SKU: MN.10-977A
UPC: 688670197710.
Reproducible trumpet parts for ONLY Wedding Fanfare (Jeremy Bankson) and Processional in G (Robert Hobby) From the collection Trumpet Tunes for Organ. Includes: Trumpet I, II, and III in B-flat and C. *The remainder of the trumpet parts are printed inside the score 10-977.
SKU: HL.48185153
UPC: 888680861780. 8.5x11.0x0.151 inches.
Robert Starer: 3 Preludes (Trumpet & Organ).
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.48185231
UPC: 888680990749. 9x12 inches.
“Written in 1803 by Johann Nepomuk Hummel (1778-1837), this Trumpet Concerto is a classical piece of the Trumpet repertoire. This version of the concerto features the score and part for Trumpet and band. Composed in the spirit of Mozart, the band is composed of: - Flute I & II (2) - Oboes I & II (2) - Clarinet I (2) - Clarinet II (2) - Clarinet III (2) - Horns I & II (2) - Trumpets I & II (2) - Timpani - Solo Trumpet - Bass Clarinet (2) - Bassoons I & II (2) - Countrabassoon Former student of Mozart, Johann Nepomuk Hummel (1778-1837) was a brilliant composer, pianist, conductor and teacher. Evolving at the same period as Beethoven, he became as famous and wrote numerous concertos (for Piano, Oboe, Trumpet, Violin and others), operas and some wind music pieces.&rdquo.
SKU: HL.48185241
UPC: 888680852887. 8.5x11.0x0.128 inches.
Knud Hovaldt: Trumpet Technique: Lip Flexibility (Trumpet solo).
SKU: LM.C04746
ISBN 9790230347464.
SKU: LM.P04388
ISBN 9790230343886.
SKU: LM.C04841
SKU: HL.48181059
For trumpet solo.
SKU: HL.48185244
UPC: 888680853037. 8.5x10.75x0.72 inches.
Malcolm Bennett: 14 Melodic Studies (Trumpet solo).
SKU: HL.48185245
UPC: 888680853082. 8.5x10.75 inches.
Malcolm Bennett: 18 Preliminary Studies (Trumpet solo).
SKU: HL.48182726
UPC: 888680870799. 11.0x14.0x0.04 inches.
Giuseppe Maria Jacchini: 2 Concertos-Sonates (Trumpet & Orchestra).
SKU: HL.48181150
From Works by: Wagner, Beethoven, Bizet, Stavinsky, Respighi, Rimsky-Korsakov, d'Indy, Ravel, G.Pierne, Tchaikovsky, Rabaud and Saint-Saens.
SKU: SP.TS035
ISBN 9781585603237. UPC: 649571100353.
Spiritual enlightenment is at the heart of this sacred collection from Santorella Publications. Inspirational Hymns for Trumpet arranged by Tony Santorella and Jonathon Robbins features thirty-three well known hymns written specifically for brass and reed instruments and includes a piano accompaniment CD. Each piece is edited and arranged in a comfortable key and range for wind players of any level. A great addition to any church music library, this assortment of sacred titles is sure to bring the congregation to its feet with songs of praise. Written in accommodating keys for Bb, Eb, C treble and C bass clef instruments, now everyone can sing His praise and worship in song. Includes: Nearer My God To Thee - Fairest Lord Jesus - Where He Leads Me - O God, Our Help in Ages Past - Rock of Ages - There is a Happy Land - Holy, Holy, Holy - Lead Kindly Light - Faith of Our Fathers - The Little Brown Church in the Vale - A Mighty Fortress is Our God - Hark! The Vesper Hymn is Stealing - Abide With Me - Now The Day is Over - Praise God From Whom All Blessings Flow - The Lord is My Shepherd - Blest The Tie That Binds - Eternal Father, Strong to Save (The Navy Hymn) - Bringing in The Sheaves - Jesus Loves Me - Evening Prayer - Jesus, Lover of My Soul - Prayer of Thanksgiving - Softly Now The Light of Day - When I Survey The Wond'rous Cross - I Need Thee Every Hour - He Leadeth Me - Jesus, Saviour, Pilot Me - Let The Lower Lights Be Burning - Stand Up For Jesus - God Be With You 'Till We Meet Again - Amazing Grace.
SKU: HL.48185134
UPC: 888680908584. 9x12 inches.
Glinka King 4 Short Fugues Mfb306 Trumpet Trombone Horn Book.
SKU: HL.48185165
UPC: 888680861186. 8.5x11.0x0.98 inches.
For trumpet and organ.
SKU: HL.48182725
UPC: 888680870669. 11.0x14.0x0.26 inches.
for trumpet, 2 violins (or 2 oboes), viola, cello, double bass and bass continuo.
SKU: HL.48185168
UPC: 888680861247. 0.125 inches.
Henry Purcell: Sonata (Trumpet & Organ).
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