continued to become more refined as a soloist. His reputation was built on his technical

Transcription

1 TOTH, SCOTT R., D.M.A. Two Transcritions or Brass Ensemble: Herman Bellstedt s La Coquette: Fantasia Carisioso and. (200) Directed by Dr. Edward S. Bach At the turn o the 20 th century, Herman Bellstedt ( ) was well-known throughout the country as a cornet soloist and erormer. Coming to the United States as an immigrant rom Germany in 167, his ather taught him to lay the cornet at a young age. Bellstedt began erorming with local bands as his talents were revealed, and he continued to become more reined as a soloist. His reutation was built on his technical skills, and he eventually began touring throughout the country with bands o increasing rominence. He erormed with some o the most restigious roessional bands in American history including those o Patrick S. Gilmore and ohn Phili Sousa, and associated with many o the most well known cornet soloists in the United States such as Herbert L. Clarke. Bellstedt s imeccable technique and imressive musical abilities brought him great success in his career, but his comositional reertoire allows his acclaim to continue. Bellstedt s legacy continues through his comositions and his creativity and exressiveness is continually evident in them. He demonstrated his musical rowess throughout his reertoire by writing ieces that audiences enoy; his works have interesting musical direction, contrasting moods, diverse harmonic color, and imressive technical eats. All o these attractive eatures make Bellstedt s cornet solos esecially oular with younger students, although many resent signiicant technical challenges that are better suited or more accomlished musicians. Two ieces in articular La Coquette: Fantasia Carisioso and exhibit the deth o

2 Bellstedt s musicianshi. Interesting musical eatures such as starkly contrasting sections and lively dance orms make these works ideal candidates or transcrition as they retain the interest o the listener throughout and inish in grand style. In this roect, La Coquette: Fantasia Carisioso and were transcribed or brass ensemble in order to add resh and unheard music to this genre s reertoire. Even the most advanced erormers will ind diicult technical challenges in them, but each one also rovides many oortunities that can be used as learning exeriences or develoing musicians, both or the soloist and ensemble layers. Because the ieces were transcribed in their original keys, the original iano accomaniment can be used or rehearsals with a soloist as rearations or ensemble accomaniment are made.

3 TWO TRANSCRIPTIONS FOR BRASS ENSEMBLE: HERMAN BELLSTEDT S LA COQUETTE: FANTASIA CAPRICCIOSO AND INTRODUCTION AND TARANTELLE by Scott R. Toth A Dissertation Submitted to the Faculty o The Graduate School at The University o North Carolina at Greensboro in Partial Fulillment o the Requirements or the Degree Doctor o Musical Arts Greensboro 200 Aroved by Committee Chair

4 APPROVAL PAGE This dissertation has been aroved by the ollowing committee o the Faculty o The Graduate School at The University o North Carolina at Greensboro. Committee Chair Committee Members Date o Accetance by Committee Date o Final Oral Examination ii

5 ACKNOWLEDGEMENTS It is with humility that I thank the members o my committee: Dr. Gregory Carroll, Mr. ack Masarie, and esecially Dr. Randy Kohlenberg, who was instrumental in the editing o this document. I am most grateul to my teacher and committee chair, Dr. Edward Bach, or his continued suort and hel through this rocess. iii

6 TABLE OF CONTENTS Page LIST OF FIGURES...v CHAPTER I. THE LIFE AND CAREER OF HERMAN BELLSTEDT...1 II. THE TRANSCRIPTIONS... III. IV. BELLSTEDT S LA COQUETTE: FANTASIA CAPRICCIOSO: TRANSCRIPTION FOR BRASS ENSEMBLE...16 BELLSTEDT S INTRODUCTION AND TARANTELLE: TRANSCRIPTION FOR BRASS ENSEMBLE...49 V. CONCLUSION: BELLSTEDT S LEGACY BIBLIOGRAPHY APPENDIX A: COPYRIGHT RELEASE FOR LA COQUETTE: FANTASIA CAPRICCIOSO APPENDIX B: COPYRIGHT RELEASE FOR INRODUCTION AND TARANTELLE iv

7 LIST OF FIGURES Page Figure 1: Herman Bellstedt ( )...2 Figure 2: Patrick S. Gilmore ( )...3 Figure 3: ohn Phili Sousa ( )...5 v

8 1 CHAPTER I THE LIFE AND CAREEER OF HERMAN BELLSTEDT The music o military wind bands has been rominent in American culture since its beginnings at Indeendence Day concerts at Boston Commons held by bandmaster Patrick S. Gilmore ( ). 1 Band music originated rom military tradition 2 and became broadly oular in the United States with maestros like ohn Phili Sousa ( ) leading virtuosos such as Herbert L. Clarke ( ) and Arthur Pryor ( ) in sold-out erormances around the country. Develoing into a unique style that was recognizable regardless o the instrumentation, band music became... an integral comonent o the American exerience. 3 Marches, the most rominent musical orm, were derived rom the bands military roots, although other orms became increasingly common in the reertoire o the American brass bands. Dance orms such as the tarantella and the cariccio grew in oularity in solo comositions. The styles associated with them evolved rom Sousa s generous use o transcritions o works by comosers like Elgar, Beethoven, Debussy, etc. 4 Eventually musicians-turned-comosers like Herman Bellstedt incororated these styles into their own ieces. These works 1 Band. The Encycloedia Americana: A Library o Universal Knowledge in Thirty Volumes. New York: The Encycloedia Americana Cororation, New York, Ruckel, ay G. Tunes o Glory: The Proud Tradition o the Military Band. Music Educators ournal, Vol. 57, No. 6. (Feb., 1971), Danner, Phyllis. ohn Phili Sousa: The Illinois Collection. Notes, 2 nd Ser., Vol. 55, No.1. (Se., 199), Mayer, Francis N. ohn Phili Sousa: His Instrumentation and Scoring. Music Educators ournal, Vol. 46, No. 3. (an., 1960),. 52.

