trumpetnick

I just stumbled on an orchestral audition program with some excerpts where all the Petrushka 1st part is marked "Cornet" till #265 (often played on picc) where it is changed to "Trompette"

Anyone done it that way? Is it a common practice?

__________________
Spada Bach B flat 72, leadpipe 2L/DWMM1.5C
Spada Bach C 256, leadpipe 2LQ/DWMM1.5C
1956 Olds Ambassador Cornet
Spada Custom Piccolo

If you don't know where you are going, you 'll end up someplace else

ecarroll

Nick,

You understand that Stravinsky revised his score in 1947 to avoid losing copyright, don't you?

As for horns, I've never heard anybody play it on the cornet. My own performances (Eduardo Mata's was my favorite, by the way) were on C trumpet (piccolo at the end).

Check out Frits "one breath" Damrow, if you haven't:
Cheers,
EC

trumpetnick

Ed,

The "Cornet" stuff is clearly added by a conductor or a trumpeter (the orchestra in question is french) I think of applying for the audition and luckily enough, they put pdf copy of the music which seems to be not too difficult for me. I also would rather play on a C trumpet/picc, but I guess that if it is clearly marked "Cornet" that should mean that they are likely to ask applicant to play it on a cornet. It just looks odd to play all the thing on a cornet (it makes some sense to me to play the Ballerina dance solo on cornet though). If you are bringing up a copyright dilemma, I would not bother that much - if there is a problem, its not mine, but to the orchestra who published the advert.

__________________
Spada Bach B flat 72, leadpipe 2L/DWMM1.5C
Spada Bach C 256, leadpipe 2LQ/DWMM1.5C
1956 Olds Ambassador Cornet
Spada Custom Piccolo

If you don't know where you are going, you 'll end up someplace else

GordonH

I have a feeling it would be easier on cornet, given that I find all the arban solos much easier on cornet than trumpet. The cornet seems more agile.

__________________
I used to have a career, now all I do is play Schumann.

richtom

Stravinsky himself said cornets need not be used on his cornet parts. His reasoning was as the trumpet developed in the last century, the sonic difference between cornet and trumpet was too small to make any real difference.
I culled this info from the Tim Kent notes he made as he studied and performed with Herseth. (I once sat in a summer band next to Tim Kent. We were both students at that time and in the front row along with other top Chicago trumpeters was Brian Perry, principal trumpet of the Lyric Opera. I can't be 100% certain, but I believe Steve Hendrickson may have sat in that same section as well. Wouldn't bet on it, though. Rick Henley also played in that band, but not with me).
Fritz plays the dickens out of that, doesn't he?
Rich Tomasek

ecarroll

Hi Rich and Gordon,

I think that the pickle that Nick finds himself in is of anticipating the desire, of not the requirement, of this particular French audition.

If I were he I'd work it up on both, bring a cornet, and be ready for whatever. Get the gig and argue semantics later.

Best,
EC

richtom

That's what I would do as well. If they want a cornet, play it on a cornet.
Regards,
Rich Tomasek

Johntpt

I remember seeing the CSO play Petrouchka (1911) with Solti in the early 90s when they recorded it for London/Decca. Bud used his Schilke C cornet, switching to F trumpet for the Balerina's Dance, bach to the cornet for the waltz, and picc for the end. He played the cornet part and then switched to the trumpet part just for the picc thing. Great concert!!

JU