The for by Henri Tomasi: an analysis

Item Type text; Dissertation-Reproduction (electronic)

Authors Rowell, Rick D.

Publisher The University of Arizona.

Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.

Download date 10/10/2021 21:41:07

Link to Item http://hdl.handle.net/10150/624875 THE CONCERTO FOR TRUMPET BY HENRI TOMASI:

AN ANALYSIS

by

Rick D. Rowell

A Document Submitted to the Faculty of the

SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements For the Degree of

DOCTOR OF MUSICAL ARTS

In the Graduate College

THE UNIVERSITY OF ARIZONA

1 9 8 2 THE UNIVERSITY OF ARIZONA

SCHOOL OF MUSIC

I hereby recommend that this document prepared under my direction by Rick D. Rowell entitled The Concerto For Trumpet By Henri Tomasi:

An Analysis be accepted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts.

aa A73 Signature of Major Professor

Acceptance for the School of Music:

>n. Director, Graduate Studies in Music , 'f13 TABLE OF CONTENTS

Page

LIST OF ILLUSTRATIONS iv

INTRODUCTION v

CHAPTER

1. FRENCH TRUMPET MUSIC 1 Orchestral Trumpet Music of French 2 Solo Trumpet Music of the French School 8

2. HENRI TOMASI, HIS LIFE AND MUSIC 15 Biographical Information 15 Important Works and Stylistic Considerations 17

3. THE CONCERTO FOR TRUMPET 21 Analysis 22 Stylistic Considerations 30 Identifiable Influences 31 Orchestration and Reduction 33 Technical and Physical Requirements 34

4. CONCLUSION 36

SELECTED BIBLIOGRAPHY 37

iii LIST OF ILLUSTRATIONS

Figures Page

1. Paul Dukas, Fanfare, Trumpet Excerpts 4

2. , Piano Concerto, Trumpet Excerpt 4

3. Maurice Ravel, , Trumpet Excerpts 5

4. Jacques Ibert, Escales, Trumpet Excerpts 6

5. , La Mer, Trumpet Excerpt 7

6. Claude Debussy, Fetes, Trumpet Excerpt 8

7. Jacques Casterede, , Trumpet Excerpt 10

8. J. Ed. Barat, Fantaisie in E -flat, Trumpet Excerpt .. 11

9. Andre Jolivet, Air de Bravoure, Trumpet Excerpt 11

10. Eugene Bozza, Caprice, Trumpet Excerpt 12

11. Andre Jolivet, Concertino, Trumpet Excerpt 12

12. Andre Jolivet, Concertino, Trumpet Excerpt 12

13. A. Desenclos, Incantation..., Trumpet Excerpt 13

14. Henri Tomasi, Concerto for Trumpet, Trumpet Part, first movement, measures 1 -16 23

15. Chart of thematic alternation in first movement 24

16. Chart of occurence of thematic material in first movement 25

17. Henri Tomasi, Concerto for Trumpet, Piano Reduction, first movement, measures 9 -10 26

18. Henri Tomasi, Concerto for Trumpet, Trumpet Part, first movement, measures 28 -29 26

iv INTRODUCTION

The "Concerto for Trumpet" by Henri Tomasi is a work which has enjoyed increasing popularity in recent years. Two recordings of the concerto have been made by the French performers, Andre'and Thibaud, and while it has been a part of the standard repetoire in for a number of years, its popularity in the United States has been fairly recent. This concerto has gained a secure place in the trumpet repetoire for American performers, and it has been performed with some frequency at the conventions of the International Trumpet Guild. In spite of the recent interest in this work, very little has been written about the Concerto, and information in the English language on Tomasi's life and musical works is very limited.

It is the intention of this study, therefore, to provide a better understanding of the Concerto for Trumpet by Henri Tomasi with the goal of directing the performer toward a more informed and authen- tic performance of this important work for trumpet. In order to provide a thorough understanding of Tomasi's Concerto, this study will first examine the area of French trumpet music, both orchestral and solo, and its relationship to the work. The second section of this project deals with the life and work of the which is followed by an analysis of the Concerto.

v CHAPTER 1

FRENCH TRUMPET MUSIC

The musical language of twentieth century France is expressed

in a distinctively national style. Unlike other national musics, it

is unrelated to the use of folk elements. Nonetheless, French music exhibits a kind of nationalism that is expressed in various idiosyn- crasies of style and idiom. These traits include a certain pre- occupation with form and technique; polish and detail; balance and

clarity.l

The beginning of the new era of French music is marked by the

first performance in 1892 of Debussy's Prelude to the Afternoon of a Fawn. This work demonstrated Debussy's unique gift and began for

France a movement towards regaining her lost preeminence in the musical world. At the turn of the century, Debussy and Ravel were

still young composers whose full stature was, as yet, unrealized.

The important figures in French music at this time included Fauré,

Saint -Saëns, Massenet, and d'Indy. The first two decades of the

twentieth century saw the mature work of Debussy and Ravel. Their works exhibited the important influences of impressionism and symbol-

ism along with a fascination with the exotic and sensual aspects of musical style. Although many other groups and "isms" have made their

1Rollo Myers, French Music, (New York: Praeger Publishers, 1971), p. 9.

1 2

mark on French music, the above mentioned influences form an aesthetic base for understanding French music from the first half of the twentieth century.

Orchestral Trumpet Music of French Composers

It is in this light that one can gain some understanding of the orchestral trumpet parts of several twentieth century French composers. The excerpts that follow demonstrate the French flair for fanfare with a predominance of intervals of the perfect fourth and fifth; and emphasis on impressionistic, coloristic writing involving the use of mutes, vague rhythms and parallel harmonies; and a dependence on advanced technique, especially rapid articulation which imparts to this music its characteristic lightness.

The first excerpt to be considered is from the "Fanfare"

preceding the ballet, La Peri by Dukas. Paul Dukas, born in 1865,

is known as a composer, music critic, teacher, and editor. He is

known as a highly conservative and self- critical composer who

destroyed most of his works. He is admired for his masterful

orchestration and craftsmanship which is evident in his most popular

work, The Sorcerer's Apprentice. La Peri was written "on a bet"

in 1912. Dukas' friends pursuaded him not to destroy this work, and

it was to be his last published work before his death in 1935.2

The excerpt, shown in figure 1, begins with two intervals of

the fourth between the three trumpet parts. The sixteenth note

2G.W. Hopkins, "Paul Dukas," The New Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie (London: Macmillan, 1980), V, 690 -693. 3 triplet figures, a pervasive element in French trumpet music, adds rhythmic intensity to this fanfare. The tonal center of this fanfare is B -flat, and two common tonal elements in Dukas' writing are clearly evident in this excerpt. The first is the thematic importance of the diminished seventh chord in the third measure. The second is the stress placed on the supertonic ('c') by continued and insistent repetition in measures 6 -11. In the final measure Dukas adds a flourish of six notes for a dramatic conclusion.