9 2 quickly grew in oularity throughout the United States. Bellstedt was born in Bremen, Germany in 15, a contemorary o Sousa, Clarke, and many other rominent brass band erormers. Having moved to the United States in 167, Bellstedt s amily settled in Cincinnati in His ather, also a cornetist, taught his son lessons, and once in Cincinnati, the younger Bellstedt studied with Mylius Weigand. He learned quickly, and ater only a short time he had accomlished enough to erorm in ublic or the irst time on May 10, 173 at the Atlantic Garden. Following this erormance, Bellstedt was named the Boy Wonder 6 at the age o 15. His technique and ame continued to grow, and he quickly became second cornetist at the Atlantic Gardens where he eventually was romoted to irst cornet and soloist. 7 Figure 1: Herman Bellstedt ( ) 5 Schwartz, Richard I. Well-known ists (A-Be): Herman Bellstedt. htt:// 6 acobson, Sam L. Eminent Cornet Virtuosi, Past and Present. Music: An Illustrated Magazine o Art, Science, and Technic o Music. Volume XV, No. 1. Nov Ibid. Denver Municial Band Website. htt://

10 3 In 174 Bellstedt was contracted by Louis Ballenberg, the celebrated bandsman, to serve as solo cornetist with the Cincinnati Reed Band under conductor Michael Brand. He stayed with Ballenberg s band or ive years, but in 179 he moved to Manhattan Beach to become the solo cornetist with the Red Hussar Band, only to return to the Cincinnati Reed Band in 13. Bellstedt routinely toured the eastern United States with this ensemble. Some o his most successul erormances were erormed with Ballenberg s band at laces like Hotel Brighton, Coney Island, where his reutation grew. 9 Over the next twenty years, Bellstedt layed in a number o rominent bands including those led by Patrick Gilmore, ohn Phili Sousa, and Frederick Innes. Figure 2: Patrick S. Gilmore ( ) 10 9 Ibid. 10 Patrick S. Gilmore, three-quarter length ortraite, standing, acing slightly right, wearing music conductor uniorm. The Library o Congress Prints and Photograhs Division. htt://hdl.loc.gov/loc.n/msca

11 4 Perorming with Patrick S. Gilmore s band rom 19 until was one o the key exeriences o Bellstedt s career because o Gilmore s osition as the rimary ioneer o the military band style in the middle and late 19 th century. Gilmore signiicantly exanded the role and inluence o military bands by enlarging their membershis and increasing their erormance schedules to include large events. As a result, their oularity signiicantly increased, and this led to the successes o other bandmasters like Sousa. 12 Bellstedt s exerience in such a rominent band rovided ractical skills and taught him how to become a better ublic erormer. 13 The relationshi between Bellstedt and Gilmore was beneicial or both and allowed Bellstedt to gain the exerience he needed to continue to enhance his musical career. Ballenberg, Bellstedt s riend who originally enlisted him to erorm with Michael Brand, made him a new oer in 192 to collaborate in the ormation o a new band. Bellstedt was oered the osition o conductor and soloist. He acceted, and while conducting this newly created band, Bellstedt demonstrated the deth o his musical abilities as he also layed irst trumet in numerous orchestras including those conducted by Theodore Thomas ( ) conductor o the Theodore Thomas Orchestra, and later the New York Philharmonic, 14 Frank Van der Stucken ( ), the ounder o the Cincinnati Symhony, 15 and Henry Schradieck ( ), a member o the 11 Ibid. 12 Polk, Keith, et al. Band (i). Grove Music Online. Oxord Music Online. htt:// 13 Ibid. 14 Ezra, Schabas. Thomas, Theodore. Grove Music Online. Oxord Music Online. htt:// 15 Cincinnati Symhony Orchestra. The Oxord Dictionary o Music, 2 nd ed. Rev. Ed. Michael Kennedy.

12 5 aculty 16 and conductor at the Cincinnati College o Music rom 12 until Bellstedt continued to conduct and erorm with the Bellstedt-Ballenberg Band until 1904 when he oined Sousa s band to lay next to Herbert Clarke until Ater this relatively short time with Sousa, Bellstedt relaced cornet soloist Bohumir Kryl 19 in trombonist Frederick Innes ( ) band when Kryl resigned to start his own band in Bellstedt erormed with Innes throughout the United States until acceting the conducting osition o the Denver Municial Band in That osition lasted until 1912, and Bellstedt returned to Cincinnati in 1913 to become Proessor o Wind Instruments at the Cincinnati Conservatory o Music. 20 Records o the history o this eriod in Bellstedt s lie are non-existent, but it is known that he died in San Francisco on une, Figure 3: ohn Phili Sousa ( ) 21 Oxord Music Online. htt:// 16 Osborne, William. Music in Ohio. Kent, OH: Kent State University Press, Cobbett, W.W. and David Charlton. Schradieck, Henry. Grove Music Online. Oxord Music Online. htt:// 1 Ibid. 19 Keith Polk, et al. Band (i). Grove Music Online. Oxord Music Online. htt:// 20 Ibid. 21 ohn Phili Sousa, head-and-shoulders ortrait, acing slightly right. The Library o Congress Prints

13 6 Bellstedt s career was long and distinguished, and he erormed alongside many well-known musicians. Even those who wrote about him during his lie exounded uon his musicianshi, as well as his ersonality. In a ublication dated November 19, author Sam L. acobson wrote about Bellstedt: As a cornet virtuoso Bellstedt is not inatly called a king o the cornet; his technic (sic) is large and his tone is under erect control. Sousa and the late Gilmore ronounced him the greatest o all cornet virtuosi. His is the art o dee, serous study, rie exerience and devoted alication. Bellstedt immediately imresses one as a musician o broad culture and much strength. Personally he is a courteous, reined gentleman, with all that the term imlies; it is a ositive leasure to be with him. 22 Throughout literature, this ercetion is revalent. As a result, Bellstedt is recounted as one o the most amous musicians in the history o the United States, listed with other imortant musicians like Clarke and Arban. In an article requesting an increase in the comosition o literature or the baritone, Leonard Falcone ( ), amed band conductor and baritone soloist wrote: Herbert L. Clarke, Herman Bellstedt, oseh Arban, W.M. Eby, Ernest Williams, and a host o other outstanding cornetists not only have made the cornet a very oular solo instrument, but the same men have also been able to make liberal contributions to the solo literature o their chosen instrument. 23 Reerences like this lace Bellstedt in the same class as other legendary cornet virtuosi. and Photograhs Division. htt://hdl.loc.gov/loc.n/ch.3c acobson, Sam L. Eminent Cornet Virtuosi, Past and Present. Music: An Illustrated Magazine o Art, Science, and Technic o Music. Volume XV, No. 1. Nov Falcone, Leonard. An Aeal or s or Baritone Horn. Music Educators ournal. Vol. 26, No. 3. (Dec., 1939),. 3.

