| Concerto in Eb Major Trompette, Piano Carl Fischer
For Trumpet in Bb and Piano, S. 49. Composed by Johann Nepomuk Hummel (17...(+)
For Trumpet in Bb and
Piano, S. 49.
Composed by Johann
Nepomuk Hummel
(1778-1837). Edited by
Elisa Koehler. Arranged
by Elisa Koehler.
Romantic. Score and
part(s). With Standard
notation. 36 8 pages.
Carl Fischer #W002681.
Published by Carl Fischer
(CF.W2681).
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sinfonia zu "L'Inganno Scoperto per Vendetta" Trompette, Orchestre [Conducteur et Parties séparées] Breitkopf & Härtel
Trumpet and orchestra SKU: BR.MR-2239B Set of parts. Composed by G...(+)
Trumpet and orchestra
SKU: BR.MR-2239B
Set of parts.
Composed by Giacomo
Antonio Perti. Edited by
Keith Wright and Mark
Latham. Orchestra;
stapled. Musica Rara.
Symphony; Baroque. Score
and parts. 28 pages.
Breitkopf and Haertel #MR
2239b. Published by
Breitkopf and Haertel
(BR.MR-2239B). ISBN
9790004488478. 9 x 12
inches. There are
two known manuscript
sources for the present
edition of this sinfonia
avanti l'opera. In the
Dean and Chapter Library
of Durham Cathedral it
appears as the twelfth,
and last, piece in a
collection of late
seventeenth-century
Italian instrumental
music. No composer is
given and identification
was only possible
following the discovery,
in 1993, of a concordant
source in the Biblioteca
Estense, Modena, where
the work appears as the
sinfonia to Perti's opera
L'Inganno scoperto per
Vendetta, first performed
in Venice as part of the
1690/1 season.It is
sometimes hard to
ascertain the original
functional purpose behind
many of the trumpet works
written by composers of
the Bolognese school as
it would appear that some
were used as sonate da
chiesa, to celebrate mass
in the basilica of San
Petronio, Bologna, whilst
also serving as operatic
sinfonie. To confuse the
issue further, there are
several instances of
composers 'borrowing'
each other's works: for
example, it has recently
been discovered that the
Torelli trumpet sinfonia
a 4 catalogued as G4 in
Giegling was used as the
overture to Perti's opera
Nerone fatto Cesare
(1693). So far as the
present edition is
concerned, however,
stylistic considerations
would appear to confirm
that the work is indeed
by Perti and that it was
originally conceived as
the overture to L'Inganno
scoperto per Vendetta. A
couple of clues hint at a
secular raison d'etre:
the Durham source is
marked Serenatto
(presumably a corruption
of serenata, a term often
used in lieu of sinfonia)
and the last movement of
the Modena source is
marked Menuet, a term
more often associated
with sonate da camera
than with works of
ecclesiastical
provenance.Both the
Modena and Durham sources
for the present edition
are virtually
note-perfect and
occasional inaccuracies
were easily corrected by
comparing the sources
with each other and with
the part-books in Durham.
Whilst the Modena source
lacks the second violin
part in the outer
movements it contains
fuller dynamic markings
and tempi indications
than the Durham source
and these have been
followed in the present
edition with no editorial
additions. Notation has
been modernised and, in
the piano reduction
edition, right-hand
arpeggio-figurations
rendered more pianistic.
Parts are provided for
trumpet in D and B flat.
I am grateful to the Dean
and Chapter of Durham and
to the Biblioteca
Estense, Modena, for
providing microfilm of
the manuscripts. I should
also record my thanks to
Keith Wright for
realising the
figured-bass which
appears in the full-score
edition.Mark Latham,
Brancepeth Castle, June
1997. $24.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| 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 => AcheterDélais: 2 to 3 weeks | | |
| A Child's Garden of Jazz for Brass Quintet Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba [Conducteur et Parties séparées] - Avancé Cherry Classics
By Henry Wolking. For Brass Quintet. Contemporary jazz. Advanced. Score and part...(+)
By Henry Wolking. For
Brass Quintet.
