MIXED-INSTRUMENTATION CHAMBER MUSIC EXCERPTS FOR TRUMPET

By

BRANDON NORTON

B.M., Columbus State University, 2008

M.M., Johns Hopkins University, 2010

A dissertation document submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfilment of the requirement for the degree of Doctor of Musical Arts – Trumpet Performance and Pedagogy College of Music 2020

DocuSign Envelope ID: 68950F24-2A81-463E-A20D-E46BC8724FFB

This project is entitled: Mixed-Instrumentation Chamber Music Excerpts for Trumpet written by Brandon Norton has been approved for the College of Music

______Dr. Ryan Gardner, committee chair

______Dr. Donald McKinney, committee member

Date 6/18/2020

The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above-mentioned discipline.

ii CONTENTS

SECTION

1. Introduction ...... 1

2. Review of Literature ...... 5

3. Adams, John – Chamber Symphony ...... 9

4. Birtwistle, Harrison – Hoquetus Petrus ...... 22

5. Ewazen, Eric – Trio for Trumpet, Violin, and Piano ...... 28

6. Hindemith, Paul – Septet ...... 35

7. Milhaud, Darius – La Création du monde ...... 44

8. Poulenc, Francis – Sonata for Horn, Trumpet, and Trombone ...... 50

9. Saint-Saëns, Camille – Septet ...... 56

10. Schoenberg, Arnold – Chamber Symphony No. 2 ...... 60

11. Stravinsky, Igor – L’histoire du soldat ...... 68

12. Stravinsky, Igor – Octet for Wind Instruments ...... 77

13. Varèse, Edgard – Octandre ...... 84

14. Walton, William – Façade ...... 90

15. Conclusion ...... 96

BIBLIOGRAPHY ...... 97

APPENDIX

A. List of recommended recordings ...... 100

iii

SECTION 1

INTRODUCTION

This excerpt book is designed to provide intermediate to advanced trumpet students with a resource to discover and study chamber music including the trumpet. The excerpts presented here are not a comprehensive list of chamber excerpts for trumpet, but rather, they were chosen to explore the variety of styles, instrumentations, and performance challenges that exist in this diverse and underrepresented body of repertoire. Orchestral excerpt books have been a staple in the serious trumpet student’s pedagogical materials for many years. Wind ensemble excerpt books and opera excerpt books have been published more recently, but to date there is no excerpt book that focuses solely on chamber music for the trumpet. This book is meant to fill that void by exploring twelve pieces in the mixed- instrumentation chamber music repertoire. By studying this excerpt book, trumpeters will not only improve their technical facility and musical awareness for the selected pieces, they will also gain a broader understanding of chamber music repertoire available to them.

It is important for developing musicians to study chamber music for several reasons. Chamber music allows students to develop skills in score-study, collaboration, and ensemble balance in a setting quite different from a large ensemble. Brass players in particular face different demands regarding endurance and balance in a chamber ensemble than they do in larger ensembles. Many undergraduate and graduate programs require some form of chamber music study over the course of a degree, but students are most often assigned to ensembles that have a large body of repertoire, such as trumpet ensemble, orchestral brass ensemble, brass band, or brass quintet. Due to the practical limitation that far fewer works exist for any of the mixed-instrumentation ensembles in this book than standard

1 ensembles, some trumpet students may only gain experience playing in a brass quintet or trumpet ensemble during their undergraduate and graduate studies. Additionally, the pieces presented in this project were written by some of the most important and influential composers in the Western canon, and any musician would benefit from their study.

This book focuses on chamber works from the late 19th century through 2000. During this period, chamber music that included the trumpet flourished. The trumpet was used by many composers both in mixed-instrumentation chamber pieces and brass-only chamber pieces. This project is limited to mixed- instrumentation pieces with the exception of Poulenc’s Sonata for Horn, Trumpet, and Trombone. This piece is included because of its importance in the trumpet’s chamber music repertoire. Works for brass quintet, trumpet ensemble, brass ensemble or brass choir, and pieces for brass and percussion were not considered for this project. Jazz pieces are also not included in this document, though some of these works certainly have jazz influences. All pieces included in this project contain only one or two trumpet parts and all, apart from the Poulenc sonata, contain two or more non-brass instruments. While chamber symphonies such as those composed by Schoenberg and Adams may not meet everyone’s definition of chamber music, they are important works by some of the most prominent composers of the twentieth century. Their study will give students a chance to learn about these composers through the study and performance of their music. These works are generally not included in orchestral excerpt books, so they are included in this document, which serves as a resource for both small chamber works and chamber symphonies. Each piece presented in this book contains between three and nineteen parts.

The twelve works presented in this book were chosen to represent the diversity of chamber repertoire composed for the trumpet during the late 19th century and the 20th century. The pieces were all

2 written by historically significant composers, and the instrumentation of every ensemble in this collection is unique in both size and makeup. The Birtwistle, Ewazen, and Poulenc are different types of trios, while the Adams, Milhaud, and Schoenberg are larger ensembles of fifteen or more instruments.

These compositions also represent differing harmonic languages that can be found in late 19th and 20th century music, from the stability and consonance of the works by Saint-Saëns and Ewazen to the harsh dissonances of the Varèse. Additionally, these pieces allow performers to practice each of the most common types of trumpets used today. Most of the excerpts will be played on B-flat or C trumpets, but the Birtwistle utilizes piccolo trumpet, and E-flat trumpet can be used on both the Saint-Saëns and the

Trumpet 1 part of the Stravinsky Octet. Each selected excerpt presents musical or technical challenges including difficult fingerings, high and low range, awkward intervallic leaps, rhythmic challenges, quick dynamic shifts, quick breaths, and long phrases. These excerpts are presented as they appear in the original published trumpet parts, with all rehearsal numbers, tempo indications, and expressive markings included. For pieces with more than one trumpet part, such as Milhaud’s La Création du monde and Stravinsky’s Octet, the trumpet parts appear on a single system so that the performer can see how the trumpet parts fit together.

In addition to the original excerpts, each piece includes several resources to aid with preparation. Every piece includes a brief historical introduction, a list of recommended recordings with track times for each excerpt, and various practice versions. The practice variations are similar to and inspired by Rob Roy

McGregor’s practice variations in Audition and Performance Preparation and Michael Sachs’ practice variations in Daily Fundamentals and Mahler: Symphonic Works. These practice variations are meant to give the developing trumpeter tools for practicing not only this music, but all pieces they are studying.

One of the goals of this excerpt book is to emphasize the importance of collaboration in the chamber music setting. To that end, some excerpts will include parts other than the trumpet part for a deeper

3 understanding of the work as a whole. This should help the performer be more aware of the broader musical intent of the passage, rather than solely focusing on the trumpet part. The historical notes for each piece include each composer’s dates, the year of composition, and additional historical information to aid in contextualizing the piece.

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SECTION 2

REVIEW OF LITERATURE

The existing literature can be broken down into five categories; orchestral study material, wind ensemble study material, etude books based on orchestral pieces, dissertations concerning chamber music, and literature for other instruments. Many jazz solo transcription books also exist, but this dissertation will limit itself to only repertoire in the classical tradition.

As previously mentioned, excerpt books for orchestral repertoire have long been popular. One of the most commonly used orchestral excerpt books today is Michael Sachs’ The Orchestral Trumpet.1 This book includes very brief historical notes about the pieces, dates of the composer, and presents all the trumpet parts from a work on a single system where appropriate. Sachs also includes performance notes and technical tips gained from his years of experience playing these pieces as principal trumpet of the

Cleveland Orchestra. Additionally, he includes audition preparation guidelines and an audio CD with recordings of himself performing some of the more commonly requested excerpts. Another popular book from the orchestral excerpt literature is Rob Roy McGregor’s four-volume Audition and

Performance Preparation for Trumpet.2 In each book, McGregor presents five or six orchestral excerpts from the standard literature. He includes each selection in its original form as well as practice versions that feature altered rhythms, transposed pitches, altered articulations, etc. Other popular excerpt books include Philip Norris’ “Top 50” Orchestral Audition Excerpts for Trumpet,3 Vincent Cichowicz’s Orchestral

1 Michael Sachs, The Orchestral Trumpet, 2nd ed. (Beechwood: Tricordia LLC, 2013). 2 Rob Roy McGregor, Audition and Performance Preparation for Trumpet: Orchestral Literature Studies, 4 vols. (Montrose: Balquhidder Music, 1992). 3 Philip Norris, Top 50 Orchestral Audition Excerpts for Trumpet (Libertyville: Crown Music Press, 1997).

5

Excerpts for Trumpet with Piano Reduction Arrangements,4 Bartold and Voisin’s ten-volume Orchestral

Excerpts from the Symphonic Literature,5 and Jean-Christophe Dobrzelewski’s sixteen-volume Essential

Orchestral Excerpts.6 In addition to these and other orchestral excerpt books, collections of full orchestral parts also exist and have become popular in recent years. Michael Sachs has also published a collection of the complete orchestral parts of Mahler.7 These volumes, much like McGregor’s books, contain practice versions of selected passages as well as notes about how to successfully perform the pieces. The Orchestra Musician’s CD-ROM Library provides full orchestral parts for much of the standard orchestral repertoire that has entered the public domain. This collection exists not exclusively for trumpet, but for all standard orchestral instruments. Sidney Shuler’s website www.trumpetexcerpts.org is an online resource that includes scans of original parts along with recordings of well-known orchestras performing the excerpt. Brassexcerpts.com is similar to Shuler’s site, but it also includes downloadable scores for study and additional practice tools such as drones. These are some of the most well-known resources for orchestral literature, but several other collections exist as well.

More recently, collections of excerpts from the wind ensemble repertoire have become available both as dissertations and published books. Anthony Kirkland’s Wind Band Excerpts for Trumpet and Cornet presents excerpts from 27 important works in the wind ensemble repertoire.8 Kirkland’s book also provides historical background and performance notes for each excerpt. This book is an extension of

Kirkland’s dissertation, which is one of several dissertations that explore the topic of wind ensemble

4 Vincent Cichowicz, Orchestral Excerpts for Trumpet with Piano Reduction Arrangements (Montrose: Balquhidder Music, 2001). 5 Gabriel Bartold, Roger Voisin, Orchestral Excerpts from the Symphonic Repertoire (New York: International Music Company, 1948). 6 Jean-Christoph Dobrzelewski, Essential Orchestral Excerpts for Trumpet, 16 vols. (Chandler, Hickman Music Editions, 2004). 7 Michael Sachs, Mahler: Symphonic Works, Complete Parts, 3 vols. (New York, International Music Co., 2006). 8 Anthony Kirkland, Wind Band Excerpts for Trumpet and Cornet, (Montrose: Balquhidder Music, 2016).

6 trumpet excerpts. Online resources for wind ensemble excerpts also exist. The website www.militarytrumpetjobs.com was created by two current military band trumpeters, Staff Sergeants

Kevin Paul and Ryan Brewer. Their website is “A resource for performers and educators that contains the history, unit missions, audition process, and standard excerpts for entrance into the United States military bands.” The United States Marine Band “The President’s Own” also provides a free online resource, but exclusively for the complete marches of John Philip Sousa. The site includes recordings, scores and parts, and historical notes about each piece.

In addition to excerpt books that compile passages directly from existing literature, several etude books have been written in the style of or based on certain orchestral works. Vassily Brandt’s 34 Orchestral

Etudes are based on standard orchestral pieces such as Rimsky-Korsakov’s Scheherezade, Beethoven’s

Leonore Overture No. 3, Tchaikovsky’s Capriccio Italien, and others.9 Sigmund Hering’s 23 Orchestral

Etudes for the Advanced Trumpeter is very similar to the Brandt with etudes based on popular orchestral excerpts.10 Though the entire book is not based on orchestral pieces, Theo Charlier’s classic 36 Etudes

Transcendantes does contain an etude based on famous themes by Richard Wagner.11

Although a published chamber excerpt book for trumpet does not currently exist, many dissertations have focused on this subject. Megan Bailey’s A Pedagogical Guide to Brass Quintet Repertoire for the

Trumpet presents pedagogical information, historical notes, and excerpts from ten brass quintets.12

Similarly, Rick Bogard’s dissertation on the chamber music of Paul Hindemith includes excerpts and a

9 Vassily Brandt, 34 Orchestral Etudes ed. Robert Nagel (New York: International Music Company, 1956). 10 Sigmund Hering, 23 Orchestral Etudes for the Advanced Trumpeter (New York: Carl Fischer Music, 1970). 11 Theo Charlier, 36 Etudes Treanscendantes (Paris: Alphonse Leduc, 1926). 12 Megan Bailey, “A Pedagogical Guide to Brass Quintet Repertoire for the Trumpet” (DMA dissertation, University of North Texas, 2019).