14 7 Although most o the details o Bellstedt s lie have been lost, a suicient amount has been written about his musicianshi and ersonality to conclude that he was an outstanding musician and a true gentleman, and this is corroborated by the records o his constant membershi in high-roile bands throughout the United States. The universal aeal and lasting interest in his works demonstrate their quality, and this will sustain their success or years to come.

15 CHAPTER II THE TRANSCRIPTIONS The goal o this roect is to rovide new and accessible brass ensemble music or college and roessional grous. Although Herman Bellstedt s music has been available as solo ieces with iano accomaniment or quite some time, transcritions o many o his cornet solos or larger ensemble are generally unavailable. His music was chosen or this roect because o its aeal to diverse audiences and its ability to be used as training material or soloists. Many erormers who lived ater Bellstedt have ound his ieces to be some o their avorite works to erorm. For examle, Del Staigers ( ), a amous cornet soloist and recording artist in the 1920s and 1930s, seemed to reer Bellstedt s solos Naoli and Princess Alice even to the oint that he chose them to be on a recording along with his own original comositions. 24 This reerence is robably due to the ability Bellstedt s ieces have to hold a listener s attention. His works rovide the audience with an emotional ride that is rarely ound in works rom this eriod, and each iece has its own character that oten is revealed in the title Bellstedt assigned. 24 O Keee, Mark. The Del Staigers Tribute Page: Cornet and Trumet Virtuoso with the Conway, Sousa and Goldman Bands. htt://

16 9 Much o the aeal o La Coquette: Fantasia Cariccioso can be revealed by a roer understanding o its title. A coquette is a woman who tries to gain the admiration and attention o men without sincerity, 25 or in other words, one who is lirtatious. The remainder o the title reveals that the comosition is intended to be light and whimsical. These adectives more ully exlain the character o the coquette as a careree lirt. Although the iece begins in a dark and ominous ashion, that mood eventually relents and a more cheerul one ensues in the exosition, bringing the Coquette to lie. A minor-keyed area returns later during the develoment, but that again surrenders to a haier recaitulation and coda which closes the iece. The eelings that accomany the listener as the music roceeds imitate the caricious character o a lirtatious girl. Similarly, the title o can reveal its own insights into the aeal o the iece. The introduction is essentially a reace to the livelier Tarantelle, which is modeled ater the eighteenth century dance style that originated in the southern Italian town o Taranto, the source o the name o the Tarantula sider. Tyically, the Tarantelle is danced by one coule that is surrounded by a circle o onlookers that articiate with ercussion instruments like tambourines or castanets. Usually written in 3/ or 6/ meter, a Tarantelle tyically accelerates throughout and oten alternates between maor and minor modes. 26 The rominence o low instruments alternating with higher trumet arts at the 25 coquette. Merriam-Webster Online Dictionary Merriam-Webster Online. htt:// 26 Schwandt, Erich. Tarantella. Grove Music Online. Oxord Music Online. htt://

17 10 beginning o the creates a heavy texture that remains throughout the Introduction. The solo enters in the same style in m. 9, eretuating the mood in this section. A dramatic change occurs when the Tarantelle begins in m. 77, and a much lighter style continues through the end o the iece, although it is intersersed with areas in the minor mode like the one beginning in m. 109 and extending until the return o the Tarantelle theme in a new key in m The alternation between the maor and minor modes corroborates the title s assertion that this iece was written to emulate the dance orm s style. This interlay between musical modes clearly reveals the ternary orm o. The introduction section is not a art o this structure er se, but it uses the same orm within itsel. It begins with a theme in the cornet solo that returns, albeit in an embellished ormat, at rehearsal B. These theme areas surround a contrasting theme in a new key (D maor) at rehearsal A, which is much more chromatic and dissonant than the original theme. The Introduction is a small work unto itsel; it introduces the Tarantelle, but is not necessary or a roer understanding o it. Following an authentic cadence that closes the Introduction, the Tarantelle begins at rehearsal letter C in B-lat maor, and in a new meter (6/). A short introduction between rehearsal letters C and D reares the soloist or the new style. The new theme is develoed in the solo, and eventually a modulation to D-lat maor at letter F allows a smoother transition to the contrasting B section. A harmonically-turbulent instrumental interlude at letter G rovides the modal contrast that tyiies a Tarantelle, but moves into the contrasting G-lat maor section at letter H which is in a dominant-

18 11 tonic relationshi to the receding D-lat maor area. The B section is slower and more deliberate in the solo art, but continues to drive rhythmically in the accomaniment. An instrumental interlude at rehearsal letter again rovides the contrasting relative minor material (E-lat minor) that inally returns to a restatement o the contrasting section s theme, but with a simler accomaniment. The Tarantelle s A section returns at rehearsal letter L in its original key, but with a heavier texture. Once the solo returns, this section is an exact reeat o the original theme and accomaniment until the short coda which inishes the iece with a lourish. The Coquette is also ternary in orm. It begins with an introduction, but it is smaller and less substantial than the Introduction in the revious iece. The beginning section is really a cadenza that allows the soloist to showcase his or her technical abilities beore the ormal iece begins at the Allegretto. It also does not modulate, staying in D- lat maor into rehearsal letter A, where the irst theme o the iece begins. This theme continues until letter B, where an instrumental interlude transitions to B-lat minor, the oening key s relative minor, to introduce the contrasting section. The second theme begins at letter C. The solo art eatures a more technical oening theme in the minor section. Once the B section is comleted it reeats, but ater the reetition a second ending transitions back to the maor mode through another instrumental interlude, only to go back to the beginning o the irst theme via a Del Segno. The irst section is reeated verbatim until letter B, where it moves to the coda, which is longer than that in the Tarantelle. Bookending the iece, the coda serves to close it where it began by showcasing the technical talents o the soloist, although it does