The piano Concerto of Ravel has a very significant trumpet part, a characteristic which this work shares with the Concerto for Piano and Orchestra by Shostakovich. Maurice Ravel was born in 1875. He

attended the Conservatory and was a winner of the .

Ravel was influenced in his compositional style by his contemporaries

in France; by Russian music, especially that of Rimsky Korsakov, and

by exotic elements that may be traced to his exposure to the Javanese

gamelon orchestra which came to Paris in 1889.3 Ravel freely used the

traditional diatonic system of harmony in a style which is both

distinctive and popular.

The excerpt which follows in figure 2 is from the Piano Concerto.

This passage clearly demonstrates the pervasive use of the intervals

of the fourth and fifth along with a flair for the use of technique,

and a popular melodic style.

3 G.W. Hopkins, "Maurice Ravel," The New Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie (London: Macmillan, 1980), XV, 609 -621. 4

Modérément animé 1. Trpt. /E0=ci - ir_ 7 i i. i ÿf-'y^ -i : -sr; i-*-rñ i L in C i

J 1.1 J > > >"'

a 1> > Var_LS+rlir_ asaarww I /ta. s ra _.afa .I.a.a r 1 riMM i:-slar MIME _aLSLYa_a_L_MRS ii_aIVi_Lfi_ i:io./One NNE m__LS__.LS Al _ \V.SA f IBM= IMMINtL_L M/tia( a_:rosl t7i.. Ms` t -ti-M_i.. -iNsail .3.1111iirmr,wOV / " 1_I.T/L a>mlAti maw.as' L .MIIN ilril1.aM/MINIMi! II N.Ir L7_rI Mr S7 L_IT/LI //.Lir./.Iiw ta111=t alLSL_aM M UM II ._aCari_' a___a_iiiJ/ V_t11Et R7INICas. >>! I -S alai.a/f'. asla- a. I 0s-- . aias a. L7L7 oiC: I m =ii IL . amr=IMa .romisins ts` -,4111.111Mr..rWlL /WM f_ M. r are

A > t > > L1'/»y^>»> o .-as L7L7`-i(iINN//N= LssJ_ lm IIMimiaim íria /ma -waa.-

illP7111 MIN'/ nWO" .1E1 IBM ,La _t_./NM IN L_E ir _.11.1 NM MM. .11VI (aeW -1tam .ENEi...1L7 ai_ L1 L1 NMI _

...MI 1>_NO0i IMP ltN_MI now am =Ilt INN iAMIIIIIME1.1a1 LT= mi. 1111 L7ITIL_i IN .7.M.M 1 frIMIMIIi1L.L_L1IL7_/'L7`L`t rat WM.7ri1 /liii`.1V MLL'l'1 L1V11 a awl it i/i t t i/ v `fTi En élargissant I' Tempo J:N A A WM ANINI ILAI 11.11 MIN1 i r.1./ I_1's L1:L.i.( .L1SLiS/_L_.1t ^ A A A "AIM MM.MMMI _ 7='..I'.MU MNI__SMIN 1:rIMM 1.MS ( LMOM IMNIi70T L_ MN/ 1111 _L7._1I1t . al '_ / Ì v v' v V V V V

:1 I

Sr 't _ _ _ . J;T:T i v V VV v v

Figure 1. Paul Dukas, Fanfare, Excerpts from the three Trumpet Parts.

Allegramente d_!1e /NU MI..111. .r . Tr be MIMI :MN 0.1a MINN /I= oll=10011Ir alr IMINI ..M=1!!If 11,1 1 =MIaINIOI .111=MOEN=a Js7111.1aa..1/..111alat.M Mt. 411.I11IMa=11/.111=.ra111=1.1aa1MIMIa.....1.1I . ./111 .MI! 111MI111111M 4111 =NM NMI in C MI..si1.....t 4minnmalli

mommmw. an.a/7a11, 7w11111 MM. IMP.. .a1.40/ a.a1-11 Ia.4=11=0.M1a.1ala,111. .IN. .111 .MOM alW .atINNW1a1 VrJ WV =PM/ 11110 =EMI ..11. I-s. aaaaataa..... IMP s/st1a1. Figure 2. s-Maurice Ravel, Piano Concerto, Excerpt from the Trumpet Part. 5

Ravel is known as a master of orchestration, and his orchestral version of Alborada del Gracioso (1918) is a transcription from the piano work by the same title which appeared as a section of the larger work, Miroirs, in 1905. The title, which is translated, "The Jesters

Serenade," and the musical style place this work in the same category with other works by this composer which are a reflection of Spanish music and culture. Repeated notes are a hallmark of Ravel's style, and the excerpt in figure 3 from Alborada del Gracioso consists entire- ly of repeated notes and requires advanced articulation skills. The changes in timbre provided by the muted and open is an effective

coloristic device.

In the last line of this excerpt is an example of the parallel

harmonies which are so common in impressionistic music.

2 TRUMPETS IN C

> M > : 7MI- % I I S I / 1 I I I I M / I S it1lassta.M I 1 I I I I t !INIIa!'IIIIM1IIMIMII11111S0 Me 111110iltl111lf'IMSISIM\/ S =MOO Mw=si ais= _ al _ls't Elm Elm ` -M s- i... .I =I 11=1 lSS.IrsMM!!!!.W W W W W W W W 7MM... IBM !.111111 .111, ff OW. 1s111! at_ UMW M!! ! 1lMM W, III1I M! - iNE aNIMIIMlSIMININNIasW= MINN Soard. í-ïMiEiE= ias ialini7mm alighlltwat, iiiiinr7um ww..lsmwmrmt!m.a!s..satratsslsw W / W . ss pp

.11MBOOMMPIMMORMWMAMMMIMMOMEMMWMEMMUMMME / M 1 S!!! !-i /l/SWSi/ W!!!!=!!_/==M===== 1.tl-t- > . = / - I'1 iiw -- ,WM arrnal ilmmimor MIMI! MA-<11Mf WA= a,114.11/ --MOM"./i 1=111.51.¡all WAN iim W.7 ! t .____..,t? rlr Y!e

Excerpts from Figure 3. Maurice Ravel, Alborada del Gracioso, the Two Trumpet Parts. 6

Jacques Ibert (1890 -1962) studied at the Paris Conservatory with . He was awarded the Prix de Rome in 1919, and he became the director of the Villa Medici in Rome in 1936.4 As a composer he sought to be free of both the avant -garde and tradition.

He chose classical forms which he employed with considerable freedom.

Ibert's most popular orchestral work is Escales or "Ports of Call," which he indicated was inspired by the music and atmosphere of three

Mediterranean ports. He had visited these port cities of Palermo,

Tunis and Valencia during a cruise made while in the French navy.