Contemporary jazz.
Advanced. Score and
parts. Published by
Cherry Classics
$32.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Three Pieces Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba [Conducteur et Parties séparées] - Avancé De Haske Publications
Brass Quintet - advanced SKU: BT.DHP-1043522-070 Composed by Modest Petro...(+)
Brass Quintet - advanced
SKU:
BT.DHP-1043522-070
Composed by Modest
Petrovich Mussorgsky.
Arranged by Peter
Knudsvig. Symphonic Brass
Ensemble Series (Rekkenze
Brass). Educational Tool.
Set (Score & Parts) with
CD. Composed 2004. 28
pages. De Haske
Publications #DHP
1043522-070. Published by
De Haske Publications
(BT.DHP-1043522-070).
International. T
hese three pieces were
originally written for
piano but have echoes of
Mussorgsky?s most famous
work ? Pictures at an
Exhibition. The intention
is to use each instrument
in a virtuosic and
solo-like manner. One can
hear moments of Pictures
in the pieces; The Hut of
Babba Yaga comes to mind
during In the Crimea and
The Village contains a
Promenade section not
unlike that of Pictures.
Still later, the muted
horn and trumpet
?clucking? remind the
listener of the Ballet of
the Chickens.
Eine
gelungene Bearbeitung der
drei Klavierstücke des
russischen Komponisten
Mussorgsky. Peter
Knudsvig lässt in
seinem Arrangement für
Blechbläserquintett
jedes Instrument virtuos
und solistisch
herausragen. Die erste
Stimme kann auch von
Trompete in Es oder
Pikkolotrompete in B
gespielt werden.
Le Quintette de
Cuivres Rekkenze
Brass a été
fondé par des membres
de l’Orchestre
Symphonique d’Hof
en Allemagne, et reconnu
internationalement comme
un des meilleurs
ensembles du genre. La
devise de
l’ensemble se
résume par
“BRASSzinationÂ
® : la fascination par
les cuivresâ€.
C’est avec grand
plaisir que nous vous
présentons la
Collection Rekkenze
Brass qui couvre un
large éventail de
styles. Chaque Å“uvre
publiée dans cette
collection est
accompagnée
d’un compact disc
sur lequel sont
enregistrées les
versions intégrales de
la plupart des Å“uvres
disponibles dans une
interprétation unique
du Rekkenze Brass.
Instrumentation : 2
TrompettesSib, Cor en
Fa/Mib,Trombone en Ut BC,
Tuba
Strumentazione: 2
Trombe Sib, Corno Fa/Mib,
Trombone, Tuba in Do o
Basso Sib. $38.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Stocking Stuffers for Trumpet 2 Trompettes, Clavier (piano ou orgue) Eighth Note Publications
(10 Short Christmas Duets with Piano). Arranged by Vince Gassi. For 2 Trumpets a...(+)
(10 Short Christmas Duets
with Piano). Arranged by
Vince Gassi. For 2
Trumpets and Keyboard.
Duet or Duo; Mixed
Instruments - Flexible
Instrumentation; Part(s).
Eighth Note Publications.
Christmas; Winter. 12
pages. Published by
Eighth Note Publications
$20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto for Trumpet in Bb and Orchestra Hob. VIIe: 1 in Eb-Major Trompette [Livre + CD] - Avancé Dowani
By J. Haydn (1732-1809). For Trumpet. DOWANI 3 Tempi Play Along - Trumpet. Artis...(+)
By J. Haydn (1732-1809).
For Trumpet. DOWANI 3
Tempi Play Along -
Trumpet. Artist: Boris
Schlepakov - Trumpet;
Konstantin Krimets -
Conductor; Russian
Philharmonic Orchestra -
Orchestra accompaniment;
Vitaly Junitsky - Piano.
Level: Advanced. Sheet
Music with CD (3 Tempi
Play Along). Published by
Dowani International.
$19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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