19 12 so through quick trilet assages and ast-changing harmonic areas rather than through the reedom o a cadenza. An exlanation o the decisions that were made during the transcrition o these ieces will aid in understanding the comleted scores better. La Coquette: Fantasia Cariccioso and were transcribed or brass ensemble strictly rom the iano accomaniment scores included in the cornet and iano editions. No evidence exists that these ieces exist in any other orm. They were transcribed rom a iano score edited by Frank Simon ( ), Bellstedt s student (and to whom La Coquette was dedicated) and are coyrighted by the Southern Music Comany. Permission to transcribe these works or brass ensemble was obtained rom the Southern Music Comany (Aendices A and B). The transcritions include the ollowing instruments: solo cornet; iccolo trumet; irst, second, and third trumets; irst and second horns; irst and second trombones; bass trombone; euhonium; and tuba. These instruments were chosen because they tyiy a modern brass ensemble and they rovide or color variations that are available as the ensemble is divided into smaller grous in an eort to retain the integrity o the original comositions with resect to color, balance, and texture. Percussion was not added in this edition to aord more accessibility to smaller ensembles or organizations that do not include a standing ercussion section. During the transcrition rocess, a conscious eort was made to treat the soloist with resect and allow the accomaniment to comliment him. Sousa himsel described the roblems associated with orchestration that could beall the unwary:

20 13 Perhas there is no orm o musical writing so little understood by the world at large on one hand, so easy to accomlish in its trite orms but so diicult to attain rom the standoint o creation and dramatic eect as that which is known as instrumentation or orchestration. There is no question in my mind that some o the masters groed at times or orchestral coloring, and unquestionably ut their notes on aer, hoing or eect, ust as the buyer o a lottery ticket hoes or the caital rize. 27 Sousa continued in this assage by exlaining that orchestration can either be beautiul or gaudy. The transcrition o these two ieces required much care to guarantee that the orchestration in them has been executed with tact. Transcribing iano accomaniment or ensemble can be aroached in any number o ways. In this roect, a concerted eort was made to ocus on interesting orchestration rather than simly recreating the correct chords beneath the solo line. No attemt was made to distribute arts evenly between the accomanying instruments simly to satisy a desire or equality in laying time; rather, grous o instruments were organized into choirs that rovide dierent timbral backdros or various sections o the iece. The choirs themselves did not remain static either, as that would be limiting, so sometimes unlikely artners have been organized into grous. For examle, at the beginning o the exosition section in La Coquette (m. 2), the accomaniment includes horn, euhonium, and tuba, because all are conical instruments that, when blended, rovide a warm sound. In other situations, however, the horns become the bass instruments rather than the sorano instruments when they are aired with the trumets as they are in the 27 Sousa, ohn Phili. A Word as to Orchestration. Music: A Monthly Magazine Devoted to the Art, Science, Technic and Literature o Music. Volume XI (Mar. 197),. 501.

21 14 develoment o (m. 229). This method o transcrition allows every instrument to have oortunities to erorm melodic lines and add to the color o each iece as a whole. Considerations other than tone color alone were made when deciding uon the makeu o instrumental choirs. In certain sections o the works, the range o the iano dictated which instrumental choir was chosen so the musical intentions o the arranger could be retained more accurately. I seciic areas o the accomaniment remained in a high range or a eriod o time, a trumet choir was most likely used. Occasionally, such as at the beginning o La Coquette, a lower range was written in the iano accomaniment, and thereore, transcribed or trombones, euhonium, and tuba. The iano score does include some elements that are diicult to translate into gestures that are idiomatic to wind instruments, but those elements have generally been simliied to make them easier or a conductor to rehearse and or the instrumentalists to lay. For examle, let-hand tremolos in the score are generally reresented by sustained notes in the wind arts, and ast right-hand areggios are slit between multile trumet arts, including iccolo, to retain the eect but make the music layable as in m. 253 o. Most brass instrument erormers study works rom this era o American music throughout their musical lives, and techniques are learned that reinorce the roer interretation and alication o style markings in them. These ieces tyiy the style o the music o their era and thereore the treatment o style markings remained consistent. For examle, dynamic markings have been translated into the transcrition ust as they

22 15 are written in the iano score since they usually reinorce the texture rather than invoke any dramatic eects. Also, articulations that are written in the iano art are dulicated in the transcritions verbatim. Music o this era was written to be layed lightly and without orce, and the articulation marks in the iano score indicate as much, thereore they were included. Every eort was made to transcribe La Coquette and Introduction and Tarantelle in a manner that is consistent with the style o the eriod, with the intentions o the comoser in mind (as determined through a roer understanding o their titles), and in a way that is accessible and useul to those who may erorm them. The diversity and character o Bellstedt s music has wide aeal both or audiences and erormers and is able to be used in a variety o erormance situations. The availability o good transcritions or larger ensembles will allow more oortunities or erormance and will hel to exose this music to greater numbers o eole. Further study o Bellstedt s music will undoubtedly reveal other works with the same aeal that would be suitable or transcrition in a similar manner.

23 16 CHAPTER III BELLSTEDT S LA COQUETTE: FANTASIA CAPRICCIOSO: TRANSCRIPTION FOR BRASS ENSEMBLE

24 17 Score La Coquette Bellstedt/Smith/Toth Cornet in Bb c Moderato maestoso q = c 96 Recit. n. #. risoluto 3 Piccolo Trumet in Bb c Ó Trumet in Bb 1 c Ó Trumet in Bb 2 c Ó Trumet in Bb 3 Horn in F 1 Horn in F 2 Trombone 1 Trombone 2 Bass Trombone Euhonium b b c c c c c c c c Ó 3 n 3 n n n n n n w w w w w w w w w w w w w w w w w w w w w w w w w w

25 1 La Coquette 6 a temo. nn#... Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 Euh. b b n.... n.. n n... n n n n n n n n n n n ^ ^ ^ ^ Ó ^ Ó ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ Ó n 3 n n Ó Ó Ó Ó Ó 3 3 n 3 3 n

