a guide to performance of twentieth-century concerti for
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A Guide to Performance of Twentieth-Century Concerti for Trumpet and Orchestra by
Karl Pilss, William Lovelock, and John Williams
Timothy Raymond Reed
BMus (Hons)
A thesis submitted for the degree of Master of Philosophy at
The University of Queensland in 2020
School of Music
ii
Abstract
During the mid-twentieth century, the trumpet saw a major revival in soloist
performances and a surge in virtuosic trumpet compositions was noted. Although this
developed trumpet repertoire, many of these pieces have been forgotten. This thesis studied
selected trumpet repertoire through score analysis, recordings, and literature regarding three
twentieth-century trumpet concerti by Karl Pilss, William Lovelock and John Williams. Each
of these works are significant to the trumpeting world based on the composer, the style of the
concerto, and the difficulty of the work.
This thesis combines both Music Performance Research and Artistic Research in
Music. Music Performance Research has been conducted through the compilation of
recordings, both live and studio-recorded, score analysis, and historical information relating
to the composer and the original performers. Artistic Research in music has been conducted
through the discussion of my own personal practice and performance techniques.
Outputs from this thesis include recorded performances of the works, and practice
and performance techniques utilised, to aid future players of these concerti and other
twentieth-century works. This includes practice suggestions for ways to approach technically
challenging areas containing issues including large intervallic leaps, dynamic extremes,
range, and endurance. I have also addressed musical issues, including the use of adaptive
tone, phrasing, dynamics, and character. I have also suggested techniques and exercises that I
used to overcome these difficulties while also providing information (if any) on the ways in
which other performers have approached these same problems as a performance guide.
Due to the difficulties inherent in twentieth-century works, it was necessary to
develop alternate practice techniques to help overcome the challenges within these concerti.
The skills learnt and developed while performing difficult works, such as these concerti, are
transferrable to other aspects of playing, making them extremely beneficial. Due to endurance
reasons these concerti can be difficult to find adequate time to practice them while also
maintaining the freshness of embouchure required for other rehearsals and performances. To
overcome this, I practiced most of these concerti in small segments, with clear goals set at the
beginning of each practice session on what was to be practiced and achieved. Further study of
other under-performed works would be beneficial to the trumpeting world, as the current
range of standard repertoire is severely lacking at this time.
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Declaration by author
This thesis is composed of my original work, and contains no material previously published
or written by another person except where due reference has been made in the text. I have
clearly stated the contribution by others to jointly-authored works that I have included in my
thesis.
I have clearly stated the contribution of others to my thesis as a whole, including statistical
assistance, survey design, data analysis, significant technical procedures, professional
editorial advice, financial support and any other original research work used or reported in
my thesis. The content of my thesis is the result of work I have carried out since the
commencement of my higher degree by research candidature and does not include a
substantial part of work that has been submitted to qualify for the award of any other degree
or diploma in any university or other tertiary institution. I have clearly stated which parts of
my thesis, if any, have been submitted to qualify for another award.
I acknowledge that an electronic copy of my thesis must be lodged with the University
Library and, subject to the policy and procedures of The University of Queensland, the thesis
be made available for research and study in accordance with the Copyright Act 1968 unless a
period of embargo has been approved by the Dean of the Graduate School.
I acknowledge that copyright of all material contained in my thesis resides with the copyright
holder(s) of that material. Where appropriate I have obtained copyright permission from the
copyright holder to reproduce material in this thesis and have sought permission from co-
authors for any jointly authored works included in the thesis.
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Publications included in this thesis
No publications included
Submitted manuscripts included in this thesis
No manuscripts submitted for publication
Other publications during candidature
No other publications
Contributions by others to the thesis
No contributions by others
v
Statement of parts of the thesis submitted to qualify for the award of another degree
No works submitted towards another degree have been included in this thesis
Research Involving Human or Animal Subjects
No animal or human subjects were involved in this research
vi
Acknowledgements
I would like to thank my supervisor, Dr Warwick Potter, for his guidance, support, and belie f
in my abilities from the very beginning of my undergraduate degree.
I would like to thank my associate supervisor, Dr Mary Broughton, for all her help in
formatting and structuring my thesis.
I would like to thank my trumpet teacher, Mr Richard Madden, for helping me over the last
six years become the trumpeter that I am today.
vii
Financial support
This research was supported by an Australian Government Research Training Program
Scholarship
Keywords
trumpet concerto, Pilss, Lovelock, Williams, practice-led research
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Australian and New Zealand Standard Research Classifications (ANZSRC)
ANZSRC code: 190407, Music Performance, 100%
Fields of Research (FoR) Classification
FoR code: 1904, Performing Arts and Creative Writing, 100%
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Table of Contents Page
Abstract ii
List of Examples xi
List of Abbreviations xiv
1. Introduction 1
1.1 Project Aims and Overview 1
2. Literature Review 3
2.1 Brief History of the Trumpet Concerto 3
2.1.1 The Keyed Trumpet in the Classical Era 4
2.1.2 Trumpet Concerti in the Twentieth-Century 5
2.1.3 Summary 7
2.1.4 Justification for the Trumpet Concerti Selected for the Research 7
2.2 Concerto for Trumpet and Orchestra (1934) – Karl Pilss (1902-1979) 8
2.3 Concerto for Trumpet and Orchestra (1968) – William Lovelock (1899-1986) 10
2.4 Concerto for Trumpet and Orchestra (1996) – John Williams (1932-) 12
2.5 Summary and Conclusions 14
3. Methodology 15
3.1 Music Performance Research 15
3.2 Artistic Research in Music 16
3.3 Summary 17
4. Analysis and Performance Guide 19
4.1 Karl Pilss Concerto for Trumpet and Orchestra (1934) 19
4.1.1 First Movement 19
4.1.2 Second Movement 24
x
4.1.3 Third Movement 27
4.1.4 Summary 32
4.2 William Lovelock Concerto for Trumpet and Orchestra (1968) 33
4.2.1 First Movement 33
4.2.2 Second Movement 39
4.2.3 Third Movement 44
4.2.4 Summary 50
4.3 John Williams Concerto for Trumpet and Orchestra (1996) 51
4.3.1 First Movement 51
4.3.2 Second Movement 58
4.3.3 Third Movement 64
4.3.4 Summary 68
5. Conclusions and Recommendations 70
5.1 Conclusions 70
5.2 Recommendations 71
Reference List 72
xi
List of Examples Page
Ex. 2.1 Graph of the composition rate of trumpet concerti from 1901 to 1983, Inclusive
(Garrett, 1984, p. 148).
6
Ex. 3.1 Pitch Classification 17
Ex. 4.1 Pilss, Concerto for Trumpet and Orchestra, First Movement, bars 26-37 20
Ex. 4.2 Pilss, Concerto for Trumpet and Orchestra, First Movement, bars 41-45 20
Ex. 4.3 Pilss, Concerto for Trumpet and Orchestra, First Movement, bars 59-66 21
Ex. 4.4 Pilss, Concerto for Trumpet and Orchestra, First Movement, bars 72-75 21
Ex. 4.5 Pilss, Concerto for Trumpet and Orchestra, First Movement, bars 105-106 22
Ex. 4.6 Pilss, Concerto for Trumpet and Orchestra, First Movement, bars 110-113 22
Ex. 4.7 Pilss, Concerto for Trumpet and Orchestra, First Movement, bars 135-139 23
Ex. 4.8 Pilss, Concerto for Trumpet and Orchestra, Second Movement, bars 19-26 24
Ex. 4.9 Pilss, Concerto for Trumpet and Orchestra, Second Movement, bars 27-30 25
Ex. 4.10 Pilss, Concerto for Trumpet and Orchestra, Second Movement, bars 46-54 25
Ex. 4.11 Pilss, Concerto for Trumpet and Orchestra, Second Movement, bars 74-82 26
Ex. 4.12 Pilss, Concerto for Trumpet and Orchestra, Second Movement, bars 91-95 27
Ex. 4.13 Pilss, Concerto for Trumpet and Orchestra, Second Movement, bars 125-128 27
Ex. 4.14 Pilss, Concerto for Trumpet and Orchestra, Third Movement, bars 1-8 28
Ex. 4.15 Pilss, Concerto for Trumpet and Orchestra, Third Movement, bars 20-29 28
Ex. 4.16 Pilss, Concerto for Trumpet and Orchestra, Third Movement, bars 36-43 29
Ex. 4.17 Pilss, Concerto for Trumpet and Orchestra, Third Movement, bars 48-51 29
Ex. 4.18 Pilss, Concerto for Trumpet and Orchestra, Third Movement, bars 68-77 30
Ex. 4.19 Pilss, Concerto for Trumpet and Orchestra, Third Movement, bars 50-53, 172-177
30
Ex. 4.20 Pilss, Concerto for Trumpet and Orchestra, Third Movement, bars 193-204 31
Ex. 4.21 Pilss, Concerto for Trumpet and Orchestra, Third Movement, bars 205-210 31
Ex. 4.22 Lovelock, Concerto for Trumpet and Orchestra, First Movement, bars 25-36 34
Ex. 4.23 Lovelock, Concerto for Trumpet and Orchestra, First Movement, bars 41-48 35
Ex. 4.24 Lovelock, Concerto for Trumpet and Orchestra, First Movement, bars 54-58 35
Ex. 4.25 Lovelock, Concerto for Trumpet and Orchestra, First Movement, bars 66-75 36
Ex. 4.26 Lovelock, Concerto for Trumpet and Orchestra, First Movement, bars 81-87 37
Ex. 4.27 Lovelock, Concerto for Trumpet and Orchestra, First Movement, bars 96-101 37
Ex. 4.28 Lovelock, Concerto for Trumpet and Orchestra, First Movement, bars 106-109 38
xii
Ex. 4.29 Lovelock, Concerto for Trumpet and Orchestra, First Movement, bars 116-123 38
Ex. 4.30 Lovelock, Concerto for Trumpet and Orchestra, First Movement, bars 174-179 39
Ex. 4.31 Lovelock, Concerto for Trumpet and Orchestra, Second Movement, bars 1-4 40
Ex. 4.32 Lovelock, Concerto for Trumpet and Orchestra, Second Movement, bars 19-24 40
Ex. 4.33 Lovelock, Concerto for Trumpet and Orchestra, Second Movement, bars 38-46 41
Ex. 4.34 Lovelock, Concerto for Trumpet and Orchestra, Second Movement, bars 56-64 41
Ex. 4.35 Lovelock, Concerto for Trumpet and Orchestra, Second Movement, bars 80-94 43
Ex. 4.36 Lovelock, Concerto for Trumpet and Orchestra, Second Movement, bars 102-
111
44
Ex. 4.37 Lovelock, Concerto for Trumpet and Orchestra, Third Movement, bars 8-15 45
Ex. 4.38 Lovelock, Concerto for Trumpet and Orchestra, Third Movement, bars 14-30 46
Ex. 4.39 Lovelock, Concerto for Trumpet and Orchestra, Third Movement, bars 50-55 46
Ex. 4.40 Lovelock, Concerto for Trumpet and Orchestra, Third Movement, bars 61-77 47
Ex. 4.41 Lovelock, Concerto for Trumpet and Orchestra, Third Movement, bars 86-93 47
Ex. 4.42 Lovelock, Concerto for Trumpet and Orchestra, Third Movement, bars 149-154 48
Ex. 4.43 Lovelock, Concerto for Trumpet and Orchestra, Third Movement, cadenza 49
Ex. 4.44 Lovelock, Concerto for Trumpet and Orchestra, Third Movement, bars 181-190 49
Ex. 4.45 Williams, Concerto for Trumpet and Orchestra, First Movement, bars 1-4 51
Ex. 4.46 Williams, Concerto for Trumpet and Orchestra, First Movement, bars 13-24 52
Ex. 4.47 Williams, Concerto for Trumpet and Orchestra, First Movement, bars 25-42 53
Ex. 4.48 Williams, Concerto for Trumpet and Orchestra, First Movement, bars 137-143 53
Ex. 4.49 Williams, Concerto for Trumpet and Orchestra, First Movement, bars 63-72 54
Ex. 4.50 Williams, Concerto for Trumpet and Orchestra, First Movement, bars 73-84 54
Ex. 4.51 Williams, Concerto for Trumpet and Orchestra, First Movement, bars 86-99 55
Ex. 4.52 Williams, Concerto for Trumpet and Orchestra, First Movement, bars 144-151 56
Ex. 4.53 Williams, Concerto for Trumpet and Orchestra, First Movement, cadenza 56
Ex. 4.54 Williams, Concerto for Trumpet and Orchestra, First Movement, bars 157-165 57
Ex. 4.55 Williams, Concerto for Trumpet and Orchestra, First Movement, bars 175-180 58
Ex. 4.56 Williams, Concerto for Trumpet and Orchestra, Second Movement, bars 17-20 59
Ex. 4.57 Williams, Concerto for Trumpet and Orchestra, Second Movement, bars 9-12 60
Ex. 4.58 Williams, Concerto for Trumpet and Orchestra, Second Movement, bars 38-41 60
Ex. 4.59 Williams, Concerto for Trumpet and Orchestra, Second Movement, bars 47-52 61
Ex. 4.60 Williams, Concerto for Trumpet and Orchestra, Second Movement, bars 53-55, 74-75
61
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Ex. 4.61 Williams, Concerto for Trumpet and Orchestra, Second Movement, bars 60-66 62
Ex. 4.62 Williams, Concerto for Trumpet and Orchestra, Second Movement, bars 86-93 62
Ex. 4.63 Williams, Concerto for Trumpet and Orchestra, Second Movement, bars 105-109
63
Ex. 4.64 Williams, Concerto for Trumpet and Orchestra, Third Movement, bars 1-27 64
Ex. 4.65 Williams, Concerto for Trumpet and Orchestra, Third Movement, bars 82-105 65
Ex. 4.66 Williams, Concerto for Trumpet and Orchestra, Third Movement, bars 113-120 66
Ex. 4.67 Williams, Concerto for Trumpet and Orchestra, Third Movement, bars 168-171 67
Ex. 4.68 Williams, Concerto for Trumpet and Orchestra, Third Movement, bars 239-246 67
Ex. 4.69 Williams, Concerto for Trumpet and Orchestra, Third Movement, bars 249-251 68
xiv
List of Abbreviations
ABC Australian Broadcasting Corporation
ARiM Artistic Research in Performance
BPM Beats per minute
CSO Cleveland Symphony Orchestra
Eastman Eastman School of Music
MPR Music Performance Research
RPO Rochester Philharmonic Orchestra
VPO Vienna Philharmonic Orchestra
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Chapter 1: Introduction
During the mid-twentieth century, the trumpet saw a major revival in soloist
performances and a surge in virtuosic trumpet compositions was noted. Although this
developed trumpet repertoire, many of these pieces have been forgotten. Before the revival,
trumpeters overcame this problem by performing transcriptions. French trumpeter Maurice
André, for example, was famous for transcribing oboe and violin repertoire (Tarr, n.d.;
“Maurice André”, n.d.). Another example is Russian trumpeter Timofei Dokshizer, whose
transcriptions number over eighty (“Dokshizer”, 2010). Numerous trumpet concerti have
been composed since André and Dokshizer’s prominence, the majority of which are now
rarely performed.
