Junior Recital Program Notes
Trumpet Concerto in A-flat Major (1950) | Alexander Grigori Arutiunian
Alexander Arutiunian (1920-2012) was an Armenian composer and pianist. He studied piano at Yerevan's Komitas Conservatory when he was 7 years old and graduated at 14 years old on the eve of World War II. The war disrupted further education for Arutiunian until 1946, where he studied composition at the Moscow Conservatory. In 1954, he was appointed as the music director of Armenian Philharmonic Orchestra, a post which he held until he reached the age of 70 (1990). He also served as full Professor at the Yerevan Conservatory as well as remained active in composition in the 1980s and early 90s.
Arutiunian’s Trumpet Concerto has become a favourite in the trumpet repertoire due to its unique folk-influence, lyrical cantabile sections and virtuosic passages. However, it was written during a difficult time for Soviet composers where they were expected to compose stylistically tame music, focusing on patriotic texts or subjects. Arutiunian originally started to write it in 1943 for Zsolak Vartasarian, who was the principal trumpet in the Armenian Philharmonic Orchestra. However, Vartasarian died in the war and the concerto was not completed until 1950. As trumpet virtuoso at that time, Timofei Dokschitzer was the first to record it and make it famous. Today, this work features regularly in syllabuses, competitions and concert programmes.
Although the concerto is written in a single unbroken movement but it still follows the traditional pattern of fast-slow-fast sections which contains seven sections. The first section marked andante maestoso is played with a great deal of rubato and has very little orchestra (piano) accompaniment. It could be considered as the introduction to the primary thematic section. The next section marked allegro energico is where the primary theme introduced. This section utilizes a unique form of minor scales sometimes referred to as the Hungarian Minor or Gypsy Minor scale. The third section, meno mosso is a beautiful cantabile interlude with almost the same harmonic material set in an operatic expressive and lyrical manner. The following Tempo I section is considered to be the closest as a development for the primary theme. The fragmented thematic idea is performed with contrasting dynamics and articulation as well as rapid modulation to different keys. Next is another meno mosso section that features expressive lyrical trumpet playing with the use of a mute for a distinct change in tone color. Normally a cup mute is used in this section to obtain the soulful, quit timbre. The Tempo I before the last section starts with an exact restatement of the primary theme and evolves towards the end of the section by adding a quick articulated scalar passage to set up the final section. The final section contains virtuosic technical cadenza which brings the end of the work to an exciting climax. Oblivion (1984) | Astor Piazzolla
Astor Piazzolla (1921-1992), was a tango composer, bandoneon player, and arranger. He was born in Mar del Plata, Argentina and raised in the musical melting pot of New York City before returning to his native country. Astor Piazzolla is well know for revolutionized the traditional tango into a new style called Nuevo Tango, incorporating elements from jazz and classical. He is the one who brought his country’s most famous musical genre from dance hall to concert hall.
Cellist, Yo Yo Ma has some interesting thoughts on Piazzolla’s music and the tango tradition in Argentina:
"Tango is not just about dancing. It is a music of deep undercurrents. Because of what Argentina went through as a country, tango has become the soul of Argentina. Music is always one way people can speak when they aren’t allowed to express themselves otherwise. And Piazzolla’s tangos have the great strength of true voice…. Piazzolla’s music is endlessly passionate—full of yearning—and at the same time tremendously contemporary. There’s a quote to the effect that Piazzolla is the Ellington of Argentina, and in a way it’s true. He actually took the tango to another level by inhabiting his music. The music grew in him, and he adeptly incorporated the influences of his surroundings—whether from New York, Paris, or Buenos Aires. During the almost forty years he worked on his music, Astor Piazzolla tried many different variations—even tried an electronic ensemble! Because of this experimentation, and also his ingenuity, focus, and hard work, his music has many levels of expression and a tremendous depth. His is a truly successful synthesis of the tango and the contemporary.”
Oblivion became widely known through the soundtrack of Marco Bellochio's film Henry IV, the Mad King. Since Piazzolla’s death in 1992, it has been performed and recorded by any and every imaginable combination of instruments, but the original recording of Piazzolla’s mournful bandoneon soaring over a pallet of hushed strings is particularly well suited to the character of this melancholy work.
The melody enters over a subtle, arpeggiated accompaniment (transparent and simple) with extreme mournfulness - long-held notes with slowly falling and weaving character. A middle section offers a slightly contrasting theme, lush but less intense.
Oblivion conjures up a complex mix of emotions which cannot be put into words. What feelings does this piece evoke for you? As you listen, pay attention not only to the melody, but to the underlying harmony and rhythm in the piano and bass line.