26 19 La Coquette 10 quasi cadenza Recit. Ó # n n n # 3 Picc. Tt. Ó n n Bb Tt. 1 Ó Ó n n Bb Tt. 2 Ó Ó n Bb Tt. 3 Euh. b b Ó 3 ^ n 3 n n^ ^ 3 ^ 3 n^ 3 n^ ^ ^ ^ ^ n^ ^ 3 n^ 3 ^ Ó ^ ^ ^ ^ ^ ^ ^ n n n n n n n n n

27 20 La Coquette 14. n # n n # nbn # # rit.. a temo Picc. Tt. Ó Bb Tt. 1 Ó Bb Tt. 2 Ó Bb Tt. 3 n Ó b Ó b n Ó Ó n b n Ó n b Ó n b Euh. Ó n b Ó n b

28 21 La Coquette 17 Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b b Ó Ó Ó Euh. n n

29 22 La Coquette 19 n # n Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b b n Ó n Euh. n n n n

30 23 La Coquette 22 n # n # Ÿ w ~~~~~~~~~~ # n. Picc. Tt. Bb Tt. 1 Bb Tt. 2 n. n. n... n. Bb Tt. 3 b Z Ó n #. n.. n. b Z Z Z Ó Ó Ó Ó Ó n. n. F F n n.. n.. n b n Ó Euh. Z Ó n Ó Z Ó Ó n. F n. F.. n n Ó n Z Ó n F.. n n

31 24 La Coquette 26 ç A % 4 2 Allegretto con grazia q = c 10 m n.. -. Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 Euh. b b Ó ç ç ç ç ç ç ç ç ç ç ç % 4 2 % 4 2 % 4 2 % 4 2 % 4 2 % 4 2 % 4 2 % 4 2 % 4 2 % 4 2 % 4 2

32 25 La Coquette 33 a temo m n.. rit. Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b rit. a temo b rit. a temo Euh. rit. a temo rit. a temo

33 26 La Coquette 42 n.. n. Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b b n Euh. n

34 27 La Coquette 49 n. # -. Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b b Euh.

35 2 La Coquette 57 π. # oco rit.. a temo Picc. Tt. Bb Tt. 1 Bb Tt. 2 π π n # # Bb Tt. 3 b b π π π n Euh. π n n π n n

36 29 La Coquette Picc. Tt. 66 U. rit. U i a temo i B Bb Tt. 1 U i n n n Bb Tt. 2 U i Bb Tt. 3 U i b U i n b U i U i U i Euh. U U i i n U i n

37 30 La Coquette 74 Picc. Tt. n # n n.... n Bb Tt n n # Bb Tt n Bb Tt n # b n.... n n b n n.... n n n n.... n n n n Euh. n.... n n....

38 31 La Coquette 2 Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b b # # # # n n n# n n n n n n n n n# n nnb n n # n S S S S S S n n Euh. n n n n n n n n n n

39 32 La Coquette 9 Picc. Tt. Bb Tt. 1 Bb Tt. 2 S # n S S S S S S S S n n n Bb Tt. 3 b b n S n n S S S S S S S S n n n n n Euh. nn nn n n n n nn n n

40 33 La Coquette 9 oco iu lento C. n 6 n n..... n.... Picc. Tt.. Bb Tt. 1 oco iu lento. Bb Tt. 2 oco iu lento. Bb Tt. 3. b b oco iu lento oco iu lento... n n. oco iu lento. Euh.. n oco iu lento.

41 34 La Coquette 106 # # n # n # n # n# Picc. Tt. Z Bb Tt. 1 Z Bb Tt. 2 Z Bb Tt. 3 b b Z Z Z Z n Z Euh. Z Z n Z

42 35 La Coquette 112 # n # n n # n # n.... Picc. Tt. Bb Tt. 1 #. S. S Bb Tt. 2. S Bb Tt. 3. S b.. b # n n. n n... Euh. n....

43 36 La Coquette 121 n.. b.. n #. n #... # Picc. Tt. Bb Tt. 1 b. S. S Bb Tt. 2. S # Bb Tt. 3 b n. S. S n # b. S.. n n Euh..... n n n n n n n n n n n n

44 37 La Coquette 130 n #. n # n. n b n# 3 Picc. Tt. n b Bb Tt. 1 # n b Bb Tt. 2 # n Bb Tt. 3 n b n n n 3 # b n n n b 3 n 3 n n n 3 Euh. n n n n n n n n n n n n 3 n n n n 3 n n n n n n 3 n n

45 3 La Coquette Picc. Tt. 13 n b n n b # n # n #.. oco iu animato nn Bb Tt. 1 n b #. nn Bb Tt. 2 # n n b. Bb Tt. 3 b n n. b. b. n n..... Euh. n n......

46 39 La Coquette 145 Picc. Tt. nn # n # n n n Bb Tt. 1 nn # n # n n n Bb Tt. 2 Bb Tt. 3 b b Euh

47 40 La Coquette 152 Picc. Tt. n Bb Tt. 1 Bb Tt. 2 n n m # m m m Bb Tt. 3 b b... n... #. Euh

48 41 La Coquette Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 Euh. 160 b b 3 n.. subito subito subito subito subito subito subito subito subito subito subito oco a oco rall n.. n n.. rall. 3 D.S. al Coda D.S. al Coda D.S. al Coda D.S. al Coda D.S. al Coda D.S. al Coda D.S. al Coda D.S. al Coda D.S. al Coda D.S. al Coda D.S. al Coda D.S. al Coda i i i i i i i i i i i i. 3. 3

49 42 La Coquette Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b b 3 Euh.

50 43 La Coquette b..... b.... n Picc. Tt. 3 n.. 3 F 3 n 3 Bb Tt. 1 F b n b Bb Tt. 2 F n Bb Tt. 3 F b b Euh.

51 44 La Coquette 10. n... n. #. b.. #. n n nb 6 Picc. Tt Bb Tt. 1 n # Bb Tt. 2 n # Bb Tt. 3 b n b n n n Euh. n n n n n n n

52 45 La Coquette 16 n 3 3 nb #. 3 3 Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b b n n n n Euh. n n n n

53 46 La Coquette #. 3 n # # b nn n n# b bn 3 3 Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b n n b n b b # n # n n b n b Euh.

54 47 La Coquette 19 n # # b nn n n# b bn Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b n b n b b # n n b # n n b n b n b Euh.

