

Thomas Reiner, trumpet and corno da caccia; Frank Oidtmann, organ

Animato ACD 6066 (CD); Germany

Albinoni: Konzert in F-Dur; Krebs: Fantasia in C-Dur über Wachet auf; Vivaldi: Konzert in g-moll; Krebs: Choralbearbeitung Wachet auf, ruft uns die Stimme; Viviani: Sonata prima per trombetta sola; Krebs: Wachet auf, ruft uns die Stimme; Albinoni: Konzert in d-moll; Haydn: Flötenuhrstücke

Trumpeter Thomas Reiner’s work as an ensemble player with the Arta Trompetenensemble has been praised in these pages before (October 2002). It is as a soloist, and a fine one at that, that we meet him again with Concerto fantastico. This CD is a program of Baroque music for trumpet and organ expertly played by Reiner and organist Frank Oidtmann. The pieces at hand are arranged in an order that makes Concerto fantastico eminently listenable. Festive Italian Baroque pieces alternate with more reflective works based on the chorale tune “Wachet auf, ruft uns die Stimme”. Reiner plays with excellent facility and a clear, expressive tone quality. His lightness in the upper register is reminiscent of the finest soloists on the natural trumpet while retaining the brilliance of the modern instrument. The two Albinoni pieces are especially well played, particularly the lovely “Adagio” from the d minor Concerto. Organist Oidtmann is a deft and sensitive partner throughout. As I mentioned at the beginning of this review, this is a well-planned and executed program – with the exception of the last piece. On this excellent recording of Baroque music for trumpet and organ the last section isn’t Baroque, or for trumpet, or for organ. The Haydn Flötenuhrstücke is a three-movement piece for the mechanical clockwork instrument called the Flötenuhr – all the rage in the 1790s (you can thank me for saving you a trip to the library later). These movements are a nice curiosity, and are played on an instrument from 1793, but don’t really belong here. That being said, I highly recommend the playing of Thomas Reiner and Frank Oidtmann. Concerto fantastico is a brilliant piece of work, worthy of our attention. (Lee Weimer, assistant professor of music, Lambuth University, Jackson, TN)