| Thanks everyone for your responses on this subject. They have been a big help and also assisted in pointing me in some different directions.
If anyone is interested in the following additions to this post:
I am fortunate to have Bob Nagel living in my town right now and he added some items regarding this subject.
In his words, at the time way back when, anything Russian was hard due to range and/or endurance. Stravinsky was also great at pushing the envelope for orchestral and chamber writing.
Brass Quintet wise, there really wasn't anything new until after WWII. The big pieces, at the time, were the quintets by Schuller and Etler. They were hard due to the new sounds that had not been heard before and they were rhythmically difficult to put together. Nagel said that they really had to do a lot of rehearsing in order to get these pieces worked up properly.
Solo wise, Nagel said that there is a piece by Oscar Boehme and, to best of his knowledge, is written in the style of a Mehdolssohn violin concerto with cornet style melodic lines. That was the only thing he was award of since the Baroque era other than the Haydn and Hummel.
Mahlerbrass, the more I am looking into the solo lit, the more I will have to agree you are correct in your assessment regarding solo lit from the Baroque to the classical era. Nothing much happened after the Baroque era from a solo standpoint until Haydn.
Manny, thanks for the reminder on Tchaikovsky, Prokofiev, Shostakovitch, Mahler and Strauss. And, thanks for mentioning Copeland and Ravel. I had completely forgotten about those works.
Trumpetmike, thanks for the insight on PJBE. I have several recordings that I will have to review.
And, Davidjohnson. Short, sweet, and to the point. It looks as if you win the Cliff Note's History of the Trumpet in 5 Lines or Less Award. Greatly appreciated.
Oh, well. 4 more days of study and then it is time for orals.
Thanks again for everyone's insight,
Drew Loeffler |