55 4 La Coquette Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt b b. #.. #. n n # U u Ï U Ï U Ï U Ï U Ï U Ï U Ï U Ï U Ï Euh. U Ï U Ï U Ï

56 49 CHAPTER IV BELLSTEDT S INTRODUCTION AND TARANTELLE: TRANSCRIPTION FOR BRASS ENSEMBLE

57 50 Score Cornet in Bb b Moderato Maestoso 12 qk=60 Herman Bellstedt/Frank Simon Transcribed by Scott Toth Piccolo Trumet in Bb b Moderato Maestoso 12 Trumet in Bb 1 Trumet in Bb 2 Trumet in Bb 3 Horn in F 1 b b b Moderato Maestoso 12 Moderato Maestoso 12 Moderato Maestoso 12 Moderato Maestoso 12 w. w. w. w. w. w. Horn in F 2 Moderato Maestoso 12 Trombone 1 Trombone 2 Bass Trombone Euhonium b b b b b Moderato Maestoso 12 Moderato Maestoso 12 Moderato Maestoso 12 Moderato Maestoso 12 Moderato Maestoso

58 51 5 b Picc. Tt. b Bb Tt. 1 b..... Bb Tt. 2 b..... Bb Tt. 3 b b b..... Euh. b b n b n

59 52 9 b Picc. Tt. b Bb Tt. 1 b Bb Tt. 2 b Bb Tt. 3 b b. b b..... Euh. b b.....

60 53 12 b n... Picc. Tt. b Bb Tt. 1 b Bb Tt. 2 b Bb Tt. 3 b b b n.. Ó. n Euh. b b b....

61 b. F.. Picc. Tt. b Bb Tt. 1 Bb Tt. 2 b b..... Bb Tt. 3 b b... Ó.. b b... Euh. b... b... Ó...

62 55 1 b n n n n # # # # 9 rall. Picc. Tt. b n n n n # # # # 9 rall. Bb Tt. 1 b n n n n # # # # 9 rall. Bb Tt. 2 b n n n n # # # # 9 rall. Bb Tt. 3 b n n n n # # # # 9. rall.. n n n n n # # # 9. rall.... n n n n n # # # 9 b.. rall... n n n n n n# # 9 rall. b.... n n n n n n# # 9 rall. Euh. b b rall... n n n n n n# # n n n n n n# # 9 9 rall. b rall.. n n n n n n# # 9

63 56 Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 Euh. A 21 # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # Tranquillo 9 Tranquillo 9 Tranquillo 9 Tranquillo 9 Tranquillo 9 Tranquillo 9 Tranquillo 9 Tranquillo 9 Tranquillo 9 Tranquillo Tranquillo 9 Tranquillo 9. qk= F F F. F. F. F F F F F F F..... n n....

64 57 25 # # # # # n Picc. Tt. # # # #..... Bb Tt. 1 # # # # Bb Tt. 2 # # # # Bb Tt. 3 # # # # # # #..... n # # # # # # # # #.... Euh. # #.... # #....

65 5 29 # # # # # n. Picc. Tt. # # # #.... Bb Tt. 1 # # # #.... Bb Tt. 2 # # # #.. n.. Bb Tt. 3 # # # #.... # # # # # # # # n..... # # # # Euh. # # # #

66 59 33 # # # # n.... n... Picc. Tt. # # # #.. Bb Tt. 1 # # # #. Bb Tt. 2 # # # #. Bb Tt. 3 # # # #. # # # # # # # # # # #.. b..... # n. b n b. Euh. # # # # # #

67 60 3 # # # #.. B Picc. Tt. # # # # Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 # # # # # # # # # # # # # # # # # # # # # # n.. b.. n..... Euh. # # # # b.. n. b..... # #.... b....

68 61 Picc. Tt. Bb Tt. 1 Bb Tt # # # # # # # # # # # # # # # # b... #. b.. b. b n n n n n n n n n n n n n n n n qk= n. Bb Tt. 3 # # # # # # # # # # # # # # n # #. b. n... n n n n n n n n n n n n b n n b Euh. # # # #..... b.. b. n n b n n b # #... b. n n b 12 Ó...

69 62 45 b n.... n Picc. Tt. b Bb Tt. 1 b Bb Tt. 2 b Bb Tt. 3 b b.. b b Euh. b.. n. b..

70 b allargando U. a temo n n. nn Picc. Tt. b Bb Tt. 1 b Bb Tt. 2 b Bb Tt. 3 b b U allargando U allargando U allargando a temo.. a temo.. a temo.. b b Euh. b b U allargando U a temo.. a temo..

71 64 49 b. nn Picc. Tt. b... Bb Tt. 1 b.. Bb Tt. 2 b.. Bb Tt. 3 b... w w... b. w... b b Euh. b. w b. w

72 65 53 b C n n n n Allegro vivo 6 qk=14 Picc. Tt. b.. n n n n Allegro vivo 6 Bb Tt. 1 b.. n n n n Allegro vivo 6 Bb Tt. 2 b.. n n n n Allegro vivo 6 Bb Tt. 3 b.. n n n n Allegro vivo 6.. n n n n b Allegro vivo 6.. n n n n b Allegro vivo 6 b b.. n n n n 6 n n n n 6 Allegro vivo Allegro vivo.. Euh. b b.. Allegro vivo n n n n 6 Allegro vivo n n n n 6 b.. n n n n Allegro vivo 6

73 66 5 Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b b F Euh. F F

74 67 65 Picc. Tt. Bb Tt Bb Tt. 2 Bb Tt. 3 b b b n b Euh. b b

75 6 Picc. Tt. Bb Tt D Bb Tt. 2 Bb Tt. 3 b b Euh.

76 Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b n n b # #.. P Euh. P

77 70 6 b.... b.. n. Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b Divisi b. b.. n.. b... Euh.

78 # # Picc. Tt. Bb Tt. 1 # Bb Tt. 2 Bb Tt. 3 b n # b # #.. Euh.

79 72 9 # # #. # n Picc. Tt. Bb Tt. 1 # # Bb Tt. 2 Bb Tt. 3 # b n..... b.... Euh...

80 73 Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 Euh. 104 b b b. b... b.. b # # # # # #..... n..... n. E b. l b b.. b.

