SKU: CF.W2682
ISBN 9781491144954. UPC: 680160902453. 9 x 12 inches. Key: E major.
Edited by Elisa Koehler, Associate Professor and Chair of the Music Department at Goucher College, this new edition of Johann Nepomuk Hummel's Concerto in E Major for trumpet in E and piano presented in its original key.The concerto by Johann Nepomuk Hummel (1778–1837)holds a unique place in the trumpet repertoire. Like theconcerto by Joseph Haydn (1732–1809) it was written forthe Austrian trumpeter Anton Weidinger (1766–1852) andhis newly invented keyed trumpet, performed a few timesby Weidinger, and then forgotten for more than 150 yearsuntil it was revived in the twentieth century. But unlikeHaydn’s concerto in Eb major, Hummel’s Concerto a Trombaprincipale (1803) was written in the key of E major for atrumpet pitched in E, not E≤. This difference of key proved tobe quite a conundrum for trumpeters and music publishersin the twentieth century. The first modern edition, publishedby Fritz Stein in 1957, transposed the concerto down onehalf step into the key of E≤ to make it more playable on atrumpet in Bb, which had become the standard instrumentfor trumpeters by the middle of the twentieth century.Armando Ghitalla made the first recording of the Hummel in1964 in the original key of E (on a C-trumpet) after editinga performing edition in 1959 in the transposed key of E≤ (forBb trumpet) published by Robert King Music. Needless tosay, the trumpet had changed dramatically in terms of design,manufacture, and cultural status between 1803 and 1957, andthe notion of classical solo repertoire for the modern trumpetwas still in its formative stages when the Hummel concertowas reborn.These factors conspired to create confusion regarding thenumerous interpretative challenges involved in performingthe Hummel concerto according to the composer’s originalintentions on modern trumpets. For those seeking the bestscholarly information, a facsimile of Hummel’s originalmanuscript score was published in 2011 with a separatevolume of analytical commentary by Edward H. Tarr,1 whoalso published the first modern edition of the concertoin the original key of E major (Universal Edition, 1972).This present edition—available in both keys: Eb and Emajor—strives to build a bridge between scholarship andperformance traditions in order to provide viable options forboth the purist and the practitioner.Following the revival of the Haydn trumpet concerto, acase could be made that some musicians were influencedby a type of normalcy bias that resulted in performancetraditions that attempted to make the Hummel morelike the Haydn by putting it in the same key, insertingunnecessary cadenzas, and adding trills where they mightnot belong.2 Issues concerning tempo and ornamentationposed additional challenges. As scholarship and performancepractice surrounding the concerto have become betterknown, trumpeters have increasingly sought to performthe concerto in the original key of E major—sometimes onkeyed trumpets—and to reconsider more recent performancetraditions in the transposed key of Eb.Regardless of the key, several factors need to be addressedwhen performing the Hummel concerto. The most notoriousof these is the interpretation of the wavy line (devoid of a “tr†indication), which appears in the second movement(mm. 4–5 and 47–49) and in the finale (mm. 218–221). InHummel’s manuscript score, the wavy line resembles a sinewave with wide, gentle curves, rather than the tight, buzzingappearance of a traditional trill line. Some have argued that itmay indicate intense vibrato or a fluttering tremolo betweenopen and closed fingerings on a keyed trumpet.3 In Hummel’s1828 piano treatise, he wrote that a wavy line without a “trâ€sign indicates uneigentlichen Triller oder den getrillertenNoten [“improper†trills or the notes that are trilled], andrecommends that they be played as main note trills that arenot resolved [ohne Nachschlag].4 Hummel’s piano treatisewas published twenty-five years after he wrote the trumpetconcerto, and his advocacy for main note trills (rather thanupper note trills) was controversial at the time, so trumpetersshould consider all of the available options when formingtheir own interpretation of the wavy line.Unlike Haydn, Hummel did not include any fermatas wherecadenzas could be inserted in his trumpet concerto. The endof the first movement, in particular, includes something likean accompanied cadenza passage (mm. 273–298), a featureHummel also included at the end of the first movement ofhis Piano Concerto No. 5 in Ab Major, Op. 113 (1827). Thethird