7 performance analysis of Hindemith’s chamber works that include trumpet.13 James Woods Jr.’s dissertation on Stravinsky’s Octet for Wind Instruments analyzes the piece with great attention to the details on the execution of the trumpet parts.14 Additionally, examples of relevant dissertations include those by Altman,15 Winland,16 Gorman,17 and Yager.18 While the aforementioned dissertations include historical and performance analyses of various mixed-instrumentation chamber pieces, they do not provide the trumpet player with a practical resource to study this body of repertoire.

A profusion of similar dissertations and online resources exist for other instruments. There are far too many to discuss in any detail, but one notable dissertation is Kristin Pisano’s dissertation on clarinet excerpts from chamber repertoire.19 Pisano’s dissertation provides excerpts from and pedagogical analysis of six pieces from the chamber music repertoire. Pisano’s dissertation, along with Bailey’s dissertation on brass quintet literature, are perhaps the most closely related documents to this project.

13 Rick Bogard, “The Trumpet in Selected Solo and Chamber Works of Paul Hindemith” (DMA dissertation, University of North Texas, 1994). 14 James Wood Jr., “A Historical and Analytical Examination of the Stravinsky Octet for Wind Instruments, with a Guide to Performance Preparation of the two Trumpet Parts” (DMA dissertation University of North Texas, 2007). 15 Timothy Altman, “An Analysis for Performance of Two Chamber Works with Trumpet by Eric Ewazen” (DMA dissertation, University of Kentucky, 2005). 16 Isaac Winland, “A Survey of Chamber Works for Trumpet and Electronics” (DMA document, The Ohio State University, 2018). 17 Kurt Gorman, “The Literature for Trumpet in Mixed Chamber Music of the Twentieth Century” (DMA dissertation, University of Missouri-Kansas City, 2001). 18 Harold Yager Jr., “A Performance Study of Contemporary Chamber Music for Trumpet and Strings” (DMA dissertation, University of Maryland, 2014). 19 Kristen Pisano, “Twentieth-Century Chamber Music Excerpts for Clarinet with a Pedagogical Analysis” (DMA essay, The University of Miami, 2005).

8

SECTION 3

John Adams – Chamber Symphony

American composer John Adams was born in Worcester, Massachusetts in 1947 and moved to Northern

California in 1971 where he continues to reside today. His father, a jazz clarinetist, taught him the instrument as a child. Adams began taking theory lessons at the age of 10 and had his first work performed by a community orchestra at the age of 14. He earned both a B.A. and M.A. in Composition at

Harvard, and he continued to play clarinet during this time even playing with the Boston Symphony. As a composer, he was trained in modernism and he is also heavily influenced by pop, rock, and jazz styles.

Trumpeters are likely most familiar with Adams for his well-known operas, particularly Nixon in China

(1987) and Doctor Atomic (2004-5), and his orchestral piece Short Ride in a Fast Machine. The 1990s were a particularly prolific period for Adams, writing several concerti, chamber works, theatrical works, and the Chamber Symphony which will be explored in this document. He went on to win the Pulitzer

Prize for On Transmigration of Souls, a work composed in 2002 for chorus and orchestra.20 Today Adams is one of the most popular and most performed living composers, and some of his orchestral works, such as The Wound-Dresser and Doctor Atomic Symphony, can be found in orchestral excerpt books for trumpet.

John Adams’ Chamber Symphony was composed in 1992 and, according to the program notes included in the score, the piece “bears a superficial resemblance to its eponymous predecessor, the Opus 9 of

Arnold Schoenberg.” The piece is scored for 15 instruments: flute, oboe, clarinet, bass clarinet, bassoon,

20 Sarah Cahill, "Adams, John," Grove Music Online. 2001; Accessed May 5, 2020, https://doi.org/10.1093/gmo/9781561592630.article.42479.

9 contrabassoon, horn, trumpet, trombone, synthesizer, percussion, and strings; making it the second largest ensemble included in this collection. While the instrumentation of Schoenberg’s Opus 9 and

Adam’s Chamber Symphony is similar, Opus 9 is a single through-composed work while Adams’ Chamber

Symphony is divided into three movements. Each movement has a descriptive title: “Mongrel Airs,”

“Aria with Walking Bass,” and “Roadrunner.” The work was premiered in The Hague, Netherlands by the

Schönberg Ensemble on January 17, 1993 with the composer conducting. The U.S. premiere followed nearly three months later on April 12, 1993 by the San Francisco Contemporary Chamber Players.

Regarding the inspiration behind the piece, Adams says in his program notes:

I was sitting in my studio, studying the score of Schoenberg’s Chamber Symphony, and as I was doing so I became aware that my seven year old son Sam was in the adjacent room watching cartoons (good cartoons, old ones from the fifties). The hyperactive, insistently aggressive and acrobatic scores for the cartoons mixed in my head with the Schoenberg music, itself hyperactive, acrobatic and not a little aggressive, and I realized suddenly how much these two traditions had in common.

For a long time my music has been conceived for large forces and has involved broad brushstrokes on big canvasses. These works have been either symphonic or operatic, and even the ones for smaller forces like Phrygian Gates, Shaker Loops or Grand Pianola Music have essentially been studies in the acoustical power of massed sonorities. Chamber Music, with its inherently polyphonic and democratic sharing of roles, was always difficult for me to compose. But the Schoenberg symphony provided a key to unlock that door, and it did so by suggesting a format in which the weight and mass of a symphonic work could be married to the transparency and mobility of a chamber work. The tradition of American cartoon music--and I freely acknowledge that I am only one of a host of people scrambling to jump on that particular bandwagon--also suggested a further model for a music that was at once flamboyantly virtuosic and polyphonic. There were several other models from earlier in the century, most of which I came to know as a performer, which also served as suggestive: Milhaud's La Création du Monde, Stravinsky's Octet and L’Histoire du Soldat, and Hindemith's marvelous Kleine Kammermusik, a little known masterpiece for woodwind quintet that predates Ren and Stimpy by nearly sixty years.21

The score calls for the trumpet player to use both metal and fiber mutes. The only indication of the use of a fiber mute is in measure 104 of the first movement, so it is assumed that all other indications for

21 John Adams, Chamber Symphony (New York: Boosey & Hawkes, 1995).

10 mutes would suggest a metal mute. The London Sinfonietta recording of the piece seems to confirm this and given that this recording was conducted by the composer, these mute choices are probably safe assumptions.

This piece often uses the trumpet, trombone, and horn together as a single musical voice and as such, the complex rhythms must be precise. The work also presents some high range challenges which can be exacerbated by the mute requirements. Overall, this piece is extremely challenging in many regards, making its study worthwhile for all trumpet players.

Excerpt 1

I. Mongrel Airs: mm. 128-143

This excerpt begins with all three brass players in rhythmic unison. The horn and trumpet are also playing the same pitches until beat 2 of measure 137. On beat 2, the trombone drops out and the horn and trumpet continue to play in rhythmic unison, but now in harmony. It is important to note that the phrase does not end when the trumpet part stops shortly after this on beat 1 of measure 144. The trumpet passes the line to the trombone upon its entrance, so the phrase must end with a sense of continued motion rather than an abrupt cutoff. It is important to be familiar with the complete passage rather than just the trumpet part for this reason. Also, be aware that other instruments are joining this brass line. From measure 131 to 137, the bassoon joins in unison with the trombone. From 133 to 143, the cello plays in unison with the trumpet. Awareness of these unison passages will develop effective listening across the entire ensemble.

11

Practice Considerations

This excerpt highlights the necessity for trumpet players to be able to take quick and efficient breaths.

Developing a breathing plan is essential in this passage. This excerpt can also be used to practice taking quick “catch” breaths through the nose during short rests. Some schools of thought do not advocate breathing through the nose at all, but it can be a useful and easily controlled technique if practiced carefully. This decision is based on personal preference, but either way the breath must be quick enough to not interfere with the rhythm or tempo. Below is the excerpt with suggested breath marks.

12

The following exercise can be helpful in developing the ability to take quick breaths either through the nose or mouth. Start at quarter note equals 60, making sure the rhythm is uninterrupted by the breaths, and gradually increase the tempo over the course of several days or weeks. Make the note before the breath match the length of the previous notes as closely as possible, and do not allow the note after the breath to be unintentionally accented.

13

To practice the rhythm from 131 to 134, play the passage staccato and without any ties. Playing soft and staccato with a metronome subdividing sixteenth notes makes rhythmic accuracy obvious. This type of practice is also great for improving response in the low and middle registers. Start around half tempo and emphasize rhythmic precision and clarity of articulation before gradually increasing speed, making sure to maintain rhythmic integrity with the increased tempo. Recording this type of practice and listening back at 50% speed can help identify exactly which note or notes are not rhythmically precise.

14

After this is mastered, add the ties, but keep playing soft and short to make sure the alignment with the metronome is precise. To continue working on response, play the following version with breath attacks.

Experiment with using the syllables “hoo” or “poo” and focus on immediacy of sound and clarity of tone.

Achieving performance speed with breath attacks is not necessary, but this type of practicing can be beneficial for identifying inconsistencies in middle and low register response.

Excerpt 2

II. Aria with Walking Bass: mm. 117-134

In this passage, muted trumpet and stopped horn provide rhythmic accompaniment to the trombone solo. The trombone solo starts in measure 114; 3 measures before this excerpt begins. The trombone is joined by solo piccolo in measure 121. It is important to be aware of these lines and to never overpower them. It should also be noted that the rhythm starting in measure 121 is notated differently in the score than in the trumpet part. The score shows the rhythm as 32nd note triplets, while the trumpet part shows notated 32nd notes with the instruction to play them as triplets. The intended effect is to play the two-note groupings as quickly as possible. While the score is more accurate, the notation in the trumpet part is easier for the performer to read and execute. The excerpt below shows the part as it is notated in the trumpet part.

15

16

Practice Considerations

To practice the opening rhythm in the excerpt, it will be helpful to fill in the rests. The rests can be filled in with the previously played pitch, but another strategy is to fill in the rhythm with a different note in order to differentiate the melodic line from the added subdivision.

The thirty-second note passage at measure 131 presents many awkward fingerings and is also somewhat difficult to read because of the large number of accidentals. To get an idea of the skeletal structure, it is helpful to just play the notes that fall on the eighth-note and sixteenth-note subdivision as shown below.

17

Instead of playing the entire excerpt at a slower tempo, it is also beneficial to play the passage at the performance tempo (eighth note equals 124), but to add fermatas on big beats. After this becomes comfortable, begin eliminating fermatas, playing only every second or third one until they are all gone.

Practicing in this manner can be a more efficient way to get the passage up to tempo while not sacrificing accuracy or clarity.

18

Excerpt 3

III. Roadrunner: mm. 1-33

The third and final excerpt from this work is the opening of the last movement, “Roadrunner.” Once again, the three brass players are playing in rhythmic unison. It is important to note that the brass parts in the first 15 bars of this excerpt are marked mezzo-forte while all the other parts are marked either forte or with sforzandos on each note. Because of the fragmented rhythms in the woodwind parts, it would be best to listen to either the synthesizer with its steady eighth notes or the percussionist, who plays a rhythmic sixteenth-note passage on the rim of a snare drum.

19

Practice Considerations

This excerpt presents a unique challenge – quick crescendos and diminuendos on relatively shorts notes.

These should be practiced slowly with careful attention to pitch. Starting with crescendos and diminuendos on long tones can be helpful in identifying the tendencies of each pitch. Sometimes angular staccato passages such as the one in measure 26 can make the trumpet sound “pecky” and increase the odds of hitting the wrong partial. Transposing the part into a comfortable octave and removing any intervals larger than a fifth, as shown below, is a good place to start. Slur the passage in

20 the style of a Cichowicz Flow Study, focusing on beauty of sound and clean, fluid slurs with no bumps or pulses. When returning to the original excerpt, try to maintain the same ease of playing and most importantly, the same quality of sound as in the flow study version.