81 Picc. Tt. Bb Tt. 1 b. b Bb Tt. 2. b b Bb Tt. 3 b b b.. b. b Euh. b.. b b. b b.. b b... b..

82 Picc. Tt. Bb Tt. 1 b b. b b b Bb Tt. 2 b b. Bb Tt. 3 b..... b. b... b. b.. b. b.. b b... b.. b b b... b.. b b Euh. b b. b b b b b

83 Picc. Tt. b b. b. b b Bb Tt. 1 b. Bb Tt. 2 b Bb Tt. 3 b b b b b b b b n Euh. b. n

84 b b # b b Picc. Tt. b. b b Bb Tt. 1 # Bb Tt. 2 b b b Bb Tt. 3 b b b b n b b Euh. n

85 7 136 b b # b b F b Picc. Tt. b Bb Tt. 1 # b. b Bb Tt. 2 b b b b.. b Bb Tt. 3 b n b. n. b b b b b. b. b.. Euh... b b. b. b.. b.

86 Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b n n b n n Euh.

87 b.... b.. Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b b... b.... n. b Euh.

88 Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b Divisi n b.. n Euh...

89 n n n # n. n.. Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b n b # n n # n Euh.. n.

90 3 Picc. Tt. Bb Tt b.. nn n n.. ç. ç Bb Tt. 2 Bb Tt. 3 n. ç. ç b b. ç. ç. ç. ç Euh b.. ç. ç. ç

91 4 173 G 4 2 q = 144 Picc. Tt. Bb Tt. 1 Bb Tt nb nb n# # n # # n n n # # n Bb Tt b 4 2 b n # n n # n n # n Euh

92 5 10 Picc. Tt. nb n Bb Tt. 1 # # n n nb n.. n l. n l. b.. Bb Tt. 2 Bb Tt. 3 b b n # n # n n n n n n Euh.

93 6 1 n n n 6 oco rallentando Picc. Tt. n n n 6 oco rallentando Bb Tt. 1.. b b oco rallentando b b b n n n 6 Bb Tt. 2 n n n 6 oco rallentando Bb Tt. 3 n n n 6 oco rallentando b n n n n 6 oco rallentando b n n n n 6 oco rallentando n n n n n b 6 oco rallentando b b b oco rallentando b b n n n n n b 6 Euh. b b oco rallentando b b b n n n n n b n n n n n b 6 6 oco rallentando n n n n n b 6 oco rallentando

94 7 H+K 197 b q. = c b.. Picc. Tt. b 6 Bb Tt. 1 b 6 Bb Tt. 2 b 6 Bb Tt. 3 b b 6 b 6 b 6 Euh. b 6 b b 6

95 203 b b. b. b Picc. Tt. b Bb Tt. 1 b Bb Tt. 2 b Bb Tt. 3 b b b b Euh. b b b b b b

96 9 209 b Picc. Tt. b Bb Tt. 1 b Bb Tt. 2 b Bb Tt. 3 b b b b Euh. b b b b

97 b b..... n 4 Picc. Tt. b Bb Tt. 1 b Bb Tt. 2 b. b. b Bb Tt. 3 b b b b. n. Euh. b b b b b n b b. n.

98 b 4 n b 4 b 4 Picc. Tt. b Bb Tt. 1 b Bb Tt. 2 b Bb Tt. 3 b b b b b b b Euh. b b. n b. n

99 b Picc. Tt. Bb Tt. 1 b b Bb Tt. 2 b b n b Bb Tt. 3 b b b n b b b Euh. b b

100 b Picc. Tt. b. b.. n n b. Bb Tt. 1 b Bb Tt. 2 b n n Bb Tt. 3 b n n b n. b.. b. b b Euh. b b

101 b Picc. Tt. b. n n Bb Tt. 1 b Bb Tt. 2 b n n n Bb Tt. 3 b b. b.. b. b Euh. b b.. b.. b b

102 95 Picc. Tt. Bb Tt b b b rall. rall. rall Bb Tt. 2 b n n n n n b rall. Bb Tt. 3 b rall. b n n n n b rall. rall. b. b b b. rall... b rall. Euh. b b. b b b. rall. rall... b. b b b. rall...

103 96 b b b. Picc. Tt. b b Bb Tt. 1 b b Bb Tt. 2 b Bb Tt. 3 b b b b Euh. b b

104 b.... b. 3 b Picc. Tt. b b. 4 b. 4 b. 4 b Bb Tt. 1 b 4 4 b 4 b 4 b 4 b Bb Tt. 2 b Bb Tt. 3 b b b b Euh. b b

105 9 265 b Picc. Tt. b b. b Bb Tt. 1 b b 4 b 4 4 Bb Tt. 2 b Bb Tt. 3 b b b b Euh. b b

106 b b..... Picc. Tt. b b. 4 b b Bb Tt. 1 b b 4 b b Bb Tt. 2 b Bb Tt. 3 b b b b Euh. b b

107 b n 4 4 n b 4 b 4 Picc. Tt. b F Bb Tt. 1 b P Bb Tt. 2 b Bb Tt. 3 b b b b b P P b F b b. n.. n Euh. b.. P b. n.. n

108 b L n n n n Allegro con brio Picc. Tt. b n n n n Allegro con brio Bb Tt. 1 b n n n n Allegro con brio Bb Tt. 2 b n n n n Allegro con brio Bb Tt. 3 b n n n n Allegro con brio n n n n nb Allegro con brio b n n n n nb n n n n n n Allegro con brio Allegro con brio b n n n n n n Allegro con brio Euh. b b n n n n n n F n n n n n n Allegro con brio Allegro con brio b Allegro con brio n n n n n n F ÿ

109 Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b n n b b.. b.. n F # n # molto Euh. n # n # molto b.. b.. b n b n. b.. b. b n

110 Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b n n b b.. b.. Euh. b n b n b.. b.. b n b n b n b n n b n. b.. b. b n b n

111 Picc. Tt. Bb Tt. 1.. b.. Bb Tt. 2.. b.. Bb Tt. 3 b.. b.. b Euh. b n b #.. b.... b..

112 M Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b b # # # n n # Euh. n

113 b.. Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b n b #... b. Euh.

114 b.. n.. Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b Divisi b... b..... Euh.

