![]() ![]() I could only sit by and watch while my fellow students went into their clarinet exam playing Brahms, or their piano exam playing Mozart (who, incidentally, wrote a trumpet concerto which is now lost – it would have increased our classical trumpet concertos from two to three…). ![]() How unfair, I thought! It was surely not my fault that none of the canonical composers of the 19th century decided to write for the solo trumpet. The execution was excellent, my report said, but a pity about the choice of repertoire. I began my mission to expand the repertoire after an earlier experience in a performance examination, where I had played a work by an esoteric 20th-century composer. This was my first experience of recording new, contemporary trumpet music. Armed with a portable MiniDisc player (remember those?), we walked for several hours through London, with public transport unavailable, to get to the Strand to make the recording. The composer was Tristan Brookes, a friend from university (we were both undergraduates at King’s College London) and the month before I had premiered his work for trumpet and organ in the university chapel on the Strand campus. It carries extra meaning for me, as the day that I recorded my first newly-commissioned trumpet piece, Sohini. As a result, students of the instrument benefit from studying these solos.Jwas a tragic day, etched in memory for the atrocities of the London bombings. Experimentation with new timbres included the incorporation of various types of mutes and higher pitched trumpets that became commonplace in much of the modern trumpet repertoire. Composers also continued to employ unique rhythmic structures and angular melodic writing while retaining the historical use of the trumpet by including heroic calls and exciting fanfare motifs. American sonatas, in particular, uncovered trends by composers that utilize components of jazz and modern harmony combined with both neo-Classical and neo-Romantic elements. Ironically, these periods of music history were times of relative dryness for solo trumpet repertoire. In addition to performing these works, a complete analysis of the music confirms certain compositional, formal and style trends also present in works from the Classical and Romantic eras. The works include seven sonatas for trumpet and piano (two performed on rotary trumpet), one for cornet and piano, and one for cornet or bugle and piano (performed on flugelhorn). The organization of my recitals is loosely chronological with each piece representing trends in trumpet writing and pedagogy from composers representingĭenmark, France, Austria, Germany, Russia and the United States. My dissertation focuses on major works composed during the development of the sonata for trumpet and piano and how the stylistic components of the music are linked to Classical and Romantic music, in addition to jazz and modern music of the twentieth century. The tradition of the sonata usually implies that both instruments are treated equally with a true musical dialogue occurring between them. Often the outer movements are played at a faster tempo, while the middle movement is typically slow. Traditionally, the instrumental sonata represents a chamber work for a soloist with piano in three movements, with at least one composed in sonata-allegro form. Through my selection of representative works, I explore the correlations between each composer, their musical influences and how their compositional ideas contribute to the development of the sonata for trumpet and piano. ![]() Beginning in the early twentieth century, many composers decided to showcase the trumpet as a vehicle for melodic expression. ![]()
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