The age of recording has enabled musicians with a greater awareness of an historical
and large body of works. It is often the case, however, that standard works are performed and
recorded to the exclusion of all else (Day, 2005). Professional recordings of new and
complicated pieces offer aspiring trumpeters an easier way to approach performing these
works. Many difficulties become apparent when trying to learn modern repertoire such as:
time (unusual meters and phrasing), dynamics, flexibility over rapid interval changes, range ,
and endurance (Coleman, 1965). Professional soloists are often reluctant to play new works
as significantly more practice is required to produce an adequate performance due to the high
technical difficulty when compared to standard works such as the classical concerti by Haydn
and Hummel. Cost can also be a factor, as such repertoire often require extra orchestral
rehearsals due to this difficulty. These issues are especially apparent for trumpeters when
extra consideration is needed regarding range and endurance:
The trumpet performer, by virtue of his instrumental capabilities and his own physical capabilities, is taking a great risk in performing them. The potential
for a “disaster” in a performance of one of these works (because of the unusually blatant aural effect produced when errors of accuracy occur on the trumpet) is multiplied by the demands of the physical aspects (breathing, suppleness of the lips, and endurance, e.g.) on the performer. (Hecker cited in
Garrett, 1984, p. 155)
1.1 Project Aims and Overview
This thesis studies selected trumpet repertoire through score analysis, recordings, and
literature regarding three twentieth-century trumpet concerti. Outputs from this thesis will
2
include recorded performances of the works, and practice and performance techniques
utilised, to aid future players of these concerti and other twentieth-century works.
The second chapter contains a literature review which focusses on the history of the
trumpet concerto. This includes its creation as a genre, the technological advancements made
to the trumpet and the current state of the trumpet concerto. This chapter also provides an
overview of the three works I have chosen to research and examines their significance to
trumpet players. The third chapter discusses the methodologies utilised in my research of the
three concerti. These methods include both Music Performance Research and Artistic
Research in Music. The fourth chapter contains an analysis and performance guide of the
three concerti researched. This chapter presents both the score and the stylistic differences
apparent in the current recordings of the concerti, and discusses my interpretation based on
this research. Practice techniques that I have utilised to overcome problematic areas in the
concerti are also presented. The final chapter provides a conclusion and general discussion on
the key areas addressed in the research as well as its implication for further performance and
study.
3
Chapter 2: Literature Review
This chapter examines the extant state of trumpet concerti and provides background
information on the composers and works that I plan to research. I describe the origin of the
concerto and the numerous changes it has undergone since the genre’s creation . I relate this to
the technological advances made to the trumpet and the way in which the trumpet has been
perceived through history. I also provide information specific to the three concerti that I have
chosen to analyse and perform while also stating the significance of this research.
2.1 Brief History of the Trumpet Concerto
The concerto is one of the oldest forms of composition still used. The term concerto
has an uncertain origin: it is either derived from the “…Latin concertare (to agree, act
together), the Italian concertare (to compete, contend), or the Latin consere (to consort)”
(Keefe, 2005, p. 10). The trumpet concerto originated during the mid-seventeenth century as
works for one or more trumpets and massed string ensemble. At the time these works were
named sonata or sinfonia, usually containing three movements, fast-slow-fast, with the
trumpet often tacet during the slow movement1 (Schneider, 2005; Talbot, 2005). The trumpet
continued to see success within concerti written in the pre-classical galant style. Composers
such as Johann Wilhelm Hertel and Franz Xaver Richter explored the uppermost registers of
the trumpet within their concerti2 (Härtwig, 2001; Reutter, 2001). The concerto has morphed
substantially since its origin, with composers increasing the diversity of the solo instrument,
increasing the size of the accompanying ensemble, and altering the structure of the work. The
adaptive nature of the concerto is shown through the diversity of works named concerto
throughout its four-hundred-year history (Keefe, 2005).
After its initial success during the Baroque period, the trumpet saw a decline in solo
repertoire throughout the majority of the Classical era. Wolfgang Amadeus Mozart, in
particular, felt great apprehension and fear towards the trumpet. Andreas Schachtner states:
“Wolfgangerl scarcely heard the blaring sound when he grew pale and began to collapse, and
if I had continued he would surely have suffered a convulsion” (cited in Deutsch, 1965, p.
1 Such works include Giuseppe Torelli’s Sinfonia in D major, G.8 and George Philipp Telemann’s
Sonata in D major, TWV 44:1 2 Such works include Hertel’s Trumpet Concerto No.1 in E-flat major and Richter’s Trumpet Concerto in D major
4
453). Suggs (1998) suggests that there is evidence that Mozart composed a trumpet concerto
in 1768, which has subsequently been lost.
2.1.1 The Keyed Trumpet in the Classical and Romantic Eras
It was not until Joseph Haydn’s Trumpet Concerto in E-flat Major, Hob. VIIe:1,
composed in 1796, that the trumpet gained a significant new work. Anton Weidinger’s new
invention, the keyed trumpet, allowed much greater control and granted chromatic access,
rather than solely relying on the harmonic overtone series3, as per the natural trumpet. Both
Haydn’s concerto and Weidinger’s virtuosity on the keyed trumpet were great successes and
subsequently led to Johann Hummel composing his Trumpet Concerto in E Major, S.49 for
Weindinger in 1803 (Tarr, 1988). Despite this initial success, there were, however, many
critics to this invention, owing to the holes detracting from the brilliant tone of the natural
trumpet (Geiringer & Geiringer, 1982).
Since Haydn and Hummel, no major composer has written a trumpet concerto. The
Romantic period lacked solo trumpet repertoire despite the piston valve trumpet being
patented in 1812. These new instruments combined both the chromatic range of the keyed
trumpet with the timbre of the natural trumpet. During the Romantic era, however, the
trumpet was regarded solely as an orchestral instrument (Suggs, 1998; Wallace, 1997), while
the concerto was generally viewed as a virtuosic composition: a piece to display the
instrumental technical prowess. The valved trumpet was almost completely disregarded
throughout the nineteenth-century, with Hector Berlioz initiating a tradition of composing
orchestral works including two cornets and two natural trumpets ca.18334 (Tarr, 1988). In an
orchestration treatise, Corder (1894) explained that “melodies on the trumpet are ‘dangerous’
and, in addition, most musical hearers are sorely offended at hearing on this instrument a
melody which departs very markedly from the natural scale” (cited in Wallace, 2011, p. 201).
3 A series of tones, fixed by nature, in which the frequency of each successive tone is a multiple of the
lowest note of the series (fundamental) (Tarr, 1988) 4 Such works include Symphony Fantastique (1830), Harold in Italy (1834), Roman Carnival Overture (1844) and The Damnation of Faust (1845)
5
2.1.2 Trumpet Concerti in the Twentieth-Century
From 1900 to 1945, the concerto developed apace. Before the First World War
concerti were usually long and grand in design, following Romantic traditions and employing
characteristics that bind them to the ‘long nineteenth century’ (Schneider, 2005). In contrast,
from 1920 to the early 1930s, concerti were shorter, scored for smaller ensembles, and
focused on rhythm over melodic content. Concerti written from mid-1930s to 1945 tended to
merge aspects of the preceding periods (Schneider, 2005).
The twentieth-century also saw a progressive change in the way the trumpet was
perceived. Valved trumpets were becoming de rigueur in orchestras and composers began
writing specifically for the instrument. Barber, Bartók, Bernstein, Mahler, Strauss, and
Stravinsky all symphonically wrote challenging music for trumpet, composing virtuosic parts
and utilising the trumpet’s full range. Despite this change, none saw fit to compose a solo
work for the trumpet. This has left the trumpet with a limited diversity of solo repertoire
compared to many other instruments (Garrett, 1984; Stevens, 1976; Tarr, 1988).
The view commonly held by many, since the Romantic Period, is that the concerto is
a virtuosic piece for the soloist. Critics of this fact, such as Busoni (cited in Schneider, 2005)
stated:
With the rise of virtuosity the word [concerto] became restricted to the meaning which it still commonly has – a bravura piece for a single instrument, for the greater glory of which the orchestra . . . is subordinated.
(p. 142)
The shift, therefore, towards the reimplementation of the trumpet concerto has come from a
change in mindset. Composers of the modern era began to regard the trumpet as a virtuosic
instrument.
Ironically, one of the major influences on the trumpet’s success in the twentieth-
century were new performances and recordings of Haydn’s Trumpet Concerto in E-flat Major
(1796). Wobisch, made the first complete recording of Haydn’s Concerto in 1952. This was a
huge step forward in the revival of the trumpet as a solo instrument (Tarr, 1988). Although
Hindemith’s Sonata for Trumpet (1939) is often regarded as the birth of the modern trumpet
era, it was not until the concerti by Tomasi (1948) and Arutiunian (1950) that the trumpet
revival really began - coinciding with Wobisch’s recording (see Ex. 2.1).
6
Ex. 2.1 Graph of the composition rate of trumpet concerti from 1901 to 1983, Inclusive
(Garrett, 1984, p. 148).
Other reasons for the increase in solo trumpet repertoire during this post-war period
include technical instrumental manufacturing advances, a substantial increase in the number
of trumpeters compared to the previous era, and the continual commissioning of works by
institutions such as the Paris Conservatory (Garrett, 1984).
Although many concerti were composed during the twentieth-century, a very limited
number are now regularly performed. Through my own research of recordings in the Naxos
Music Library and other various websites I have found that f rom over 80 concerti listed in
Garrett’s survey, only four stand out as works commonly recorded: Arutiunian’s Trumpet
Concerto in A-flat Major (1950), Tomasi’s Concerto in C for Trumpet and Orchestra (1948),
Jolivet’s Trumpet Concerto No. 2 (1954), and Chaynes’ Concerto for Trumpet (1956).
Factors that contribute to this are related to the difficulty of twentieth-century works. Range
7
and endurance is a common concern, especially for students performing lengthy recitals.
Limited time with accompanists and a lack of recorded works by professional musicians also
deters students from performing these works (Garrett, 1984).
2.1.3 Summary
Since its inception in the seventeenth-century the concerto has undergone many
changes in both style and form but has continued to remain a popular genre of music.
Although technological advances have been made to the trumpet, such as the addition of keys
and valves, it has seen significantly less success through this same period. It wasn’t until the
twentieth-century and the revival of the trumpet as a virtuosic instrument that a significant
number of new concerti were composed for trumpet. Despite this increase in solo repertoire it
is now common for only a few of these concerti to be performed regularly due to several
limiting factors including range, endurance, technical difficulty, limited rehearsal time, and a
lack of available recordings. All three of the concerti that I will research contain these traits
listed.
2.1.4 Justification for the Trumpet Concerti Selected for the Research
The concerti that I will be analysing and performing are those by Karl Pilss, William
Lovelock and John Williams. Each concerto has been chosen due to the significance it has on
within the profession. Pilss’ Concerto for Trumpet and Orchestra was chosen for its
significance as one of the only works written for trumpet in the German-Romantic Style, and
by a composer with ties to great musical figures of the era. Lovelock’s Concerto for trumpet
and Orchestra was chosen due to its significance as an Australian composition, highly
regarded piece, and difficulty to perform. Williams’ Concerto for Trumpet and Orchestra was
chosen because he is the only major composer since Haydn and Hummel to have written a
concerto for the trumpet. The premiere of the concerto was also performed by one of
America’s greatest trumpet players and orchestra.
All three works have been largely underperformed by the trumpeting world since their
premieres. Indicative of this fact is the number of performances of these concerti listed in the
International Trumpet Guild “Trumpet and Brass Programs” supplements from 1989 -2005,
compiled and edited by Dennis Herrick and Kevin Eisensmith. Lovelock’s Concerto was
8
listed the most, with seven performances, while both the Pilss and Williams Concerti were
each listed only twice during the sixteen and nine-year timeframes respectively. These
number of performances are dwarfed by the 188 performances of Haydn’s Concerto (1796),
115 performances of Arutiunian’s Concerto (1950), and 44 performances of Tomasi’s
Concerto (1948) listed during the ten-year period between 1991-20015.
