Musicologists, help needed.

Discussion in 'Trumpet Discussion' started by Bear, Oct 20, 2008.

  1. rowuk

    rowuk Moderator Staff Member

    Age:
    61
    16,611
    7,955
    Jun 18, 2006
    Germany
    Tim,
    I checked everything that I have. No info found. I would not get on his trumpet players case though. We are all greatful for a beautiful piece that we do not need 6 months to prepare for.

    If you need a rumour, Torelli wrote this after Brandi tried to start playing upstream. He thought that would get him some high range to premiere the Brandenburg #2 in Italy......................
     
  2. bandman

    bandman Forte User

    Age:
    111
    1,061
    53
    Oct 16, 2004
    Lafayette, LA, USA
    My suggestion would be to Email Dave Hickman and ask him. He knows more about trumpet lit than anyone I've ever known.
     
  3. HoosierDaddy

    HoosierDaddy Pianissimo User

    96
    16
    Feb 10, 2005
    Which Torelli concerto are you talking about? I would suggest finding a copy of Don Smither's book, The Music and History of the Trumpet Before 1721. It is out of print but most good music libraries should have it. There is a lot of information in there. This will also help you compare writing for the trumpet between different regions (Italy, Germany, England etc.) That alone will give you much to talk about.
     
    MJ likes this.
  4. Bear

    Bear Forte User

    1,255
    4
    Apr 30, 2004
    USA
    Yes Sir,
    Hoosierdaddy, I already have that book.

    Bandman, good idea. Though I think it's it's a little late. I give the presentation on Tuesday. But I shall still give it a try.
     
  5. Brasil66

    Brasil66 Pianissimo User

    55
    3
    Sep 11, 2008
    Southeast
    Hi Tim,

    I think it must be said how important Torelli's application of the trumpet was to the development of the solo concerto for his, and subsequent generations. Torelli was a strong proponent of the trumpet sonata (as we all know). Could this have been due to the fact that the basilica at San Petronio had unusually live acoustics, and the trumpet seemed to be one of the few instruments that had the pitch and projection required to be discernible around the room, despite the slow decay of the sound? And it must be noted that the practical limitations of the trumpet, and perhaps those of the poor fellow he wrote for, directly contributed to the development of the ritornello principle; the alternation of material by the ripieno orchestra and the solo concertino. These Torelli works have rather short phrases (lucky us), due to his musicians and their real and practical limitations. Torelli's compositional principles were solidified by these circumstances, and soon copied throughout Italy and Germany in the concerti of all instruments.

    Just a hunch. John
     
    Last edited: Oct 26, 2008
  6. Bear

    Bear Forte User

    1,255
    4
    Apr 30, 2004
    USA
    wow John, that sounds like a great way to end the lecture! Good stuff to think about too. Thanks for all y'alls comments, they are greatly appreciated.

    Tim
     

Share This Page