In the trumpet excerpt from Escales, found in figure 4, one dis- covers some typical impressionistic characteristics. A vague, non - pulsatile rhythm is evident in the first line, and parallel harmonies are used throughout this work. Also, the full dynamic range of the

Calme 63 a 6tì Sourdine aux 3 Tzbe .l.,« .ala!alfJ--1o. ,_.. in C .,i-s,--.... .:~ ..E ..« le plus pp possible_ : Assez animé J. 116 sans Sourdine 2. a _ M. -J1.. ... MIA -^ a, J1B .A =rM7Y1....l...... a,...... II-AN7.-1/.:.-UMW allI/ .WT 1.....=J..r..f / a711 ..Tr.0.I,..I JI a:l01 .ISV71...s4.... If L. f7N .GI III" WnN.1111 7.v/ L-i rri.u.. 1 7 I9..f7ir -:Lf1 YMi J.l.ti..t ..ll%I./ t fia.ly==1= .'. I.a111 . I P /.17I=iC` `/ . ff

augmentes de plus en plus ^ 1.2. A 4 a 3 > > > > > 7 7 ' :/.J-N/ N »11PU, MM.= fINIPMW» /ONI .4111.11 /NM I1 MS .. JIM MMIN.1. OM If JIM J81M1 If -'.1 of7 ../10.1.t,./7...J.MINI.0 Ja26.4fa.7.p .s 111.=1:.1..... MIN. ,11Mil -a.1..r INIMINI= ua.. J w-P .a...IW/Ii = =1 OEM= ./très en dehors fff fff

Animé J.. 80 , 11116- s-4v..I Jsainsirmb.r lossr-rimm"www4P.mmr sir No wow. .a..--ea- ..r.wr'.i.P.ron.. a- ..I. 11Irl 61111/' Mr 1111a BIM TM/ /rWIWJ.a.L...... 1.Y ... a+Ji.I'Ja!...t . II J.1J11'i/ m= .1111_1 .J'ar.m N.:J..e.1.af:Q1.f /T `tI >'a/ IRIr..ArM1/...l...R.rt, -. .n ff / 'i. . = P

Figure 4. Jacques Ibert, Escales, Excerpts from the Three Trumpet Parts.

4 Claude Rostand, French Music Today, translated by Henry Marx (New York: Merlin Press), 83. 7 trumpet is exploited, from "as soft as possible" to fortissimo.

Little needs to be said here regarding the life and work of

Claude Debussy (1862- 1918). His great impressionistic works for orchestra have provided the foundation for much of what has already been discussed in this study. The excerpt in figure 5 is the trumpet solo from La Mer (the Sea) which was written in 1905. This excerpt points out the tonal ambiguity of this work, and the five -note figure in the fourth measure adds an improvisational flourish.

TRUMPET IN F

1. Solo > a 1 s - m_ M= --_ttttt. í IMP tttttt. tatttatttttttEtt. WIN =BMW,r ..07rnt M ON t/1111. MIMItiJI_t.`AVLS'tM tat tttM0./wIlf rstitD/t'JI rtaiwnw trt.atra. 1 Cara t- P en deAors dim.

Figure 5. Claude Debussy, La Mer, Excerpt from the First Trumpet Part.

Fétes, from the larger work, Nocturnes, contains an image of the of the Garde Républicaine. The excerpt found in figure 6 represents the band as it approaches from a distance. This passage may be regarded as the epitome of the French fanfare. It contains the

typical rhythmic figures of the sixteenth note triplet and the dotted

sixteenth followed by a thirty- second note. It also employs triadic

lines with tertian harmony.

The context of this passage demands that it be performed with

the intensity characteristic of a marching band, yet with the soft-

ness of volume that would indicate great distance. Contemporary

performers have met this challenge by using a variety of unique mutes.

Many orchestral trumpet sections have used the "Whispa Mute" to

achieve the proper effect for this passage. 8

3 TRUMPETS IN F J con Sord. ;!

r --TN 3 -,/ ..s...7..Y

.7 3 mm.m=1sMMB MEN OM. .S I.M a I../ 3 .v.. M. .IM.WMIONEN .f .. [=:;r/ I ..I - M ./ s....9MMMEM . NO NE .. .IMIMMIMME. 40 f Tr.. Ff" -.0- ...- ...... P ... ..

Figure 6. Claude Debussy, Fates, Excerpt from the Three Trumpet Parts.

The preceding excerpts have been chosen as a cross section of traditional, French, orchestral trumpet music. While these passages represent a wide variety of style and technique, they also demonstrate several common elements. These common elements have already been discussed, and upon hearing this music, one can mistake it for nothing else; it is French.

Solo Trumpet Music of the French School

The world of trumpet performance owes much to the French School.

Indeed, the French have consistently been in the forefront of the 9 musical and technical developments for the trumpet. It was in 1833 that Francois Joseph Dauverne became the first trumpet teacher at the

Paris Conservatory. The á pistons, a product of French ingenuity, was the instrument chosen by J.B. Arban who became the first teacher of cornet at the Paris Conservatory in 1869. Merri

Franquin and Theo Charlier are credited with maintaining the trumpet's credibility through the period of great popularity for the cornet. In

1925 Eugene Foveau became the cornet teacher at the conservatory.

Foveau is credited with the development of the characteristic French trumpet /cornet sound of the late 1950's. Pierre Vignal was the trum- pet teacher during this period, and he was succeeded in 1947 by

Foveau's greatest student, Raymond Sabarich. Sabarich gained a reputation as France's greatest trumpet virtuoso. His style has been characterized as powerful and lyric with intense vibrato. Trumpet and cornet instruction were eventually combined at the Paris conserv- atory, and more recent teachers there have included Ludovic Vaillant

(the trumpeter for whom Tomasi wrote his concerto), Pierre Thibaud, and Maurice Andre:5

French composers have also contributed much to the art of trumpet playing. Until the mid- 1940's, the main body of the standard trumpet repetoire in the United States consisted of flamboyant cornet solos which have since been discarded for lack of musical substance. A limited number of more substantial works were written in the United

States during this time, such as the trumpet works of Kennan, Sowerby and Gianini, but this relatively small group of works cannot compare with the large volume of French solos written during this period.

5 Michel Laplace, "Introduction to the French Trumpet Stars," International Trumpet Guild Newsletter 111/3 (Feb., 1977), 4 -5. 10

While these French works may not be considered great music, they are certainly challenging and musically satisfying. The fine trumpet solos of Jolivet, Bozza, Barat, Tomasi, Despartes, Casteréde and Emmanuel are welcome additions, especially to the college level repetoire.

French works for solo trumpet written between 1943 and 1960 are very numerous and diverse. However, these works share a common language which is the result of the distinctive French musical idiom in general and a unique stylistic approach to the trumpet in particular. The discussion that follows includes a number of these common character- istics along with musical examples found in the literature.

Perhaps the most pervasive element in French trumpet literature is that of lyricism. Melodies with the qualities of grace, good humor, and balance, and which are truly singable are present in the large

portion of this body of solo literature. Many of these works, while

basically technical show pieces in a fast tempo, have a contrasting

slower, lyrical section. Such a work is the Sonatine (1956) by

Jacques Castéréde (b, 1929). The excerpt in figure 7 remains in a fast

tempo with longer note values to create a relaxed, lyrical effect.

-ppP POCO Q POCO CP080.