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SECTION 4

Harrison Birtwistle – Hoquetus Petrus

English composer Sir Harrison Birtwistle was born in 1934 in Accrington, England. He studied both clarinet and composition at the Royal Manchester College of Music, but in 1965, he sold all of his clarinets and dedicated himself full-time to composition. In the same year, he moved to the United

States as a Harkness Fellow at Princeton. Many of his most notable works written between the 1960s and 1980s were large scale productions for the stage including the opera Punch and Judy and the lyric tragedy The Mask of Orpheus. His early preference for wind, brass and percussion, however, never left him. According to Cross, “he has a self-confessed discomfort for writing with strings.”22 Other large scale works from the 1980s include two operas, a concerto titled Endless Parade for trumpet and orchestra, and an orchestral work titled Earth Dances. During the 1990s, he was commissioned and performed by the Chicago Symphony Orchestra, The Cleveland Orchestra, and the Deutsche Staatsoper in Berlin. This was also the time frame in which Hoquetus Petrus was composed and premiered.23

Birtwistle composed Hoquetus Petrus early in 1995 and it premiered on March 30 of the same year. Both the structure and title of the piece are inspired by Machaut’s 14th-century work Hoquetus David. While the hocket, a technique in which alternating notes are passed between different players, was a popular

22 Jonathan Cross, "Birtwistle, Sir Harrison," Grove Music Online, accessed May 5, 2020, https://doi.org/10.1093/gmo/9781561592630.article.03136. 23 David Beard, “Harrison Birtwistle,” Boosey & Hawkes, accessed May 5, 2020, https://www.boosey.com/pages/cr/composer/composer_main?composerid=2729&ttype=BIOGRAPHY.

22 compositional technique during the medieval period, Hoquetus David is the only existing hocket from the Ars Nova period specifically.24

Birtwistle’s contemporary take on the hocket is scored for two flutes, one doubling on piccolo, and piccolo trumpet in A. The work was commissioned by the Chicago Symphony Orchestra as a 70th birthday tribute to Boulez. The premiere performance was given at a concert called A Tribute to Pierre

Boulez by flutists Richard and Emily Graef and trumpeter Mark Ridenour.25 Lasting between two and three minutes in its entirety, Hoquetus Petrus is the shortest work in this collection, but it is also one of the most musically and technically challenging. In addition to this work and the concerto mentioned above, Birtwistle wrote several other pieces that include trumpet. Additional works include Placid

Mobile for 36 trumpets, The Silk House Tattoo for two trumpets and side drums, Sonance for a New

Space for 3 trumpets, 4 trombones, and bells, Antiphonies from the Moonkeeper for solo trumpet, Five

Little Antiphonies for Amelia for two trumpets, and The Message for E-flat clarinet, trumpet in C, and military drum.26

Hoquetus Petrus is demanding in many ways, but the primary challenge for most players will be the incredibly complex rhythms. The piece often layers triple subdivisions on top of duple subdivisions, and

Birtwistle makes frequent use of ties across bar lines. Additionally, accents often fall in unusual places and each part contains grace notes that further obscure the pulse. All three musicians must commit to playing all of their rhythms as accurately as possible and dedicate a good deal of rehearsal time to rhythmic execution. The trumpet player attempting this piece should also be comfortable playing in the

24 Jared C. Hartt, “Les Doubles Hoqués Et Les Motés: Guillaume De Machaut's Hoquetus David,” Plainsong and Medieval Music 21, no. 2 (2012): 137–73. 25 Brandon Norton, email correspondence with the Chicago Symphony Orchestra Archives, September, 2019. 26 Robert Adlington, “The Music of Harrison Birtwistle.” Cambridge University Press. (2006), 220-225.

23 upper register of the piccolo trumpet. The part ascends to written G-flat once and F eight times on piccolo trumpet in A, always at forte or louder.

Excerpt 1 mm. 20-35

This excerpt highlights the rhythmic difficulty of the work. While the trumpet is subdividing each beat into sixteenth notes, the flutes are playing in a triplet subdivision. Accented grace notes followed by unaccented notes on the beats further obscure the downbeats and may create issues with rhythmic alignment. This work is so rhythmically intricate that it is a good idea to plan a few “check in” points to ensure that everyone is together. One of those places is the downbeat of bar 35 where Flute 1 can visually show a big downbeat.

24

Practice considerations

Practice this first on C or B-flat trumpet as written without transposing. This will put the piece in the wrong key, but it can be a helpful exercise to practice the correct rhythms without worrying about the demands of the piccolo trumpet. Dynamics in this piece should be scaled back. Muted piccolo will always cut through and there are only two other musicians playing, so full orchestral dynamics are not necessary. To address tempo and rhythm, draw lines over the big beats to stay oriented within the beat structure and count and clap this part with a metronome. Start by subdividing sixteenth notes, then count and clap the part with the metronome subdividing triplets to get the feel of sixteenth notes against triplets.

The following practice version contains both flute parts starting at bar 27. The two flute parts have been combined and transposed down an octave and are written in C. Practicing the composite of the flute parts and being aware of their rhythm should help when putting the piece together. All grace notes and articulation markings have been removed from the composite flute part to call attention to the underlying rhythm.

25

26

One way to practice the difficult rhythms starting at measure 26 is to first remove all the grace notes and all articulation markings.

Then, add the grace notes, but do not add the accents.

Finally, return to the original version and try to play it as written. For an additional challenge, try to play only the accented notes to get a feel for the notes that should pop out of the texture.

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SECTION 5

Eric Ewazen – Trio for Trumpet, Violin, and Piano

American composer Eric Ewazen was born in Cleveland, Ohio in 1954. He studied composition at the

Eastman School of Music and The Juilliard School, and throughout his career has composed extensively for soloists, chamber ensembles, wind ensembles, and orchestras. He has been on faculty at The Juilliard

School since 1980, and he is composer-in-residence with the St. Luke’s Chamber Ensemble of NYC and vice-president of the League of Composers. His music has been performed by the Boston Symphony, the

Chicago Symphony, the Cleveland Orchestra, the Metropolitan Opera Orchestra, the New York

Philharmonic Orchestra, the Philadelphia Orchestra, and the Vienna Philharmonic.27 He has composed extensively for the trumpet, including brass quintets, solo trumpet works, and various non-quintet chamber settings that include trumpet. Some of his most notable works that include trumpet are Sonata for Trumpet; Trio for Trumpet, Violoncello, and Piano; To Cast a Shadow Again for medium low voice, trumpet, and piano; Quintet for Trumpet and Strings; Shadowcatcher for brass quintet and wind ensemble; and this work, Trio for Trumpet, Violin, and Piano.

His Trio for Trumpet, Violin, and Piano was modeled on Brahms’ Trio in E-flat Major for horn, violin, and piano. Trumpeter Chris Gekker commissioned Ewazen’s trio, and in collaboration with violinist Mayuki

Fukuhara and pianist Colette Valentine, he premiered the work in February of 1994 at the Juilliard

School. Ewazen utilizes the same four-movement structure of Brahms’ trio in this piece; Andante,

Allegro, Adagio, and Allegro.28 Ewazen writes of his treatment of the trumpet part:

27 Eric Ewazen, Trio (1992) for Trumpet, Violin and Piano. (San Antonio, Texas: Southern Music Company, 2000). 28 Altman, “An Analysis of Two Chamber Works with Trumpet by Eric Ewazen,” 89.

28

Traditionally, the trumpet had provided composers with bright, brilliant sonorities, often used heroically or dramatically. In this work, the expressive lyrical qualities of the instrument are also emphasized, helping to display its full range of coloristic possibilities.29

Regarding the character and structure of each movement, Ewazen says:

The work opens peacefully and elegiacally. Although intimations of dramatic tension appear, they ultimately fade away into serenity. The second movement is dynamic and intense, with agitated gestures, ostinato patterns, abrupt shifts in rhythm, sudden silences and a general feeling of excitement permeating the music. The Adagio is an introspective ballade. The trumpet sings a melancholy song as the violin and piano provide a background of contrasting harmonic textures. Occasionally they sing out their own intimate melodies, but the trumpet’s voice keeps coming back in variations of its own quiet soliloquy. The finale is a joyous dance, filled with lively gestures and rhythms. A brief recollection of the first movement gives way to complete exhilaration as the music spins to a rousing close.30

This work features several technical and musical challenges often present in Ewazen’s trumpet music; angular but lyrical phrases, use of the full range of the instrument, and delicate articulated sections that are between single-tonguing and double-tonguing speed for most players. Balance is also an important consideration given the inherent dynamic differences between the trumpet and violin. The trumpet player must be careful not to play louder than the violin throughout the work. Accurate intonation must be a high priority given the frequent alternation between muted and open passages, particularly in the first and third movements. Due to the delicate nature of most of the muted sections, it is recommended that the performer use a lyric mute, sotto voce mute, or something similar. While a normal metal straight mute may work, the aforementioned options are more suited to the expressive and lyrical playing required in these passages.

For further theoretical and performance information, see Timothy Altman’s detailed analysis of each movement in his dissertation titled An Analysis for Performance of Two Chamber Works with Trumpet by

Eric Ewazen.

29 Eric Ewazen, Trio (1992) for Trumpet, Violin and Piano. San Antonio, Texas: Southern Music Company. 2000. 30 Ewazen, Trio.

29

Excerpt 1

Movement 2: mm. 165 – 194 (end)

This excerpt from the end of the second movement starts with the trumpet and violin passing off sixteenth-note flourishes. In measure 170, the violin and trumpet move together in rhythmic unison, but the violin has the melody, so be careful not to overplay here.

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Practice Considerations

Several bars in this passage have tricky fingerings that can make the rhythm sound uneven if not excecuted cleanly. The following practice tips are based on measure 168, but they can be applied to any other measures with awkward fingerings. Transforming the rhythm into dotted rhythms while maintaining the same metronome marking can help with the identification of problematic finger transitions. With all valve work, it is helpful to practice flow patterns first (lips around mouthpiece, just blowing air through the instrument). Practicing this way will save chops while allowing focused work on fingers and efficient breathing.

Another way to practice the fingerings is to play the passage as written and then immediately play it backwards, as shown below. This should be repeated many times until it is smooth and fluid.

31

With all tricky valve work, one strategy to cement the correct fingerings is to practice the passage with the left hand after it has been learned with the right hand. This can seem counterintuitive as most players would never perform this way, but many notable pedagogues, including David Hickman, have recommended left hand valve practice.31

The following practice variation combines the sixteenth-note figures from the trumpet and violin parts from 165 to 169. This will help the player be aware of the violinist’s part.

Excerpt 2

Movement 4: mm. 246 – 269 (end)

This excerpt from the end of the last movement continues an offset eighth-note motive that has been maintained for most of the movement, but this time at presto instead of allegro molto. This excerpt is unique in that the entire trio is playing the same rhythms for the whole excerpt except for bar 262.

Again, make sure to play relatively lightly. This section should feature all three instruments blending and balancing, not any one voice dominating the texture, so also listen carefully to the shaping of

31 David Hickman, Trumpet Pedagogy: A Compendium of Modern Teaching Techniques (Chandler, Hickman Music Editions, 2006). 164.

32 articulations. At measure 262, be aware that the violin comes in two eighth notes before the trumpet part. Also, pay careful attention to pitch in the last 4 bars. The F-sharps need to match the violinist, who is playing double stop F-sharps and Ds.

Practice Considerations

The following practice versions have been created to address the awkward tonguing sections starting in

248 and 254. Ideally, this passage would be single-tongued, but that is probably not realistic for most players; therefore, a plan for multiple-tonguing needs to be made. The difficulty with this passage is that the groups of three eighth notes do not start on the beat, but on the second eighth note of each beat, so it is very easy for the fingers and tongue to get out of sync. The pitches here are from measure 248, but the same procedure can be applied to both sections if needed. The first line displaces the eighth-note pattern so that it starts on the big beats instead of on the second eighth note of the beat. This will help to decide which tonguing pattern works best. Then, as shown in line 2, displace the pattern to its original position, but turn each note that falls on a big beat into a dotted-quarter note. The final line shows the

33 original passage again. Be open to experimenting with different articulation patterns. There is no single correct way to execute this passage.

34

SECTION 6

Paul Hindemith – Septet

Paul Hindemith was born in Frankfurt, Germany in 1895 and died there in 1963, but he also lived in

Switzerland and the United States over the course of his life. He is remembered as one of the leading composers and music theorists of the 20th century. Hindemith studied music from an early age and in

1914 joined the Frankfurt Opera Orchestra as first violinist. In this position he made the acquaintance of notable conductors who would go on to champion his compositions. By 1923, he switched to the viola as his primary instrument for public performance. In January 1918, Hindemith was called to serve in the military where, as he noted in journals, he survived attacks in the trenches only by luck. While in the military, he played bass drum in the regimental band, formed a string quartet, and continued to compose as much as possible. At the end of the war, he returned to the Frankfurt Opera but as a violist rather than violinist, and he “released an unrivaled creative energy” that led to a huge output of new works. In October of 1936, Hindemith’s works were banned in Germany for exhibiting “political enthusiasm.” He emigrated to Switzerland the following year, but in 1940 at the outset of World War II, he moved to the United States. Following World War II, Hindemith returned to Switzerland where he would go on to write a number of works for wind instruments including concertos for clarinet, horn, trumpet and bassoon, woodwinds and harp, the Sinfonietta in E, the Symphony for Concert Band, and the Septet.32

32 Giselher Schubert, "Hindemith, Paul," Grove Music Online, accessed May 5, 2020, https://doi.org/10.1093/gmo/9781561592630.article.13053.