2.2 Concerto for Trumpet and Orchestra (1934) – Karl Pilss (1902-1979)
Karl Pilss (1902-1979) was a Viennese Romantic composer who studied under Franz
Schmidt at the Vienna Music Academy. While there he also studied conducting under Dirk
Fock and Robert Heger, a leading conductor of the Vienna State Opera. From 1934 to 1966
he worked as an advisor and rehearsal director of the Salzburg Music Festival. In this position
Pilss served conductors, including Boehm, Furtwangler, Karajan, Knappertsbusch, Toscanini,
and Walter. He was an assistant conductor and repetiteur for the Vienna State Opera from
1930 until 1968, and also taught at the Vienna Conservatory and the Vienna Music Academy
(Wacker, 2008).
Pilss grew up surrounded by brass music as his father was an amateur horn player.
This brass biased orientation led him to the Trompeterchor der Stadt Wien6, where he served
as both composer and conductor from 1934 until 1944. Pilss was a prolific composer and
wrote nearly 50 works for large brass ensemble. During this time he was in close contact and
influenced by Richard Strauss. A number of Strauss’ works for brass ensemble were
performed by the Trompeterchor der Stadt Wien, conducted by Pilss. Possibly the most
famous piece performed by the Trompeterchor was Strauss’ Festmusik der Stadt Wien (Adler,
2009; Suggs, 2004).
In 1939, the Trompeterchor was taken over by the Nazi Party and placed under the
control of the Office of Culture. This aided the group by giving them both governmental
support and increased exposure. The Trompeterchor, however, became a Nazi propaganda
tool, the increased exposure came with politically motivated programming. It is largely due to
this association with the Nazi Party that Pilss’ music has been widely rejected and forgotten
(Suggs, 2004). Despite this fact his Sonata for Trumpet and Piano (1935) has seen a lot of
5Eisensmith 1994, 1995, 1996, 1997, 1998, 1999, 2000, 2001, 2002, 2003, 2004, 2005; Herrick, 1990, 1991,
1992, 1993 6 Trumpet choir of the city of Vienna
9
recognition, performance, and recordings in recent years. Accompanying this is also
increased literature written to aid trumpeters playing the work. There is, by comparison,
significantly less research pertaining to his Concerto for Trumpet and Orchestra7.
Written in 1934, Karl Pilss’ Concerto for Trumpet and Orchestra is a work which
predates many of the contemporary concertos commonly performed; Hindemith’s Sonata for
Trumpet and Piano (1939) is often recognised as the first modern work for trumpet, while
Tomasi’s Trumpet Concerto (1948) is perceived as the beginning of the twentieth-century
trumpet concerto (Adler, 2009). Dedicated to Franz Dengler, then Principal Trumpet of the
Vienna Philharmonic Orchestra (VPO), Dengler was renowned for his “soft tone and melodic
style” (Tarr, 1988, p. 180) and is famed for the origin of the iconic “Vienna trumpet sound”
(Suggs, 2004, p. 13).
Pilss’ Sonata for Trumpet and Piano, written only one year later, has seen a revival in
the number of performances and recordings in recent years. This piece was composed for
Dengler’s student, Helmut Wobisch, and his VPO successor. Wobisch is famous for his
pioneering role in recording solo classical repertoire, including Haydn’s Concerto (see page
5) (Suggs, 2004; Tarr, 1988).
According to Suggs (1998) Pilss is the natural successor to the great line of
German/Viennese composers such as Bruckner, Mahler, and Strauss. Many of the early
twentieth-century solo works for trumpet are connected to the Paris Conservatory, written
with specific educational aspects in mind. It is uncommon, by comparison, to find solo
trumpet works based on the German-Romantic tradition. Pilss’ Concerto deserves to be
analysed and performed it is the closest work that trumpet players have to the German-
Romantic concerti available in abundance for other orchestral instruments.
The only recording of Pilss’ Concerto currently available is a performance of the
piano reduction, performed by Sidney Mear (trumpet) and Fred Woolston (piano) in 1938.
Mear (1918-2016) was an American trumpeter and Professor at the Eastman School of Music
(Eastman) in Rochester, New York. Mear began cornet studies with his father at a young age
before receiving lessons from Herbert L. Clarke, Frank Holton, and Bohumir Kryl. In 1936,
at the age of 18, Mear began performing with the Horace Heidt Big Band before deciding to
pursue classical music at the Eastman with Pattee Evenson of the Rochester Philharmonic
7 For examples see: Ornelas, 1986; Thornburg et al., 2002; Kilpatrick, 2003, 2006; Adler, 2009; Pilss, 2003, 2009, 2011; Buerkle, 2011; Jakuboski, 2015
10
Orchestra (RPO). In 1937, while still an undergraduate, Mear became a performer with the
RPO and started his teaching career at Eastman the year af ter (Pitcher, 2004). He became
Principal Trumpet with the RPO in 1947, remaining until 1968 and continued teaching at
Eastman for 40 years (Sidney E. Mear, 2016)). Mear has also performed as Principal Trumpet
with the Orquesta Sinfonica de Mexico (1940-1942) and performed as a soloist with both the
Bethlehem Bach Festival and Philadelphia Orchestra. He was regarded by his students and
fellow orchestra members as “a player who never, ever missed a note” (Picher, 2004, p. 31).
2.3 Concerto for Trumpet and Orchestra (1968) – William Lovelock (1899-1986)
Dr William lovelock was born on March 13, 1899 in London. He began learning the
piano at six years of age and took up the organ six years later. In 1915 became an Organ
Scholar at Trinity College of Music, London. He served in World War I in 1914-1918 before
completing his Bachelor of Music in 1922, under the tutelage of Henry Geehl and C.W.
Pearce at the University of London (Lovelock, n.d.). He subsequently completed his
Doctorate in Music (composition) in 1932 at the same institution. During his years of study
Lovelock also served as a musician in multiple churches: organist at St Clements in Eastchap
from 1919-1923, Kapellmeister to Viscountess Cowdray in Aberdeenshire from 1923-1926,
and at Good Sheppard Church in Carshatton from 1928-1930 (Bebbington, 2001; Spearritt &
Boughen, 1982).
After serving on the teaching staff at Trinity College of Music for ten years, Lovelock
was appointed to the senior teaching staff in 1929. In June 1939 he was sent to India to
relieve an examiner. Due to the outbreak of World War II in September 1939 he was forced
to remain in India, becoming a supply officer in the Indian Army. In 1945, after the
conclusion of World War II, Lovelock continued his teaching and examining in both the
Trinity College of Music and London University, where he subsequently became Dean of the
Faculty of Music from 1954-1956 (Lovelock, n.d.).
In 1956 Lovelock moved to Brisbane, Australia, after he accepted the opportunity to
become the first Director of the Queensland Conservatorium of Music. He held this position
for three years, ultimately resigning due to differences with the Queensland Department of
Education. This break from formal positions allowed Lovelock more time to pursue his
private tutoring, textbook publishing, and compositional endeavours. In 1960 Lovelock
became the chief music critic for the newspaper Courier Mail, after the death of Robert
11
Dalley-Scarlett, holding the position until his return to England in 1981. It was during the
1960s and 1970s the majority of his outputs were composed. He has completed concerti for
many orchestral instruments, including flute (1961), trombone (1965), tuba (1967) and viola
(1960), all of which have been performed with Australian Broadcasting Corporation (ABC)
symphony orchestras8 (Spearritt & Boughen, 1982).
Lovelock composed his Concerto for Trumpet and Orchestra in 1968. It was
premièred in 1969 by John Robertson, accompanied by the Sydney Symphony Orchestra and
conducted by Joseph Post. This Concerto, composed in three movements, follows a
traditional fast, slow, fast structure. It is neo-romantic in nature, combining both long and
lush melodies with technical demands and chromaticism akin to that developed in solo
trumpet music in the Paris Conservatory during the mid-twentieth century (Bebbington, 2001;
Place, 2008).
In a survey conducted by Garrett (1984), professional trumpeters were asked to list
the most significant concerti of the century. From 92 respondents Lovelock’s Concerto was
ranked number five out of a list of more than 80 concerti. Despite its success however, the
Concerto has seen a small number of performances. This is most likely due to the difficulty
of performing a work that is long, technically demanding, and requires a large range to
adequately perform. There are currently no comparisons of the recordings available, nor is
there a comprehensive guide to performance. Logan Place’s 2008 DMA “An Analysis and
Performance Guide to William Lovelock’s Concerto for Trumpet and Orchestra” features a
comprehensive analysis of the work, however his performance guide lacks depth and, in
some instances, directly contradicts the performance style heard in the current performances
of the work.
Since its première the piece has been recorded by Geoffrey Payne and the Melbourne
Symphony Orchestra in 1990, conducted by John Hopkins. The concerto has also been
recorded by Doc Severinsen with the Robert E. Lee High School Band, conducted by Charles
Forque. Despite Severinsen’s fame and ability as a trumpet player, it was decided that the
recording quality and quality of the band backing was not of high enough standard to warrant
a detailed review of the recording compared to that of Robertson and Payne.
8 Symphony Orchestras originally established by the ABC in each state of Australia
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2.4 Concerto for Trumpet and Orchestra (1996) – John Williams (1932-)
John Towner Williams is one of the world’s most widely recognised composers. He
primarily forged his reputation in Hollywood, composing film scores, including Jaws (1975),
Close Encounters of the Third Kind (1977), Star Wars Saga (1977-), Superman (1978), and
E.T. (1982). With 23 Grammy Awards, seven BAFTA Awards9, five Academy Awards10,
and four Golden Globe Awards, Williams is one of the most successful American composers
(Sullivan, 2006 & 2007; Palmer & Marks, n.d.; “Biography”, n.d.)
Williams has also composed many orchestral and chamber works. Since 1969 he has
composed fifteen concerti, including those for alto saxophone, bassoon, clarinet, flute, French
horn, harp, oboe, tuba, viola, violin, and violoncello. His concerti use many different
compositional styles and idioms, sometimes musically expressing deep personal feelings. His
first Concerto for Violin and Orchestra (1976) was composed shortly after his wife’s death.
He invokes a love of nature in The Five Sacred Trees (1993) and TreeSong for Violin and
Orchestra (2000). Williams uses quirky and humorous development in his Concerto for Viola
and Orchestra (2009), which features a marital dispute between soloist and timpani player.
He also displays elements of instrumental historical use, such as his Concerto for Horn and
Orchestra (2003) with movements that display faraway bells, a call to battle, a hunt, and a
nocturne (Winegardner, 2011).
Williams’ Concerto for Trumpet and Orchestra (1996) was commissioned by the
Cleveland Symphony Orchestra (CSO) for its Principal Trumpet, Michael Sachs. The aim
was “to create a great twentieth-century American trumpet concerto – a strong piece with
tonal framework, soaring lyricism and vibrant flair, yet accessible for both the audience and
performer” (Sachs cited in Thornton, 1997, p.18). This Concerto has three movements,
employing a traditional fast, slow, fast structure. Each movement features a different style
unique to the trumpet, as well as its traditional use. The first movement displays traditional
ceremonial and militaristic qualities, opening with a fanfare featuring both the solo and
orchestral trumpets. The lyrical side of the trumpet is displayed in the second movement,
containing jazz elements and written in a style mirroring Barber and Gershwin. The finale is a
technical display, full of energy and amazing “pyrotechnics” (Davidson, 1996).
9 British Academy of Film and Television Arts 10 Also known as Oscars
13
The Concerto for Trumpet and Orchestra premiered on the 26th of September 1996
and was, by all accounts, a resounding success (Thornton, 1997). Williams commented on
how unusual it is to have audience, critics and orchestra all enjoy a work. After the premiere
Davidson (1996, p.75) commented that trumpet players should “take note of…a significant
new work for our instrument. It is full of lyricism and technical flair, and it showcases all of
the trumpet’s capabilities.” Schneider has commented on the fact that for new works to
become successful they have to have some form of audience appeal (Garret, 1984). Despite
Williams’ name and compositional reputation, the Concerto has not gained much traction
within the profession.
The orchestration requires triple winds, thus the majority of student performances
would be without orchestral accompaniment. The piano reduction, printed by Hal Leonard, is
a copy of the one written by Williams, performed by Sachs three weeks prior to the orchestral
premiere. This concerto works well with piano accompaniment, but obviously loses effect in
areas, such as the trumpet ‘chase’ at the first movement’s conclusion and the various
differences in timbre and character of the cor anglais, flute, and trombone soloists in the
second movement (Thornton, 1997; Winegardner, 2011).
Apart from the original recording by Sachs and the CSO (which is currently not
available to the public), the work has been professionally recorded by two trumpeters: Arturo
Sandoval (2002, with the London Symphony Orchestra, conducted by Ronald Feldman) and
Jouko Harjanne (2013, Finnish Radio Symphony Orchestra, conducted by Dima
Slobodeniouk).
Born in Cuba in 1949, Sandoval’s reputation is predominately as a jazz artist. A
prolific artist, Sandoval has recorded multiple albums, showing a diverse array of styles and
receiving ten Grammy awards from nineteen nominations (Trujillo, 2007; Sandoval,
“Biography”). His Williams’ Concerto recording was the only recording released following
the premiere until 2013 and was the only rendition publicly available.
This Concerto requires a lot of endurance to perform due to its length, a low number
of rests, and melodies which are consistently in the upper register of the instrument. This is
where Sandoval shines, as the range that he possesses allows for a performance that never
falters from start to finish. His natural style, however, contains a quality of attack not often
heard in classical music. His stylistic performance is substantially different compared to the
performance by Harjanne.
14
Harjanne is a prominent Finnish trumpeter who has studied with Raimo Sarmas at the
Tampere Conservatoire and then both Henri Adelbracht and Timofei Dokshitser after
graduating. In addition to serving as alternate Principal Trumpet in the Tampere
Philharmonic Orchestra and playing in many chamber ensembles, such as Finnish Brass
Ensemble and the Brass Septet Imperial, he has made over thirty solo recordings. Through his
career Harjanne has been a leading figure in the recording of new and difficult works for the
trumpet. He is ranked among the elite class of international soloists by the professional music
press ("Jouko Harjanne", n.d.). His sound has been described as “silver-edged”, with
“exceptionally clean, soft tonguing…and rich liquid tone that is sweet rather than brazen and
never turn breathy or harsh” (Altena, 2011, p. 519; Calland, 1993, p. 54).