Figure 7. Jacques Castéréde, Sonatine, Excerpt from the Trumpet Part. 11

A second tendency found in French trumpet solos is toward the use of fanfare -like motives. The Fantaisie in E -flat (1958) by J. Ed. Barat is a work that begins with a fanfare figure using the typical intervals of the fifth, fourth, and second. The excerpt in figure 8 is the opening of this work.

Lent fA ,,.... ssas.L 1 ' .a raßr.a:_.aras_sas.mr7saimalfow arimNNromtim.N sa//r IMIs11sis11111i w wi awMmylrliassaNaa - alsMIss. =NsI II

Figure 8. J. Ed. Barat, Fantaisie in E -flat, Excerpt from the Trumpet Part.

Common to virtually all French trumpet literature is the use of

technical display. Rapid repeated notes, either duple or triple, are very common and require the ability to double or triple tongue with speed

and control. The example found in figure 9 is from the Air de Bravoure

(1953) by Andre Jolivet (born 1905).

. . . ma°vi:+iMMm - /::®w mAraAaaaaNiNSaasn/ .' .su I saia 1 / _ lN;Emsao .. ------N , saI. . . a, mwasa=MO JM lp--y

Figure 9. Andre Jolivet, Air de Bravoure, Excerpt from the Trumpet Part.

Rapid chromatic scales are an effective device that is often

employed by Eugene Bozza (born 1905) in his trumpet works. The

passage in figure 10 is from his Caprice (1943).

Another common technical device in this body of trumpet literature

is the use of the full pitch range of the instrument. A pitch range

from G -flat to d" is not uncommon in contemporary French literature. 12

The excerpt in figure 11 is taken from the Concertino (1948) of Jolivet.

1=.Ai1sst. v /,11-.711v_ as O v a:rw.as,`a=7m.als7s.sasiias/TT .i./ /. Y "'Yii7r LI Ar /I1. TTp aN1VW lffimsssHJ 1 Tfuse+sI.fYfY. r sY tl.SaYYm1hrSiY!J s.es=MEMO 110 f'UMW.

Figure 10. Eugene Bozza, Caprice, Excerpt from the Trumpet Part.

pp

Figure 11. Andre Jolivet, Concertino, Excerpt from the Trumpet Part.

Many of the solo works from the French school contain sections

of relative rhythmic freedom. A certain amount of rhythmic license

seems appropriate to much of this music, but many works have sections

of obvious freedom which are so indicated by the composer. Another

excerpt from Jolivet's Concertino, found in figure 12, is an example

of this type of passage.

RécitaUvo (senza rigore) 6E 3

Riten. _ 8audlib.

s'M1114111a11u.1aMN= sflI MINN /s11.111. r

Figure 12. Andre Jolivet, Concertino, Excerpt from the Trumpet Part. 13

Another common trait among these French solos is the inclusion of an extended, written -out . The Concertino by Bozza contains such a cadenza as does the Concerto (1956) by Charles Chaynes. The i cadenza from the third movement of Incantation, Threne et Danse by

A. Desenclos is shown in figure 13.

CADENCE Trompette seule r:1^ .a. - >. bf

sss111aa,.t 1111,asa

4111M1. fl.1J11sss+is 1/4.tY/.,1 .el a 1111W.f.fl.I7 M_1.tss! I11 Ir 11=11 , AM, MM_ a=s sas V. srisM /4sna tiasssr.UIMss s111MINt,=11a..11s ,-IMO molto espress. pppoco lento molto accel. NNIMR11.11. .s,....,x /II NW= SIM=-e,tr- ./T1Te! imr-..M.r AMMO!! 'us-v PIP" tls ,

f...... MI.essrW.i7/ 111rI.?s. a.WM/M/7J'1astlssss:.ss/ 7r-7asssnsss - aA WM 01/ .! M a I...W',/'11R IMW

Figure 13. A. Desenclos, Incantation, Threne et Danse, Excerpt from the Trumpet Part. 14

Many other common elements may be discovered among these works, but a final characteristic to be examined here is the use of mutes.

The French seem to have a preference for muted effects. Favorite mute types include the straight mute, cup mute and Robinson mute (a type of cup mute with a straight rim and a felt lining). Any type of pass- age may call for a mute in French trumpet literature, including caden- zas.

These characteristics of French trumpet literature are all con- veniently present in the work which is the main focus of this project,

the Concerto for Trumpet by Henri Tomasi. It is the purpose of this

chapter to lay a foundation, through the discussion of the orchestral

and solo excerpts, for a better understanding of the concerto in its

proper context, that is, the whole environment of twentieth century

French trumpet music. CHAPTER 2

HENRI TOMASI: HIS LIFE AND MUSIC

Biographical Information

Henri Tomasi was born August 17, 1901 in , France.

He was of Corsican descent, and sources would indicate that he passed at least some portion of his childhood on the island of Corsica.'

Corsica is a unique island situated in the Mediteranean, just off the coast of France. Its heritage is perhaps more Mediteranean than French with influences from the Greek, Roman, Arab, Maltese, Levantine, and

Cyprian cultures. The people of this island possess a unique and rich tradition which is expressed in a folklore that is reputed to be highly authentic. It was in the midst of this rich tradition that

Tomasi passed his childhood years. The folklore of his native island was to have a profound effect on his music. His close connection and exposure to Corsican folklore is clearly evidenced by a work which was authored by his father, Xavier Tomasi, entitled Les chants de Cyrnos which is dedicated to his son.2 (Cyrnos is the ancient name for the island of Corsica.)

1Karl Diessel, "Henri Tomasi," Musica II (Nov., 1958), 700. 2Jose Bruyr, "A French Musician: Henri Tomasi," Musicology II (July, 1949), 394.

15 16

Very little information is available about his childhood or his early development as a composer. However, Tomasi himself claims to

e have learned his craft in the cafe orchestra, where he was required at once to be composer, pianist, arranger and conductor. Tomasi attended the Paris conservatory (1920) where he studied with G. Caussade,

Paul Vidal, Vincent d'Indy and . In 1925 he was awarded the Grand Prix de Musique Fraincaise, and two years later, at the age of 26, he was honored with the Second Grand Prix de Rome for his cantata, Coriolan.

During this time Tomasi earned a reputation as a gifted composer and conductor. His first position as a conductor was with the small radio orchestra of the Paris newspaper, Le Journal. Soon he was con- ducting on stages throughout Europe. He became the Music Director of the Paris Radio, and from 1930 -1935 he was the music director of the colonial radio station in . His stay in Indochina produced obvious effects on his compositional style including his choice of subjects dehonstrated by works such as Chants Laotiens and

Deux danses cambodgiennes of 1934. Exotic influences as well as a concern for the third world continued to affect his work throughout his career.

In September of 1939 Tomasi joined the military, and he was

stationed at the Franco -Italian border. Upon his release from mil-

itary service in 1940, it was rumored that he was considering joining

the Monastery of Sainte -Beaume. Although he did not join the monastery,

this period of crisis had a profound effect on his musical style. A

kind of mystical thought finds expression in his Symphony which was 17 first performed on May 4, 1943. This work is permeated with a religious obsession imparted by the presence in all four movements of a choral melody.

