loudog

Anyone know where I can purchase a copy of the trumpet part to Stravinsky's L'Histoire du Soldat? I'm playing it next semester, and thought I should probably start learning it.

Also, question: The Royal March...I have heard this tongued ALL of the time, but I bought a recording of Cleveland under Boulez playing it, and Michael Sachs slurs it. Any advice?

Louie

Jimi Michiel

Loudog,
There is an incredibly variety of different interpretations and performance practices when it comes to Stravinsky's works. There are a few reasons for this, here are the two I think are cause for the most confusion:

1) Different editions. For a variety of reasons (copyright issues, error corrections) there are many different versions of some of Stravinsky's major works. Firebird and Petrouchka come to mind, but are certainly not the only ones. Also, errors in the manuscript and errors in early editions that were never corrected. (The worst as far as trumpets go is a figure in Rite of Spring that STILL is publshed in the wrong transposition).

2) Stravinsky the composer vs. Stravinsky (and Robert Craft) the conductor. Stravinsky conducted his own works frequently throughout his life and left a recorded legacy. The problem with this legacy is that the conductor often varied from the composer's score. This is especially relavent whn looking at tempi (compare Stravinsky's recording of the first movement of his Octet with the printed metronome marking.. YIKES!). This leads to an interesting debate... Was Stravinsky the conductor making definitive choices about the way he wanted his pieces performed, or was he just another conductor who ignored the composers intent?

Now, to answer your question: My guess is that Boulez heard a recording conducted by Stravinsky where the trumpet player slurred it (if its the one I'm thinking of, the trumpeter player didn't even play the written rhythm) and decided that Stravinsky's recording takes precedence over the score. Most ensembles follow the score, as you have noticed.

As far as getting the parts, I can't be of much help, other than to say that if you can get your hands on the newest edition by "Chester Music," that's probably the best way to go. Hope this helps. I'll look around and see if I can find the photo copy of my part that I could scan and email you. No promises though (my "office" is a mess!)

-Jimi

wiseone2

Try here-
http://www.petrouska.com/
The part is in C
I grew up listening to the Bernstein/Voisin version. All slurred.
Wilmer

sinfoniantrumpeter

Lou,
I believe the part is rental, but i'm not sure. I have the part. PM me and we'll talk. As to recordings, regardless of what you think of his orchestral playing, etc etc etc...Vosburgh has a fantastic (grammy-winning in fact) recording out there. You can hear clips on Amazon, etc.

DLoeffler

In the preface from the Schaffner publication (1981), Roger Blackburn states the following:

"The quintuplets in 'La Marche Royale' were explained to me by former teacher, Robert Nagel, who recorded this work with the composer conducting. Mr. Nagel summarized Stravinsky as saying that when a cornet is used, slurring all the notes is preferable; when a trumpet is used, tongueing all the notes is preferred, because of each instrument's playing characteristics. Suggested tongueing syllables for the quintuplets are TKTKT."

There you have it. If anyone wants further verification, I can call Bob and get a definitive answer.

Ultimately, it may depend upon what the conductor wants or what the player is able to do.

Anonymous

Chris Gekker told me that Michael Sachs called him during the recording sessions of L'histoire with Boulez and said, "he wants it slurred...what should I do?" Gekker replied with something like, "Boulez has forgotten more than I've ever learned...slur it!"

That's something coming from Gekker who is one of the most intelligent people you'll ever meet!

Alex Yates

I have this on my website (Wilmer posted it above) and am in the process of putting all music in downloadable PDF when I do my major update. I will be happy to email the pdf to you when I get back in the states next week, if that is not too late for you.

largo

I think the bottom line here is to be prepared to play the passage both ways. Though I've always found it interesting that the passage is tongued in all of the three recordings conducted by Stravinsky. What a fun piece to play - good luck!