2.5 Summary and Conclusions
Despite the revival of the trumpet as a virtuosic instrument and a substantial number
of concerti composed for the instrument during the twentieth-century, many such works are
rarely performed. Most of these works are also under researched. The three works chosen to
analyse are: Karl Pilss’ Concerto for Trumpet and Orchestra (1934), William Lovelock’s
Concerto for Trumpet and Orchestra (1968), and John Williams’ Concerto for Trumpet and
Orchestra (1996).
The technical difficulty of these concerti creates a barrier to potential performers, both
at the professional and student levels. Adding to the difficulty is both the limited number of
recordings and lack of research regarding these concerti to aid as guides to practice and
performance. Stylistic interpretation has also been discussed, as there is large variation
between the styles of performance in the low number of recordings available for both
Lovelock and William’s concerti. The history of the composers, their individual composition
style, and knowledge of the trumpeters they composed for provides greater understanding of
the work as a whole. This analysis serves as part of my methodology by providing a
framework of the stylistic way in which to approach these concerti, along with analysis of the
specific scores, recordings and my own practice-led research.
15
Chapter 3: Methodology
In this chapter I discuss the various ways in which research was conducted through
both Music Performance Research (MPR) and Artistic Research in Music (ARiM). The
different approaches are analysed by providing both positive and negative views on these
specific research methods and the justifications for using said view in this thesis.
3.1. Music Performance Research
Music Performance Research is an umbrella term that covers musicological-based
research specifically pertaining to performance. Three main terms are used as guides to MPR:
historically informed performance, psychology and performance, and analysis and
performance (Rink, 2004). I will be conducting research pertaining to analysis and
performance.
Analysis and performance is musicological research that focusses on score analysis.
Musicological analysts seek to inform performers of the correct way in which to interpret and
perform music based on study of score structure, including harmonic progression, voice
leading, tonal structure, tempo and dynamics (Lester, 1992). Berry (1998, pp. 217-218)
states, “the purely spontaneous, unknowing, unquestionable impulse is not enough to inspire
convincing performance…in any event intuition is inadequate to solving dilemmas or
providing justification that can be articulated”.
Analysis and performance, however, is plagued by issues such as individuals who
believe their own conceptual analysis of a piece is the only way in which it can be performed
correctly. In contrast, performers understand that it is rare that a piece will have only one
successful interpretation. Analysts can therefore lead performers to a state in which they are
alienated into a limited perspective with no room for individual interpretation or versatility in
creative output. Analysts often conceptualise scores without listening to performance as a
guide to understanding, seemingly regarding the actual performance as secondary (Lester,
1992; 1995). Fortunately this view is changing, with musicologists such as Cook (2013, p. 1),
who believes, “it is only once you think of music as performance that you can start to make
sense of the scores” and Emmerson (2009, p. 109), “the work, of course is not the score…and
so one turns to performances and recordings to gain a reasonably rich “concept” of what the
work can be”.
16
My research includes analysis and performance, the focus of which is the synthesis of
varying interpretations present in recordings compared to the written score. This has led to
my own musical and artistic interpretation of the concerti. Due to the negative views based on
one interpretation as the only way to perform, I have combined this form of research with
Artistic Research in Music.
3.2. Artistic Research in Music
Artistic Research in Music encompasses research methods relating to the way
in which insight is learned through practical means. Various terminologies include: practice-
led research, practice-based research, creative research, and practice as research. Candy
(2006) states that there is a distinct difference in practice-based research to that of practice-
led research. For her, practice-based research uses the creative work as a form of research
while practice-led research focusses on the practice, advancing knowledge within, or about,
practice. However, these terms are generally used more loosely and interchangeably for any
instance of research pertaining to creative work or output (Candy, 2006; Smith & Dean,
2009).
ARiM is often criticised by musicologists and academics and not seen as research due
to its practice-based nature rather than the traditional study of literature, scores or empirical
research methods. ARiM, however, can easily be implemented into the widely accepted
definition of research: a process which generates, or increases knowledge that can be
transferred, applied, or expanded upon. Through the training and expertise of practitioners,
creative work generates detectable research outputs and the process of practic ing “can lead to
specialised research insight which can then be generalised and written up as research” (Smith
and Dean, 2009, p. 5). Harrison (2011) argues that serious examination of the creative
process of practice plays a vital role in understanding how creativeness is formed through
“convention, compromise, and negotiation” (p. 222). In this regard the definition of practice
is both traditional practice and performance, where performance is simply an extension of
practice, as “the resistive, transcendent, and transformational possibilities of music also come
into being through performance” (Leavy, 2015, p. 128).
My inclusion of ARiM-based research primarily revolves around practice-led
research. This research will focus primarily on practice methods utilised to overcome specific
technically difficult areas within the concerti and stylistic interpretation.
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3.3 Summary
The research that I have conducted combines that of MPR and ARiM. MPR has be
conducted through the compilation of recordings, both live and studio-recorded, score
analysis, and historical information relating to the composer and the original performers.
ARiM has be shown through discussion of my own personal practice and performance
techniques.
When discussing specific pitches, I have labelled them based on the written pitch of the
trumpet parts (Pilss’ concerto was written for Bb trumpet whereas both Lovelock and Williams’
were written for trumpet in C). This is the reference used:
Ex. 3.1 Pitch Classification
Due to the nature of this thesis revolving around student performances, and for ease of
viewing, most of the score analysis focuses on the piano reductions, as this will be the primary
means of performance. Musical examples of the reductions have been added to the text to aid
in the comprehension of analysis.
I have concurrently analysed the individual sections of the concerti, while giving
suggestion for performance technique and ways to overcome problematic areas. I have
analysed the interpretive variation within current recordings, comparing them to the score and
information given by the composers. I have also incorporated prior research regarding these
concerti and my own personal practice and performance in my guide to performance. In this
way the analysis of each concerto includes suggestions of ways in which to approach and
overcome problematic areas within the concerti as part of my own practice-led research.
Many of the problematic areas are due to the nature of twentieth-century composers
pushing the current limit of performance in new ways. This includes practice suggestions for
ways to approach technically challenging areas containing issues including large intervallic
leaps, dynamic extremes, range, and endurance. I have also addressed musical issues,
including the use of adaptive tone, phrasing, dynamics, and character. I have also suggested
techniques and exercises that I used to overcome these difficulties while also providing
18
information (if any) on the ways in which other performers have approached these same
problems as a performance guide.
In this chapter I discussed the positive and negative aspects of both MPR and ARiM
research methods. All aspects of both research methods discussed in this chapter are
combined in the analysis and performance guide of the three concerti by Pilss, Lovelock and
Williams in chapter four.
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Chapter 4: Analysis and Performance Guide
This chapter presents both the score and the stylistic differences apparent in
recordings for each of the three concerti: Karl Pilss’ Concerto for Trumpet and Orchestra
(1934), William Lovelock’s Concerto for Trumpet and Orchestra (1968), and John William’s
Concerto for Trumpet and Orchestra (1996). Each section is then discussed in further detail
regarding my own stylistic interpretation based on this analysis, as well as practice techniques
I have used to overcome any technically difficult areas in the music.
Each concerto has been analysed separately, and chronologically, in order to aid
readers to easily find information relating to the specific concerto that they may require.
Subheadings relating to each individual movement of the concerti have been added for
further accessibility, with a summary of the underlying themes discussed at the conclusion of
each concerto. Examples from the music also contributes to the ease of both comprehension
of analysis and finding specific sections from the concerti discussed within the paper.
4.1. Karl Pilss Concerto for Trumpet and Orchestra (1934)
In this section Karl Pilss’ Concerto for Trumpet and Orchestra is analysed. This
includes both analysis of score and the only available recording of the Concerto, performed
by Sidney Mear (1938). My own stylistic interpretation is discussed based on this analysis, as
well as ways in which to overcome technical challenges present within the Concerto.
4.1.1. First Movement
The first movement of Karl Pilss’ Concerto, Allegro Moderato, follows a traditional
sonata form, opening with a triumphant call from the accompaniment with the main theme of
the movement. This theme concludes abruptly in bar 10, with a silent pause, before the
introduction of the second theme in bar 11. This second theme is slower, softer, and has a
smoother melodic line. An accelerando leads back to the original tempo in bar 19 before the
solo trumpet entry at 26.
The trumpet opens with the first theme at a dynamic marking of piano – decidedly
different in style to the opening forte (see Ex. 4.1). The dynamic marking remains constant as
the trumpet progresses into a lyrical countermelody at bar 32. It is only with the return of the
20
main theme, and the beginning of an accelerando in bar 36, that the trumpet finally
progresses to mezzo piano. The accelerando gradually continues through until bar 41,
combined with a crescendo where the tempo reaches a new peak of 108 beats per minute
(BPM) and dynamic marking of forte. This tempo remains until a ritardando in bar 45,
resulting in a climactic finish to the opening section.
Ex. 4.1 Pilss, Concerto for Trumpet and Orchestra, First Movement, bars 26-37
In my performance I endeavour to remain consistent through this opening with both
tempo and dynamics. At the beginning of the solo it is easy to enter loudly, as has been done
previously by the accompaniment. This opening is in opposition to most trumpet concerti,
where the trumpet enters triumphantly with the main theme. I also find it important to start at
the stated tempo of 92 BPM, as this allows for an effective transition to the new tempo in bar
41 and subsequent ritardando at the conclusion of the opening. In his recording Mear
performs both the triplet quavers and semiquaver throughout the movement with a lot of
separation. This serves as a great contrast to the more lyrical sections, especially during the
opening where both sides of performance are displayed. In my recording I have followed this
style, however I lengthen the notes of the very last triplet, in bar 44, in order to provide
greater emphasis to the closing of the section, combined with both the forte and ritardando
markings (see Ex. 4.2).
Ex. 4.2 Pilss, Concerto for Trumpet and Orchestra, First Movement, bars 41-45
21
After a short interlude the trumpet returns, now marked tranquillo. The
accompaniment plays the second theme from the opening while the solo trumpet, yet again,
performs a countermelody. The section is legato, with short phrases of arpeggiated triplets -
dolce is the new expression marking. Mear adds slight rubato through this section and a
substantial rallentando to the end of bar 65 as he passes the countermelody to the
accompaniment (see Ex. 4.3).
Ex. 4.3 Pilss, Concerto for Trumpet and Orchestra, First Movement, bars 59-66
This lyrical idea is quickly forgotten as the piece changes suddenly to a codetta with a
12/8 feel with long semiquaver triplet passages. The accompaniment quickly joins in with its
own triplet semiquavers after two bars of soloist activity. Although this section is
immediately exciting and thrilling, I maintain a sense of control. The dynamic marking
begins at mezzo forte and decrescendos from there, eventually dropping to piano as the theme
shortens and dissolves. In my performance strict rhythmically accuracy is paramount through
these phrases. In my practice I have payed close attention to the varying lengths of rests
separating theses phrases, especially in bars 75 and 77 (see Ex. 4.4). Slow practice with a
metronome helped both the accuracy of my rhythm and notes through this section.
Ex. 4.4 Pilss, Concerto for Trumpet and Orchestra, First Movement, bars 72-75
22
Following this sudden excitement, the accompaniment begins the development in bar
85. Here the opening motif is played in a minor key repeated, in canon to produce a
polyphonic cacophony of sound. The solo trumpet returns with its own minor mode variation
on the opening theme, once again marked piano. Variations on preceding motifs are passed
between the soloist and accompaniment, culminating in accelerated semiquaver patterns
combining arpeggios and parts of whole tone scales.
The tenutos over the notes in bar 105 are of stark contrast to the proceeding bars (see
Ex. 4.5). Mear goes so far as to crescendo these significantly into the next bar, remaining at
this new volume. I have chosen to crescendo through these notes but not as much as Mear, in
order to save the final climax for the crescendo in bar 111 and subsequent ritardando in bar
112 into the forte ending (see Ex. 4.6). I make sure to perform this ending the same way as
the end to the opening section, in bar 45, saving the majority of the crescendo for the last
three notes. The semiquaver passages are, for me, the most difficult of the movement. I
overcame this by practicing Clarke’s (1984) second study in both minor and whole tone
variations and Vizzutti’s Second and Third Technical Studies (Vizzutti, 1990).
Ex. 4.5 Pilss, Concerto for Trumpet and Orchestra, First Movement, bars 105-106
Ex. 4.6 Pilss, Concerto for Trumpet and Orchestra, First Movement, bars 110-113
23
Following directly from this climax the codetta suddenly returns, this time originating
in the accompaniment. Note that this reprise is even softer than the original, never reaching a
higher dynamic marking than mezzo piano. As with the previous codetta, slow practice is
key, as the notes are slightly varied this time through. There are no slurs this time around,
making performance more difficult due to the awkward tempo that doesn’t naturally suit
itself to single or triple tonguing. I found both Clarke’s one-minute tonguing exercise11 and
tonguing his second study extremely helpful for this section. I also make sure to focus on
blowing consistent air, as this helps the tongue move faster through these passages.
A more rhythmic variation of the opening theme, combined with an accelerando, is
then repeated four times before a return to piu mosso in bar 129. This results in yet another
crescendo starting at piano, which culminates in the biggest climax of the movement (bars
138-139). The conclusion of the opening theme is once again apparent, although this time the
notes are marked with accents in addition to the elevated fortissimo dynamic (see Ex. 4.7).