Tomasi's career continued with his appointment in 1946 as director of the Monte Carlo , a position he held until 1950.

During these years he conducted the opera through the winter and directed the orchestra of the Vichy Casino through the summer. Also, an article published in 1949 places him as a regular conductor of

the Concertgebouw in Amsterdam.3

After 1955 Tomasi devoted himself mainly to composition. In

these later years he was motivated by political events. He wrote

several pieces in homage to the Third World including one of his

last works, Hymn to Vietnam. He died in in mid January of

1971; he was sixty -nine.

Important Works and Stylistic Considerations

In his compositional style, Tomasi is numbered among the many

independent composers working in France during this century. He has

been called a "wild flower" and "unclassifiable "4 by one author, and

Tomasi himself says that his music is not based on any system. He

refused to accept any of the foregone conclusions of the craft of

composition in his use of harmony, counterpoint and orchestration,

allowing his own musical sensitivity to control the creative process.

3Bruyr, op. cit., 399.

4Emile Vuillemoz, "Henri Tomasi," La Revue Musicale CCXXX (1956), 4. 18

His independence is also, in part, a result of his Corsican heritage which is revealed in a large portion of his work.

Tomasi's sound ideal has been defined as having a base of lyricism with a musical vocabulary that is robust, free and dynamic.5

The importance that Tomasi places on lyrical melody is well documented both in music and in writing. Tomasi himself has said, "Melody is a fundamental basis of music."6 Jose Bruyr calls him "a melodist above all. "7 In this sense, Tomasi might be considered a traditional composer, and yet he seems, anxious to demonstrate that music can be traditional without being stereotypical.

In an age when composers such as the group, "Les Six," under the

influence of Satie had rebelled against the sensuality of Debussy and

Ravel, Tomasi's music is intentionally sensual and hedonistic. His use of harmony and orchestration is intended to arouse emotion and

freedom of nuance and timbre allow the expression of a wide range of

feelings. His music has often been described as possessing impress-

ionistic colors and exotic images along with the qualities of levity,

good humor and grace.8

Rhythmically, Tomasi's musical style often reflects the oriental

and Arabian influence found on his native island of Corsica. From

this background Tomasi has gained a knowledge of the enchanting force

of repetitive rhythms. In his music, therefore, he frequently employs

insistent rhythmic repetition to produce a kind of fascinating monot-

ony.

5lbid., 5. 6Henri Tomasi, "Pour Un Theater Lyrique," La Revue Musicale CCXXX (1956), 7. 7Bruyr, op.cit., 390. 8 Vuillermoz, op. cit., 4. 19

The preceding elements of Tomasi's style: lyricism, sensuality,

impressionism and exoticism, are consistent with the composer's

intent to produce music that is seductive and popular. In this sense he may be classified with Ravel who is said to have had an important influence on Tomasi.9

Tomasi's works include several and ballets, symphonic poems, two symphonies, choral works, various chamber works, and concerti for each of thirteen different instruments. The works which are directly influenced by Corsican folklore through subject matter number over twenty. Two symphonic works from this group are Cyrnos (1929) and

Vocero (1932). Cyrnos is also the ancient name for Corsica, and this work has a cheerful character that reflects the joy of the "Zilim- brina," a Corsican dance. On the other end of the spectrum is Vocero, a dramatic work which depicts a scene of blood vengence for a wrong committed against a family or clan. The music produces an image of the ceaseless lamentations and clamorings of the village sorceress along with the wailings of the village people.

Tomasi's ballets cover a wide range of expression from the country naivete of a festival in southern France in La Rosiere du

Village to the cosmopolitan sophistication of Paris in La Grisi.

Of his many works for the lyric opera, few have been performed outside France. These works have not been well received by the inter- national opera establishment as is evidenced by the largely negative reviews in opera magazines. One example is the disastrous review

9Arthur Hoeree, "Henri Tomasi," The New Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie (London: Macmillan, 1980) XIX, 35. 20

of Tomasi's Princesse Pauline in the November, 1962 edition of Opera where the writer states that this work is "as tasty as crepes

suzettes poached in horse grease and vinegar. "10 His only opera to

achieve international success is Don Juan de Manara.

An educational work of interest is Tomasi's Five Secular and

Ritual Dances for soloists and chamber orchestra. These five dances

are for five different wind instruments and represent five levels of

difficulty that correspond to the five years of study in the high

schools of music in France.

Tomasi's contributions to the trumpet repetoire includes the

Triptyque (1957) which is taken from his book, Six Etudes. Also,

the Semaine Sainte A Cuzco (1964) is a very demanding work requiring both piccolo B -flat and C or B -flat trumpets with chamber orchestra.

This piece is in a straight forward A -B -A form. The A sections are

for in a virtuosic, toccata style. The middle

section, played on the larger instrument, is very lyrical and is

intended to have a rather free, improvisational effect. Straight

and Robinson mute types are called for in the middle section. This

relatively short work requires advanced technique, a secure upper

register and considerable endurance.

10Elliott Stein, "World Reports: France," Opera XIII /11

(Nov., 1962) , 726-727. CHAPTER 3

THE CONCERTO FOR TRUMPET

The Concerto for Trumpet by Henri Tomasi is deserving of a secure place in the trumpet repetoire. Although one reviewer calls it a "slight work, "1 and another describes it as "stylistic jargon, "2 this concerto is a well crafted work which deserves its position among the finest

French works for trumpet such as the Concerto of Charles Chaynes and the

Concertino and concerti of Andre Jolivet.

This concerto presents a superb musical and technical challenge to the trumpet virtuoso and to the aspiring student. With the exception of several more recent works which call for unique special effects, this may be the most difficult work for trumpet in the traditional idiom.

Technical challenges abound in this work which seems to consist of a string of difficult passages with little rest. The technical and musical demands of this work place it firmly in the repetoire of the advanced trumpet performer.

This concerto also provides the performer with an expressive chall- enge. The more expressive passages of the first movement along with the extended cadenza allow considerable freedom of expression for the individual performer. The second movement, "Nocturne," requires a con- tinually expressive style.

1 John Warrack, "Analytical Notes and First Reviews," The Gramophone

LI (Dec., 1973) , 1217 2Arthur Cohn, Recorded (New York: Schirmer Books,

1981) , 1932.

21 22

The middle section of this movement is particularly free and is marked,

" Comme une improvisation." Indeed, this work requires the full express- ive range of the performer.

Another advantage of this concerto is the fortunate event that it has been written specifically, if not idiomatically for trumpet pitched in C. The French have a preference for the C- trumpet over the B -flat instrument, as do many orchestral performers in this country, and the agility and brightness of the C- trumpet are particularly well suited to this work.

This concerto is also a very effective work. Tomasi's lyrical and popular French style make this work thoroughly enjoyable, and his attention to detail and craftsmanship make it a musically satisfying work.

As the reviewer finally admits, "Worthy trumpet concerti are few and far between. This is one ... "3

Analysis

The Concerto for Trumpet by Henri Tomasi is in three movements.

