University o Ioa Ioa Research Online Theses and Dissertations Spring 2011 Liy Larsen's Concerto or Trumpet and Orchestra: an overvie and reduction o the orchestral score or trumpet and piano oshua Ketring Thompson University o Ioa Copyright 2011 oshua Keith Thompson This dissertation is availale at Ioa Research Online: http://iruioaedu/etd/1093 Recommended Citation Thompson, oshua Ketring "Liy Larsen's Concerto or Trumpet and Orchestra: an overvie and reduction o the orchestral score or trumpet and piano" DMA (Doctor o Musical Arts) thesis, University o Ioa, 2011 http://iruioaedu/etd/1093 ollo this and additional orks at: http://iruioaedu/etd Part o the Music Commons
LIBBY LARSEN S CONCERTO OR TRUMPET AND ORCHESTRA: AN OVERVIEW AND REDUCTION O THE ORCHESTRAL SCORE OR TRUMPET AND PIANO y oshua Keith Ketring Thompson An Astract O a thesis sumitted in partial ulillment o the requirements or the Doctor o Musical Arts degree in the Graduate College o The University o Ioa May 2011 Thesis Supervisor: Proessor Amy Schendel
1 ABSTRACT Liy Larsen s Concerto or Trumpet and Orchestra as commissioned y Daniel Culver and the Quad City Youth Orchestra, in celeration o its 30 th anniversary It as ritten in 197 and premiered on May, 19 Daniel Culver conducted the Quad City Youth Orchestra and David Greenhoe as the trumpet soloist Despite Liy Larsen s ongoing success as a composer, the premiere perormance is the only time the concerto has een perormed and it has since remained virtually-unknon to the pulic This proect serves as a ay in hich to reintroduce Liy Larsen s Trumpet Concerto to the trumpet, orchestral and academic communities y ay o providing an historical account o the commission proect; shoing insight into the composer s inspiration or the ork; and providing a reduction o the orchestral score or trumpet and piano Astract Approved: Thesis Supervisor Title and Department Date
LIBBY LARSEN S CONCERTO OR TRUMPET AND ORCHESTRA: AN OVERVIEW AND REDUCTION O THE ORCHESTRAL SCORE OR TRUMPET AND PIANO y oshua Keith Ketring Thompson A thesis sumitted in partial ulillment o the requirements or the Doctor o Musical Arts degree in the Graduate College o The University o Ioa May 2011 Thesis Supervisor: Proessor Amy Schendel
Copyright y OSHUA KEITH KETRING THOMPSON 2011 All Rights Reserved
Graduate College The University o Ioa Ioa City, Ioa CERTIICATE O APPROVAL DMA THESIS This is to certiy that the DMA thesis o oshua Keith Ketring Thompson has een approved y the Examining Committee or the thesis requirement or the Doctor o Musical Arts degree at the May 2011 graduation Thesis Committee: Amy Schendel, Thesis Supervisor David Greenhoe R Mark Heidel David Gier Russell Lenth
To Mom, Dad and ess ii
ACKNOWLEDGEMENTS Throughout my lie, I have een lessed ith an incredile amount o support or my various stages o education, musical pursuits and personal goals I ould irst like to thank the many teachers, conductors and proessors at Miami University, Boling Green State University, the University o Ioa and elsehere, all o hom have inspired me ith their incessant passion or their art and commitment to the success o their students I oe endless thanks to Proessors Amy Schendel and R Mark Heidel or their kindness, guidance, isdom and inspiration in the inal years o my education I conidently speak on ehal on my classmates hen I say, Thank you all I oe immeasurale thanks to Proessor David Greenhoe, or his support, knoledge and mentorship, not only in every stage o this proect, ut also in my groth as a musician, teacher and person I conidently speak on ehal o all o your students hen I say, Your artistry and dedication to music are eyond compare and e thank you or sharing oth ith us The opportunity to ork closely ith Liy Larsen on this proect has een the most rearding musical experience o my lie She as incredily generous ith her time and eorts and I am so very thankul or that Her proessional successes seem to have een (and in my opinion, ill continue to e) endless, ut i ever there is a question as to hy people adore her music, one needs only to oserve the kindness o her character Her astounding creative talents are matched only y the care, appreciation and gratitude that she has or those ho perorm her music I conidently speak on ehal o anyone ho has ever had the pleasure o perorming your music hen I say, It s our pleasure iii
Last and most importantly, I am orever indeted to my amily, or this and pretty much everything else Among the countless lessings that have graced my lie, the most signiicant and appreciated one is the support o my eloved amily Each morning, I ake up knoing that the greatest people I have ever knon ully encourage me in pursuing my dreams and have endless conidence in my ailities I conidently speak on ehal o mysel hen I say, I love you and thank you, rom the ottom o my heart iv
TABLE O CONTENTS LIST O IGURESvii CHAPTER I INTRODUCTION1 Overvie1 Summary II BACKGROUND AND HISTORICAL PROSPECTIVE5 Biographical Inormation5 The Quad City Youth Symphony, Conductor and Soloist The Commission Proect and Premiere Perormance7 III THE CONCERTO OR TRUMPET AND ORCHESTRA (19) 12 The Score and Parts 12 The Composer s Approach and Inluences13 IV SIGNIICANT EDITS MADE TO THE SOLO TRUMPET PART20 Edits made or the Purposes o Practicality and Playaility20 Clariied Articulations and Edits to Sho Stylistic Intentions2 V REDUCTION O THE ORCHESTRAL ACCOMPANIMENT29 Purpose and Approach 29 Speciic Aspects o Adapting the Orchestral Accompaniment or Piano31 Speciic Arrangement Issues in Movement I3 Speciic Arrangement Issues in Movement II1 Speciic Arrangement Issues in Movement III VI CONCLUSION7 APPENDIX A PIANO REDUCTION - MOVEMENT I APPENDIX B PIANO REDUCTION - MOVEMENT II3 APPENDIX C PIANO REDUCTION - MOVEMENT III71 APPENDIX D PROGRAM ROM PREMIERE PERORMANCE3 v
APPENDIX E LETTER ROM LIBBY LARSEN TO DAVID GREENHOE BIBLIOGRAPHY90 vi
LIST O IGURES igure 11 The octave laeling system used in this document3 31 acsimile o the original score, page 59 Concerto or Trumpet and Orchestra By Liy Larsen, Movement III, measures 23-217 32 A reproduction o Liy Larsen s singing o the solo trumpet melody in movement III, measures 23-2, as inspired y Hughes poem1 33 The poem Tamourines y Langston Hughes1 1 acsimile o the original score, page 25 Concerto or Trumpet and Orchestra y Liy Larsen, Movement I, measures 172-17721 2 A reduction o Concerto or Trumpet and Orchestra y Liy Larsen, Movement I, measure 17722 3 Concertino or Trumpet, Strings and Piano y André olivet, 5 measures ater rehearsal 3 to the end23 A reduction o Concerto or Trumpet and Orchestra y Liy Larsen, Movement I, measure 19-1923 5 A reduction o Concerto or Trumpet and Orchestra y Liy Larsen, Movement I, measure 252-252 acsimile o the original score, page 59 Concerto or Trumpet and Orchestra y Liy Larsen, Movement III, measures 23-2, solo trumpet part25 7 Larsen s spoken articulation example2 51 A reduction o Concerto or Trumpet and Orchestra y Liy Larsen, Movement I, measures 1-135 52 A reduction o Concerto or Trumpet and Orchestra y Liy Larsen, