CD Recording Trumpet & Piano

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Victor

 

George Enescu (1881 –1955), (Enesco in France), Romanian composer, violinist,

pianist, conductor, and teacher, is regarded by many as Romania's most important

musician.

Légende (1906), a solo work for trumpet and piano, was composed by Enescu as a

collaboration with influential French trumpet virtuoso Merri Jean Baptiste Franquin. The

fact that Enescu found it unnecessary to specify "chromatic trumpet" or "trumpet in C" in

the work's title (which might have been normal just a few years earlier) is seen as a

testament to Franquin's influence in promoting the versatile modern trumpet we know

today. (Shamu 2009, 1). A simple listing of the performance indications which follow

each other in the score indicates the constantly evolving character of the music: doux,

grave, hésitante, pathétique, gracieux, mouvement agité, chantant, vif, furieusement,

rêveur (Hoffmann and Raţiu 1971, 328). It is a tour de force of the expressive qualities

of an instrument just emerging from the anonymity of the orchestral ranks, eager to

embrace a new and growing soloistic repertoire.

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Trumpet Sonata (1939)

Paul Hindemith (16 November 1895 – 28 December 1963) was a prolific German

composer, violist, violinist, teacher and conductor.

The Sonata in E for Violin and Piano composed in the summer of 1935 opened a series,

completed in 1955, of a total of 26 sonatas for winds, strings, piano, organ and harp, 17

of which Hindemith had already composed by the time of his departure for the United

States in February 1940. He explained some of his motivations for composing these

works to his publisher Willy Strecker in November 1939: «You will be surprised that I

am writing sonatas for all the wind instruments. I already wanted to write a whole series

of these pieces. First of all, there's nothing decent for these instruments except for a few

classical things; although not from the present business perspective, it is meritorious

over the long term to enrich this literature. And secondly, since I myself have been so

interested in playing wind instruments, I have great pleasure in these pieces. »

The Trumpet Sonata was one of this series showcasing, in a contemporary musical idiom,

the instruments that make up the orchestral palette. Hindemith the educator eschewed

virtuosic excess in favor of accessibility. He encouraged instrumentalists to become

proficient on several different instruments. If the Trumpet Sonata and its companion

pieces come off as somewhat spare and standardised in their adherence to Hindemith's

theoretical dictums, they nonetheless comprise unmistakable profiles of the instruments

for which they are written, thanks in part to the variety of forms in which they are cast,

and especially in the unconventional final movements.

While he viewed himself as an ambassador of German culture in tours of America as a

viola and viola d’amore soloist in the ‘thirties, his unconventional and forward-looking

compositions brought him out of favor with the Nazi hierarchy in his native Germany.

He wisely emigrated to Switzerland in 1938 (in part because his wife was of partially

Jewish ancestry) and then to the United States in 1940, where his influence as a composer

and educator is still felt today.

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Ernest Bloch (July 24, 1880 – July 15, 1959) was a Swiss-born American composer.[1]

Proclamation for trumpet and orchestra (1955 Agate Beach)

Born in Geneva on July 24, 1880 to Jewish parents.[2] Bloch began playing the violin at

age 9. He began composing soon after. He studied music at the conservatory in Brussels,

where his teachers included the celebrated Belgian violinist Eugène Ysaÿe. He then

travelled around Europe, moving to Germany (where he studied composition from

1900–1901 with Iwan Knorr at the Hoch Conservatory in Frankfurt), on to Paris in 1903

and back to Geneva before settling in the United States in 1916, taking US citizenship in

1924. In 1917 Bloch became the first teacher of composition at Mannes School of

Music, a post he held for three years. In December 1920 he was appointed the first

Musical Director of the newly formed Cleveland Institute of Music, a post he held until

1925. Following this he was director of the San Francisco Conservatory of Music until

1930. He spent most of the following decade in Switzerland where he composed his

Avodath Hakodesh ("Sacred Service") before returning to the USA in 1939.[3] In 1941,

Bloch moved to the small coastal community of Agate Beach, Oregon[4], and lived there

the rest of his life. He taught and lectured at the University of California, Berkeley, until

1952.

Bloch’s Proclamation For Trumpet And Orchestra (1955 Agate Beach) followed fast

upon the completion of his Symphony For Trombone and seems a logical progression in

his exploration of the essential qualities of brass instruments through solo works. This

brief work’s (under 7 minutes) main theme is indeed a proclamation, repeated forcefully

throughout, shofar-like, and reminds us that Bloch considered his musical work an

extension of his Jewish faith.

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1947 : H 193 Intrada for C trumpet and piano

Arthur Honegger (1892 –1955), a Swiss composer, was born in France and lived a large

part of his life in Paris. He was a member of Les Six, a celebrated group of six musicians

whose collaborative output aimed to advance the avant-garde in music in much the same

way that associations of like-minded visual and literary artists of the time explored cubist

painting and surrealism in literature and theatre.