The first movement is a sectional form loosely organized around the

tonal centers of B -flat and G. The second movement, "Nocturne," is

an arch form which is held together by the constant sixteenth note

accompaniment and by thematic similarity. The key centers of this movement are C -sharp and E. The third movement is fast moving and

sectional in form. It returns to the B -flat and G tonal centers. Much

of the thematic material of this movement is related to the first movement.

While this work may be considered tonal, Tomasi maintains a flexible

3Cohn, op.cit., 1932. 23 style that allows rapid shifts to unrelated tonal centers. Poly - chordal passages occur frequently as the result of normal progression and counterpoint. Chords of the seventh, ninth and eleventh abound, and the result is often a dissonant effect. Unique modes and synthetic scales are also frequently employed and lend a certain exotic effect to the concerto.

In the traditional concerto one expects that the first movement will begin with a tutti exposition. This work begins with a trumpet fanfare figure which is much like an opening cadenza. This fanfare emphasizes the intervals of the fourth, fifth and second which continue to be a strong orientation throughout the work. The fanfare is repeated in measures 4 -8, and the next section, measures 9 -16, is in a slow legato style with a new melody that emphasizes an F tonal center while the four chord ostinato of the accompaniment firmly emphasizes B -flat. If there is an exposition in this movement, it would have to be measures 1 -16.

The remainder of the movement is constructed from this opening material seen in figure 14.

vif .1-x120 Fantasque (a piacere) (comme une cadence) (sans sourdine) i/MI-M7P,A,IMINIa.= I=MENNIMME rMM=1.0111111111.1 s,11. ISENOMMIMMIllallr M11. M1117111 MMMNIIMIr MP' EMM ._INIIMIIIs o . . -==. or IMM mf scherzañdn ` w mriv Amisimas IMINIIIMNI11i .. 7111111..MIC11 =1111.T1111116r=.MIMnMIIMII... ",.. MUNN MN INMININ /MIMEO 111111111.1=MI =1=1 asa. ilM1.111111a'ILJEM IWIMIIf ....-.. MI- -.....I.. IIMI.IMM rM. IIIMMINI =11MI 11 11.Tw1=t711111.10

© Lent ía60 Ossia (mette: la soourd.Bol) Tris lointai,F et ex.ressi r:1 . r..ra. MI MI C . .._. "NI /11111. pp (vibrant et dour) . (enlevez sourd. Bol)

Figure 14. Henri Tomasi, Concerto for Trumpet, Trumpet Part, measures 1 -16. 24

For the purposes of analysis, the material from measures 1 -9 will be designated 'A', and the solo materiaa in measures 11 -15 will be call- ed 'B'. The A material must be divided into several motives. The fan- fare motive of measure 1 will be designated Al. The falling sixteenth note figure in measure 2 will be called A2, and the disjunct, eighth note pattern from measure 5 will be called A3. The construction of the rest of this movement is the result of sections built on 'A' material alternating with sections based on the 'B' idea. The chart in figure 15 shows the alternation of 'A' and 'B' material, while the chart in figure 16, page 25, demonstrates the use and modifications of the main thematic ideas.

Thematic Material Measure Numbers

A 1 -8 Exposition B 9 -16

A 17 -41

B 42 -45

A 46 -68

B 69 -79

A 80 -103

B 104 -112

A 113 -133

Figure 15. Chart of alternation of sections based on 'A' and 'B' 25

A

A1 A2

M. 1, 4, 17; trumpet M. 2, 3, 6, 7, 8; trumpet

M. 25; accompaniment M. 21, 23, 24, 28, 35; trumpet M. 39; trumpet, legato style M. 32, 37 -40; piano M. 53 -62; trumpet, expanded M. 46 -49; trumpet M. 64; trumpet, legato M. 66 -67; trumpet, rubato M. 85 -90; trumpet, fragment M. 80, 81, 93; trumpet M. 92 -93; trumpet, imitation in M. 91, 94; accompaniment the accompaniment M. 123; trumpet M. 100 -103; accompaniment, augmentation M. 129; accompaniment, augmentation M. 120 -121; accompaniment, augmentation M. 124 -125; trumpet, augmentation M. 124 -125: accompaniment, altered

3 A B

M. 5, 18, 27, 34; trumpet M. 11 -15; trumpet

M. 20, 22, 24; accompaniment M. 42 -45; accompaniment M. 87, 90; trumpet, triplets M. 48 -49; accompaniment M. 95, 97; trumpet M. 69 -79; accompaniment, M. 96; accompaniment augmentation M. 104 -113; trumpet, longer values M. 104 -111; accompaniment in fast tempo M. 115, 117, 118, 126; trumpet M. 113 -115; accompaniment, opening M. 126 -131; accompaniment fragment

Figure 16. Occurence of main thematic ideas in the first movement. 26

The published version of this work has been altered from the origin- al score in measures 13 -14 (see figure 14). The original score calls for measure 13 and the first four notes of measure 14 to be played one octave higher. Traditionally, therefore, this passage is played in the higher octave with the insertion of the passing tone, g', on the last eighth note of measure 12.

The ostinato accompaniment in measure 9 and following (figure 17) shows the development of polychords as a function of root movement by fifth in the lower voices with root movement by second in the treble voices.

Lent J . 60

{

Figure 17. Henri Tomasi, Concerto for Trumpet, Piano Reduction, Measures 9 -10.

Measures 28 and 31 in the trumpet part (figure 18) give an example of a synthetic scale passage which is constructed by changing the order of whole and half -step relationships in the scale.

[íyirement " - r.fA -=LIZrIH.. á MOs ív. 411MINM1111111111v aa.11.mQSIMMININII:41.Bull.rY/ 51rs.rsiMi LLiss.s 7=Ssft/ r.r111s11 IMri11.1MrlIIIMMBsNO- - T1111111511A NM .1111....111 M1s..s / . 31111....".-

Figure 18. Henri Tomasi, Concerto for Trumpet, Trumpet Part, Measures 28 -31, First Movement. 27

In measure 50 and following there are a series of chords with roots separated by a tritone (B -flat and E). This relationship is preparatory for the trumpet pattern in measure 53 which contains a series of tritone intervals.

Other contrapuntal devices are present in this movement. In measure

92 the trumpet begins a figure which is based on 'A' material. In measure 93 this figure is imitated in the at a different pitch

level. In measure 120 the fanfare melody is heard in augmentation in

the . In measures 124 -125 is an example of contrary motion

which comes close to mirroring.

In traditional concerti, the cadenza is introduced with the tonic

six -four chord with its strong dominant function. In this movement the

cadenza is introduced, in the piano reduction, by a dissonant, half -

step interval of C -sharp and D. This emphasis on D fits nicely into the

tonal plan of the work as the dominant of the secondary tonal center, G.

The cadenza is a reflection of the rest of the movement, in that

it also employs alternation of sections based on 'A' material. However,

the alternate sections are not based on the 'B' idea but seem to be

freely invented. The last two sections of the cadenza-are both based

on 'A' themes. The penultimate section is based on Al, while the

last section is based on A2.

