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A Performer's Guide to Iosif Andriasov's "Concertino for Trumpet" Andrew K

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A Performer's Guide to Iosif Andriasov's Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 11-14-2017 A Performer's Guide to Iosif Andriasov's "Concertino for Trumpet" Andrew K. Gerbitz Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Performance Commons, and the Music Practice Commons Recommended Citation Gerbitz, Andrew K., "A Performer's Guide to Iosif Andriasov's "Concertino for Trumpet"" (2017). LSU Doctoral Dissertations. 4175. https://digitalcommons.lsu.edu/gradschool_dissertations/4175 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A PERFORMER’S GUIDE TO IOSIF ANDRIASOV’S CONCERTINO FOR TRUMPET A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Andrew Gerbitz B.M., Illinois State University, 2008 M.M., Illinois State University, 2010 December 2017 ACKNOWLEDGEMENTS I could not present this document without support and encouragement from many people. I would first like to thank Arshak Andriasov, who has been a champion of his father’s music and works tirelessly to present it to musicians and audiences around the world. A gifted composer in his own right, he has provided a valuable source of great music that would otherwise remain relatively little-known in the United States. I am further grateful for his permission to write and present on his father’s Concertino for Trumpet, a piece that has become very special to me over the last few years. Thanks also to Dr. Brian Shaw, who has been not only a mentor in music, but a mentor in life. No student could ask for a more patient, optimistic, kind-hearted, and knowledgeable professor. Since I began my studies with him in 2010, I have not walked away from a single conversation without feeling encouraged and built up. This project would not have been possible without his guidance and inspiration. I would also like to acknowledge my committee members; Dr. Joseph Skillen, who is a bottomless pool of knowledge and experience; Dr. Dennis Llinas, who graciously stepped in to fill the position of my minor area professor on the committee; and Dr. Stephen Shipman, the Dean’s Representative from the Department of Mathematics, who shares a love of music. Additionally, many thanks to Dr. Amy Gilreath, who was my mentor for six years and two degrees at Illinois State University. Her encouragement inspired me to pursue doctoral studies, and her work with Soviet trumpet music continues to be one of the largest contributions to this area of research in the United States over twenty years later. ii Thanks to my grandparents, Gloria and Clarence Gerbitz, who are no longer with us, but whose words of encouragement in my younger days continue to echo loudly in my head today. Lastly, thanks to my parents, Alan and Janice, who have pushed me constantly to finish the work I began, and who have seen me through difficult times on the journey to get here. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................................ ii LIST OF FIGURES ........................................................................................................................ v ABSTRACT .................................................................................................................................. vii INTRODUCTION .......................................................................................................................... 1 CHAPTER I – REVIEW OF LITERATURE, CONTEXT, AND BIOGRAPHY Review of Literature ........................................................................................................... 3 Iosif Andriasov and his Concertino for Trumpet ................................................................ 5 Biographical Information .................................................................................................... 6 CHAPTER 2 – HISTORY AND FORM OF THE CONCERTINO Andriasov’s Concerto for Trumpet and Revision as Concertino for Trumpet ................. 11 Form of the Concertino ..................................................................................................... 13 CHAPTER 3 – A PERFORMER’S GUIDE Preparing the First Theme in the Exposition, Development, and Coda............................ 28 Preparing the Second Theme in the Exposition and Development................................... 37 CONCLUSION ............................................................................................................................. 42 BIBLIOGRAPHY ......................................................................................................................... 43 APPENDIX: LETTER OF PERMISSION ................................................................................... 44 VITA ............................................................................................................................................. 46 iv LIST OF FIGURES Figure 1: First theme area, measures 1-5 ...................................................................................... 15 Figure 2: First theme area, measures 9-19 .................................................................................... 16 Figure 3: First theme area, measures 21-25 .................................................................................. 17 Figure 4: Scale patterns containing hexatonic scales in the solo part, measures 28-29 ................ 18 Figure 5: Trumpet solo statement of the second theme, measures 39-48 ..................................... 19 Figure 6: Third statement of the second theme with the trumpet’s ascending broken chord, measures 51-53 ................................................................................................................. 20 Figure 7: First section of the development, measures 75-80 ........................................................ 21 Figure 8: Climax of the development, measures 120-125 ............................................................ 23 Figure 9: The pseudo-cadenza recapitulation of the second theme, measures 152-163 ............... 25 Figure 10: End of the coda, measures 168-178............................................................................. 27 Figure 11: Solo trumpet part of the first theme, measures 1-5 ..................................................... 29 Figure 12: Rhythmic exercise on the first theme motive of the Concertino ................................. 30 Figure 13: All transpositions of scale passages containing hexatonic scales found in the Concertino ......................................................................................................................... 32 Figure 14: All transpositions of scale passages placed into rhythmic context and leading to the next semi-tone ................................................................................................................... 33 Figure 15: All transpositions of scale passages in continuous succession.................................... 34 Figure 16: Solo trumpet part in the Coda section, measures 168-171 .......................................... 35 Figure 17: Coda section, measures 168-169, with suggested fermatas on arrival points for slow practice .............................................................................................................................. 36 Figure 19: Slur exercise to assist with the leap from E to high C ................................................. 38 v Figure 20: Solo trumpet second theme material in the development, measures 102-116 ............ 39 Figure 21: Forte statement of developed second theme material in the development, mm. 120- 125, solo trumpet .............................................................................................................. 40 Figure 22: Unaccompanied solo recapitulation of the second theme, measures 154-163 ............ 41 vi ABSTRACT Iosif Andriasov’s Concertino for Trumpet is an excellent candidate for study and assimilation into the standard trumpet repertoire. A significant composer of Armenian descent from the former Soviet Union, Andriasov wrote his Concerto for Trumpet in 1960 and dedicated it to Yuri Usov. Timofei Dokshizer performed it on an album released in 1978 under the Melodya label. After immigrating to the United States in 1979, the composer revised the work and retitled it as Concertino for Trumpet in 1995. IMMA Publishing Company in New York made the revised work commercially available in 2001. This paper is presented to increase awareness of this composer and his Concertino. It includes a short review of literature on major works of Soviet trumpet music, a biographical sketch of Andriasov, a discussion of the history and form of his Concertino for Trumpet, and concludes with a detailed discussion of preparation and practice techniques to allow for a successful performance of this piece. vii INTRODUCTION I have always been drawn to Russian music. As a young trumpet player in high school, I found a particular thrill in performing wind band
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