movement includes a quote (starting at m. 168) fromCherubini’s opera, Les Deux Journées (1802), that diverts therondo form into a coda replete with idiomatic fanfares andvirtuosic figuration.5 Again, no fermata appears to signal acadenza, but the obbligato gymnastics in the solo trumpetpart function like an accompanied cadenza.Other necessary considerations include tempo choicesand ornamentation. Hummel did not include metronomemarkings to quantify his desired tempi for the movements,but clues may be gleaned through the surface evidence(metric pulse, beat values, figuration) and from the stratifiedtempo table that Hummel included in his 1828 piano treatise,where the first movement’s “Allegro con spirito†is interpretedas faster than the “Allegro†(without a modifier) of the finale.6In the realm of ornamentation, Hummel includes severalturns and figures that are open to interpretation. This editionincludes Hummel’s original symbols (turns and figuration)along with suggested realizations to provide musicians withoptions for forming their own interpretation.Finally, trumpeters are encouraged to listen to Mozart pianoconcerti as an interpretive context for Hummel’s trumpetconcerto. Hummel was a noted piano virtuoso at the end ofthe Classical era, and he studied with Mozart in Vienna asa young boy. Hummel also composed his own cadenzas forsome of Mozart’s piano concerti, and the twenty-five-year-oldcomposer imitated Mozart’s orchestral gestures and melodicfiguration in the trumpet concerto (most notably in the secondmovement, which resembles the famous slow movement ofMozart’s Piano Concerto No. 21 in C Major, K. 467).
SKU: HL.48025368
UPC: 196288194293.
Simon Laks (1901-1983), who moved from Warsaw to Paris in 1926 at the age of 25, belonged to the large group of composers from Central and Eastern European countries who went down in 20th-century music history as the “École de Parisâ€. Slavic temperament amalgamated in their music with French esprit, the folklore of their native countries combined with the stylistic elements of neoclassicism and jazz typical of the time. As a member of the “Association of Young Polish Musiciansâ€, Laks quickly made his way into French musical life. However, his career was ended with the beginning of World War 2 due to the collaboration of the Vichy government with Nazi Germany. Internment in 1941 was followed by deportation to Auschwitz in 1942. Laks survived the Shoah as a member and later leader of a camp band in Birkenau, which he testified to in his moving book Music in Auschwitz. After the traumatic experiences, Laks did not return to regular compositional activity until the 1960s, producing an opera, songs, and chamber music works, some of which were awarded important composition prizes. At the peak of this optimistic creative phase, he composed incidental music for Peretz Hirschbein's famous Yiddish comedy Dem Schmids Techter (The Blacksmith's Daughters), which premiered in New York in 1918, for a new production of the play at the Théâtre de lÂ’Entrepôt in Paris. Along with Prokofiev's Overture on Hebrew Themes and Shostakovich's cycle From Yiddish (Jewish) Folk Poetry, it is one of the most significant 20th-century explorations of art music with Jewish folklore – homage to a culture irreparably destroyed. From the original score, Holger Groschopp compiled two suites, for violoncello and piano and piano solo, that capture the essence of Lak's enchanting drama music. The premiere recording of the suites with Holger Groschopp and Adele Bitter was awarded the Opus Klassik 2023 in the category Editorial Achievement of the Year.
SKU: PE.0300761775
ISBN 9790300761770.
Long Road is a setting of a love poem by Paulina Barda (widow of the eminent poet Fricis Barda), who died in 1983 at the age of ninety-three; set in the original Latvian, it was Ešenvalds' contribution to Love madrigals, a collection of new commissions to celebrate the twentieth anniversary of the remarkable youth choir Kamer . . . , and this English version was specially made for Stephen Layton and Polyphony, to whom it is dedicated. It has the plain sincerity of a hymn, being homophonic throughout, and its thorough-going diatonicism is straightforward yet lush. At the midway point, a gentle susurration of bell-sounds and ocarinas appears unexpectedly, there is a brief downwards shift of a third, followed by an elated return to the home key, decorated by soloistic descants, before sustained vocalise and a return of the evanescent tinkling ushers the piece to its close. (5:10) Original Item: EP68714-CMPST.