Measure 134 to the end of the movement is a return to 'A' material.

These measures are very much like the treatment of 'A' in measures

39 -42. In the final three measures the trumpet plays a whole -tone

scale, arriving on B -flat, while the final chord in the accompaniment

is actually two major triads with roots a tritone apart, E and B -flat.

The second movement, as has already been mentioned, is an arch 28 form which is loosely organized around the tonal centers, C -sharp and

E. The whole movement is held together by the constant sixteenth note accompaniment which is usually in the harp. The arch form is emphasized by the use of mutes. The first section, 'A', calls for a cup mute. The

second section, Al, requires a straight mute, while the cap of the arch,

A2, is open. The returns of Al and A at the end of the movement are

muted as they were at first.

After the statement of the first two ideas in the trumpet, the

orchestra briefly restates both themes in measures 30 -37. Here the

accompaniment has changed from the harp arpeggios to a slurred sixteenth

note figure in the and . This accompaniment figure

continues into the cap of the arch where the orchestra has a melody

based on Al, and the trumpet soars above with a florid, improvisatory,

rhapsodic line. With the return of Al in the trumpet in measure 46,

the slurred sixteenth note accompaniment is two octaves higher in the

first . The arpeggiated harp figure returns in measure 53

before the final statement of A.

Throughout this movement the trumpet and accompaniment are frequent-

ly on different tonal planes. The beginning of the movement is an

obvious example. While the harp is playing a C -sharp minor arpeggio,

the trumpet line emphasizes C- natural.

The third movement, "Final ", calls for a fast, driving, articulated

style. Again, it is a sectional form that is based loosely around the

tonalities of B -flat and G. The continual eighth note ostinato accom-

paniment provides rhythmic drive and cohesion for this movement.

Most of the thematic material in this movement can be related to

the first movement. The twelve measure introduction is very much like 29 measure 128 and following in the first movement. The ostinato accompani- ment which begins in measure 13 has the same root movement as the slower ostinato accompaniment in measure 9 of the first movement. The trumpet melody beginning in measure 17 has much the same pitch outline as the

'B' idea from the first movement, although the style is very different.

The descending triplet motive in measure 38 is related to motive

A2 of the first movement. In measure 45, after an extended F pedal, the opening motive returns in the winds and xylophone. In measure 51 the melody in the bass voices is somewhat related to idea B of the first movement. The parallel chords in measure 91 -95 lend a "jazzy" or popular effect to this passage. In measure 119 the F pedal returns, and in measure 126 the opening motive returns.

The "Gershwinese" section, measures 142 -154, provides a lyrical contrast to the rest of this movement. This section is related to the second movement, both by thematic similarity and by the arpeggiated accompaniment which is, once again, in the harp.

The disjunct trumpet pattern in measures 156 -163 is related to the

A3 idea of the first movement. The rest of the movement is an obvious reminder of the fanfare motive from the first movement, especially measures 173 -176 which are very much like the opening fanfare.

The main tonalities of this concerto, B -flat, G, E, C- sharp, may at first seem to be unrelated. However, upon examination of Erno

Lendvai's theory of Bartok's "axis system, "4 one notices that these keys form the diminished seventh group which functions as the tonic axis.

This system in which the three harmonic functions; tonic, subdominant,

4Laszlo Somfai, "Bela Bartok," The New Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie (London: Macmillan, 1980) II, 208. 30 and dominant are held by the three diminished seventh groupings may help explain many of the tonal "irregularities" of this work. This, however, is certainly not to insist that Tomasi was aware of or purpose- fully using this system.

Stylistic Considerations

As the performer approaches this concerto he should be mindful of various stylistic considerations, including the general concept of French trumpet playing. The French idea of a good trumpet sound is rather bright in comparison with the American sound ideal.5 Therefore, to approach a work like the Tomasi Concerto for Trumpet with a large, dark, orchestral tone quality would be unacceptable to those French performers for whom this work was written, and such a performance would certainly lack authenticity. The French sound concept also calls for more vibrato than American players would normally use. A vibrato which would be appropriate to this concerto is characterized as consistent, fast and intense.

Note lengths are another variable that must be dealt with in perform- ing this work. A glance at the trumpet part reveals a regular use of staccato markings. A proper interpretation of these staccato passages should include a clear, firm attack with a rapid decay, rather than attempting to put space between the notes. The effect should be one of lightness, and the above technique should produce this light style while aiding in the maintenance of the musical line as well as the skill of the

5Alvin Lowrey, "Maurice Andre - A French Performing Model," Instrumentalist XXIII /9 (April, 1969), 68. 31

performer.

Several sections of this work allow some degree of rhythmic freedom.

These passages are marked with the appropriate terms, and the performer

must take advantage of this opportunity to be expressive. The normal

tendency would be to hurry too rapidly over these sections. These

passages, however, are obviously intended to be quite free, and the

performer must take a sufficient amount of time to be convincing and

provide a necessary contrast with the more rhythmic surroundings.

The technical difficulty of this concerto often causes the per-

former to lose sight of the stylistic goals of brilliance, lightness v

rj` and facility. In spite of the strenuous nature of this work the whole

concerto must sound easy and facile. The French have a flair for under-

statement, and the performer should avoid musical overstatement in per-

forming this work. He should avoid a heavy style of playing as well as

the extremes of the dynamic range.

Identifiable Influences

A careful analysis of Tomasi's Concerto for Trumpet reveals a few

identifiable influences. Various authors and reviewers have made inter-

esting suggestions regarding the influences that affect this work.

Carnovale points to impressionism and the orchestration of Debussy.6

Cohn suggests that the jazz idiom along with Gershwin's music and the

rhythmic style of "Les Six" have influenced the work.? Warrack says

that the second movement is "Bluesy" and that the work is " a kind of

French Walton that is carried almost to the point of parody in the

6Norbert Carnovale, Twentieth Century Music for Trumpet and Orchestra: An Annotated Bibliography (Nashville: The Brass Press, 1975), 37. 7Cohn, Loc. cit. 32 third movement. "8

Like the music of Debussy and Ravel, this work is impressionistic, and like Debussy and Ravel, Tomasi is a brilliant orchestrator with an ability to produce the finest shades of instrumental color. Exoticism also plays a role in this concerto. The various five and six tone scales along with many varieties of synthetic scales point to the exotic influence in this work.

One of the more important stylistic influences in this work is the jazz idiom. By the time this concerto was composed in 1948, jazz trumpet playing had been firmly established in France. The jazz move- ment in France dates back to 1917 when American jazz rhythms were first introduced. Later, the trumpet performers, Alex Renard, Pierre Allier, and Philippe Brun, established the French jazz sound that was popular

9 through the 1930's. The popularity of jazz trumpet playing seems to have had an important influence on the style of this concerto. While this influence may be no surprise in light of the previously mentioned events, this concerto is one of the earliest serious works for trumpet to exhibit the influence of the jazz idiom.

Evidence of this jazz influence can be found throughout this work.