115 # # # Picc. Tt. Bb Tt. 1 # # Bb Tt. 2 Bb Tt. 3 b n # b # # Euh.

116 # #. # b.. Picc. Tt. Bb Tt. 1 # Bb Tt. 2 Bb Tt. 3 b # n b. b b Euh..... b

117 110 Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 Euh. 341 b b # # # # # # n n. ç. ç. ç. ç. ç. ç. ç. ç. ç. ç. ç O b. b b.. b.... b... ç b..

118 Picc. Tt. Bb Tt. 1 b. b b Bb Tt. 2. b b b Bb Tt. 3 b b b b b. b.... b b..... Euh. b b. b b.. b b b. b.. b

119 Picc. Tt. b Bb Tt. 1 b. b b b b. Bb Tt. 2 Bb Tt. 3 b... b. b... ß ß ß... b. b b.. b.. b. b b ß b b..... b.. b b ß Euh. b. b b ß b b b. b ß

120 Picc. Tt. b. b. b b b. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b b b b b b n b Euh. n

121 b b # b b b Picc. Tt. b b Bb Tt. 1 # Bb Tt. 2 b b b b Bb Tt. 3 b b b b n b Euh. n

122 b # b b O b Picc. Tt. b Bb Tt. 1 # b. b Bb Tt. 2 b b b.. b Bb Tt. 3 b.. b b b b b b. b. b.. Euh... b b. b.. b. b.

123 Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b n n b n n Euh.

124 b.. b.... b... Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b Divisi b... b.... n. b. Euh..

125 Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b n n b. n Euh..

126 n n n # n. Coda n n n b # b Picc. Tt. Coda n n n Bb Tt. 1 Coda n n n Bb Tt. 2 Coda n n n Bb Tt. 3 Coda n n n b Coda n n n b b. b. b # Coda n n n b.. n n # n Coda n n n Coda n n n n Euh. Coda n n n Coda n n n n Coda n n n n

127 b b b b # b b b b 4 2 Picc. Tt. 4 2 Bb Tt Bb Tt Bb Tt b b. b. b. b. b. b. 4 2 b b n b b n b 4 2 Euh. 4 2 b n b 4 2

128 Picc. Tt. Bb Tt. 1 Bb Tt Bb Tt b 4 2 b Euh

129 122 Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt b # # 6 6 Piu vivo Piu vivo Piu vivo 6 Piu vivo 6 Piu vivo qk=192 6 Piu vivo 6 b Piu vivo 6 Piu vivo 6 Euh. Piu vivo 6 Piu vivo 6 Piu vivo 6 6 Piu vivo

130 Picc. Tt. Bb Tt. 1 Bb Tt. 2 Bb Tt. 3 b b Euh.

131 124 CHAPTER V CONCLUSION: BELLSTEDT S LEGACY Herman Bellstedt led a restigious and interesting musical lie, beginning as a young child. Once his amily settled in Cincinnati, he took cornet lessons rom his ather, also a cornetist, and with other local teachers. His mentors noticed his unique talents and heled him to develo his abilities, encouraging him to begin erorming as a soloist and section layer in local ensembles such as the Cincinnati Reed Band. Bellstedt s career blossomed and other oortunities waited, eventually leading him to tour throughout the country with oular bands like those led by Sousa and Innes. He co-ounded and conducted bands with Michael Brand and with Innes in Denver, inally settling back in Cincinnati to teach at the Cincinnati Conservatory a decade beore his death in Bellstedt s understanding o cornet technique is imeccable; his erormance abilities served him well in his comositional abilities. The solos that he comosed exude a dee understanding o the idiomatic tendencies o the instrument and allow gited and young layers alike to lay imressive assages with relative ease. For examle, the Coda in begins with very interesting and multistringed melodic elements in the solo; however, this assage is relatively simle or an exerienced layer desite the ercetion o diiculty because the key in which it is written does not require the use o the layer s third inger. The ollowing section

132 125 introduces an additional level o comlexity with the addition o double-tonguing, but is actually a scale study that is similar to one ound in a technique book by Arban or Clarke. In this manner, Bellstedt used technical studies that are commonly taught to all ages o trumeters and cornetists as comositional elements in his works (although in varying levels o diiculty), making them aroachable by layers with a variety o abilities. Even i these comositional elements did not exist in the solo arts, Bellstedt s music is unique and interesting and embodies the traditions that made masters such as Clarke and Pryor great while retaining a unique ersonality o its own. His ersonal lie and musical exerience in nationally-known ensembles had an obvious eect on the ocus o his comositions, evidenced in his lingering enoyment and rolieration o dance orms and roclivity to write ieces that are musical character studies, such as La Coquette. The character that is resent in La Coquette and engages audiences and kees erormances interesting, aealing to a wide range o concertgoers. Bellstedt s ieces are even more engaging when they exloit the dierent timbres and articulations that brass instruments can rovide, which allows or an additional level o interest. s by masters like Clarke and Pryor are very well-known and are still routinely erormed throughout the United States, but an increase in variety in this reertoire, esecially with brass ensemble accomaniment, is long overdue. Some o Bellstedt s solos such as the amous Naoli and Princess Alice 2 have been erormed by soloists 2 O Keee, Mark. The Del Staigers Tribute Page: Cornet and Trumet Virtuoso with the Conway, Sousa and Goldman Bands. htt://

133 126 with band accomaniment or years, but some o his lesser-known ieces such as American Boy and Betty Lee deserve to have more visibility in the modern world because o their interesting comositional characteristics. Transcribing them or brass ensemble would hel to rovide that visibility. Additional transcritions can give students an oortunity to lay historically and musically interesting ieces rom a great age in traditional American music. La Coquette and exemliy Bellstedt s comositional rowess and give erormers a chance to showcase their techniques and virtuosity while exhibiting remarkable musicianshi. Bellstedt s music has roven itsel to be interesting, creative, and longstanding, and it will continue to delight audiences well into the uture. His unaralleled erorming abilities silled over into his comositions, roviding soloists with ieces that are both challenging and ulilling. Transcritions like La Coquette and Introduction and Tarantelle will hel Bellstedt s music to continue to be erormed, and will introduce audiences to Bellstedt s character and intrigue or years to come.

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