Ex. 4.7 Pilss, Concerto for Trumpet and Orchestra, First Movement, bars 135-139
After the accompaniment re-performs the main theme the tranquillo section returns,
with the solo trumpet once again playing the countermelody to the second theme. Eventually
the intensity dies, with calando marked, paving the way for a soft, reflective muted repetition
of the opening theme, ending with a lengthy and dying concert B-flat from the trumpet. I
have used a metal straight mute as this produces the sound heard in Mear’s recording. The
pause is suddenly broken by forte triplets which herald the short coda at the bright tempo of
138 BPM. The movement abruptly ends with an exclamatory semiquaver scale up to concert
B-flat5.
11 Play semiquavers on G4 for one minute, breathing when needed. Start at a relaxed tempo and gradually increase the tempo over days or weeks.
24
4.1.2. Second Movement
The second movement, Largo - Allegretto Scherzando, begins with a chorale,
performed very slowly, with a metronome marking of 76 quavers per minute. The opening is
loud and dirge-like, originally orchestrated for brass, and interspersed with arpeggiated
melodies from the woodwind. At bar 13 the melody changes to a variation of the main theme
of the movement, now pulsed in crotchets. When the solo trumpet enters, in bar 19, the tempo
increases to a slightly faster crotchet at 46 BPM. Here the theme is played, this time in a
major key. This is a beautiful, long-phrased and calm melody. The part is marked both piano,
dolce, and decrescendos at the end of each phrase (see Ex. 4.8).
Ex. 4.8 Pilss, Concerto for Trumpet and Orchestra, Second Movement, bars 19-26
My aim is to perform each entry as delicately as possible while still maintaining good
tone throughout. I found that a soft “da” tongue was best to produce the appropriate sound.
Solid breath control is necessary to play through these long phrases. I practiced these sections
away from the trumpet by simply blowing and tonguing, as I would with the trumpet. I would
pay attention to indicated breath marks and make sure to get a big, full, and relaxed breath at
every opportunity.
There is only one crescendo through this section. This follows as the melodic line
ascends into bar 30, however this is short-lived as the marking is immediately piano again at
the beginning of the bar. This sudden return to piano coincides with the highest note of the
passage, A-flat5 - only one tone lower than the highest note of the movement (see Ex. 4.9).
This sudden calming is very important to emphasise as it makes the change in character at bar
37 more unexpected and striking.
25
Ex. 4.9 Pilss, Concerto for Trumpet and Orchestra, Second Movement, bars 27-30
The movement takes an immediate change to allegretto scherzando and the trumpet,
now muted, performs fragmented semiquaver patterns over staccato backings. In this section
I find it important to blow through the mute as it is easy to create a sound too closed off,
compounded by the piano dynamic marking. It is also important to make clear where the
crotchets are. They have tenutos on them to make sure that it is obvious that these notes
should be the opposite of the short quavers at the end of other passages - this is made very
clear in Mear’s recording (see Ex. 4.10). Some notes are difficult to distinguish due to
reproduction problems. Of note are the E-naturals in bars 42 and 57 compared to the E-flats
in bars 43 and 58.
Ex. 4.10 Pilss, Concerto for Trumpet and Orchestra, Second Movement, bars 46-54
Although not written in the score both Mear and I rallentando over bar 77. This
serves to create a calm conclusion to the section while providing a smooth transition into the
brief lyrical accompaniment which follows (see Ex. 4.11).
26
Ex. 4.11 Pilss, Concerto for Trumpet and Orchestra, Second Movement, bars 74-82
The solo trumpet interrupts the melody in a fanfare-like manner, returning to the
semiquaver passages, this time without mute and marked at mezzo forte. This leads into a
cadenza, following the same rhythmic style, gradually becoming more lyrical and calmer as a
variation on the main theme is incorporated. I make sure to take a long pause at the caesura
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after the fermata in bar 93. This serves as both calming before the change into tranquillo and
allows for a longer rest and better reset for my embouchure (see Ex. 4.12).
Ex. 4.12 Pilss, Concerto for Trumpet and Orchestra, Second Movement, bars 91-95
The main theme is once again restated by the orchestra and subsequently followed by
the solo trumpet. Mear crescendos to forte in bar 114 and I have followed this rendition as it
provides a strong ending which contrasts the actual conclusion to the movement fourteen bars
later. I also begin at a higher dynamic level at the re-entry in bar 125, performing at mezzo
piano instead of the marked piano in order to have more direction with the
calando/diminuendo over the last three bars (see Ex 4.13).
Ex. 4.13 Pilss, Concerto for Trumpet and Orchestra, Second Movement, bars 125-128
4.1.3. Third Movement
The final movement is marked Allegro and brings a joyfulness that has not been seen
previously in the Concerto. The opening theme primarily uses quaver/semiquaver rhythmic
patterns and is played within a simple concert B-flat major framework. Throughout the
movement there are constant changes between semiquavers and quaver triplets. I have found
it important for the difference to be heard but not overly stated, as the melody should flow
instead of being seemingly ‘halted’ by disjointed semiquavers. This is the only movement in
the Concerto where the trumpet enters with a forte dynamic marking (see Ex. 4.14).
28
Ex. 4.14 Pilss, Concerto for Trumpet and Orchestra, Third Movement, bars 1-8
At bar 12 the soloist finishes the theme in time for the accompaniment to pick it up.
Just as the accompaniment begins branching into a transitional melody the trumpet re-enters
with the original theme again. This entry cuts the accompaniment short, interrupting it and
seeming a little jarring. It is necessary for the soloist to have a solid grasp of the
accompaniment as the cues given are not obvious when performed (see Ex. 4.15).
Ex. 4.15 Pilss, Concerto for Trumpet and Orchestra, Third Movement, bars 20-29
Immediately following the end of this restatement, the solo trumpet heralds a fanfare
before transitioning into a sudden reduction of tempo at bar 44. This change of pace also
brings a change in sonority as the main theme is continually modulated. Although the fanfare
is marked the same dynamic as the previous section, both the change in character and the fact
that forte is restated encourages me to bring this out more than the previous melody (see Ex.
4.16).
29
Ex. 4.16 Pilss, Concerto for Trumpet and Orchestra, Third Movement, bars 36-43
Ex. 4.17 Pilss, Concerto for Trumpet and Orchestra, Third Movement, bars 48-51
The tempo change at the meno mosso is sudden and strikingly different from the
opening. I have taken great care to make sure the accelerando does not start until bar 48 and
drops to mezzo forte (the only non-forte marking of the movement so far). This results in a
frantic charge back to the original tempo and dynamic, moving from 108 BPM to 132 BPM
over the duration of eight beats (see Ex. 4.17).
The accompaniment then takes over the melody, transitioning away from the strict
march feel in bar 61. A rallentando from bar 65 allows for further transition, seeming to die
away before the solo trumpet entry at the end of bar 68 with the second theme (see Ex. 4.18).
Although now marked at piano, this new, beautiful melody soars above the accompaniment,
with long-arching phrases. Due to both the soft dynamic and its relative position in the whole
Concerto these last lyrical sections can be tough to manage. I make sure to blow freely
through these passages, connecting the notes as much as possible with my air, especially
during the larger intervals.
30
Ex. 4.18 Pilss, Concerto for Trumpet and Orchestra, Third Movement, bars 68-77
After this lyrical theme the accompaniment returns to the first theme, this time
extending it and performing as a fugue, eventually adding the fanfare motif to the mix. The
trumpet returns in bar 141 with its own modified variant of the first theme, subsequently
followed by the original first theme in the accompaniment. The fanfare motif returns to the
solo trumpet, which then flows back to meno mosso. This return of the meno mosso section is
not the same as the first time through. The F-sharps from the previous rendition have been
changed to F-naturals in bars 171-173 and bars 174-175 have been modulated up a semitone
(see Ex. 4.19).
Ex. 4.19 Pilss, Concerto for Trumpet and Orchestra, Third Movement, bars 50-53, 172-177
The second, melodic, theme is restated first by the accompaniment and then by the
solo trumpet. This time through the intensity gradually builds with repetition, increased range
and crescendos. An animando in bar 195 combined with a forte marking and subsequent run
up to C6 further the intensity before a final climax reaching up to an E-flat6 three bars later.
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There is no marking to indicate that the tempo should be once again reduced for the
restatement of the second theme, however the recording by Mear clearly slows just as the
trumpet enters, easing into the same tempo from before (108-116 BPM). This seems like the
right decision, as it is a repeat of the same section . In my performance I have used the
animando in bar 195 as an accelerando as a way in which to overcome the problem faced in
bars 196, 199, and 200 of hitting and remaining on both the high C6 and E-flat6 (see Ex.
4.20). As I accelerate, I reach the opening tempo of the movement, which means holding the
high notes for a much shorter time. This increase in tempo also helps ease the transition into
bar 203 as the tempo increase isn’t as severe, although still drastic enough to be immediately
noticed (a difference of 32 BPM).
Ex. 4.20 Pilss, Concerto for Trumpet and Orchestra, Third Movement, bars 193-204
The final flourish towards the end of the piece is electrifying. The first four bars of the
section are relatively simple to perform but the two bars following are harder due to
fingering, especially the middle triplets. This section should only be performed as fast as bars
207 and 208 can be played both clearly and accurately (see Ex. 4.21).
Ex. 4.21 Pilss, Concerto for Trumpet and Orchestra, Third Movement, bars 205-210
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The ending of Mear’s recording does not have the last three bars of the trumpet solo,
instead ending with the solo piano. I am unaware if the Concerto was changed after this
recording. Performing with this current edition gives the ending a much more memorable
flair and sense of excitement as the trumpet finishes on a climactic fortissimo concert B-flat5.
4.1.4. Summary
At twenty-five minutes this Concerto is very long compared to those often performed
by trumpeters. However, Pilss has created a work with ample rests and phrases that primarily
stay within a comfortable range. Long flowing melodies juxtaposed with fast, technical
passages give the soloist an opportunity to show off many different styles of trumpet
performance. Although difficult, the work is a lot more accessible than either of the other two
concerti performed and discussed in this thesis. This is largely due to the range and endurance
needed compared to the other concerti, but also the technique required is also of a lower
standard.
This Concerto is a significant resource as it is one of the only traditionally romantic
concerti that trumpeters can choose to perform. As the piece was written in a romantic style
and for Franz Dengler, performers should keep in mind his style of performance when
playing this Concerto. It has been noted many times throughout this analysis that there are
numerous instances where the trumpet is marked at a softer dynamic than in more common
concerti. This is attributed to the character that Pilss was trying to evoke, combined with
Dengler’s traditional Viennese playing style in mind. Performers should also be aware that
the original instrument that this Concerto was written for was a rotary trumpet. Rotaries do
not portray the natural flair that modern-day piston trumpets do. In the technically
challenging sections, the performer must remember to find the musicality rather than solely
focussing on the technical side of performance.
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4.2. William Lovelock Concerto for Trumpet and Orchestra (1968)
This section discusses my research findings regarding William Lovelock’s Concerto
for Trumpet and Orchestra. Both the score and recordings by John Robertson (1969) and
Geoff Payne (1990) are analysed. My own stylistic interpretation is discussed based on this
analysis, as well as ways in which to overcome technical challenges present within the
Concerto.
4.2.1. First Movement
The first movement of Lovelock’s Concerto, Allegro, contains all the sections of a traditional
sonata form with an additional introduction and codetta. The Concerto opens with triumphant
timpani downbeat, immediately followed by a two-bar semiquaver passage ascending in the
strings before the flute and clarinets enter with a hint of the main theme to come. This
fractured melody is passed between the woodwinds and strings several times before the
opening two bars are repeated, allowing for the heraldic arrival of the solo trumpet. With a
tempo of only 108 BPM, the marking ‘allegro’ seems misplaced. It is made clear from the
beginning, however, that although the tempo is on the slower side of allegro, the constant
semiquaver melodic line throughout most of the movement provide a ‘fast and lively’ feel.
The trumpet enters with a dynamic marking of forte, in a fanfare-like manner,
performing the full version of the melody hinted at previously in the strings and woodwinds.
Lovelock has been very clear with his desired articulation and dynamics throughout.
Staccatos are denoted on most of the notes in this main theme. Place (2008) advocates
ignoring these markings, instead of playing these notes short, he favours a “sharp tongue” (p.
34). Based on the recordings of both Robertson and Payne, however, I perform this section
with a detached style throughout, as both performers play in this style, with Robertson also
adding a harsher ‘sharp tongue’. My main concern through this passage is landing on each of
the accented notes and following all dynamic markings as closely as possible in order to
create large contrasts, such as at bar 33 (see Ex. 4.22).
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Ex. 4.22 Lovelock, Concerto for Trumpet and Orchestra, First Movement, bars 25-36
In bar 36 Payne plays with the rhythmic line by performing the G-sharp, C-sharp, and
D-sharp as a triplet pattern. This serves to create further excitement and is possibly used to
foreshadow the coming transition theme and development. Robertson’s rendition, in
comparison, stays true to the rhythm notated. I also follow the written notation as I believe
this is concluding the main theme and should remain separate to the later sections of the
movement.
The transitional section which begins at bar 41 (and returns later in the movement) is,
for me, the most difficult of the movement. Careful attention of notes and dynamic markings
is required to perform these sections. I have utilised multiple practice techniques to aid in
these difficult passages including wind patterning12, fingering without playing, slow practice,
and playing the patterns with different rhythms. I use the hairpin markings to aid in leaping
up to both the E-flat and the C in bars 42 and 50 respectively. Most of this section is centred
around a piano dynamic marking. I always make sure that I constantly drop back to this quiet
dynamic and leave my crescendos late, such as in bars 47-48 (see Ex. 4.23).
12Using the breath to play through a passage away from the trumpet, focusing on the wind pattern required.