The material that was designated 'B' in measures 11 -15 of the first movement is a "Jazzy" melody by virtue of the outlining of the dominant - seventh chord. The melody in measures 104 -112 is very similar in character.

The fourth section of the cadenza, marked "tempo di blues," also demon- strates the jazz influence melodically and by its free improvisatory nature. The improvisatory nature of this entire work, in fact, points

8Warrack, Loc. cit.

9Laplace, op. cit., 5. 33 to the jazz influence. A final evidence of the jazz idiom in this work is the use of mutes, particularly the cup mute, which lends and atmos- phere of the "blues solo" to every passage in which it is applied.

Finally, after the discussion of French orchestral and solo literature in Chapter 1, one cannot avoid the obvious presence of each of the stylistic elements in this concerto. Perhaps the most important influence in this work is the whole environment of twentieth century,

French trumpet music. Tomasi's Concerto for Trumpet is indeed a product of this environment.

Orchestration and Piano Reduction

Tomasi's orchestration has been called impressionistic, colorful and brilliant. One might add the terms, "effective" and "difficult" to this list of adjectives. The scoring is usually rather thin with more emphasis on color and effect than on powerful orchestration. There are occasional tutti outbursts which have a rich, sumptuous effect in an otherwise sparse texture. Tomasi demonstrates a thorough understand- ing of instrumental capability in his orchestral writing. He seems particularly fascinated with percussive effects, especially with the brighter timbres. In this concerto he produces a number of interesting effects with the celeste, xylophone, glockenspiel, triangle and suspended cymbal.

One interesting passage is found in the first movement at measure

120 and following. This passage combines muted trombones and with pizzicato celli and Basses and the harp on a theme based on the fanfare.

Accompanying this melody are the horns and pizzicato violins playing 34 off -beat chords. The overall effect is a rather intense timbre with

considerable rhythmic drive.

A contrasting example is found in measure 46 and following in the

second movement. Here the first violins have the sixteenth note accom-

paniment in an upper octave, while the second violins play a tremelo

chord. Chords in the harp and celeste with the triangle add a wonderful

charm to this section. The overall effect is a rather exotic timbre,

yet with a tranquil mood.

The piano reduction by the composer is rather difficult but well

within reason. The percussive effects are, of course, the least well

adapted to the piano, and some important counter melodies have been

eliminated from the reduction. The replacement of the with

C -sharp to D trills in the cadenza is perhaps one of the most obvious

weaknesses of the reduction. The second movement lends itself most

readily to the , as it is thinly scored with importance

placed on the harp and celeste. Because of the unique nature of the

orchestration of this work, the pianist should take an opportunity to

listen to the orchestral version to determine the weight and texture

of each section along with the relative importance of the melodic

material.

Technical and Physical Requirements

The Concerto for Trumpet by Henri Tomasi is a demanding work requir-

ing the most advanced conventional technique. However, there is one

area of technique which is not required: special effects. There are no

glissandi, lip trills or even flutter tongue effects.

A pitch range from G to d" for C- trumpet is present in this work. 35

While this pitch range does not appear extreme by today's standards, it is the constant intrusions into the upper register coupled with upper register attacks on less- secure pitches which adds another dimension of challenge to this work.

This concerto also requires advanced articulation skills. The performer must have the ability to multiple tongue over scales and intervals. This skill is used some what in the first movement and throughout the third movement. These passages must be accomplished with a lightness that is appropriate to the musical context.

Flexibility is another demand placed on the performer of this concerto. Large interval slurs and leaps can be found throughout this concerto. The cadenza contains a leap which is one half -step short of

two octaves.

Because of its tonal flexibility, this work contains a number of

the less familiar melodic intervals. The intervals of the tritone and

seventh are especially plentious.

Finally, this concerto calls for endurance. Difficult, high

register passages are almost continuous allowing little time for the lip

to recover. The performer must use good sense in "pacing" himself for

the best possible result. 36

CHAPTER 4

CONCLUSION

The Concerto for Trumpet by Henri tomasi is an important work that deserves its place in the repetoire. It is challenging, enjoyable and thoroughly French. It is the purpose of this study to add to the understanding of this fine work in order to allow a performance that

is both informed and authentic. While the reviewers who stand at

some distance may criticize this work, one finds that a closer exam-

ination produces a respect for this concerto that is based on crafts- manship and style. SELECTED BIBLIOGRAPHY

A.S.C.A.P. Symphonic Catalogue. Third Edition. New York: R.R. Bowker, 1977.

Baker's Biographical Dictionary of Musicians. Fifth edition. Revised by Nicolas Slonimsky. New York: G. Shirmer, 1958.

Bruyr, Jose. "A French Musician: Henri Tomasi," Musicology II (July, 1949), 389 -404.

Carnovale, Norbert. Twentieth Century Music for Trumpet and Orchestra: An Annotated Bibliography. Nashville: The Brass Press, 1975.

Cohn. Arthur. Recorded Classical Music. New York: Schirmer Books, 1981.

Dictionaire Des Musiciens Francais. Paris: Editions Seghers, 1961.

Dictionary of Contemporary Music, ed. John Vinton. New York: E.P. Dutton and Co., 1974.

Diessel, Karl. "Henri Tomasi," Musica XI (Nov., 1958), 700 -701.

Hoeree, Arthur. "Henri Tomasi," The New Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie. London: Macmillan, 1980, XIX, 35.

Hopkins, G.W. "Paul Dukas," The New Grove Dictionary of Music and Music- ians, 20 vols., ed. Stanley Sadie. London: Macmillan, 1980, V, 690 -693.

Laplace, Michel. "Introduction to the French Trumpet Stars," Inter- national Guild Newsletter I11 /2 (Feb., 1977), 4 -6.

Lowrey, Alvin. "Maurice Andre'- A French Performing Model," Instrum- entalist XXIII /9 (April, 1969), 68 -75.

Myers, Rollo. French Music. New York: Praeger Publishers, 1971.

"Obituary," The Musical Times CXII /1537 (March, 1971), 272.

37 38

Rostand, Claude. French Music Today, trans. Henry Marx. New York: Merlin Press.

Somfai, Laszlo' "Béla Bartok," The New Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie. London: Macmillan, 1980, II, 191 -223.

Stein, Elliot. "World Reports: France," Opera XIII /11 (Nov., 1962), 726 -727.

Tomasi, Henri. "Pour Un Theatre Lyrique" La Revue Musicale CCXXX (1956), 7 -8.

Thompson, Oscar. The International Cyclopedia of Music and Musicians, 9th edition., ed. Robert Sabin. New York: Dodd Mead, 1964.

Townsend, David Michael. "The Trio D'Anches as Exemplified by Three Contemporary French Composers." Unpublished D.M.A. Lecture Recital Document, University of Arizona, 1980.

Vuillermoz, Emile. "Henri Tomasi," La Revue Musicale CCXXX (1956), 4 -6.

Warrack, John. "Analytical Notes and First Reviews," The Gramophone LI /607 (Dec., 1973), 1217.