Matching Items (4)
Filtering by
- All Subjects: Trumpet
- Creators: DeMars, James
- Creators: Hill, Gary W.
Description
This document accompanies new recordings of four recent sonatas for trumpet and piano. The project’s objective is to promote these works, while providing a comprehensive resource for potential performers. The four sonatas were selected based on their appeal to modern audiences. Composers Brendan Collins, Luis Engelke, William Rowson, and Christoph Nils Thompson each represents a different country, and they offer significant contributions to the trumpet repertoire. Each sonata expertly features the trumpet by highlighting its lyricism, virtuosity, and ability to cross genres.
The accompanying document draws upon interviews with the four composers, which reveal insights into the compositional process and provide details that performers will find useful. This document also offers in-depth musical descriptions, allowing performers to enhance their understanding of each sonata. The principal component of the document is the performer’s guide: Advice is presented directly to the trumpet player that has been garnered from the composers’ interviews, study of the music, and the author’s thoughts on preparing the music. To help other young musicians better comprehend the recording process, the author’s own experience is detailed. Ultimately, this document provides a window into the lifespan of the four sonatas; from their initial composition through the various stages of studying and rehearsing, culminating with the experience of recording these works for the first time.
The accompanying document draws upon interviews with the four composers, which reveal insights into the compositional process and provide details that performers will find useful. This document also offers in-depth musical descriptions, allowing performers to enhance their understanding of each sonata. The principal component of the document is the performer’s guide: Advice is presented directly to the trumpet player that has been garnered from the composers’ interviews, study of the music, and the author’s thoughts on preparing the music. To help other young musicians better comprehend the recording process, the author’s own experience is detailed. Ultimately, this document provides a window into the lifespan of the four sonatas; from their initial composition through the various stages of studying and rehearsing, culminating with the experience of recording these works for the first time.
ContributorsKlein, Garrett Lane (Author) / Hickman, David R (Thesis advisor) / Holbrook, Amy K (Committee member) / Hill, Gary W. (Committee member) / Arizona State University (Publisher)
Created2019
Description
Sonata No. 2 in B-flat Major is a work for trumpet and piano. It is composed in the romantic tradition and is thirty minutes in length. Trumpet chamber repertoire has increased dramatically in the past century, but few new works are representative of the harmonic language or extended forms of the late romantic tradition.
The first movement, “Allegro con spirito,” is in sonata form with fantasy qualities allowing the exposition to meld with the development. The primary theme in 3/4 meter develops a neighbor-tone motive; in contrast, the second theme in 4/4 (in the same tempo) is more lyric in nature. In the development, the juxtaposition of these themes provides changing meters and opportunity for dramatic tension.
The bold and metric nature of the first movement is contrasted with the slow, more lyric second movement, “Dolce e sensibile,” (Sweet and sensitive, pg. 22). This movement in E-flat major is in sonata form and encourages a more expressive, rubato interpretation. The second theme of the first movement shares a similar falling gesture as the themes of the second movement, but are different in their expressive qualities.
The third movement (“Grave et lento”) is played attacca and begins with a transition from the ideas of the second movement (pg. 30). The dissonant harmonies and low register of the piano solo create an ominous atmosphere which mutates to the bold nature of the first movement. The remainder of the third movement is a seven-part Rondo. The primary theme (m. 20, pg. 31) is derived from a theme from the development of the first movement (m. 210, pg. 12). The C section of the rondo (m. 118, pg. 40) develops the opening theme of the third movement and leads to the primary theme in B-flat major. The final A section of the rondo is piu mosso with the primary theme in a compound meter providing a coda for the entire work.
The first movement, “Allegro con spirito,” is in sonata form with fantasy qualities allowing the exposition to meld with the development. The primary theme in 3/4 meter develops a neighbor-tone motive; in contrast, the second theme in 4/4 (in the same tempo) is more lyric in nature. In the development, the juxtaposition of these themes provides changing meters and opportunity for dramatic tension.
The bold and metric nature of the first movement is contrasted with the slow, more lyric second movement, “Dolce e sensibile,” (Sweet and sensitive, pg. 22). This movement in E-flat major is in sonata form and encourages a more expressive, rubato interpretation. The second theme of the first movement shares a similar falling gesture as the themes of the second movement, but are different in their expressive qualities.
The third movement (“Grave et lento”) is played attacca and begins with a transition from the ideas of the second movement (pg. 30). The dissonant harmonies and low register of the piano solo create an ominous atmosphere which mutates to the bold nature of the first movement. The remainder of the third movement is a seven-part Rondo. The primary theme (m. 20, pg. 31) is derived from a theme from the development of the first movement (m. 210, pg. 12). The C section of the rondo (m. 118, pg. 40) develops the opening theme of the third movement and leads to the primary theme in B-flat major. The final A section of the rondo is piu mosso with the primary theme in a compound meter providing a coda for the entire work.
ContributorsBrand, Spencer Paul (Author) / DeMars, James (Thesis advisor) / Rockmaker, Jody (Committee member) / Rodney, Rogers (Committee member) / Arizona State University (Publisher)
Created2018
Description
The combination of soprano, trumpet, strings and continuo was used with much frequency by Baroque composers in their cantatas, oratorios and operas of the time, giving the trumpet a very important place as a solo instrument from 1600 to 1750. The discovery of two pieces by Neapolitan Baroque composers Domenico Sarro (1679-1744) and Gennaro Manna (1715-1779) enlarges the already important body of known works for this instrumentation. Presenting them in performance editions is a valuable contribution to this repertory. Making performance editions available to performers is always an important and exciting task, especially if they exhibit features that have rarely been seen in this combination of instruments and voices. This is specifically the case with Manna's Tuba Sonora Exclama, which shows many interesting features of the Early Classical style. Both works were discovered by the author in a digital archive sponsored by the Ministry of Heritage and Culture for the Italian Government. The original copies of these works are held at two Neapolitan libraries: Biblioteca Statale Oratoriana del Monumento Nazionale del Girolamini (Manna's piece), and Biblioteca del Conservatorio di musica San Pietro a Majella (Sarro's Per abbattere il mio core, from his opera Partenope.) The manuscripts, obtained in digital format, are well preserved and easy to understand. Along with the scores prepared for this document, some historical background about each composer, a discussion of the use of the trumpet as a solo instrument in arias with voice, and descriptions of the pieces are presented. Other important information, such as editorial procedures and critical notes, is also given.
ContributorsAraya, Luis Miguel (Author) / Hickman, David R (Thesis advisor) / Pilafian, Samuel (Committee member) / Hill, Gary W. (Committee member) / Rogers, Rodney (Committee member) / Bailey, Wayne A (Committee member) / Arizona State University (Publisher)
Created2011
Description
Many of Erik Morales's trumpet compositions have become standard repertoire. This study examines his trumpet works, which are examples of Morales's outstanding compositional skill and versatility. The composer, some of the most significant performers, and people who commissioned these pieces were interviewed. Biographical information and compositional characteristics of Morales are presented. Historical information about the pieces is also provided, including the premieres, commissions, recordings, and significant performances. Technical concerns specific to the trumpet, and performance recommendations, are assessed. This study is a pedagogical and informative source for all trumpet educators and performers interested in solo and trumpet ensemble music.
ContributorsZapata Correa, Oswaldo Arley (Author) / Hickman, David (Thesis advisor) / Swoboda, Deanna (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2016