35
Ex. 4.23 Lovelock, Concerto for Trumpet and Orchestra, First Movement, bars 41-48
At bar 54 a second transition section is introduced. This is a direct contrast to the
previous transitional section as it contains large intervallic leaps and dynamic markings
ranging from forte to fortissimo compared to the previous intervallic step-like patterns and
subdued dynamics. In this section I aim to make the contrast between the triplet semiquavers
and non-triplet semiquavers as noticeable as possible. I do this by strongly articulating each
of the first three notes of the bar and slightly crushing the triplets. I make sure, however, to
make each note speak as clearly as possible throughout (see Ex. 4.24).
Ex. 4.24 Lovelock, Concerto for Trumpet and Orchestra, First Movement, bars 54-58
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This extended transition section ends with two bars of quietening ascending triplet
runs from the solo trumpet. An abrupt change in style occurs when the clarinet enters with a
short melodic line that is quickly overshadowed by a restatement of this melody by the
trumpet. This lyrical theme is performed slower than the rest of the movement, with a
marking of poco meno mosso. Place (2008) states that, “particular attention should be paid to
the breath markings since they show the correct phrasing of the lyrical line” (p. 35). In the
recordings by Robertson and Payne, however, both performers seem to prefer to follow the
lyrical line set out by the slurs, rather than paying particular attention to the breath marks.
This is clear in Payne’s rendition when analysing how he performs bars 66 -69. Payne takes a
breath after the B-flat in bar 66, instead choosing to hold the B-flat in bar 67 (where the
breath mark is notated). He then takes a subsequent breath after the G in bar 69 (see Ex.
4.25).
Ex. 4.25 Lovelock, Concerto for Trumpet and Orchestra, First Movement, bars 66-75
While I do perform with a breath at this notated spot in the phrase, it can be difficult
to make it through the rest of the phrase with that single breath. I believe it is more important
to have a clear understanding of the phrases and to add in breaths that don’t compromise the
lyrical line. In bar 82, for example, I find it redundant to take a breath where it is marked , and
instead allow a slight pause, subsequently taking a breath in bar 84 where the passage is
repeated where no breath is indicated (see Ex. 4.26).
37
Ex. 4.26 Lovelock, Concerto for Trumpet and Orchestra, First Movement, bars 81-87
A seven-bar transition follows as the orchestra concludes the lyrical section, leading
into a sudden and explosive development of the first theme at bar 96, marked imperioso. In
both renditions by Robertson and Payne the semiquaver triplets in bars 96 and 101 are
performed as non-triplets, starting a semiquaver earlier. I have followed this rhythm in my
performance as it allows for much more clarity of notes, especially the second time through
as it reaches up to the C-sharp6. This rhythmic change also fits within the context of the
previous transition section and the slower speed allows for greater forcefulness to more easily
portray the imperious sound desired (see Ex. 4.27).
Ex. 4.27 Lovelock, Concerto for Trumpet and Orchestra, First Movement, bars 96-101
For me, the section from bars 104-112 are cheeky in nature. This passage draws upon
and extends that originally portrayed in bars 26-27. I make sure to follow the extremes in
dynamics as they are written in order to show this different nature of the movement (see Ex.
4.28)
38
Ex. 4.28 Lovelock, Concerto for Trumpet and Orchestra, First Movement, bars 106-109
The orchestra then performs a nine-bar variation on the second theme before the
trumpet returns with the recapitulation at bar 121. Unlike traditional sonata form, this
recapitulation begins with a reduced version of the second theme instead of returning to the
first theme. This time there is no ritardando marked leading into the second theme, making
the sudden change in tempo slightly jarring. This transition should therefore be rehearsed
carefully with an accompanist (or orchestra) before performance (see Ex. 4.29).
Ex. 4.29 Lovelock, Concerto for Trumpet and Orchestra, First Movement, bars 116-123
Following this, variations on both transitional melodies are performed before a
climactic leap to E-flat6 and the subsequent restatement of the original theme and codetta to
finish the movement. The E-flat6 is the highest note reached in any of the concerti covered in
39
this thesis and is required near the end of a physically taxing movement containing no
extended rest periods. To aid in performing this note I play the accent and staccato written
and slam it out, while simultaneously throwing it away as quickly as possible - I set this style
up with the triplet B and C in the preceding bar.
The restatement of the main theme is now with heightened dynamic markings. I make
sure to bring this out further, while still following the subsequent reduced dynamic markings,
as previously discussed. The final 12-bar codetta is slightly faster, marked poco piu mosso,
and delivers even more energy and excitement. In a further show of brilliance, the
semiquavers of the second transitional theme have been changed to triplets in bars 174-175 -
as they also were in the bars leading to the E-flat6. This time, however, they have been
marked fortissimo and serve to aid in the frantic conclusion of the movement, finally leaping
up to a held C6 before dropping two octaves to C4. I make sure to retain the intensity of
sound from the C6 while playing the final C4’s of the movement (see Ex. 4 .30).
Ex. 4.30 Lovelock, Concerto for Trumpet and Orchestra, First Movement, bars 174-179
4.2.2. Second Movement
The second movement, Moderato, is in the style of a folksong, likely drawn from
Lovelock’s English Heritage. The movement contains three main themes, followed by a
conclusion which encompasses fragments of each of these themes. Strings begin with an
ostinato which becomes a recurring accompaniment theme throughout the movement (see Ex.
4.31). A long and slow melody is passed between the horns, oboe and clarinet before a slight
indication of the trumpet melody to come is played in the strings.
40
Ex. 4.31 Lovelock, Concerto for Trumpet and Orchestra, Second Movement, bars 1-4
When the trumpet enters with the first theme at bar 19 the orchestra drops out
completely for a bar and a half, allowing the trumpet to creep in at the piano dynamic listed,
with a slight crescendo. This silence from the orchestra is repeated when the opening line is
again performed by the trumpet two bars later (see Ex 4.32 )
Ex. 4.32 Lovelock, Concerto for Trumpet and Orchestra, Second Movement, bars 19-24
During the second theme the trumpet enters at mezzo piano and crescendos to mezzo
forte. For me, the entire piece contains one giant overarching hairpin crescendo and
decrescendo that climaxes during the third theme. It is important that I remember this as I am
playing this first theme, making sure that my crescendos are only slight and as delicate as
possible while still maintaining a lush core sound.
41
The first theme concludes as softly as it started, allowing the clarinet to cut through
the end of the fading melody with the new theme. This melody is passed along to the oboe,
and then again to the violins where it is developed further before the trumpet restates this
second theme in its entirety. As previously stated, when the trumpet enters with this second
theme it is at one dynamic level higher, yet I endeavour to retain all the qualities strived for
during the first theme (see Ex. 4.33).
Ex. 4.33 Lovelock, Concerto for Trumpet and Orchestra, Second Movement, bars 38-46
The violins introduce the third theme before the trumpet once again plays the same
from the beginning, again extending on the melody the violins introduced. This theme, again,
starts at another dynamic level higher than the previous section – mezzo forte. As stated
earlier, this is also the theme that contains the main climax of the movement, as it soars all
the way to a fortissimo marking in bar 63. As I crescendo through this theme I make sure to
retain enough dynamic room to allow me to give a final push higher at the climax in bars 63-
64 (see Ex. 4.34).
Ex. 4.34 Lovelock, Concerto for Trumpet and Orchestra, Second Movement, bars 56-64
42
Although this section reaches to a B5 while at a fortissimo dynamic, with accent, I try
to maintain an open sound as much as I can to keep in line with the rest of the movement's
folk-like quality. After reaching this climax I make sure to pull away in both dynamic and
intensity as quickly as possible, as directed by the diminuendo molto in bar 65.
The final sections of the second movement combine fragments of the previous three
themes, while also further interweaving the melodies between soloist and orchestra. A
thorough understanding of the way in which the melody is traded through the orchestra is
required to produce a smooth and coherent performance (see Ex. 4.35). During the muted
sections I, along with both Robertson and Payne, use a cup mute to produce a more lyrical
and folk-like quality than a straight mute could produce.
43
Ex. 4.35 Lovelock, Concerto for Trumpet and Orchestra, Second Movement, bars 80-94
Throughout this movement both Robertson and Payne use a large amount of rubato.
Both performers systematically begin each phrase slower, slightly increasing in tempo as they
approach the climax. In Payne’s recording, throughout the movement, the tempo gradually
increases from as low as 55 BPM at the start, to over 70 BPM at the height of the third theme.
After this substantial increase in tempo it wanes during the following phrases, yet never
returns to the stillness of the original 55 BPM opening. Robertson’s recording, in contrast,
finishes at a substantially slower tempo than the opening. This is due, in part, to the large
amount of time taken to accommodate the numerous breath marks notated and the calando
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effect that Robertson has chosen to interpret from the final diminuendos (see Ex. 4.36). I
believe both interpretations are valid, while choosing to follow Robertson’s in my own
performance.
Ex. 4.36 Lovelock, Concerto for Trumpet and Orchestra, Second Movement, bars 102-111
4.2.3. Third Movement
The third movement, Allegro, is in rondo form with an additional introduction and
cadenza. The movement opens with strings playing short, percussive chords under a triplet
melody performed by a horn. The solo trumpet quickly enters with a 9/8, triplet version of the
first theme from the first movement. Unlike the first movement, however, this entry is
marked piano and slowly crescendos through the phrase, finally reaching forte 12 bars into
the melody, at bar 16. I make sure to enter quietly to create a greater contrast with the
crescendo to forte and to also make a point of difference when the refrain returns at a louder
dynamic later in the movement. Under the soloist’s melody the strings constantly change
between triple and duple rhythms. This can be off-putting if the soloist is not aware, or ready,
for such rhythmic cohesion (see Ex. 4.37).
45
Ex. 4.37 Lovelock, Concerto for Trumpet and Orchestra, Third Movement, bars 8-15
Although the movement is marked at 120 BPM both Robertson and Payne
substantially exceed this tempo, performing between 140-150 BPM. This increased tempo
produces a more exciting rendition, while also making endurance easier. The tempo set,
however, must not be too fast as to forgo accuracy of notes, as there are several tricky
technical passages and large intervallic leaps. Performers must be wary of all these aspects
before attempting the movement at a faster tempo than indicated.
Once again, mirroring the first movement, Lovelock suddenly drops the dynamic
levels before quickly rising again multiple times, such as from bars 14-30 (see Ex. 4.38). The
climax of this first refrain is reached in bar 29 - a variation of the same climax reached in the
first movement in bar 30. Again, as was the case in the first movement, this leads directly into
a transitional section. This short-lived transition contains fragments of melody heard in the
first theme, along with new motifs from the new theme.
46
Ex. 4.38 Lovelock, Concerto for Trumpet and Orchestra, Third Movement, bars 14-30
In bar 38 the meter changes to 3/4, with the arrival of the first episode three bars later
in the solo trumpet. This new melody is reminiscent of the first transitional theme in the first
movement – and takes place in a similar location within this movement. Once again I make
sure to follow the hairpin dynamics, using the crescendos to help reach the higher notes. As
with the first transition theme in the first movement this section is technically challenging,
especially in bars 50-53 (see Ex. 4.39). I have utilised all the same techniques for this passage
as I did with those previous passages (see page 33).
Ex. 4.39 Lovelock, Concerto for Trumpet and Orchestra, Third Movement, bars 50-55
From bar 55 the oboe begins the transition back to the refrain, with the trumpet
entering in bar 61, coinciding with a return to 9/8. This repeat of the first theme is now
47
suddenly marked forte and much more fanfare-like, with accents replacing tenutos - as it was
in the first movement. The woodwinds, and then strings, continue this theme until the trumpet
re-enters to conclude this section with a final statement marked imperiosio (see Ex. 4.40).
Ex. 4.40 Lovelock, Concerto for Trumpet and Orchestra, Third Movement, bars 61-77
At bar 83 the time signature reverts again to 3/4, coinciding with the beginning of the
second episode. This is a slower part of the movement, yet it is marked gicoso e leggieroi,
pulling away from the heaviness that was just introduced with the imperioso marking. This
episode has the feel of a waltz and draws from some of the idea presented in the second
movement. This is especially apparent when comparing bars 98-102 to the third theme of the
second movement (see Ex. 4.34). I believe it is important to remain as light as possible
through this episode. To aid in the playful, waltz-like nature, I slow down the quavers leading
into both bars 90 and 92 as Payne does in his recording (see Ex. 4.41).
Ex. 4.41 Lovelock, Concerto for Trumpet and Orchestra, Third Movement, bars 86-93
At the conclusion of the second episode the piece returns to the refrain and 9/8 feel,
once again marked forte when the trumpet enters. The final bars of this refrain change, again
48
incorporating rhythmic motifs introduced in the first movement, before reaching up to a
sustained E-flat6 and subsequent cadenza (see Ex. 4.42).
Ex. 4.42 Lovelock, Concerto for Trumpet and Orchestra, Third Movement, bars 149-154
Regarding endurance, this is the hardest part of the entire Concerto, additionally
occurring right at the end of the work. The cadenza is 47 bars in length and contains the most
consistent use of extended range in the Concerto. It also includes many technically
challenging fast rhythmic passages with numerous, large intervallic leaps. Place (2008) states
that, “The material of the cadenza is nothing Lovelock has used before in the concerto. The
cadenza is the weakest part of the piece…each brief phrase comes across as nothing more
than technical challenges” (p. 30). While I agree with this opinion, it is my assertion that this
means it is up to the performer to create musicality in this otherwise technically flashy
segment of the Concerto. Both Robertson and Payne perform this same cadenza with
different interpretations with the use of varied rubato, durations of rests between new
phrases, dynamics and articulations. Both performers deliver successful and musical
performances of the cadenza in their own unique way. Although there are not many
opportunities to do so, I find sections in the cadenza where I can take small breaks to help
reset and relax my embouchure, such as the quaver rest in example 4.43.
