Programme notes - feedback please?!

Discussion in 'Trumpet Discussion' started by JackD, Jul 8, 2005.

  1. JackD

    JackD Mezzo Forte User

    Nov 30, 2003
    Manchester / London
    Hi guys,

    I'm doing a recital diploma on Wednesday which I need to do some notes for. I wasn't really sure how detailed or whatever they needed to be, but I've done this so far.

    Any feedback would be appreciated as I've never done this before!!



    Concert Etude - Alexander Goedicke (1877 –1957)

    Alexander Goedicke was a Russian composer, conductor, pianist and organist. He studied at the Moscow Conservatoire before going on to have a career as a successful concert pianist. This Concert Etude for trumpet and piano is a much loved showcase of various techniques, most notably double tonguing.

    There are two distinct themes, the first of which opens the piece in a furious and frantic G minor. The second theme first occurs in the relative major, Bb major, at bar 48 and is marked cantabile – contrasting in tonality and texture with the first theme. The first subject briefly reoccurs in the tonic before spinning off into various other keys, which are outlined in double-tongued chords on the trumpet. It then settles in the tonic major (G major) where the second theme is recapitulated. This is followed by a brief recap of the first theme in the tonic, and a coda, which both accelerates and diminuendos to a pp, finishes the work.

    Sonatina for Trumpet (1973) – Sergiu Natra (1924 - )

    I. Molto Adagio
    II. Presto Assai
    III. Senza Misura ad Libitum

    Natra was born in Rumania, later settling in Israel in 1961. This work was commissioned by the National Council for Culture and Art as the sight reading section for a competition for young trumpet players. However, it was also conceived as a work suitable for concert performance. Natra notes that the performer may take certain liberties with the work, including rearranging the internal order of movements. I have elected to perform the work as written on a Bb trumpet, rather than at concert pitch, and have selected only the first three movements.

    The first movement is characterised by long phrases and minim and crotchet triplet motifs. Natra provides no key signature, and there are many accidentals, however the movement seems to be centered on the key of Bb major. A short coda marked Poco Meno Tranquillo closes the movement.

    The second movement is more brisk, and features a constantly changing metre. The work has a simple A-B-A-B form, with the A theme reoccurring at bar 43, and the B theme appearing at bar 17 and reoccurring at bar 64. This movement is also free in terms of key, but feels centred loosely around the key of F minor (though it closes on a pp, staccato E).

    The third movement is the most free, with no metre, pulse or key whatsoever. Long, dramatic crescendos contrast with long, soft rubato phrases. The work draws to a close on a pedal F (a note one semitone below the normal register of the trumpet) before coming to rest on an E a major 7th above.

    Concertino - G.F. Handel (1685 –1759), arr. Benoy

    I. Adagio
    II. Minuet
    III. Sarabande
    IV. Finale

    Handel was the most cosmopolitan of Baroque composers, drawing on influences from Germany, Italy, France and Britain. This work is a collection of various arias and movements from instrumental works, drawn together by A.W. Benoy into a four-movement Concertino for trumpet and piano. Due to the limitation of natural trumpets in Handel’s time, there are no solo works of his that can be performed on a modern Bb trumpet. This work therefore serves the purpose of filling that gap.

    The first movement is an Adagio in 3-4 time in the key of F major. The trumpet plays a long lyrical theme against the piano accompaniment, cadencing in the tonic. After an eight bar piano interlude the trumpet re-emerges with a dotted motif which cadences in the relative minor of the dominant (A minor) before heading back for a recapitulation of the original theme.

    The second movement is a measured Minuet in the key of A minor. A binary form movement, the second section moves towards the relative major (C major) before returning to the tonic to end.

    The slowest of the four movements, the fourth is a Sarabande in the key of D minor. Like the movement that precedes it, this is also in binary form, and also has a second section that moves to the relative major (this time F major).

    The longest movement of the work is the Finale that closes it. Here we return to the tonic of F major, and the trumpet plays a bright, brisk theme that includes both dotted motifs and long triplet passages. A legato D minor theme opens a second section that moves towards a cadence in A minor before a recapitulation of the first section.

    “Psalm†from “Two Portraits†(1995) – Joseph Turrin (1947 - )

    Joseph Turrin trained at the Eastman and Manhattan Schools of Music, before going on to enjoy a multifaceted career. He has composed for cinema, theatre and the concert hall. As a conductor, he has worked with the Pittsburgh, Baltimore, New Orleans and New Jersey symphony orchestras. He also accompanies Philip Smith (Principal Trumpet of the New York Philharmonic), for whom this work was written.

    This movement is the first of two “Portraitsâ€, written for the International Trumpet Guild’s 20th Anniversary in 1995. Joseph Turrin has described it as being “in romantic contemporary styleâ€, and this movement features the mellow, lyrical quality of the Flügelhorn. The cantabile section features the Flügelhorn playing in 3-4 while the piano accompaniment is written in 6-8 with dotted crotchets in the left hand delineating this different pulse.

    A long Flügelhorn cadenza opens the work, with occasional chords on the piano almost lending a recitative-like quality. This leads into the first cantabile section where the Flügelhorn sings out its “soulful chant†(in the words of the composer).

    A middle section follows that comprises three parts: one in a slow 4-4, followed by a slightly brighter 6-8, and then a section that alternates between 4-4 and 3-4 and leads to the second large cadenza in the work.

    This cadenza, like the first, leads into a cantabile section, which while predominantly the same as the first changes slightly towards the end to lead into a third but smaller cadenza that acts as a coda.

    Notes written by Jack Davies

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