35

Many trumpet players are familiar with the music of Paul Hindemith due to the popularity of his works for orchestra and wind ensemble. His Sonata for Trumpet (1939) is also generally considered one of the most important compositions for the trumpet from the 20th century. Hindemith’s Septet (1948) is scored for standard wind quintet (flute, oboe, clarinet, horn, bassoon) plus bass clarinet and trumpet. The piece was composed shortly after Hindemith obtained his U.S. citizenship, but while he was on vacation in

Sicily. Hindemith said the following about the compositional process:

In Taormina I wrote this piece in one of the most beautiful gardens you can possibly imagine, with the sea below and snow-capped Mt. Etna in the background. If one believes that the quality of a composition is influenced by the immediate environment, then one could expect to have only the best ideas in such a place.33

The work is composed in five movements that include a lively and humorous opening movement, a slow and free intermezzo, a collection of variations on a lyrical melody, a short second intermezzo, and a finale featuring a double fugue. In this book, excerpts from the first and third movements will be studied.

This five-movement piece is probably the most accessible in this collection of chamber excerpts. The trumpet is used sparingly, only playing in the first, third, and fifth movements, which provides the player with plenty of rest. While the dynamic indications in the trumpet part are generally loud, these should be executed within the context of a wind quintet. Full-scale large ensemble dynamics are not necessary, and the trumpet player’s placement within the group can greatly influence the overall balance. If the trumpet is placed near the middle of the ensemble with the instrument pointed directly at the audience, the dynamic indications will need to be lowered significantly to match the rest of the group. Placing the trumpet on either side of the ensemble with the bell facing across will immediately improve balance and allow the trumpeter to play more comfortably without fear of overpowering the group. Range

33 Giselher Schubert, "Hindemith, Paul."

36 requirements of the piece are also very moderate. On a B-flat trumpet, for which the piece is scored, the range extends only from C below the staff (sounding B-flat) to an A above the staff (sounding G). The piece, however, does present some challenges to the player that are typical of Hindemith’s writing for the trumpet. The most obvious challenges are the long phrases with no indicated breath marks, seen below in the first excerpt. A challenge present in several of Hindemith’s works which is demonstrated in this excerpt, is the frequent alternation between a duple and a triple subdivision.

Excerpt 1

Movement 1: mm. 82 – 115

A crescendo leads up to this passage at rehearsal 6, so don’t play so loud that there is a sudden increase in dynamic. Instead, fit the dynamic into the end of the crescendo. Other members of the ensemble play fragments of this melody earlier in the movement, so match the style of accents previously heard and be aware of the rest of the ensemble’s rhythm underneath this solo. There are eighth notes during the quarter-note triplets and half-note triplets, so the trumpet rhythm should not align with the rest of the group. From measures 109 to 113, keep the dynamic low and let the other members of the ensemble drive the crescendo with their trilled quarter-note figure layered on top of each other.

37

Practice considerations

The entire group is marked fortissimo at the beginning of this solo, but again these dynamics do not need to be played as full orchestral dynamics. Thinking forte or mezzo-forte with a full sustain to each note is probably loud enough. Because there are no rests and these phrases are somewhat long, creating a plan for exactly where to take breaths is recommended. Many breathing options exist, and players will make different choices depending on lung capacity and volume. No matter where the player breathes, breaths should be taken as quickly as possible to ensure that they do not disturb the musical line too much. The grace notes here can also be problematic, especially those that are more than a

38 whole step. The flute, oboe, and clarinet all have these larger interval grace notes earlier in the piece, so listen to them, try to match the style, and be careful not to over-accent the lower notes. If the G to E grace note slur is troublesome due to it being a lip slur, consider using an alternate fingering for one of the two notes. Applying an alternate fingering to the grace note may be preferred because it will not significantly alter the timbre of the longer note, but 1-2 often works well for E5.

The use of vibrato in Hindemith’s music is an interesting discussion. Often, trumpeters only have one type of vibrato. They produce the vibrato in the same way and the fluctuations in pitch are always the same size and speed. Some players also fall into the habit of using vibrato carelessly and only in certain situations, such as loud playing, ascending intervals, long notes in the high register, etc. Different types of music, however, call for different types of vibrato and practicing the technique deliberately and thoughtfully can add a sense of refinement to a performance. Some schools of thought recommend using the right hand to produce vibrato while others recommend using the jaw. Practicing both methods can help the trumpeter discover the benefits and drawbacks of each type. Jaw vibrato can be very smooth and subtle, but it has limitations on speed. If the movement of the jaw is excessive, it can disturb the embouchure by pulling one of the lips slightly out of the mouthpiece and making the aperture too big. Hand vibrato is sometimes easier for beginners and does not disturb the embouchure, but the fluctuations in pitch and speed can be overdone very easily. Practice both types of vibrato by controlling the size and timing of each fluctuation. The “yah” syllable used below represents one fluctuation in pitch. Repeat each measure as many times as needed and experiment in all registers and dynamics.

39

Learning to control the vibrato in this way and learning to use both kinds of vibrato will ensure that it is used with intention and not simply as a default. The author prefers a somewhat slow, narrow vibrato for most of Hindemith’s music because it seems to add a sense of weight or heaviness to the music. A case for other styles of vibrato can be made, but the choice should be made carefully to enhance the performance.

Excerpt 2

Movement 3: mm. 1 – 25

This solo opens the third movement of the work. At rehearsal 1, the clarinet and bass clarinet are marked pianissimo while the trumpet and bassoon are marked piano. When this excerpt ends, the flute takes over and repeats the same melodic content as the trumpet at the beginning of the movement, but it is transposed up a major 7th. It is interesting to note that the flute has slightly different articulation. In beat three of measure 2, the trumpet slurs the sixteenth notes. When the flute plays it, the sixteenth notes on beat 3 are articulated.

40

Practice considerations

In this excerpt, it is important to feel the correct subdivisions internally as early as possible to ensure rhythmic accuracy. The following version contains subdivisions and includes additional notes during rests to assist with the preparation of the subdivision.

41

Another technique that can be helpful for both Hindemith excerpts, or any passage with wide slurs, is to add a very light “da” articulation on the wide slurred intervals. Using this technique won’t clean up slurs that are sloppy, but it can help to enhance the clarity and precision of wide slurs where the opportunity for an unintentional pitch between notes is very high. This can be particularly effective for the A5 to E5 slur in measure 8-9 and the octave F-sharp slur in measures 3 and 18. If the technique of lightly tonguing slurs is unfamiliar, consider the following exercises.

Start with a very easy slur, such as G4 to F4, and practice alternating between a slur with no tonguing and a lightly tongued slur, striving to make them sound identical.

The next step is to play a lip slur in the same manner.

42

For the next step, play a slur that is larger than one partial and that has a fingering change such as the example below.

For additional practice with this technique, take any simple etude that has articulated and slurred passages, such as Robert Getchell’s First Book of Practical Studies, and apply this technique to all the slurs. If there is difficulty producing an acceptably smooth slur, try tonguing farther back in the mouth than normal. Recording this kind of practice is highly recommended because it can often feel like the slurs are not smooth enough, but listening back to the recording can give more accurate feedback. Some notable performers, such as Chris Gekker, use this technique of lightly tonguing wide slurs frequently.

43

SECTION 7

Milhaud – La Création du monde

Darius Milhaud was a French composer who lived from 1892 to 1974. An incredibly prolific composer, he wrote over 400 works in almost every genre. He was associated with the avant garde movement of the

1920s, but his musical output demonstrates a wide variety of influences including jazz, polytonality, aleatoric music, Brazilian music, and French folk music, among others. He was a member of Les Six along with Francis Poulenc, Arthur Honegger, Georges Auric, Louis Durey, and Germaine Tailleferre.

The son of two amateur musicians, Milhaud began playing the violin at the age of seven and composing during his early teenage years. In 1909, he began studying at the Paris Conservatory where he was first exposed to the music of Fauré, Ravel, Koechlin, Satie, Bloch, Magnard, Wagner, Schoenberg, and

Stravinsky. It was through this exposure to a wide variety of compositional styles that Milhaud began to solidify his own. When World War I began, he was unable to serve in the military due to medical restrictions, so he took a job with the foreign ministry’s propaganda department which took him to

Brazil in 1917 and the United States in 1918. Though he returned to Paris in 1919, he continued touring throughout Europe, North America, and South America for the next decade. Each new cultural experience and musical acquaintance informed his compositional output. He became fascinated with jazz in 1920 after hearing the Billy Arnold Jazz Band, the Paul Whiteman Band, and several musicians from Harlem. Milhaud wrote about his earliest impressions of jazz:

…new instrumental techniques, the piano with the dryness and the precision of a drum and a banjo, the rebirth of the saxophone, the trombone glissandos that became a most common means of expression entrusted with the sweetest melodies, and the trumpet, ... the mute, … vibrato of the slide or piston, "flutter tongue"; the clarinet in the extreme upper range, with violence in the attack, a force in the sound, a technique of slipping and trilling of the note disconcerted our best instrumentalists…The strength of jazz comes from the novelty of his technique in all areas… In terms of orchestration, the use of the various instruments listed

44

above and the development of their specialized technique have a variety of extraordinary expression.34

It was from this fascination with the genre’s rhythmic complexity and “criss-crossed musical lines” that he wrote La Création du monde.

La Création du monde is a 20-minute ballet composed in 1923 which outlines the creation of the world according to a compilation of African legends translated and edited by Blaise Cendrars. It is most frequently performed today as a concert work without pause between the indicated movements. The piece contains six movements: Overture; The Chaos Before Creation; The Slowly Lifting Darkness, The

Creation of Trees, Plants, Insects, Birds and Beasts; Dance of Created Beings – Man and Woman are

Created; The desire of Man and Woman; The Man and Woman Kiss - Coda. The piece is scored for 2 flutes, 2 clarinets, oboe, bassoon, horn, 2 trumpets, trombone, alto saxophone, percussion, timpani, piano, 2 violins, cello, and double bass, making this the largest ensemble in this collection of excerpts.

The work is noted for its innovation in percussion writing and the trumpet, saxophone, and trombone parts in particular that give the work its distinctly “jazzy” sound.35

Excerpt 1 mm. 124-129

This figure is passed around the group, starting with bass, trombone, saxophone, and finally trumpet.

The bass and trombone are marked piano when they have the figure, but the saxophone and trumpet are marked mezzo-piano. Be sure to match the style of the previous players, especially the style of accents and the length of the eight notes. There are also some strong dissonances that the players

34 Robert Ward Miller, “Darius Milhaud’s La Creation du Monde: The Conductor’s Guide to Performance,” University of Iowa Research Online, accessed May 5, 2020, https://ir.uiowa.edu/cgi/viewcontent.cgi?article=2726&context=etd. 35 Miller, “Darius Milhaud’s La Creation du Monde: The Conductor’s Guide to performance”

45 should be aware of. For example, the C-sharp and C-natural at the end of measure 127 and into 128 are against a D and C-sharp in the trombone part.

Practice considerations

Playing in the upper register at softer dynamics can be challenging. If this is a struggle, one way to approach the problem is to transpose the passage down an octave and work it up one half-step at a time. Another approach is to play the passage in the correct key, but on a smaller instrument such as an

E-flat trumpet or piccolo trumpet. Playing a smaller horn can help the player get a feel for playing in the upper register more easily and with more dynamic control. Try to maintain this approach when switching back to C trumpet.

Excerpt 2 mm. 152-164

The tempo of the following excerpt is half note equals 62, but the same material returns at the end of the piece at half note equals 108. The end is typically played a little slower – somewhere around 80 is standard. No matter the desired tempo however, practicing the slower version and working out

46 difficulties there is strongly advised before moving up to tempo. Beginning in measure 156, the melodic material is passed between trumpet 1 and trumpet 2, but both clarinet players are playing the complete melodic line one octave higher, so make sure to fit in with them. Also note that the rest of the ensemble is marked triple forte in measures 162 and 163 with only the trumpets and percussion remaining at fortissimo.

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Practice considerations

Given that the first five measures of this excerpt are in unison, careful attention to pitch will be very important. Trumpet 2 should play significantly softer than Trumpet 1 in order to completely blend in, both in terms of timbre and intonation. Two trumpets in unison will easily be loud enough to be heard, so there is no need to force the dynamics. The tonguing pattern for the sixteenth notes can also be tricky, especially because of the slur at the beginning.

Excerpt 3 mm. 425-440

This excerpt is played in octaves with the piccolo, so special attention will need to be given to pitch.

Make sure to practice this passage with the mute that will be used in the performance and be aware of the pitch tendencies with the mute.