Ex. 4.43 Lovelock, Concerto for Trumpet and Orchestra, Third Movement, cadenza
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At the conclusion of the cadenza the violins immediately start a frantic semiquaver
passage in 2/4, marked presto. A flute takes over the melody before the trumpet repeats this
same passage. The tempo marking set is 144 BPM, however, as with the rest of the
movement, both Robertson and Payne exceed this, with Payne reaching over 160 BPM. The
piece ends in a flash of excitement as the trumpet performs a two-octave, chromatic scale
ending on a sustained C6 before falling two octaves to a C4, mirroring the end of the first
movement (see Ex. 4.30, Ex. 4.44).
Ex. 4.44 Lovelock, Concerto for Trumpet and Orchestra, Third Movement, bars 181-190
This whole section of the movement, from the lead up to the cadenza to the end of the
Concerto, is one extended display of technicality and overall trumpet mastery. To be played
effectively it requires use of both double and triple tonguing, fast finger work, soft lyrical
playing, forceful playing, and a range up to a concert E-flat6. Although made more difficult
to perform as it is placed at the end of the Concerto this also means that everything that is left
can be used on this final section of the piece. By the conclusion of the Concerto I have given
everything I can to create a successful performance - an extremely rewarding and exhilarating
experience.
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4.2.4. Summary
This Concerto is the shortest in length of the three researched in this thesis, however,
due to a lack of extended rests, long phrases and extremes in both range and dynamics, it is
one of the most difficult to endure. Numerous technically challenging passages also add to
the piece’s difficulty in both practice and performance. With careful and smart practice,
however, this can be a very rewarding piece to both learn and perform. The neo-romantic
style in which it is written provides a genre that is severely lacking within the normal trumpet
repertoire. With its recurring themes, beautiful, soaring melodies, and lively and exclamatory
passages, the piece is easy to listen to from an audience perspective. All three movements tie
together in some form, with the first and third movements drawing heavily from the same
themes and the second movement showing through their slower passages. The large rests,
slower tempo, and less range required in the second movement makes it a welcome reprise in
between the franticness of the first and third movements of the Concerto. The movement
alone can also work well in a recital situation if the whole work is too difficult to manage as
it is very accessible for most tertiary student abilities.
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4.3. John Williams Concerto for Trumpet and Orchestra (1996)
This section discusses my research findings regarding John Williams’ Concerto for Trumpet
and Orchestra. Both the score and the two available recordings by Arturo Sandoval (2002)
and Jouko Harjanne (2013) are analysed. My own stylistic interpretation is discussed based
on this analysis, as well as ways in which to overcome technical challenges present within the
Concerto.
4.3.1 First Movement
John Williams’ Concerto for Trumpet and Orchestra opens with a fanfare, militaristic
in nature, characterized by the semiquaver/dotted quaver rhythm and the Maestoso marking.
This opening precludes the accompaniment by a full bar before the entry of sustained notes
with staggered entries. Through this section the accompaniment plays simply as backing to
the herald of the trumpet fanfare. It isn’t until the repeat of the opening from the solo trumpet
in the eighth bar that the piano starts to play a more prominent role in the rhythmic function,
by continually repeating the semiquaver/dotted quaver rhythm. Williams sets the framework
for the piece, containing a myriad of large intervallic leaps and octave displacements. This is
evident in the third bar, where more than two octaves are covered, from G3 to A5 (see Ex.
4.45).
Ex. 4.45 Williams, Concerto for Trumpet and Orchestra, First Movement, bars 1-4
It is clear from the recordings of this opening that Sandoval and Harjanne perform
with very different styles, particularly regarding articulation. Sandoval performs with accents
on almost every note of the first four bars and articulates the first semiquaver in bar one as a
staccato. Harjanne comparatively opens in a much subtler manner, only placing any form of
emphasis on the notes with marcato accents over them – these notes are also played staccato.
The quintuplets in the second bar are performed by Harjanne evenly, whereas Sandoval slows
over the last three notes while emphasising them further by playing the staccatos extremely
short. As the opening section is marked marcato, in my recording I have followed the style of
52
Sandoval for the opening bar, however I perform the quintuplets in the same manner as
Harjanne in order to maintain strict adherence to the tempo, in a march-like fashion.
The opening trumpet melody is then repeated once again in bar 13, this time a third
higher than the original and offset from original meter, as note lengths have been varied from
that of the original. This opening culminates in a series of leaps from B-flat5 to F5 over three
bars, with a slight rallentando into the new section, marked risoluto (see Ex. 4.46).
Ex. 4.46 Williams, Concerto for Trumpet and Orchestra, First Movement, bars 13-24
The beginning of the risoluto immediately changes in tempo to 118 BPM. The
militaristic nature of the movement is further solidified through the continued use of the
dotted quaver/semiquaver rhythm – a reversal of the original semiquaver/dotted quaver. The
trumpet melody in this section is relatively simple rhythmically yet contains a lot of large
intervallic leaps. These leaps are difficult to ‘hear’ internally, meaning that both a solid grasp
of the sound of the intervals used and lip flexibility is required. Adding to the difficulty is that
there are two phrases that end on a sustained A5 (bars 28 and 30) followed by a sudden reset
over an octave and a half lower. The section also ends shortly after three bars of a sustained
G5, including an octave jump and a sudden drop from forte to subito piano and back to forte
again within the space of two bars (see Ex. 4.47). Between the opening and the risoluto there
are only 10 beats in which to prepare for the new section, offering little respite for the
performer (see Ex. 4.23). It is clear from these opening sections that both flexibility and
endurance play a large role in the performance of this Concerto.
53
Ex. 4.47 Williams, Concerto for Trumpet and Orchestra, First Movement, bars 25-42
As the melody is only marked mezzo forte, I let it rise out from the preceding sound,
as the accompaniment fades away over the first half of bar 25. It seems as if the harshness
and rigid formality has abated in lieu of a more melodic line. The last semiquaver in bar 26 is
marked forte, I make this as startling as possible in comparison, as the mood suddenly reverts
to the militaristic style. This whole passage seems to bounce between different ideas and
serves as a foreshadowing of what is to come throughout the rest of the movement (the legato
line in bar 35, for example, is repeated and expanded upon in bars 137-143) (see Ex. 4.48)).
Williams’ is very clear to indicate the sudden changes in character through articulation and
dynamic markings. This is one occasion where both soloists perform in a similar way
throughout, clearly stating the need for strict adherence to the score.
Ex. 4.48 Williams, Concerto for Trumpet and Orchestra, First Movement, bars 137-143
54
The solo trumpet once again resumes in bar 61 the same way as the previous section,
although this time marked forte. After two bars, however, the character changes, this time to
a more lyrical style. Cantabile is marked in the trumpet part while the orchestra has the
marking “warmly”. There are no longer any staccatos and far fewer accents marked than the
sections previous.
Throughout the movement Williams plays with meter, making distinguishing the beat
difficult for the listener. Although Williams changes the time signature to 3/4 there are
numerous bars which subvert the marking, written in a 6/8 fashion such as bars 63, 65 , and 67
(see Ex. 4.49). The solo trumpet also performs a four-over-three rhythm in bar 78. The
combination of these factors adds to the difficulty of the section, as rhythmic accuracy is
extremely important for a cohesive performance. The hidden meter makes it easy to mistake
rhythms, such as in bar 85 where Harjanne cuts the F4 short by a whole beat. To overcome
this, I have conducted extensive practice with a metronome and listened to recordings of
myself practicing the section.
Ex. 4.49 Williams, Concerto for Trumpet and Orchestra, First Movement, bars 63-72
Octave displacement are also used to an even greater degree in this section, with
examples in bars 73, 75, 77, 79, and 81 (see Ex. 4.50). This once again tests endurance and
flexibility while also making distinguishing melodic themes more difficult due its disjointed
nature.
Ex. 4.50 Williams, Concerto for Trumpet and Orchestra, First Movement, bars 73-84
55
In bar 82 the accompaniment resumes the incessant dotted quaver/semiquaver rhythm
and on cue at the end of bar 83 the trumpet answers with an octave ‘call’. Immediately the
change is apparent, with a staccato on the very first note. At the beginning of bar 86 there is a
subito piano, which paves the way for a crescendo to mezzo forte over two bars and then
another crescendo drawn out from bar 93 to a fortissimo marking at bar 97. This is the biggest
dynamic variation of the Concerto so far and continues further, as the phrase ends with a
crescendo towards the last note (see Ex. 4.51). I make sure to exaggerate the staccatos to
emphasis the return of the militaristic and march-like style of the opening. I also bring out the
ending of the section in order to make the audience aware that the current climax of the
movement has arrived.
Ex. 4.51 Williams, Concerto for Trumpet and Orchestra, First Movement, bars 86-99
After a long orchestral interlude, the trumpet re-enters similarly to the beginning of
the risoluto – the first four notes and rhythms are the same in both bars however the D, C,
and F are displaced down an octave (see Ex. 4.24). This phrase combines themes heard prior
in the movement, juxtaposing the rigidness and lyrical style over two bar phrases before
culminating back to maestoso at bar 149 which leads quickly into the cadenza at bar 154.
Both recordings make big effect of the rallentando in bar 146, however they differ in 148
with the ritardando. Harjanne accelerates slightly into the new maestoso tempo, while
Sandoval slows further. In my recording I follow the marking by Williams and Sandoval’s
recording, drawing out the final quavers of bar 148 in order to give greater emphasis to the
return of the maestoso (see Ex. 4.52).
56
Ex. 4.52 Williams, Concerto for Trumpet and Orchestra, First Movement, bars 144-151
The cadenza is marked ‘freely’, thus allowing the soloist free reign over the tempo,
style, and phrasing. The cadenza is challenging technically, with continued emphasis on large
intervallic leaps, combined with fast passages. Most of the body of the cadenza stays within
or below the staff, making it relatively easily conquered with slow practice. The ending,
however, is as taxing for endurance as it started, with a bar of B5’s interspersed by C6’s
before a final B-flat5 pause (see Ex. 4.53). It is important to practice the pacing of the
cadenza so that these last few bars remain strong. I make use of both the fermata rests and the
breath mark at the beginning to briefly take the trumpet off my lips and reset. Keeping the
dynamics subdued for as long as possible also helps with endurance through all the leaping
phrases, with the big crescendo delayed until closer to the end of the cadenza.
Ex. 4.53 Williams, Concerto for Trumpet and Orchestra, First Movement, cadenza
A brilliant transition follows, where the orchestral trumpets compete with the soloist
in a flurry of semiquaver runs over one another (see Ex. 4.54). This is the one area where
William’s has specifically stated that the piano reduction loses the original desired effect
(Thornton, 1997). I believe that, due to this fact, it is extremely important that the soloist is
able to perform this section with technical ease, as there are no other trumpets to compete
with and cover the sound.
57
Ex. 4.54 Williams, Concerto for Trumpet and Orchestra, First Movement, bars 157-165
At the conclusion of the ‘competition’ the trumpets briefly join to play the main
orchestral theme that has been a common occurrence during the soloist rests. The movement
then ends with a coda section that slowly fades away. I found counting these last seven bars
rest particularly difficult due to the offbeat rhythms in bar 173 and the change in pulse from
the semiquavers in 3/8 at bar 176 to those in 3/4 at bar 177 (see Ex. 4.55). As is the case
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throughout the whole movement it is very important to have a solid grasp of the
accompaniment at all times.
Ex. 4.55 Williams, Concerto for Trumpet and Orchestra, First Movement, bars 175-180
4.3.2. Second Movement
The first movement segues directly into the second movement, Slowly, flowing from
the tranquillity produced at the conclusion. The introduction to this movement features the
cor anglais, flute, and trombone along with the solo trumpet. In an interview with
Winegardner (2011, p. 205) Sachs stated that Williams had these partnerships in mind from
the beginning of the compositional process. The trombone was used as it is the “closest
partner in the orchestra” to the trumpet, the cor angalias was the trumpet’s partner in
Copland’s Quiet City, and finally, the flute was used because it “gives the trumpet
opportunity to show a very different quieter intimate side.”
59
This introduction contains a lot of repetition, playing off the other solo instruments
and picking up where another trails away. Bar 17 is one such example, as the trombone plays
triplets, followed immediately by the solo trumpet (see Ex. 4.56). Williams has again used a
large range of the trumpet, beginning on A3 and slowly moving through to A5 before a
sudden leap back down to G4 to finish at bar 20.
Ex. 4.56 Williams, Concerto for Trumpet and Orchestra, Second Movement, bars 17-20
Through this section Williams has once again concealed the meter, with solos often
beginning off the beat. It is extremely important for the soloist to understand the parts that are
being played around them so as not to become lost within the ambiguity of both the melodies
and harmony. This is made harder when performing with piano as, unlike an orchestra
performance, the timbre is unchanged throughout the varying instrumental solos. Regarding
this ambiguity Sandoval’s performance doesn’t exactly match the written notation. This is
especially apparent in bar 13, where he enters almost a quaver earlier than that written in the
score. He is also slightly ahead of the trombone in bar 10 where both instruments have the
same rhythm (see Ex. 4.57). This is in stark contrast to Harjanne, who performs with strict
rhythmic accuracy. This may be an effect utilised by Sandoval to further the ambiguousness
of the beat. Due to no indications by the composer to play in this style, my own performance
follows that of Harjanne with the aim of performing as rhythmically accurate as possible.
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Ex. 4.57 Williams, Concerto for Trumpet and Orchestra, Second Movement, bars 9-12
The next section, ‘tenderly’, is marked only two beats faster than the opening
‘slowly’. Here the accompaniment is reduced to a simple crotchet/minim ostinato and reduces
the dynamic to pianissimo. A slight swell before the entry of the trumpet helps introduce it as
the solo voice of the new section. The sound of the trumpet pushes through the decreasing
dynamic of the accompaniment and further crescendos for the duration of the phrase before
descending in pitch to a low F-sharp3.
