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 “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).

SKU: BT.DHP-1185993-070

ISBN 9789043156578. International.

In this five-part medley for brass quintet, we meet some of the greatest cartoon characters ever created: The Muppets, Popeye and of course Mickey Mouse. This is a great arrangement to feature in your concerts for kids (and adults!).

In deze medley voor koperkwintet komen we een aantal van de leukste poppen en stripfiguren tegen die ooit het wereldpodium hebben betreden: The Muppets, Popeye en natuurlijk Mickey Mouse. Een weergaloos stuk waar zowel kinderen als volwassenen van genieten!

In diesem Medley für Blechbläserquintett treffen wir einige der großartigsten Zeichentrickfiguren, die jemals erfunden wurden: Die Muppets, Popeye und natürlich Micky Mouse. Ein wunderbarer Konzertbeitrag für Kinder und Erwachsene!

Dans ce medley pour quintette de cuivres, nous rencontrons quelques-uns des plus grands personnages animés jamais inventés : Les Muppets, Popeye et bien s r Mickey Mouse. Les enfants l'apprécieront autant que les adultes !

Nel medley 'Cartoon Parade' per quintetto di ottoni, incontriamo alcuni dei più grandi personaggi dei cartoni animati mai inventati: i Muppets, Braccio di ferro e, naturalmente, Topolino. Un grande momento per bambini e adulti nei vostri concerti!

SKU: UT.TIB-13

ISBN 9790215318458. 9 x 12 inches.

A talented and complex figure with a character of rare depth and irreproachable morals, Fermo Bellini lived a life rich in experiences in the most disparate cultural fields, building his period in music between 1839 and 1850. A pupil of the distinguished violinist and conductor Gaetano Zocca in Ferrara, he specialized on the trombone, perhaps encouraged by his teacher, who had invented a new form of bow for this instrument. His son relates his success in the various theatres where he performed and in Milan, where he was held in esteem both as a composer and a theorist, transcribing opera scores particularly for wind instruments according to the fashion of the day. He was musically productive from 1833, the date of the printing of his first work continuing til the middle of the century when his passion for literature and social comment took on greater significance. Treatises, duets, trios, quartets and divertimenti demonstrate his considerable mastery and knowledge of wind instruments. such that it made him the leading exponent of the Milanese scene: works which were published by the major publishers of Milan such as Francesco Lucca and the Ricordi family confirm the reputation and success that Bellini achieved there.