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Music for Trumpet and Piano

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Music for Trumpet and Piano DE 1047 0 13491 10472 0 DELOS DE 1047 THE FRENCH INFLUENCE DELOS DE 1047 THE FRENCH INFLUENCE THE FRENCH INFLUENCE Music for Trumpet and Piano Honegger: Intrada • Ibert: Impromptu Senée: Concertino – Introduction • Romance • Ballet Enesco: Légende • Jolivet: Air de Bravoure • Bozza: Caprice Charlier: Solo de Concours – Allegro deciso • Lent • Final Pascal: Capriccio Total Playing Time: 41:33 Gerard Schwarz, trumpet Kun Woo Paik, piano THE FRENCH INFLUENCE Music for Trumpet and Piano 1. Arthur Honegger: Intrada (04:18) 2. Jacques Ibert: Impromptu (02:14) Henri Senée: Concertino (10:05) 3. Introduction (3:29) 4. Romance (4:04) 5. Ballet (2:29) 6. Georges Enesco: Légende (6:31) 7. André Jolivet: Air de Bravoure (1:23) 8. Eugène Bozza: Caprice (7:53) Téo Charlier: Solo de Concours (7:19) 9. Allegro deciso; Lent (5:22) 10. Final (1:57) 11. Claude Pascal: Capriccio (1:51) Total Playing Time: 41:33 Gerard Schwarz, trumpet Kun Woo Paik, piano 2 Te French Infuence, remembrances together for the Lincoln Center student programs. When Fred asked us to make I was very lucky to attend a great public a record for his new label, we chose some high school in New York City, Perform- of the music we had been doing on those ing Arts. In some ways, the students were recitals. Fred had a Revox two-track re- the most important aspect of the school. corder, hired the hall at the New School We were all passionate about music, on 12th Street in Manhattan, tuned the dance or drama, and totally committed piano, and we made this recording. When to growing as artists. Two of my closest I asked Fred recently who did the editing friends during those high school years of the recording, he told me it was Joanna and beyond were Fred Miller and Kun Nickrenz. Tat must have been the frst Woo Paik. Fred was a wonderful oboist/ time Joanna and I worked on a project to- English horn player, and Kun Woo was a gether, as years later, she produced many great pianist. Fred also had a wonderful of my early Delos recordings. Fred pro- entrepreneurial spirit and loved to reduce duced eight wonderful recordings with seemingly complex issues to simple ones. Harbinger, but marketing and distribu- In those years, the late 1960s, the record- tion were a very diferent task. In the end, ing world was very complex with ex- Harbinger lasted only until just afer the pensive multitrack recording equipment release of Te French Infuence. and fancy studios. Te major companies had large production stafs as well. Fred When I listen to this recording, it not thought he could produce great records only brings back wonderful memories of with a fne two-track recorder and a good Fred and Kun Woo, but I thoroughly en- room. With that in mind, he created joy this charming music. I am so grateful Harbinger records and asked some of his to my dear friend Carol Rosenberger for friends to make recordings of music they allowing it to be heard again. liked and wanted to record. Gerard Schwarz Afer high school Kun Woo and I at- New York City 2015 tended Juilliard and played many recitals 3 In looking at the history of the trumpet, as Berlioz did not abandon the old valve- it is found to be one of the oldest of in- less trumpet, but rather added two cor- struments; yet the trumpet as it exists nets to the existing trumpets, forming a today is less than one hundred years old. section of four instruments — two trum- Te French infuence has been extreme- pets and two cornets. ly important in bringing the trumpet to its present form. Te most signifcant Valved trumpets didn’t come into popu- advance occurred in the period around lar use until the end of the 19th century 1818, when the box valve system was and were generally pitched in F; not the patented jointly by Heinrich Stölzel and piccolo type of F trumpet occasionally Friedrich Blühmel. Generally, the trum- used today, but the long (or low) F trum- pet had been a long brass pipe that could pet of the 18th and 19th centuries, with play only the notes in its harmonic series. valves added. Diferently pitched trumpets were used to accommodate the diferent keys of a In France, there were numerous trum- composition. pet players who infuenced composers, thus afecting the future of the instru- Tere was a great deal of resistance to ment. François Dauverné (1799-1874) the acquisition of valves for the trum- was Professor of Trumpet at the Paris pet, so the cornet (more conical than Conservatoire from 1833 to 1869. In the trumpet and therefore mellower and 1857, he published a method for trum- more fexible) and the saxhorn (similar pet in which each chapter dealt with a to the fügelhorn of