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 “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
“tr”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-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).
Trumpet SKU: SP.TS161 Composed by Jonathon Robbins. Arranged by Jonathon ...(+)
Trumpet
SKU:
SP.TS161
Composed by
Jonathon Robbins.
Arranged by Jonathon
Robbins. Collection;
Ethnic. Book and CD.
Santorella Publications
#TS161. Published by
Santorella Publications
(SP.TS161).
ISBN
9781585600113. UPC:
649571101619.
The
music of Latin America is
as rich, diverse and
stimulating as its unique
culture. European,
African and Indian
influences have blended
to create energetic
rhythms and intriguing
melodies that break away
from their traditional
origins, creating a sound
that is distinctly Latin.
Discover the allure of
passionate and dynamic
music. Latin Favorites
For Trumpet published by
Santorella Publications
has it all. Each book in
the series includes a
piano with Latin
percussion accompaniment
CD. This Santorella
Publication is arranged
and edited by Jonathon
Robbins in accommodating
keys for trumpet,
clarinet, flute, alto
saxophone and trombone. A
piano accompaniment book
is available and sold
separately. Includes:
Ados Muchachos (Farewell
Boys) - Adios Vida Mia -
Alla en el Rancho Grande
(My Ranch) - Amapola
(Pretty Little Poppy) -
Amor - Besame Mucho -
Brazil (Aquarela Do
Brasil) - Camnito (Little
Lane) - Cose, Cose, Cose
- Cuando Calienta El Sol
(Love Me with All Your
Heart) - Cuantu Le Gusta
(La Parranda) -
Cu-Cu-Rru-Cu-Cu, Paloma
(Coo Coo Roo Coo Coo,
Paloma) - El Cumbancho
(Rumba Guaracha) -
Granada (Fantasia
Espanola) Guadalajara
(Cancion Tipica de
Jalisco) - Historia de un
Amor (The Story of Love)
- Maria Elena - Mas Que
Nada (Say No More) - Mi
Rival (My Rival) -
Perfidia - Quizas,
Quizas, Quizas (Perhaps,
Perhaps, Perhaps) - Rico
Vacilon - Siempre en Mi
Corazon (Always in My
Heart) - Solamente Una
Vez (You Belong to My
Heart) - Tico-Tico
(Tico-Tico No Fuba) -
Tres Palabras (Without
You).