The next phrase, beginning in bar 35, becomes more texturally complex as the
accompaniment, once again, plays a larger role. The soloist must be careful to clearly
distinguish between triplets, quavers and semiquavers and accurately play triplets over
quavers such as in bars 39-40. The music also swells at this point, reaching forte at the end of
the phrase and adds semiquaver/dotted quaver rhythms, reminiscent of the fanfare in the first
movement (see Ex. 4.58).
Ex. 4.58 Williams, Concerto for Trumpet and Orchestra, Second Movement, bars 38-41
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Bar 43 marks a substantial change in the movement as the accompaniment moves to a
quicker semiquaver rhythmic ostinato, with a much more dense harmonic texture. When the
trumpet re-enters in bar 47 it is with a quintuplet pattern, followed later (in bar 49) by a three-
note semiquaver pattern – both themes repeat in varying forms throughout the remainder of
the movement. I make sure to play through the quintuplet without a clear sense of pulse, as
the emphasis should be on the accent on the last beat of the bar. This is the case whenever
this pattern repeats, so it is important to set this up from the beginning to remain consistent
(see Ex. 4.59).
Ex. 4.59 Williams, Concerto for Trumpet and Orchestra, Second Movement, bars 47-52
This section ends with a soaring lyrical melody in bar 53. This is not the case in
Sandoval’s recording, however, where the bar continues with a held D5. Sachs has stated that
this version was the same as the original première, presuming that the change was made by
Williams to add greater embellishment to the music (cited in. Winegardner, 2011, p. 209). It
should be noted that a similar difference in performance is also heard later, in bar 75, where
Sandoval plays repeated D5’s instead of the cantabile line notated. If a player wishes to
perform the Concerto true to the original première, they should transcribe these bars as
performed by Sandoval – these bars are both simpler and easier in their original form. They
must also remove bars 56-63 as these were also added later (see Ex. 4.60). This extended
addition allows for further statement of the quintuplet and semiquaver motifs before the
change in style marked ‘declamatory’.
Ex. 4.60 Williams, Concerto for Trumpet and Orchestra, Second Movement, bars 53-55, 74-
75
The following run up to the D6 can be extremely taxing and difficult to execute. In
my performance, and practice, I use the G5 in bar 64 as preparation for the following run,
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mentally and physically keeping my embouchure secure until the end of the phrase (see Ex.
4.61).
Ex. 4.61 Williams, Concerto for Trumpet and Orchestra, Second Movement, bars 60-66
From bar 72 the three semiquaver/quintuplet motifs are further developed, repeating
on varying notes and intervals, occasionally in a different style such as the cantabile in bar
82. This time it is very subdued compared to the style of that previous. The other solo
instruments return throughout this section, most notably the flute. The soloist should know
the flute melody to fit with, and play against, their part – especially during the rubato from
bars 89-93 (see Ex. 4.62).
Ex. 4.62 Williams, Concerto for Trumpet and Orchestra, Second Movement, bars 86-93
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The final part of the movement returns to the “tenderly” tempo and theme before leading into
a small cadenza at bar 105. Once again, the cadenza is up to the performer to interpret, with
the only major direction from Williams as “not fast”. I perform as if calando is marked
during the last four quavers leading towards the fermata, before the sudden rise and fall in
dynamics during the next bar. The accompaniment returns for the final four bars of the piece
before dying away once more (see Ex. 4.63).
Ex. 4.63 Williams, Concerto for Trumpet and Orchestra, Second Movement, bars 105-109
Although this movement provides several opportunities for rest, its slow tempo, large
intervals, and use of prolonged, extended range makes endurance difficult. Additionally,
many of the intervals used are awkward and hard to internalise, making it easy to accidentally
play incorrect notes. Repeated listening to recordings and slow practice are important to
building solid concepts of the melodic motifs. A lot of flexibility and endurance is required.
To help prepare for performance, warmups that include Schlossberg, Bai Lin , and Arban
interval studies are extremely beneficial.
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4.3.3. Third Movement
As stated by Williams, the third movement of the Concerto, Allegro Deciso, is “a
technical showpiece with dramatic double and triple tonguing, scales arpeggios, leaps, and all
the great theatrics a great trumpeter can provide” (cited in Thornton, 1997, p. 20). The
trumpet enters with a fast passage full of meter changes and sudden explosive dynamic
variance, full of precise articulations. Williams has been exacting with all aspects of
dynamics and articulation and it is important not to overlook any of these features when
performing. Care should be taken to plan out how each segment will end regarding the
crescendos and subsequent return to piano (see Ex. 4.64).
Ex. 4.64 Williams, Concerto for Trumpet and Orchestra, Third Movement, bars 1-27
Harjanne seems to crescendo to mezzo piano in bars 19, 21, and 23 and to mezzo forte
in bar 25 – elevating one dynamic marking for each crescendo. Sandoval’s recording,
however, seems to have less structure. There is a slight change in dynamics during the
crescendos but there is no clear pattern discernible. The crescendos seem to only emanate
based on the accents in bars 19 and 21, but changes to a crescendo over the whole bar in bars
23 and 25.
Sandoval ignores the slurs at the end of bars 18, 22, 42, and 44, this may be due to
changes in editions from the première or simply a difference in interpretation. Sandoval does
however follow the tenuto markings such as in bars 38 and 41, where Harjanne does not.
Instead Harjanne chooses to play each of the quavers the same length. This is in opposition
the way he previously played the same articulation markings in bar 31.
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The next section, starting in bar 73, is for me, one of the most difficult of the entire
Concerto. It requires extremely fast finger and tonguing ability, combined with the endurance
to last more than 30 bars without break spanning over two octaves, ending on a high D6.
Again, Sandoval adds a few slurs, in bars 77 and 80, and removes a slur in both bars 79 and
100. In comparison to Sandoval’s performance Harjanne follow the articulations almost
perfectly.
Both players execute the poco meno well and the sudden change in character to a
cantabile style is immediately apparent yet not jarring. Repetitive slow practice is needed to
execute the following runs fluently. These runs are made harder to play with the fact that
none follow any normal scalic pattern, nor do they repeat themselves. They also constantly
shift between tongued and slurred, which means double-tonguing exercises from books such
as Arban and Vizzutti are helpful practice tools. Adding each of these runs, played slowly, in
warmup routines is a significant help as it makes the fingering more natural. I also practiced
the fingering with a copy of these away from the trumpet so that I would not fatigue myself
when I had to be in top condition for other practices and performances (see Ex. 4.65).
Ex. 4.65 Williams, Concerto for Trumpet and Orchestra, Third Movement, bars 82-105
66
A short orchestral interlude suddenly changes the character once more, introducing
arpeggiated legato quavers. When the solo trumpet re-emerges, it plays against these triplets
with sustained notes using duple subdivisions. Although constantly ascending, this new
melody seems dark and foreboding, acting as the opposite to the rest of the movement (see
Ex. 4.66).
Once again, the passage ends with multiple bars above the staff, mostly B’s in this
case. Even though this melody from bar 115 is disjointed by large intervallic leaps, the jumps
should be as smooth and seamless as possible. Lip flexibility is required to perform this
accurately, with the ability to move between octaves as smoothly as possible, keeping the
same tone throughout. Bai lin, Schlossberg, Stamp, and Vizzutti exercises were again great
ways for me to increase lip flexibility for this Concerto.
Ex. 4.66 Williams, Concerto for Trumpet and Orchestra, Third Movement, bars 113-120
A theme similar to the opening of the movement is then presented after a short re-
continuation of the previous section. This passage is difficult due to its varying meter and
note lengths. Looking specif ically at bars 170 and 171 it is important to hear the distinction
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between the dotted quaver/dotted quaver and the quaver/crotchet in the bar following (see Ex.
4.67).
Ex. 4.67 Williams, Concerto for Trumpet and Orchestra, Third Movement, bars 168-171
It is also easy to mistake crotchet rests with dotted crotchet rest, or simply hold a rest
too long, as is the case with Sandoval’s recording at the beginning of bar 181. Sandoval , once
again, adds a different articulation to that which is written, slurring the staccato notes in bar
161. The remainder of the section is played according to the markings by both performers.
Note that this time through Harjanne also plays every tenuto/staccato quaver pattern as
written, contrasting the way he previously performed the opening of the movement.
In bar 242 the trumpet is marked mezzo piano, a significantly large change in dynamic
from the previous forte crescendo. Where Harjanne follows this marking Sandoval does not,
continuing instead to perform at forte, not dropping back in volume until bar 244 with the
mezzo forte marking before quickly returning to forte in the following bar. The way Harjanne
performs this serves to add a greater feel of franticness to the ending of the piece and is
therefore how I also approach this section (see Ex. 4.68).
Ex. 4.68 Williams, Concerto for Trumpet and Orchestra, Third Movement, bars 239-246
Following a substantial semiquaver run to B-flat5 in bar 249, a short passage is heard
in bars 250 and 251. This is a very rare instance in the Concerto that combines both orchestra
and soloist together (see Ex. 4.69). The phrase is difficult both melodically and rhythmically,
combining large intervallic leaps and awkwardly changing rhythms. It is important to practice
these bars slowly and accurately so that when performed with accompaniment it is
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completely together. This produces a powerful phrase which adds to the overall
spectacularity of the final passages of the Concerto.
Ex. 4.69 Williams, Concerto for Trumpet and Orchestra, Third Movement, bars 249-251
The final section of this movement contains the most difficult technical passages
required in the whole Concerto. Just like in the section starting in bar 73, a lot of slow
practice is needed to adequately perform this ending. Adding to the difficulty is the factor of
endurance. Williams’ Concerto is both long and involves extended range requirements.
Compounding this is the fact that the movement allows little time for rest and ends every
section above the staff. Sachs has stated that the biggest issue facing new players of the work
is “getting into overall shape for this, but also cultivating the flexibility and nuance to
navigate the piece well musically – not just physically” (cited in Winegardner, 2011, p. 206).
4.3.4. Summary
Not only does the Concerto challenge endurance and range but Williams also forces
the player to be aware of a myriad of different aspects in order to portray a well-polished
performance of the piece. It is critical that the performer have a solid understanding of the
accompaniment to allow seamless transitions between sections and coherence of
performance. This is especially apparent during the beginning of the second and third
movements. Due to the complexity of the piano accompaniment it is not possible for a pianist
to portray every harmonic and melodic line present within the orchestral score. Williams has
been extremely clear with the use of articulation and dynamic markings. In order to produce a
rendition that complies with Williams’ composition every effort should be made by the
69
soloist to follow each piece of information displayed on the score. Further, they should have
an understanding as to why they are there and what is to be achieved in each instance.
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Chapter 5: Conclusions and Recommendations
This chapter restates the research’s relevance, the aim of the thesis, and the
conclusion to the research findings. Recommendations for future study are then discussed.
5.1 Conclusions
Since its inception, the trumpet concerto has seen numerous changes in both form and
style. Though the popularity of the instrument waned during the Romantic Era, the addition
of valves in the twentieth-century allowed for much greater virtuosity. This paved the way for
numerous new works written for the trumpet, including over 80 concerti. Despite this large
number of new concerti only a few of these works are now regularly performed. Many factors
are attributed to this, including difficulties such as range, endurance, technical difficulty,
limited rehearsal time, and a lack of available recordings.
The concerti that I have analysed and performed by Karl Pilss, William Lovelock , and
John Williams are all significant to the trumpet world. Pilss’ work is one of very few written
for trumpet in the German-Romantic Style and by a composer with ties to the great musical
figures of the era. Lovelock’s Concerto is significant as it is a highly regarded Australian
work, with extreme difficulties, particularly regarding range, endurance, and technique.
William’s Concerto was chosen due to his world-renown fame as a composer, with this work
being the only concerto composed for trumpet by a major composer since Haydn and
Hummel.
Through my analysis and performances of these concerti I have studied both score
and current available recordings by professional trumpet players as well as my own personal
practice and performance techniques, combining both MPR and ARiM. I have combined
these different facets of research to produce a performance guide for each of the three
concerti in order to aid trumpet players wishing to extend their playing into the world of the
twentieth-century concerti.
Due to the difficulties listed, it may be necessary to develop alternate practice
techniques to help overcome the challenges within these concerti. The skills learnt and
developed while performing difficult works, such as these concerti, are transferrable to other
aspects of playing, making them extremely beneficial. Due to endurance reasons these
concerti can be difficult to find adequate time to practice them while also maintaining the
71
freshness of embouchure required for other rehearsals and performances. To overcome this, I
practiced most of these concerti in small segments, with clear goals set at the beginning of
each practice session on what was to be practiced and achieved.
There were also periods of time where I found little to no time to practice these
concerti while playing other performances and preparing for auditions, this is why it is also
important to start early on pieces with both technical and endurance difficulties, as they can
be mentally practiced over a longer period of time away from the trumpet. Although difficult,
the exhilaration that comes from performing these works is a wonderful experience and the
aim of this thesis is to bring these concerti, and other twentieth-century works, to the
forefront for both professionals and students alike.
5.2 Recommendations for Future Study
With over 80 concerti composed during the twentieth-century, and only four
now regularly performed, there is a large quantity of trumpet concerti currently
underperformed. As the aim of this thesis is to bring little-known, and underperformed, works
to the forefront of trumpeter’s minds, further study of other works would be beneficial to the
trumpeting world to provide an even greater choice for performance. With a list, and basic
information, of all works composed for trumpet and orchestra in the twentieth-century,
Carnovale and Doerksen’s Twentieth Century Music for Trumpet and Orchestra (1994) is a
great resource for initial study of other contemporary works. Adding such pieces to the
standard repertoire would increase the scope of trumpet tutelage, and performance, with the
wide variety of pieces currently available yet under-performed.
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