today) became the diferent type of instrument, including most popular chromatic treble brass in- his own bugle à clefs. Dauverné wrote struments. Tese instruments came into a number of quartets, taking advantage limited use, especially in France, as early of the new chromatic possibilities of as 1828. At frst, the valved trumpet had the instruments. Most importantly, he only two pistons, and later, the familiar taught Joseph Jean-Baptiste Laurent Ar- three. Some trumpets around 1910 had ban (1825-1889), whose mastery of the as many as fve valves. Composers such valved cornet established its use in the 4 future. Arban became the frst Professor It is interesting to note that well over a of Cornet at the Paris Conservatoire. hundred years later, trumpet players are still trying to make an important place In 1870, Arban wrote what is still con- for the solo trumpet. sidered the most important method for the cornet (and modern trumpet as well). Other signifcant advances were made by Still universally studied, Arban’s method the great manufacturers and inventors of has become the trumpet player’s bible. brass instruments. Antoine Joseph Sax Arban toured extensively in France, Ger- (known as Adolph Sax) lived in France many and England. He was the frst to for most of his life, and his newly in- apply the triple staccato, or triple tongu- vented instruments were championed by ing (an extremely rapid way of repeating composers such as Berlioz, Halévy, and notes with the tongue, rather than using G. Kastner. During the mid-18th centu- the valves), to the cornet. From Arban’s ry, other manufacturers living in France method for the cornet: were Gustav Besson, Cousenon, Cour- tois, and Tibouville-Lamy. Important “It may appear somewhat strange to un- performers worked with these manu- dertake the defense of the cornet at a time facturers to improve their instruments. when this instrument has given proofs of One of the most important individuals its excellence, both in the orchestra and involved in the establishment of a high- in solo performance, where it is no less er pitched trumpet was Merri Franquin, indispensible to the composer, and no who became a professor at the Paris Con- less liked by the public than the fute, the servatoire afer Arban. He worked with clarinet, and even the violin; where, in Tibouville-Lamy trying to improve the short it has defnitely won for itself the higher pitched trumpets in C and D. elevated position to which the beauty of its tone, the perfection of its mechanism, Franquin later added two pistons to the and the immensity of its resources so three-piston trumpet, but this new in- justly entitle it.” strument failed to establish itself as a standard. His direct infuence may be 5 noted on this record in Georges Enesco’s no trumpet in B fat. Like the Enesco, it Légende, which was written in 1948 and is a competition piece, which has an un- is dedicated to Franquin. usual 5/4-metered Russian folk section as its fnale. Every year, there are competition pieces written for the entrance and graduation Te opening work is Arthur Honegger’s examinations at the Paris Conservatoire. Intrada. Tis work was also written for Tis tradition for cornet and trumpet a competition, the International Music began in about 1898. In 1949, Enesco Competition held in Geneva in 1947. was commissioned to write four concours Honegger (1892-1955) was born in pieces — one each for fute, harp, violin, France and became a very important fg- and trumpet. At this time, Enesco was ure in French music as a member of the probably teaching in New York (1946- famous Les Six. 1950), though he was born in Romania (as George Enescu) in 1881 and had Te Impromptu by Jacques Ibert (1890- spent much of his life in Paris. Légen- 1962) was commissioned by the Kousse- de was written in the French tradition of vitsky Music Foundation together with trumpet playing. two other works — one for solo viola and one for solo cello. It was written in 1951, While Franquin was teaching in Paris, and besides its natural French favor, it Téo Charlier (1868-1944) was teach- incorporates some ideas from American ing at the Royal Conservatory in Liege, jazz. Belgium. Charlier was also an excellent performer, and wrote an important etude Henri Senée’s Concertino was written book entitled 36 Études Transcendantes, for cornet à pistons in B fat early in this which posed many new problems and century. It exists in two versions, one advances for the new piston trumpet (so- with piano and another with orchestra. prano), piston cornet, or bugle (fügel- Te Concertino may sound somewhat horn). Te Charlier Solo de Concours old-fashioned, but it is a delightful and presented here was written for the sopra- thoroughly engaging work.
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