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Practice Considerations

If possible, try to practice this excerpt with the piccolo player and make intonation a collaborative effort.

Very often, trumpeters are more comfortable listening to lower pitches to match intonation than higher pitches, especially this high. In addition to working out the intonation, practicing with the piccolo player can also help with stylistic concerns such as the speed of the grace notes, the coordination of the cédez in measure 429, and breath synchronization, if desired.

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SECTION 8

Poulenc – Sonata for Horn, Trumpet, and Trombone

Francis Poulenc was a French composer and member of Les Six who lived from 1899 until 1963. He was known for composing relatively simple music, harmonically, rhythmically, and structurally, but with emphasis on melody. Poulenc said in a letter in 1942 “I know perfectly well that I’m not one of those composers who have made harmonic innovations like Igor [Stravinsky], Ravel or Debussy, but I think there’s room for new music which doesn’t mind using other people’s chords. Wasn’t that the case with

Mozart—Schubert?”36

Poulenc saw his deep Catholic faith and his mother’s artistic heritage as the two biggest influences in his compositional output. He began playing piano at the age of five and composing at the age of 15, but he destroyed his earliest attempts at composition. His first work to be performed publicly premiered in

1917 and was dedicated to Erik Satie. Poulenc was drafted to war from 1918 to 1921, but he continued composing while serving in the military. As noted earlier in the discussion about Milhaud, Poulenc was also a member of Les Six which originated around 1920, and he began studying composition with

Charles Koechlin in 1921. At the time he contacted Koechlin seeking instruction, Poulenc felt he ‘obeyed the dictates of instinct rather than intelligence.’37

It was between August and October of 1922 that Poulenc wrote his Sonata for Horn, Trumpet and

Trombone. It is one of four chamber works between 1918 and 1926, but he later revised the work in

1945. While the Sonata for Horn, Trumpet and Trombone did not establish the brass trio as a standard

36 Myriam Chimènes and Roger Nichols, "Poulenc, Francis," Grove Music Online, accessed May 5, 2020, https://doi.org/10.1093/gmo/9781561592630.article.22202. 37 Myriam Chimènes and Roger Nichols, "Poulenc, Francis."

50 ensemble, it was an interesting addition to the brass chamber repertoire that mainly consisted of quartets during the Romantic period. Additionally, it prompted composers to reimagine brass ensemble instrumentation moving in to the late 20th and early 21st centuries. In his instrumental pieces, Poulenc never composed for the same combination of instruments twice. He only included trumpet in one other chamber work, Suite française written in 1935, which includes two trumpets along with three trombones, two oboes, two bassoons, percussion, and harpsichord. For further theoretical, historical, and performance analysis of the work, see John T. Cord’s 2009 dissertation Francis Poulenc’s Sonata for

Horn, Trumpet and Trombone: A Structural Analysis Identifying Historical Significance, Form and

Implications for Performance.38

The primary challenge for the trumpeter in the sonata is the issue of endurance. The piece is about 8 minutes long, and the trumpet part is nearly continuous, only breaking between movements. The second movement is particularly taxing. It is around 3 minutes long and is marked entirely at a piano or pianissimo dynamic with long, lyrical phrases. An excellent resource for developing endurance is Chris

Gekker’s Endurance Drills for Performance Skills39. The range requirements of the piece, however, are relatively modest. The trumpet part stays in the staff for almost the full duration of the piece.

Excerpt 1

I: mm. 26-39

The following excerpt is from the middle of the first movement of the piece. It is an excellent chance to showcase lyrical playing and work on smooth slurs over large intervals.

38 John T. Cord, “Francis Poulenc’s Sonata for Horn, Trumpet and Trombone: A Structural Analysis Identifying Historical Significance, Form and Implications for Performance,” UNT Digital Library, Accessed May 5, 2020, https://digital.library.unt.edu/ark:/67531/metadc12104/m2/1/high_res_d/dissertation.pdf. 39 Chris Gekker, Endurance Drills for Performance Skills (New York: Transition Publications, 2002).

51

Practice Considerations

Practicing this excerpt with the tuner on can be helpful, but practicing with a drone set to E-flat is a more effective way to learn pitch tendencies. Tuners give too much information and do not always prepare musicians for real-world scenarios in which pitch must be actively listened to and matched.

Using a drone forces the musician to listen carefully to determine if they are flat, sharp, or in tune, and it more closely simulates the feeling of playing in an ensemble.

One challenge presented in this excerpt is maintaining the same smoothness in the legato markings whether the interval is a small, such as a second or third, or large, such as a sixth or seventh. Practice this by filling in the notes between the larger intervals. For example, the first measure would look like this:

52

The notes under the dotted brackets indicate notes that have been filled in. Then, remove some of the notes under the bracket while trying to maintain the same smoothness as before. Experiment with removing different notes to see if there is any change in the quality of the slur. A possible example would be:

Lastly, return to the original notes of the passage and again strive for the same quality of slur as when the extra notes were added. Many will find that the tendency is to slightly overshoot large intervals, particularly in this register where the partials are somewhat close together. If the slur is bumpy, harsh, or feels insecure, repeat the process and find exactly which notes need to be added to achieve the desired slur. Try to figure out exactly what technical aspect is causing the problem. It could be slurs that skip partials, descending slurs, inconsistent valve technique (especially with the third finger), or any number of other issues.

Also important in this excerpt is knowing which part is the most important and where every part belongs within the texture. It can be beneficial to mark these things in the part, but sometimes actually playing all the parts is the best way to figure out how the music should be balanced. Practicing this way can also help identify the chordal structure of the piece to aid with intonation. The following practice exercise includes all three parts, transposed into a comfortable range and written for trumpet in C. Pay careful

53 attention to the dynamic and expressive markings in the other parts and always make sure the accompaniment parts do not interfere with the melody.

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SECTION 9

Saint-Saëns – Septet

Camille Saint- Saëns (1835-1921) was a French composer, pianist, organist, writer, and briefly, a teacher.

He was a child prodigy on the piano and made his concert debut at the age of ten, performing the concertos of Beethoven and Mozart from memory, which was unusual for the time. He went on to study organ and composition at the Paris Conservatory in 1848. He won the premier prix in organ in 1851 and continued with his studies in composition, orchestration, accompaniment, and voice afterward. In addition to composing a large and varied body of work during and after his time at the conservatory, he also contributed to editions of works by Gluck, Beethoven, Mozart, and Liszt, among others. The Septet was composed during a particularly tumultuous time in the composer’s life following the deaths of both of his children within six weeks of one another. During this period, Saint-Saëns’ friend and benefactor

Albert Libon died as well, leaving the composer 100,000 francs to devote himself entirely to composition. Saint-Saëns first composed a requiem in memory of Libon followed by the septet for La

Trompette in 1880.40

The Septet is the oldest work in this document, and it has an interesting history. Saint-Saëns completed the work in December of 1880 as a gift for his friend, mathematician and amateur violist Emile Lemoine.

Lemoine founded a string quartet jokingly referred to as “La Trompette” with his friends around 1867, and he began holding amateur chamber music events under the same name. This inspired Lemoine to commission Saint-Saëns to write a serious piece for trumpet, string instruments, and piano. According to

Lemoine, “At first, he jested with me about this rare combination of instruments and replied that he

40 Daniel M. Fallon, Sabina Teller Ratner, and James Harding, "Saint-Saëns, (Charles) Camille," Grove Music Online. 2001; Accessed May 5, 2020, https://doi.org/10.1093/gmo/9781561592630.article.24335.

56 would rather write a piece for guitar and 13 trombones.” Eventually, Saint-Saëns gave Lemoine a work for the ensemble. The piece was performed and soon after became the first movement of what was to become his Septet. The premiere of the complete Septet was given on December 28, 1880. The piece was successful and shortly after the premiere, it was arranged for piano trio by the composer and for four-hands piano by Gabriel Fauré. Many years later in 1907, Saint-Saëns said to Lemoine:

When I think how much you pestered me to make me produce, against my better judgment, this piece that I did not want to write and which has become one of my great successes, I never understood why.41

The septet is a neo-classical work, making use of 17th-century dance forms such as minuet and gavotte.

It was composed during the same period of time that Saint-Saëns released editions of Lully, Charpentier, and Rameau, reflecting his interest in the revival of French music from that time. It consists of four movements: Préambule, Menuet, Intermède and Gavotte et Final.42

This piece provides the trumpeter with a rare opportunity to play 19th-century mixed-instrumentation chamber music. The primary challenge of the work is to play clearly and precisely while maintaining a lightness of style that does not overpower the rest of the ensemble dynamically. The piece was originally scored for an E-flat trumpet, but B-flat trumpet also works well. B-flat provides the advantage that the last note of the first movement can be played without extending into the pedal register, provided the instrument has a slide that can be extended far enough. E-flat trumpet, however, may make the lightness of style easier to achieve.

41 Sabina Teller Ratner, Liner notes from Saint-Saens’ Septet, The Nash Ensemble, Hyperion Records, May 2005, compact disc. 42 Daniel M. Fallon, Sabina Teller Ratner, and James Harding, "Saint-Saëns, (Charles) Camille.”

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Excerpt 1

I. Préambule: mm. 113-end

This is a relatively simple excerpt with sparse accompaniment. The rest of the ensemble is only playing notes that start on beat one or beat three until measure 135. At 135, the pianist plays continuous sixteenth notes until three bars before the end, so make sure the eighth-note arpeggios at 139 align precisely with the piano part. No matter which key trumpet is used, pay careful attention to the pitch of the last note.

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Practice Considerations

The rhythmic simplicity of the above excerpt means that any fluctuations in tempo will be immediately apparent. Practice steadiness of tempo by using a metronome, but gradually decrease the number of beats the metronome gives. For example, start with the metronome clicking on every quarter note, then move to every half note, every bar, every other bar, etc. Metronome apps on phones or tablets are particularly well-suited for this type of work because they tend to be more easily manipulated than traditional metronomes. Also, for lightness of style, consider how the eighth notes are grouped together mentally. Grouping the eighth notes together as they are notated with groups of four starting on beats one and three, can make the player unintentionally accent beats one and three. Mentally grouping the notes together as shown below can help achieve a lightness of style while also giving the excerpt forward motion. This type of practice is explained thoroughly in David McGill’s Sound in Motion43 and

Thurmond’s Note Grouping,44 both of which are excellent resources for developing style and musicianship.

43 David McGill, Sound in Motion: A Performer’s Guide to Greater Musical Expression (Bloomington: Indiana University Press, 2007). 44 James M.Thurmond, Note Grouping: A Method for Achieving Expression and Style in Musical Performance (Gatesville, MD, Meredith Music Publications, 1982).

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SECTION 10

Schoenberg – Chamber Symphony No. 2

Arnold Schoenberg (1874 – 1951) was an Austrian-born composer who became an American citizen in

1941 and is considered one of the most important composers of the early 20th century. He was a member of the Second Viennese School, along with his students Berg and Webern, and their music is characterized by expressionism and atonality. Schoenberg began playing the violin at the age of eight and started composing shortly after. Shortly after the death of his father, Schoenberg left school to work in a bank in order to support his family. He continued to study and practice music in the evenings, eventually teaching himself to play the cello. He was not able to attend live concerts because they were cost-prohibitive, but he eventually joined an amateur orchestra led by Alexander von Zemlinksy.

Zemlinksy had attended the Vienna Conservatory and provided Schoenberg with a more formal instruction that he lacked until their meeting. In 1897, Schoenberg composed a string quartet which

Zemlinksy proposed to the Wiener Tonkünstlerverein for performance, and it was accepted. It was received well enough to be programmed again the next season, but it would be many years before another one of his works was met with equal success. Even in his early works, he was developing his use of chromaticism and moving away from tonalism in a way that earned him a great deal of criticism. It was during this period that he completed his first chamber symphony in 1906.45

With the completion of his first chamber symphony, Schoenberg immediately began work on a second, but the work was put on hold while he completed a collection of lieder. He returned to the piece twice, once in 1911 and again in 1916, but was not able to complete it either time. Over two decades later in

45 O.W. Neighbour, "Schoenberg [Schönberg], Arnold," Grove Music Online, accessed May 5, 2020, https://doi.org/10.1093/gmo/9781561592630.article.25024.

60

1939 after he had emigrated to the United States at the outset of World War II, he returned to and finished the work in order to fulfill a commission from the New Friends of Music. Chamber Symphony

No. 2 finally premiered in December of 1940 in New York. By the time he finished the work, Schoenberg had loosened his grip on the ideals of atonality and in many ways had come back to his pre-atonal style.

The composer wrote in a 1948 essay:

I was not destined to continue in the manner of Transfigured Night or Gurre-Lieder or even Pelleas and Melisande. The Supreme Commander had ordered me on a harder road. But a longing to return to the older style was always vigorous in me, and from time to time I had to yield to that urge.46

The work is scored for 2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling English horn), 2 clarinets, 2 bassoons, 2 horns, 2 trumpets and strings.