Early notoriety for Honegger came in 1923 with his programmatic Mouvement

Symphonique Pacific 231, inspired by trains, which he loved “as others love women or

horses.”. and mimicking the sounds of a steam locomotive.

His experiences in WW2, the outbreak of which found him in Paris, unable to return to

Switzerland for the duration, included participation in the French Resistance, left a dark

and lasting impression on Honegger, and is thought to have lent his work a gravity and

solemnity that contrasted with that of his Les Six colleagues. His last four symphonies

(numbers two to five) among the most powerful symphonic works of the 20th century,

were all composed between 1939 and his death.

The principal elements of Honegger's style are: Bachian counterpoint, driving rhythms,

melodic amplitude, highly coloristic harmonies, an impressionistic use of orchestral

sonorities, and a concern for formal architecture. Far from reacting against German

romanticism as the other members of Les Six did, Honegger's mature works shows its

influence.

The Intrada For Trumpet in C and Piano reflects an interest among French composers of

the late 19th and early 20th century in Spanish music as the basis for independent

chamber music forms. It opens with a cadenza for trumpet, moves to a second, chorale-

like section with a Spanish melodic flavor, then brings in an Allegretto which allows both

trumpet and piano a virtuosic display. It concludes with a short, dignified reprisal of the

solemn middle section.

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Concert Etude in G minor for trumpet and piano, Op. 49 (1948)

Alexander Fyodorovich Goedicke (1877 - 1957) was a Russian composer and pianist.

Goedicke was a professor at Moscow Conservatory. With no formal training in

composition, he studied piano at the Moscow Conservatory. Goedicke won the Anton

Rubinstein Competition in 1900. Despite his lack of traditional guidance, his

compositional efforts were rewarded when he won the Rubinstein Prize for Composition

at the young age of 23. His brief, lively Concert Etude in G Minor for Trumpet and Piano

has become a mainstay of the trumpet repertoire and features extended passages of

double-tounging and a memorable melody in rondo form.

Goedicke died at the age of 80 on 9 July 1957.

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El cant dels ocells Song of the Birds, a traditional Catalan song arranged by the

soloist Roderick Macdonald

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Pièce en forme de habanera for Violin and Piano (arranged 1921 by Catherine from

Vocalise-étude M.51)

Joseph Maurice Ravel (1875 – 1937) was a French composer, pianist and conductor.

Along with his elder contemporary Claude Debussy, he is often associated with

impressionism, although both composers rejected the term. In the 1920s and 1930s Ravel

was internationally regarded as France's greatest living composer.

Born to a music-loving family, Ravel attended France's premier music college, the Paris

Conservatoire; he was not well regarded by its conservative establishment, whose biased

treatment of him caused a scandal. After leaving the Conservatoire, Ravel found his own

way as a composer, developing a style of great clarity, incorporating elements of baroque,

neoclassicism and, in his later works, jazz. He liked to experiment with musical form.

“Pièce en forme de Habanera” was originally for Violin and Piano was later arranged

1921 by Catherine from Vocalise-étude. The trumpet and piano piece on this CD is a

version of this Vocalise or voice study.

As a slow and painstaking worker, Ravel composed fewer pieces than many of his

contemporaries. Among his works to enter the repertoire are pieces for piano, chamber

music, two piano concertos, ballet music, two operas, and eight song cycles; he wrote no

symphonies. Many of his works exist in two versions: a first, piano score and a later

orchestration.

Ravel was among the first composers to recognize the potential of recording to bring their

music to a wider public. From the 1920s, despite limited technique as a pianist or

conductor, he took part in recordings of several of his works; others were made under his

supervision.

BIO

Born outside Providence, Rhode Island, MacDonald’s career commenced in 1988 when Music Director Kurt Masur appointed him Principal Trumpet of the Leipzig Gewandhaus Orchestra, Leipzig Opera, and musically iconic St. Thomas Church, the latter an historic position held from 1723 to 1734 by renowned baroque trumpeter Gottfried Reiche under the direction of  Johann Sebastian Bach, Thomas Cantor from 1723 until his death in 1750.

Roderick’s trumpet has sounded worldwide in such highly regarded ensembles as the Japan Philharmonic, Virtuosi Saxonia, Bach Collegium Munich, Leipzig Bach Orchestra, Leipzig Chamber Orchestra, Concerto Leipzig, and the Super World Orchestra (Tokyo), as well as his own Leipzig Gewandhaus Orchestra. With a discography of over 25 recordings with the Gewandhaus Orchestra, he can also be heard on recordings with numerous other solo, chamber and orchestral albums. One of his solo albums was named "CD of the Month" by the label Naxos.

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Suggested Album Name: Trumpet Music of the 20th Century or Music for Trumpet and Piano of the 20th Century

Recorded: November 2016

Location: Juliet Rosch Recital Hall, State University of New York (Link Photo here)

Recording Engineer: Thomas Wieber

Recording Assistant: Evan Kirshen

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