The majority of the transcriptions I will be performing have originated from my own listening and study of Baroque music, and I have selected music that I felt would translate well for the trumpet. I will also introduce viable "new" music to the trumpet repertoire through Baroque transcriptions originally written for other instruments or voice. The goal of these three dissertation recitals is twofold: 1) to perform literature that offers music from a variety of countries of origin that span the entire Baroque era andĢ) to feature music that has remained relatively unknown in the trumpet world, yet is musically strong. But, much of this Baroque literature not originally written for trumpet can be presented effectively in the form of a transcription, thereby adding greatly to the repertoire of the Baroque solo trumpet. Consequently, the overall Baroque repertoire for the solo trumpet pales in comparison to that of the other families of instruments. Additionally, even after the trumpet had been established as an instrument of melody, prominent composers of the time still wrote significantly more solo music for these other instrument families than for Of course, keyboard, string, and woodwind instruments had long established a significant catalogue of works by the late 17th century. They saw the melodic potential in the trumpet and began to feature the trumpet more as an instrument of melody, as opposed to relegating it to only outlining triads and emphasizing harmony. However, in the late 1600's, composers such as Allesandro Stradella and Henry Purcell began to treat the trumpet differently. On the whole, the trumpet was most certainly not used as an instrument of melody -that was typically reserved for violins, flutes, and oboes. Prior to the Baroque, and even in to the first half of theġ7th century, the trumpet had historically been used for rather "non-musical" purposes, sometimes as an instrument for battle or as a tool to be used in the town square to announce the arrival of a dignitary. It also poses significant technical and aural challenges, which can add depth and confidence to how this repertoire is approached on the modern trumpet.The trumpet experienced important changes in terms of its musical use during the middle and late Baroque period. It helps us understand the sonority that these composers had in mind, and helps in understanding the conventions for writing for the orchestral trumpet more broadly.
#Trumpet repertoire full#
WHY: Playing this repertoire on the natural trumpet has enormous educational value. Open the Navigation Management window, which can be used to view the full current branch of the menu tree, and edit it. Bach, Haydn, Mozart, and music from other genres such as ballet and opera. Works soon to be added include parts by composers such as C.P.E. The parts are organized both By Composer and By Key:īy Composer shows the extent of each composer's output for trumpet in more or less chronological orderīy Key provides an idea of the range of repertoire that can be played with each crook set. Finally, this list includes instances where the piston cornet or valve trumpet ( ventiltrompete) was introduced, either alongside or instead of the natural trumpet-for example, in the works of Berlioz and Schumann-which is itself a fascinating and illuminating study. Some are firmly planted in the Romantic period like Johannes Brahms, a traditionalist whose trumpet parts are entirely playable on the natural trumpet if hand-stopping is utilized.
Many of the composers listed in the database are transitional, either bridging from the Baroque to the Classical period, or from the Classical to the Romantic period. This is likely a result of performers, conductors, and the public becoming more familiar with the sonority of the natural trumpet, as well as its expanding use in post-secondary educational institutions. Fast forward a few hundred years to the present, and we are seeing a steady rise in the use of the natural trumpet to play both Baroque and Classical repertoire, in both period and modern orchestras in Europe and the U.S. Trumpet audition repertoire Undergraduate audition requirements. Rather, it stood its ground many decades after chromatic trumpets were introduced into the orchestra. While it is arguably true that no brass instrument went through more change than the trumpet (in both form and function), the sound of the natural trumpet-with its rich and noble history-did not go quietly into the night.
WHAT: This database contains Classical and Romantic period natural trumpet parts from the late eighteenth through the late nineteenth centuries, a period marked by great transition and innovation for orchestral brass.
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