The trumpet parts in this piece present many challenges to the performers. Schoenberg writes many different types of articulation markings and they all must be followed and played in a way that they are all different from each other. Even though the piece represents a return to tonality, it still features many angular lines that must be played accurately and cleanly. The “P” in a bracket in the music indicates the

Hauptstimme, or primary voice. This indicates that the part should be brought out and heard clearly, so it should be played slightly louder than other parts of the music that are the not the primary voice.

46 Neighbour, "Schoenberg.”

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Excerpt 1 mm. 78-91

In this excerpt, the trumpet takes over the primary voice from the low strings. In measure 80, the primary voice is transferred back to strings, but now to violins, violas, and cellos.

62

Practice considerations

With all music, being able to hear the exact pitch is crucial. Though this piece is a return to tonality for

Schoenberg, it is still highly chromatic. These excerpts highlight the necessity of strong ear training skills, and the significance of developing creative ways to incorporate ear training into trumpet practice. The exercise below is one strategy that can be used. The notes demonstrated here are from the beginning of the excerpt, but this type of practice can continue throughout the excerpt. The notes with triangle note- heads should be sung or hummed. Humming has the advantage that it can be done without disturbing the embouchure in any way, but both methods have the same ear training benefits. Sing or hum the notes in whichever octave is most comfortable.

After this is done, try to alternate hummed and played notes, but in the correct rhythm of the excerpt.

This exercise can be applied to any piece, and it is an excellent way to ensure that the correct pitch is heard aurally.

63

Excerpt 2 mm. 331-349

The type of accents used at the beginning of this excerpt are the same as the ones in the string parts that are designated col legno. Col legno is a string technique in which the performer uses the wooden part of the bow to strike the string instead of bowing normally. Listen to these notes in the string parts and try to copy that sound as closely as possible.

Practice considerations

Notice that the trumpet parts change time signatures at different measures, making measure 343 a duple against triplet subdivision. Practice feeling this subdivision by holding the trumpet with the left

64 hand and tapping the rhythm of the other part on your leg or on your stand. If this is too difficult, try finding a keyboard and playing both parts at the same time first. To practice the soft entrance on a high

C at the end of the excerpt, try removing the articulation and playing with a breath attack. Trumpeters often rely on compressing the air behind the tongue for high entrances, so taking away this crutch can improve security in this register and dynamic. When adding the tongue back, strive for an articulation that is gentle so that the note is not unintentionally accented.

Excerpt 3 mm. 390-396

The tempo usually taken for the following excerpt is somewhere around dotted-quarter note equals 80.

65

Practice considerations

The two trumpet parts need to be exactly together here. The large leaps in both parts in 392 and 394 can often make players slow down without realizing it. Displacing the higher notes down an octave in these measures will help the player focus on rhythm. Also, stay aware of the intervals between Trumpet

1 and Trumpet 2. The first and last intervals are open fifths, but the remaining intervals are major and minor thirds except for beat 1 of 395 which is a tritone. Being aware of each interval will help intonation.

Excerpt 4 mm. 413-435

In this excerpt, the sixteenth-note line is passed around the ensemble, so it is important to know who has sixteenth notes and when. The first descending line in measure 415 is played together with the flutes, oboes, and clarinets. From measure 417 to measure 423 there should be continuous sixteenths passed between the brass and strings with the winds joining at measure 422. At measure 421, Trumpet

1 is in octaves with the violins. The violins in their higher octave are marked fortissimo while the trumpet is marked only forte.

66

67

SECTION 11

Stravinsky – L’Histoire du Soldat

Igor Stravinsky was born in Oranienbaum, Russia, a city near St. Petersburg, in 1882 and died in New

York in 1971. He worked as a composer primarily in France and the United States and was one of the most widely performed, multi-faceted, and influential composers of the 20th century. Stravinsky’s father was a professional opera singer and his mother was an amateur pianist. Music, therefore, was a constant throughout his childhood. His father accumulated a large musical library of operatic scores from Mozart to Wagner, and he was an acquaintance of Borodin, Mussorgsky, and Rimsky-Korsakov.

Stravinsky studied the piano as a child and had a strong desire to pursue music, but in 1902 he entered law school in St. Petersburg at the behest of his father. While in law school, he acquired a new piano teacher and began studying harmony and counterpoint privately. It was also during this time that he made the acquaintance of Rimsky-Korsakov who advised him not to enter the Conservatory, but who became an important teacher and mentor.47

The orchestral works of Igor Stravinsky have provided some of the most popular orchestral excerpts used for auditions. Petrushka is often cited as the most commonly requested orchestral excerpt at professional trumpet auditions. Other commonly requested Stravinsky excerpts include The Rite of

Spring, Firebird, Song of the Nightengale, and Pulcinella.

Because of its popularity and numerous technical challenges, L’Histoire du Soldat has already been included in many popular orchestral excerpt books. It has been included in this document because it,

47 Stephen Walsh, "Stravinsky, Igor," Grove Music Online, Accessed May 5, 2020, https://doi.org/10.1093/gmo/9781561592630.article.52818.

68 along with Stravinsky’s Octet, is one of the most frequently performed small chamber works that includes trumpet.

L’Histoire du Soldat as composed in 1918 during a period of transition for Stravinsky between his Russian phase and his neoclassical phase. The piece is a theatrical work for seven instruments; violin, double bass, clarinet, bassoon, cornet, trombone, and percussion, along with three actors and one or more dancers. The libretto was written by Stravinsky’s friend, Swiss Novelist Charles Ramuz. Amidst World

War I and the Bolshevik Revolution, the idea for the work was first born. Stravinsky and Ramuz sought to produce a small theatrical piece that could tour with a small orchestra, a few actors, and a portable stage for a low cost. They originally collaborated on this project as a way to make money in post-World

War I Europe, but ultimately it could only be staged with significant patronage from the millionaire

Werner Reinhart. It premiered in September of 1918, but all subsequent performances were cancelled due to the Spanish flu epidemic. The piece received its Berlin premiere in 1923 and Parisian premiere in

1924.48

Stylistically, the work brings together Russian dance with modern styles including a Lutheran chorale, a march, a waltz, a tango, and a ragtime. The full theatrical version of the work lasts about an hour, but the instrumental suite of ten numbers is approximately 30 minutes in length. The numbers include: The

Soldier’s March, Airs by the Stream, Pastorale, The Royal March, The Little Concert, Three Dances –

Tango, Valse, Ragtime, The Little Chorale, The Devil’s Dance, Grand Chorale, and Triumphal March of the

Devil.

48 Walsh, "Stravinsky."

69

Though the piece is written for cornet in A and B-flat, it is commonly performed on C trumpet. A C cornet would also work well and may be preferable to C trumpet due to its lighter and more fluid sound.

Performing the work on a B-flat instrument is possible, but it would require a half-step transposition.

The piece presents many of the challenges found in all of Stravinsky’s works such as quickly shifting time signatures, angular phrases, and quick articulated passages.

Excerpt 1

Soldier’s March: mm. 1 – 58

This passage comes from the opening of the piece. The trumpet and trombone play together often in this excerpt, so be aware of the trombone part throughout the Soldier’s March. Listen for the double bass’s downbeat eighth notes starting at rehearsal 1 to help keep the tempo steady. Even with attention to the bass, it can be difficult to maintain a steady sense of pulse through the time-signature changes.

While listening to recordings, it can be helpful to sing the trumpet part while conducting in order to learn how the trumpet part fits into the ensemble.

70

71

Practice Considerations

The figure at rehearsal 9 is one of the most difficult parts of the entire composition. For many players, this passage is too fast for single-tonguing, and executing double-tongued arpeggios in this register can be challenging. Transposing the passage down an octave and working it up one half-step at a time as shown below is one way to approach this. Repeat each key several times, and alternate between articulated and slurred phrases. When slurring, try to achieve smooth and fluid phrases without any notes sticking out, and work to maintain this fluidity as the articulations are added.

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Excerpt 2

The Royal March: mm. 10 – 38

The following is probably the most well-known excerpt included in this book and appears in some of the most popular orchestral excerpt books. The quintuplets in this passage are marked slurred, but they are most often performed tongued. In The Orchestral Trumpet, Sachs writes that when Stravinsky recorded the piece, he heard Robert Nagel practicing the quintuplets tongued instead of slurred. Evidently

Stravinsky preferred it this way and in the recording they made together, Nagel tongued the quintuplets and slurred all triplets and sextuplets. When Sachs recorded the piece with Pierre Boulez however, the quintuplets were slurred. Slurring the quintuplets can help give the passage a light, buoyant feeling.

Experiment with both types of articulation. If tongued, the passage should be played with the same sense of lightness as if it were slurred. No matter which option is chosen, it is important to maintain a steady tempo throughout the quintuplets. Rushing during this section is a common problem, so practice versions have been made to address that issue. Additionally, while playing the quintuplets, be sure to keep the rhythm steady and avoid inadvertently sliding into triplets and sixteenth notes.

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Practice considerations

Practice this passage in a skeletonized version first, playing only the first and third quintuplets but feeling it in 5/16 instead of 2/4. Feeling 5/16 will help make sure the rhythm isn’t turning into triplets and sixteenth notes.

74

Experiment with all the articulation patterns below. Each one has its benefits and drawbacks.

Excerpt 3

The Royal March: mm. 43 – 54

This excerpt comes just after the previous excerpt. It is important to listen to the violin in the first two bars because the violin also has syncopated eighth notes. Also, be sure to differentiate between the sextuplets and the quintuplets. At mm 49, the clarinet plays quintuplets on beat 1, so be aware of that and don’t be influenced by their rhythm. In mm 55, the bassoon plays sixteenth notes against the trumpet quintuplets.

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Practice considerations

Experiment with different fingerings for the grace notes to find what will achieve a light, easy sound.

Two bars before eight, make sure that the sextuplet and the triplet are the exact same speed – a common problem is to play the triplets the bar before rehearsal 8 suddenly faster than the preceding triplet.

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SECTION 12

Stravinsky – Octet for Wind Instruments

Stravinsky’s Octet is scored for a somewhat unusual ensemble: flute, clarinet, two bassoons, two trumpets (one in C and the other in A), trombone, and bass trombone. The piece was composed between 1922 and 1923 and premiered on October 18, 1923 in Paris with Stravinsky conducting.49 The

Octet is sometimes cited as the beginning of Stravinsky’s neoclassical period, but others mark the beginning of this period with his previous work, Mavra. Stravinsky revised the octet in 1952 mainly due to copyright issues, but there were minor musical changes. The revisions consisted mainly of removing

French stylistic directions and alternating a small number of dynamics. The only substantial change that affects the trumpet part is the tempo of Variation D in the second movement. The tempo was changed from quarter note = 189 to quarter note = 160.

The first thing to consider in this piece is which instruments to use. The first trumpet part is written for

Trumpet in C, but the second part is written for Trumpet in A. The second trumpet part contains several low Es (sounding pitch), so the performer must decide whether to play the entire piece on B-flat trumpet or C trumpet with switches to B-flat. If the player chooses the second option, they must switch to B-flat during the second movement when the part goes too low for C trumpet (rehearsal numbers 26,

31, 49 for example). Switching back and forth between B-flat and C slightly changes the timbre, so playing the entire piece on B-flat will likely produce a superior musical result. Playing the A part on B-flat means the trumpeter will either have to transpose down a half-step or play from a written-out B-flat part. In an interview with Wood, trumpeter Chris Gekker stated that the two trumpet parts should sound distinct. To achieve this, he recommends playing the C part on an E-flat trumpet (to more

49 Stephen Walsh, The Music of Stravinsky. (Oxford: Oxford University Press, 1988), 128.

77 accurately match the sound of C trumpets of the time) and the A part on a B-flat trumpet with a deeper cup mouthpiece.50

Excerpt 1

Movement 1: Rehearsal 6 – 8

Trumpet 1 plays in unison with the flute and clarinet for the first two bars of rehearsal 6. Trumpets 1 and 2 are in octaves for the first three bars. Stravinsky is very careful about how he beams the eighth notes together, so make sure to follow his groupings. It may be helpful to put an extremely subtle accent on the first eighth note of each grouping to bring this out.

50 James Woods, “Historical and Analytical Examination of the Stravinsky Octet for Wind Instruments, with a Guide to Performance Preparation of the Two Trumpet Parts” DMA dissertation, University of North Texas, 2007. 48.

