gringoloco

"A" cornet is awesome for the second part on this peice. As previously mentioned they are independant voices. If you bring out the differences in timbre between the two (as with the Tenor and bass trombones instead of two tenors), the spectrum of the ensemble is greatly enhanced. Plus, you wouldn't have to transpose those low licks.

The bassoon writing is another example of Stravinski's "super bassoon". Really effective stuff.
I only like it with conductor if they are great. I did it once with Frank Batisti and he was great. Otherwise, it'll be tighter if the group puts in the work to get it together.
Rob

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Be well,
Rob

aneel

I love this piece, I`ve played it twice, once on each part.
Totally different charcter between the 2 parts. The 2nd part has alot of cantabile, almost melancholic solos
whilst the first has a more strident purposeful role
in the piece. I remember playing both parts on B flat
The recurring section with the fast scales seemed to
work easiest on the B flat which is probably why I decided to use it on the first trumpet part.
As always with Stavinsky rhythmic precision is a
must. Have fun!

trumpetnick

JP,
You may be right, but the fact is that the octet premiere was conducted by Stravinsky himself.

Stravinsky scored the trumpet parts in different transposing because he wanted different colour of sound...C can be very different from the A. Playing the A part on B flat trumpet sounds to me nearer to Stravinsky's initial idea (otherwise he would have scored it for cornet in A as he has done in the Soldier's Tale). I have never tried the cornet thing but it may be nice to try.

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Spada Bach B flat 72, leadpipe 2L/DWMM1.5C
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1956 Olds Ambassador Cornet
Spada Custom Piccolo

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