SKU: CL.032-4464-01
There are lots of swing charts based on blues changes. This one is in a class of its own. An attention-grabbing intro leads to the unison ensemble melody, followed by a few choruses where all sections trade off with the lead line. The open solo section can feature any instrument with suggested solos included. After a solo spot for drums things get even more interesting and fun! The dynamic level comes way down and your bass player gets to shine with some tasty written solo licks. The final ensemble chorus builds to a shout section that really - SHOUTS! A very impressive, effective and playable chart!
SKU: GI.G-7884
UPC: 785147788430. English.
Recorded Live in Baltimore! Like the previous ?ve recordings and collections, I Heard the Voice highlights some of the ?nest selections from GIA’s African American Church Music series except this time these powerful anthems, spirituals, and gospel selections were recorded before a live audience. Featuring the incomparable Joseph Joubert on Piano and charismatic conductor James Abbington directing a powerful group of Morgan State and Oakwood University grads, this live performance engaged, thrilled, and inspired an enthusiastic crowd. Feel the excitement for yourself—add I Heard the Voice to your growing collection today! Contains a CD recording and one of each of the following octavos: Sing a New World into Being (From New Wine in Old Wineskins, Volume 2, G-7857)* - Jesus, Lay Yo' Head in de Winda' JOUBERT - Praise the Lord, All Ye Nations RANDEGGER - Sanctus SIMON - Study War No More—down by the Riverside JOUBERT - Jesus Is the King BURLEIGH - Holy, Holy, Holy, Lord God Almighty* JOUBERT - The Glorious Medley DICKENSON - I Sing the Mighty Power of God BURTON - If My People WADDLES - Just for Me HOLLAND - Even Me REID - Higest Praise JOUBERT - I Heard the Voice WOOTEN *on CD, but not included in music collection  .
SKU: CL.032-4464-00
SKU: AP.20690S
UPC: 038081204888. English.
This new work by Gary Fagan is sure to produce shivers up and down your spine! Introduced by a haunting woodwind motif that plays during the majestic trumpet opening, the mood quickly changes to that of joy and celebration. The mood changes in the middle section, introducing a beautiful melody in the woodwinds, which is then shared by the brass, with a stirring countermelody in the horns. An abbreviated A section returns followed by a restatement of the opening trumpet theme which brings this piece to an exciting conclusion.
SKU: CF.CAS66F
ISBN 9780825889486. UPC: 798408089481. 8.5 x 11 inches.
Yosemite Falls depicts the wide open spaces of this magnificent western treasure, exploring new sounds and harmonies in a fresh approach from Sean O'Loughlin. However, this work retains his signature flourishes, such as angular rhythm, drive, and punctuated harmonies. A very strong choice for your more advanced ensembles in contest or festival performance.The grandeur and spectacle of Yosemite National Park is the inspiration for the music of Yosemite Falls. Located in the northwest corner of California, this park continues to be a natural wonder to all who visit it each year. The falls are particularly beautiful in the spring when all the snow from winter is melting away.The piece begins with a pulsing rhythmic figure that will return periodically throughout the piece. Bring out the dynamic contrast in the section that follows at m. 9. The main melody appears at m. 17 and should have a light and airy feel to it. The secondary melody comes in at m. 30 and has a much more legato and lyrical quality. This melody continues to grow and expand until m. 44 when the opening rhythmic idea returns. This rhythm gets developed further throughout the nextfew sections until the main and secondary melodies collide at m. 67. Bring out the inner lines to create a lush accompaniment. This culminates in a unison statement of the melody at m. 83. The silence on the downbeat of m. 84 creates space and anticipation for the pulsing rhythms that gain momentum to the exciting conclusion.
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
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