The famous trombone concertino by violinist David. Good for college recital or concerto competition. Scored for: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings. Ferdinand David and pronounced da-VEED was one of the first romantic composers to write idiomatically for the trombone, exploring various aspects of the instruments character in a concerto format.
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Arranged by Robert Mueller. The story of the Concertino begins with Felix Mendelssohn, the world-renowned composer and conductor of the Gewandhaus Orchestra of Leipzig in the s and 40s. He was friends with Karl Traugott Queisser, a preeminent trombone soloist and a member of the. Set of performance parts. With Standard notation. Opus 4. Carl Fischer Music W Item Number: CF. W ISBN Key: Eb major. Ferdinand David The contest and recital favorite is newly engraved, edited from the original edition with extensive notes by Justin Tokke.
Heroic rhythmic gestures combined with beautiful lyrical sections.. He was friends with Karl Traugott Queisser, a preeminent trombone soloist and a member of the Gewandhaus Orchestra playing viola.
Queisser appeared many times as a soloist with the orchestra often performing concertos transcribed for trombone solo and orchestra. Mendelssohn was greatly impressed by Queissers playing and initially promised to write a concerto for the orchestra and Queisser as a trombone soloist. Given Mendelssohns busy schedule and recent marriage, however, it never came to fruition, so Mendelssohn enlisted the help of the then-young Ferdinand David, the Gewandhaus concertmaster.
David, a virtuoso violinist, had collaborated many times with Mendelssohn over their careers, most notably in when David was the premiere soloist of Mendelssohns Violin Concerto in E Major, his last major work.
While not as prolific as Mendelssohn, David was a proficient composer in his own right and composed the Concertino in for Queisser. It premiered with great success and is arguably Davids most famous work. The Concertino is structured in three continuous movements. The middle funeral march movement is flanked by two allegro sections based on the same thematic material.
It is a prime example of mid-nineteenth century romanticism in Germany. Heroic rhythmic gestures combined with beautiful lyrical sections come together in this work to allow the soloist to display a large expressive range without great technical demands. As a result, the Concertino has enjoyed great popularity with high school and college trombonists in America and abroad for generations. Combined with other pieces at the same level, such as Guilmants Morceau Symphonique, and Rimsky-Korsakovs Concerto, this piece can act as a solid foundation to trombone pedagogy and recitals alike.
After beginning with a beautiful chorale-like introduction, the piano or orchestra builds up to a fiery entrance of the trombone at letter A. The trombone plays its heroic theme in the first section. Attention should be paid to the precise rhythm and execution of each note. A lyrical section, not far removed from the operatic arias of the day, starts at letter C. The soloist should play in a tender, affectionate manner. A short scherzo-like section follows in a dramatic contrast.
Clarity is the key here, without overly humorous affect. The trills at mm. For each, the trombonist should start the note clearly in tune and slowly speed up the trill until at full speed about a beat and a half later.
This is a common expressive technique and can help with keeping the embouchure under control. It is recommended to lip-trill the F in sharp-fourth position with the G above, and then trill the F? While the trill is slower, the slide can be adjusted for each note, but once it is at full speed, the intonation of the lower note takes precedence.
In no circumstances should the trill be executed by using two adjacent positions without a lip-trill, nor is it acceptable to substitute a trigger trill, should your instrument have one. After an interlude by the piano, a recitative leads into the second movement.
The funeral march is solemn but not brooding. The trombone should play its stately theme with dignity and restraint. As the movement progresses, the expression through the phrases should escalate, culminating in climaxes on the high Cs at mm. Care should be taken on the intonation of the pedal G in m.
Also, the concluding phrase at m. The final movement is quite similar to the first, with even more heroic sections. Measure has the trombone play the theme with great force. This should be the most full-bodied tone possible, quite loud, without buzzing overtones. It is the culmination of the heros travels and should be played in a bold or even epic manner. This newly re-engraved edition by Carl Fischer is based on the original edition and incorporates various corrections throughout.
Wherever possible, articulations have been made consistent across occurrences throughout the piece. A notable example is the first entrance of the trombone: The staccato arpeggio with an accent on the first triplet was not consistently applied throughout, and this has been corrected. Various wrong accidentals have been fixed, and older rhythmic conventions such as using a dotted note over the middle of the measure have been updated to the modern standard.
Also, alternate positions for the trombone are suggested where appropriate. Importantly, measure numbers have been added throughout with continuous numbering , and the rehearsal marks from the original orchestral score have been maintained.
The Concertino is, without a doubt, a major cornerstone work in any trombonists repertoire. I hope you gain great use and enjoyment out of this edition. Customers Who Bought Concertino, Op.
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