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Practice considerations

Practice the Trumpet 2 part on both B-flat and C trumpets. Half-step transposition and transposing down a minor third are two of the most difficult transpositions, so this is an excellent opportunity to practice both. If an E-flat trumpet is used for the Trumpet 1 part, as Chris Gekker recommends, then this part can also be used to practice minor third transposition. Accidentals on nearly every note make transposing this section somewhat arduous at first, but thinking about what key the accidentals imply makes it much easier. The Trumpet 1 part is clearly written in E-flat major, so playing it on E-flat trumpet puts the part in C. Trumpet 2, however, is written in the key of F-sharp major, so transposing it down a

79 minor third would result in the unfortunate key of D-sharp major. An easier path could be found for

Trumpet 2 by thinking of the transposition as an augmented second instead of a minor third. This would mean thinking of the part in E-flat instead of D-sharp. Regardless of which transposition strategy is used, make sure to practice it to the point that it is nearly automatic. This way, more attention can be given to style and ensemble playing rather than the mechanics of transposing.

Excerpt 2

Movement 2: Rehearsal 26

This excerpt features ascending 32nd note lines in the entire ensemble except for the trombones. It is important to note that the brass here are marked forte, but the woodwinds are marked fortissimo, so be sure to let the woodwinds lead the dynamics. The exact same passage occurs twice more – at rehearsals

31 and 49, each time Variation A returns.

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Practice Considerations

Vincent Cichowicz was known for saying that at any reasonable speed, staccato is an illusion. He meant that it is impossible to stop the air between each note, so instead of thinking of the notes as short or detached, aim to play with as much clarity at the beginning of the note as possible. Slur the ascending passages first, then add the articulation while maintaining the sense of flow through the line.

Experiment with different syllables for the articulation. With double-tonguing for instance, “da” and

“ga” can work better for some players than “ta” and “ka.”

Excerpt 3

Movement 3: 7 before rehearsal 62 to 62

This passage features a solo that is passed off from Trumpet 2 to Trumpet 1 at measure 60. The accompanimental staccato eighth notes are also traded at this point. Listening for style of accents and staccatos between parts is crucial in order to achieve a successful exchange.

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Practice considerations

Try swapping parts in the sixth measure of the excerpt to learn how both lines should sound when played together. Remember that the phrase that starts in Trumpet 2 is marked solo, so be sure the descending eighth notes are not played too loudly.

Excerpt 4

Movement 3: 2 before 65 - 66

After the downbeat of rehearsal 65, the rest of the ensemble drops out and only trumpets play until rehearsal 66. The parts here are marked leggiero, whereas the preceding excerpt is marked marcato in the staccato line.

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Practice considerations

The same advice regarding transposition for the first Octet excerpt also applies here. Remember to figure out what key signature the accidentals imply and determine whether thinking of it as a minor third or an augmented second is easier. Stylistically, notice that only Trumpet 1 has accents. The accents in the last three bars of the Trumpet 1 part imply 3/8, even though the printed time signature remains

2/4. Thinking of these measures in 3/8 makes the placement of the accents very comfortable. Trumpet 2 is marked sempre staccato, and there are no note groupings here like there are in the first excerpt.

There are also no dynamic indications given after the subito pianissimo, so the Trumpet 2 part should be played very evenly without pulses or accents. Trumpet 1 should listen to Trumpet 2’s eighth notes and make sure the tied eighths and quarter notes align exactly. If the wide leaps in the Trumpet 1 part are a problem, try filling in the notes as shown in the Poulenc excerpt above. This should be done slurred first and then the articulation can be added. This technique can help the player realize how close together the notes truly are, and it can fix an articulation that sounds “scooped” on the lower notes. Though the passage is marked pianissimo, playing too softly can lead to response issues and can increase the probability of missing a note, especially on some of the wide leaps in the excerpt. Remember that the trumpets are alone here, so playing slightly louder will feel more stable and still sound adequately soft.

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SECTION 13

Varèse – Octandre

Edgard Varèse was born in Paris in 1883 and died in New York in 1965. He moved to the U.S. permanently in 1915. Varèse’s output of works is small with only about a dozen complete works surviving today. In December 1923, he said the following in an interview in the New York Times:

I have always been an experimenter. But my experiments go into the wastepaper basket. I give only finished works to the public.51

Varèse began his musical studies in 1900 and entered the Schola Catorum in Paris in 1903 where he studied composition with Albert Roussel, pre-classical music with Charles Bordes, and conducting with

Vincent d’Indy. Bordes inspired Varèse’s love of early music, but Varèse later left to attend the Paris

Conservatory in 1905 to study with Charles-Marie Widor. Upon graduation, he came to the attention of

Strauss, Debussy, Jean Bertrand, and Jean Cocteau while living in Berlin and Paris, but he left for the

United States in 1915 when he was unable to find a permanent position in Europe. In the U.S., he was eager to promote contemporary music and co-founded the International Composers’ Guild. While the organization was only in existence for six years, they were able to arrange performances of chamber works by Schoenberg, Berg, Stravinsky, Webern, and Cowell, among others. It was also through these guild concerts that Varèse arranged the premieres of Offrandes, Hyperprism, Intégrales, and Octandre which is presented here. After the International Composers’ Guild disbanded, Varèse started the Pan

American Association of Composers. The organization encouraged collaboration between composers across the Americas, and it encouraged performance of contemporary American music outside of the

United States.52

51 Paul Griffiths, "Varèse, Edgard [Edgar]," Grove Music Online, accessed May 5, 2020, https://doi.org/10.1093/gmo/9781561592630.article.29042. 52 Griffiths, "Varèse.”

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Octandre was composed in 1923, the same year as Stravinsky’s Octet and Milhaud’s La Création du

Monde. Varèse composed the three-movement piece between Hyperprism and Intégrales, which also include trumpet. While the three works share several features, Octandre is unique in that it does not include percussion and is scored for fewer instruments. The name Octandre comes from “octandrous” or “octandrian” which refers to a flower with eight stamens. The work is scored for eight instruments including flute (doubling on piccolo), oboe, B-flat clarinet (doubling on E-flat clarinet), bassoon, horn, trumpet, trombone, and double bass. The work is divided into three movements: Assez lent, Très vif et nerveux, and Grave-Animé et jubilatoire, and they are a collection of miniatures intended to be played without pause. The first movement makes use of repeating pitches allowing the listener to focus on the rhythmic interest, the second movement is a fleeting scherzo, and the third is a brisk fugue preceded by a solemn introduction.53

This piece presents a number of challenges. One challenge is the presence of the low E at the end of the first movement. The score is written for C trumpet, so the trumpet player must decide whether to use a

B-flat to trumpet play this one note or play the note as a false pedal tone. This is the only pitch that goes below the natural range of the C trumpet, so playing it on C trumpet (fingered 1-2-3 with the slides extended as far as possible and lipped down to E) is most likely the easiest solution. The many crescendos and diminuendos on single pitches, especially the ones on written low F sharps, can also be difficult to execute cleanly and consistently without affecting the pitch.

53 Griffiths, "Varèse.”

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Excerpt 1

Movement 1: mm. 18-29

Trumpet, trombone, and bass play the figure at measure 19 together. At measure 23, the trumpet line is completely independent of the other instruments, so play the part exactly as notated. Frequently in this piece, different instruments have opposite dynamic notations, so do not be influenced by what the other musicians are doing. For example, at measure 25, the trumpet part comes down to mezzo-piano while the flute crescendos to fff.

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Practice considerations

The diminuendos and crescendos that start in measure 19 on low F-sharps are difficult to execute cleanly, but notice that the expressive text here says “Lourd et sauvage” meaning “heavy and uncivilized/wild.” Take the opportunity here to not worry about being too refined or elegant. The effect is supposed to sound rough, so allow it to be just that. Practice the following exercise and try to get as loud and as soft as possible in the lower octave. Approaching the extremes of one’s dynamic range in concert is not recommended, but this type of practice in the practice room can make it easier to execute this passage within the boundaries of good taste.

Also, though A above the staff is not very high for most players, it can feel high after executing these low, rough dynamic changes. Low, loud playing can make the embouchure feel too loose or spread to play high, so practice going from low, loud F-sharps to A above the staff with minimal movement. If this is difficult, try removing the rests and put a glissando between the notes to achieve a more connected feeling.

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Excerpt 2

Movement 3: mm. 24 to 40

The cluster of pitches in the background can make pitch difficult to hear in this excerpt. Make sure to practice with a tuner while muted. Most mutes make G above the staff even sharper than it normally is, so be open to using alternate fingerings for this note. Experiment with 1-2, 1-3, or 3.

Excerpt 3

Movement 3: mm 51-60 (end)

This excerpt is from the end of the entire piece. When approaching phrasing, think of the commas in the part as breaks rather than breaths. Taking a breath at each comma could lead to too much air. From measure 56 to the end, try breathing through the nose to avoid unnecessary movement. The quick breath exercise in Section 3 of this book can be helpful in learning to take a quick breath. All three brass

88 players are playing together here, but the trumpet is the only part with grace notes in the triplets, so make sure these don’t alter the rhythm.

Practice Considerations

The large leaps in this excerpt can be challenging and taxing, especially considering that this passage arrives at the very end of the piece. Try taking the Fs up an octave and play with a compact, focused sound. When putting the Fs back down into the original octave, try to maintain the same quality of tone.

It can also be useful to practice this excerpt on a piccolo trumpet to get the feel of playing with a compact, clean sound in this register. The dynamics in this piece are marked very loud in general.

Remember, however, that this is a chamber work, so full large ensemble dynamics are likely unnecessary. Again, the trumpet’s placement in the group can have a large effect on the overall balance of the group.

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SECTION 14

Walton – Façade

William Walton (1902-1983) was one of the most famous English composers of the 20th century. The son of a baritone-choir master and a contralto, Walton’s earliest musical experiences were as a choir boy in his father’s church. At the age of 10, he received a scholarship to become a chorister at Christ Church

Cathedral, Oxford where he studied piano and violin in addition to singing. He entered the University in

1918 where he spent a great deal of time studying the scores of Debussy, Ravel, Prokofiev, and

Stravinsky, but he left without completing a degree in 1920. After Oxford, he lived with friends, Osbert and Edith Sitwell, who provided him with the time and freedom to compose in addition to influential cultural experiences. During this time, he met Stravinsky and Gershwin, attended the Russian Ballet, and wrote a string quartet that earned him the attention of Alban Berg. It was also during this period in 1920 that he first travelled to Italy, an experience that would be reflected in his first important score,

Façade.54

Walton’s Façade: An Entertainment is a work with a long and complicated history. The text is a collection of poems by Edith Sitwell, and Walton began composing the music in 1921 when he was just 19 years old. By 1928, he had set forty-three poems. The first partial performance, which was a private event at

Sitwell’s home, took place in 1922 and featured an ensemble of five players. Walton revised the ensemble the following year to include saxophone before the first complete, public performance.

Walton composed two Façade suites for full orchestra which were published in 1926 and 1938, but a complete version of the chamber music setting was not published until 1951. This first published version

54 Byron Adams, "Walton, Sir William," Grove Music Online, accessed May 5, 2020, https://doi.org/10.1093/gmo/9781561592630.article.40016.

90 contained three groups of seven poems plus an opening fanfare without poetry, totaling twenty-two short selections. Walton reworked the piece two more times in the 1970s under the titles Façade

Revived and Façade 2. In these new editions, he added settings, subtracted others, reordered them, and revised the music. The excerpts presented here are from the 1951 setting of twenty-one poems.

In the earliest performances of Façade, the ensemble played behind a decorated curtain and the poetry was recited through a megaphone protruding from the curtain. Early reviews of the piece were mixed, but Sitwell recalled the first public performance saying:

Never, I should think, was a larger or more imposing shower of brickbats hurled at any new work. These missiles have now been exchanged for equally and imposing bouquets. But at that time there was not a bouquet to be seen. Indeed, the attitude of certain of the audience was so threatening that I was warned to stay on the platform hidden by the curtain until they got tired of waiting for me and went home.55

This trumpet part contains several musical styles and techniques most often found in Broadway shows and commercial parts as opposed to traditional, classical trumpet parts. This includes styles such as tangos, polkas, and fox-trots, and techniques like Harmon mute with wah-wah.

Excerpt 1

Movement 1 - Hornpipe: Rehearsal 3 - end

Even at the marked forte, be sure not to play too loud in this excerpt because the speaker must always be heard. In the first three measures, the saxophone, percussion, and cello reinforce the accented notes. The flute and clarinet are playing an eighth-note passage here, but they rest every time the trumpet has accents. In measure 29, the flute and clarinet enter one sixteenth note before the trumpet.

55 Enrique Leon Lasanasky, “William Walton’s Façade: An Entertainment” (D.M.A. dissertation, The University of Arizona, 1991) 26.

