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1
Concerto in E Major Trompette Carl Fischer
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano,...(+)
Chamber Music Piano,
Trumpet
SKU:
CF.W2682
For
Trumpet in E and Piano,
S.49 . Composed by
Johann Hummel. Edited by
Elisa Koehler. Set of
Score and Parts. With
Standard notation. 36+8
pages. Carl Fischer Music
#W2682. Published by Carl
Fischer Music (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 “trâ€
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
[“improperâ€
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 “Allegroâ€
(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-oldcompo
ser 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).
$34.99 - Voir plus => Acheter Délais: 2 to 3 weeks
My First Clarke Trompette Carl Fischer
(For the Developing Trumpet Student). By Herbert L. Clarke (1867-1945). Edited b...(+)
(For the Developing
Trumpet Student). By
Herbert L. Clarke
(1867-1945). Edited by
Sean O'Loughlin. For
Trumpet in Bb. My First
Series. 32 pages.
Published by Carl Fischer
(1) $9.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Original Interpretations of Miles Davis Trompette Charles Colin Music
Trumpet SKU: M7.AHW-308 Composed by Miles Davis. Arranged by David Berger...(+)
Trumpet
SKU:
M7.AHW-308
Composed
by Miles Davis. Arranged
by David Berger. Sheet
music. Performance book.
35 pages. Charles Colin
Corp. #AHW 308. Published
by Charles Colin Corp.
(M7.AHW-308).
As recounted by
our dad, Charles Colin,
he was first introduced
to Miles in the mid '50's
by Charlie Parker. Pop
had already published
Charlie Parker's,
'Yardbird Originals'
under our other
publishing company, 'New
Sounds in Modern Music'.
Miles had been away for a
period and, now that he
was back on the scene,
Parker thought it would
be worthwhile for Miles
to meet his new
publisher, with the hope
of working out a similar
arrangement. Parker
brought Miles to the
office, then on 48th
Street to meet Pop. Pop
was very happy to give it
a go, whereupon he gave
Miles a trumpet, a
mouthpiece and tape
recorder and asked him to
lay down solos over some
standard tunes. The
original transcriptions
which, I believe were
done by Hank Edmonds,
were given the 'cool'
knick-names, Miles Away,
Miles Cools Off, etc.
rather than the names of
actual standards. So,
here we are decades
later, and have decided
to ask renowned arranger,
David Berger, to identify
the tunes and clarify
some of the chord changes
- for posterity!
$18.95 - Voir plus => Acheter Délais: 4 to 6 weeks
Unaccompanied Suites Trmp booklet Trompette Cherry Classics
By Johann Sebastian Bach (1685-1750). Arranged by Ralph Sauer. For trumpet solo....(+)
By Johann Sebastian Bach
(1685-1750). Arranged by
Ralph Sauer. For trumpet
solo. Baroque solo.
Advanced. Booklet.
Published by Cherry
Classics
(1) $27.50 - Voir plus => Acheter Délais: 2 to 3 weeks
Aramis Trompette [Conducteur et Parties séparées] - Facile FLEX Editions
Chamber Music & Piano Accompaniment 1 C Trumpetor 1 Bb Trumpet/Cornet 1 Piano - ...(+)
Chamber Music & Piano
Accompaniment 1 C
Trumpetor 1 Bb
Trumpet/Cornet 1 Piano -
Grade 3
SKU:
FL.FX073940
Composed
by Pascal Proust.
Original Composition.
Classical, Educational.
Score and Set of Parts.
FLEX Editions #FX073940.
Published by FLEX
Editions (FL.FX073940).
This piece
illustrates some rather
peaceful facets of this
famous musketeer ... -
Pascal PROUST ; A
piece to be played from 5
years of practice. ;
Instruments: 1 C
Trumpetor 1 Bb
Trumpet/Cornet 1 Piano;
Difficuly Level: Grade
3.
$11.95 - Voir plus => Acheter Délais: 4 to 6 weeks
Lip Flexibility on The Trumpet Trompette [Partition] Carl Fischer
41 Studies for Embouchure Development. By Walter M. Smith. Text: Walter M. Smith...(+)
41 Studies for Embouchure
Development. By Walter M.
Smith. Text: Walter M.
Smith. For Trumpet. Soft
Cover. 19 pages.
Published by Carl
Fischer.
(2) $11.99 - Voir plus => Acheter Délais: 1 to 2 weeks
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