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Practice considerations

Practice only the accented notes first to learn where the emphasis lies. Playing softly while still emphasizing the accents can be difficult but adding a small amount of length to the accented notes can give these notes emphasis without adding unnecessary volume. This excerpt and many other movements in this piece require relatively quick mute changes, often without enough time to adjust the tuning slide. In these situations, it is recommended to set the trumpet so that the open setting is in tune and the player can then lip the pitch down or use alternate fingerings for muted sections. Fiberglass or plastic straight mutes work well for this piece and cup mutes can also be used to add timbral variety.

These mutes also offer the advantage of being easier to blend into the softer dynamics of a chamber ensemble than metal straight mutes.

One of the main considerations when preparing this piece is being sure not to cover the narrator, especially if the narrator is not using any amplification. The problem can be particularly apparent when the trumpet is in the upper register, such as measure 30. Be prepared to play softer than comfortable and have a backup plan if volume is still a problem. Very deep mouthpieces, commonly called “fluffy” mouthpieces can help, or playing into a soft felt pad that is attached to the stand can also produce great results.

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Excerpt 2

Movement 6 - Tango-Pasodoble: 1 before rehearsal 4 - rehearsal 6

The dotted-sixteenth, thirty-second note rhythm is passed around the winds. At measure 37, the flute, clarinet, and trumpet have the same rhythm on beat one so the rhythms must be precise. Practice versions have been made to address the awkward tonguing. After rehearsal 5, each member of the ensemble has independent lines; therefore, it is important for the ensemble not to compete dynamically, but rather allow the voice to be the primary focus. It is also important to note that the music at rehearsal 5 is the same as the opening except rehearsal 5 is open, whereas the beginning is muted.

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Practice considerations

The dotted-sixteenth note figure should be played as crisply as possible without getting too heavy or loud. Both double tonguing and single tonguing can work well for this passage, but whichever method is chosen, make sure not to slow down in measure 37. If double tonguing is chosen, one approach to practicing this technique is to change the rhythm to straight sixteenth notes and decide which tonguing pattern works best.

Wind players tend to practice multiple-tonguing only on evenly spaced notes, so practicing dotted rhythms can feel awkward at first. Becoming comfortable multiple-tonguing uneven rhythms, as shown below, can also be useful in certain orchestral excerpts, such as the fourth movement of Rimsky-

Korsakov’s Scheherazade.

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If single tonguing is chosen, there are excellent resources, such as Chris Gekker’s Articulation Studies and

Herbert L. Clarke’s Characteristic Studies for Cornet, that have exercises and thoughts on improving single tonguing speed. Most of these exercises in these books, however, focus on evenly space rhythms.

The following exercise is particularly helpful for improving quick bursts of articulation for uneven rhythms. Players are usually told to practice slowly and carefully, but playing faster than comfortable and figuring out a way to make it sound good is also a helpful strategy at times, especially for difficult fingerings and articulations. Play the grace notes as quickly as possible and prioritize speed over clarity at first. As speed improves, clarity tends to improve as well.

The music after rehearsal 5 should sound graceful and elegant. Make sure to differentiate between the triplets and the dotted-sixteenth / thirty-second note rhythms, but do not play so strictly in time that the passage sounds rigid or mechanical. A slight tenuto on the first note of each triplet can help give the passage an easy, elegant feel.

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SECTION 15

CONCLUSION

The works included in this book are an important but often overlooked part of the trumpet repertoire that warrant in-depth study and performance. Studying these works will give the trumpeter a deeper understanding of these important composers, their compositional style, and the historical context in which each piece was composed. The excerpts included in this book represent just a portion of the challenges present in each complete work, but they are the most effective place to start in the study of each piece. In addition to improving the trumpeter’s overall abilities on the instrument, learning these excerpts in the methodical ways presented above will allow the trumpeter to put these pieces together effectively when they ultimately have the chance to perform the complete work. Additionally, the practice variations and suggested approaches to practice found in this book can be applied to any etude, large ensemble excerpt, or solo work one is learning. It should be the goal of all musicians, students, and educators to continuously hone the most effective and efficient ways to learn repertoire and improve skills.

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Bibliography

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Adams, John. Chamber Symphony. New York: Boosey & Hawkes, 1995.

Adlington, Robert. “The Music of Harrison Birtwistle.” Cambridge University Press. 2006

Altman, Timothy. “An Analysis for Performance of Two Chamber Works with Trumpet by Eric Ewazen.” DMA Dissertation, University of Kentucky, 2005

Bailey, Megan. A Pedagogical Guide to Brass Quintet Repertoire for the Trumpet. DMA Dissertation, University of North Texas, 2019.

Bartold, Gabriel and Roger Voisin. Orchestral Excerpts from the Symphonic Repertoire. New York: International Music Company, 1948.

Beard, David. “Harrison Birtwistle.” Boosey & Hawkes. Accessed May 5, 2020. https://www.boosey.com/pages/cr/composer/composer_main?composerid=2729&ttyp e=BIOGRAPHY.

Bogard, Rick. “The Trumpet in Selected Solo and Chamber Works of Paul Hindemith.” DMA Dissertation, University of North Texas, 1994.

Brandt, Vassily. 34 Orchestral Etudes ed. Robert Nagel. New York: International Music Company, 1956.

Cahill, Sarah. "Adams, John." Grove Music Online. 2001; Accessed May 5, 2020. https://doi.org/10.1093/gmo/9781561592630.article.42479.

Charlier, Theo. 36 Etudes Transcendantes. Paris: Alphonse Leduc, 1926.

Chimènes, Myriam, and Roger Nichols. "Poulenc, Francis." Grove Music Online. 2001; Accessed May 5, 2020, https://doi.org/10.1093/gmo/9781561592630.article.22202.

Cichowicz, Vincent. Orchestral Excerpts for Trumpet with Piano Reduction Arrangements. Montrose: Balquhidder Music, 2001.

Cord, John T. “Francis Poulenc’s Sonata for Horn, Trumpet and Trombone: A Structural Analysis Identifying Historical Significance, Form and Implications for Performance.”

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Ewazen, Eric. Trio (1992) for Trumpet, Violin and Piano. San Antonio: Southern Music Company, 2000.

Fallon, Daniel M., Sabina Teller Ratner, and James Harding. "Saint-Saëns, (Charles) Camille." Grove Music Online. 2001; Accessed May 5, 2020. https://doi.org/10.1093/gmo/9781561592630.article.24335.

Gekker, Chris. “Endurance Drills for Performance Skills. New York: Transition Publications, 2002.

Gorman, Kurt. “The Literature for Trumpet in Mixed Chamber Music of the Twentieth Century.” DMA Dissertation, University of Missouri-Kansas City, 2001.

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Kirland, Anthony. Wind Band Excerpts for Trumpet and Cornet. Montrose: Balquhidder Music, 2016.

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List of Recommended Recordings

The following recordings were selected based on the high quality of the trumpet playing in the selected excerpts, and they are also mostly accessible online either via Naxos, Spotify, or other online music streaming services. Though many quality recordings currently exist and others will surely be released in the future, the following recordings provide excellent models and should help in the preparation of these pieces.

Composer Piece Album Album Artist Track time

Adams Chamber John Adams London Excerpt 1: Track 1 – 4:15 Symphony Chamber Symphony Sinfonietta Excerpt 2: Track 2 – 5:16 Grand Pianola Excerpt 3: Track 3 – 0:01 Music Splitting Adams Alarm Will Excerpt 1: Track 2 – 3:58 Sound Excerpt 2: Track 3 – 5:25 Excerpt 3: Track 4 – 0:01 Birtwhistle Hoquetus Harrison Birtwistle: The Galliard Excerpt 1: Track 1 – 0:25 Petrus Refrains and Ensemble Choruses Ewazen Trio for Clarion Chris Gekker Excerpt 1: Track 2 – 4:36 Trumpet, Excerpt 2: Track 4 – 4:44 Violin, and Piano New York Legends: Philip Smith Excerpt 1: Track 15 – 4:13 Philip Smith Excerpt 2: Track 17 – 4:30

Hindemith Septet Hindemith Chamber Csaba Klenyán Excerpt 1: Track 16 – 1:41 Music with Clarinet Excerpt 2: Track 18 – 0:01

Milhaud La Création Milhaud Le Creation Sinfonia da Excerpt 1: Track 1 – 4:01 du monde du monde and Camera Excerpt 2: Track 1 – 4:48 other works Excerpt 3: Track 1 – 11:58 Milhaud: La Orchestre Excerpt 1: Track 1 – 4:47 Creation du monde National de Lille Excerpt 2: Track 1 – 5:32 Excerpt 3: Track 1 – 12:42 Igor Stravinsky The London Excerpt 1: Track 1 – 4:17 L’historie du soldat Symphony Excerpt 2: Track 1 – 5:05 Darius Milhaud La Orchestra Excerpt 3: Track 1 – 12:38 Creation du Monde Chamber Group

Poulenc Sonata for The 20th Century Philip Jones Excerpt 1: Track 20 – 0:49 Horn, Album Brass Ensemble Trumpet, and Trombone

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Virtuoso Trumpet Charles Excerpt 1: Track 8 – 0:56 Schlueter Francis Poulenc: Claire Excerpt 1: Track 9 – 0:54 Complete Chamber Desert/Emmanu Music with Winds el Strosser Saint-Saëns Septet French Chamber Andre Previn Excerpt 1: Track 9 – 2:59 Music Dvorak Saint-Saëns The Nash Excerpt 1: Disc 2 Track 5 – Le Carnaval des Ensemble 3:16 Animaux Schoenberg Chamber Schoenberg: Orpheus Excerpt 1: Track 11 – 3:50 Symphony Verklärte Nacht, Chamber Excerpt 2: Track 12 – 4:00 No. 2 Chamber Ensemble Excerpt 3: Track 12 – 5:25 Symphonies Nos. 1 Excerpt 4: Track 12 – 5:57 & 2 Schoenberg: Robert Craft Excerpt 1: Track 1 – 3:24 Chamber Symphony Excerpt 2: Track 2 – 4:32 No. 2, Die Excerpt 3: Track 2 – 6:15 Glückliche Hand, Excerpt 4: Track 2 – 6:52 Wind Quintet Stravinsky L’histoire du Boulez Conducts The Cleveland Excerpt 1: Track 7 – 0:00 Soldat Stravinsky Orchestra Excerpt 2: Track 10 – 0:09 Excerpt 3: Track 10 – 0:48 Stravinsky Conducs Columbia Excerpt 1: Track 1 – 0:00 L’Histoire du Soldat Symphony/ Excerpt 2: Track 4 – 0:09 Suite, Pulcinella Columbia Excerpt 3: Track 4 – 0:46 Suite Chamber Ensemble Stravinsky: Histoire Los Angeles Excerpt 1: Track 1 – 0:00 du soldat Suite, Chamber Excerpt 2: Track 4 – 0:09 Shostakovich: Piano Orchestra, Excerpt 3: Track 4 – 0:45 Concerto No. 1, Gerard Schwarz Prokofiev: Symphony No. 1 Stravinsky Octet for Stravinsky: Octet, Detroit Excerpt 1: Track 5 – 1:26 Wind Symphonies of Chamber Winds, Excerpt 2: Track 6 – 2:17 Instruments Wind Instruments, H. Robert Excerpt 3: Track 7 – 1:04 Tango for Piano, Reynolds Excerpt 4: Track 7 – 1:40 Piano-Rag-Music, Septet, Concerto for Piano and Wind Instruments

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Stravinsky: Robert Craft, Excerpt 1: Track 1 – 1:17 Symphony in C, Orchestra of St. Excerpt 2: Track 2 – 2:00 Symphony in Three Luke’s Excerpt 3: Track 3 – 0:55 Movements, Octet Excerpt 4: Track 3 – 1:28 for Winds, Dumbarton Oaks Concerto Varese Octandre Edgard Varese: Arthur Excerpt 1: Track 3 – 1:23 Offrandes; Weisberg, The Excerpt 2: Track 3 – 5:32 Integrales; Contemporary Excerpt 3: Track 3 – 6:17 Octandre; Chamber Ecuatorial Ensemble Varese: Arcana, Pierre Boulez, Excerpt 1: Track 7 – 1:20 Ameriques, New York Excerpt 2: Track 9 – 1:01 Ionization, Philharmonic, Excerpt 3: Track 9 – 1:47 Offrandes, Density Ensemble 21.5, Octandre, Intercontempor Integrales ain Walton Façade Walton: Façade Carole Boyd, Excerpt 1: Track 2 – 0:55 Zeb, Soanes, Excerpt 2: Track 7 – 0:42 John Wilson Walton: Façade; Ian Hobson, Excerpt 1: Track 2 – 1:31 Stravinsky: Sinfonia Da Excerpt 2: Track 6 – 0:45 L’Histoire du Soldat Camera

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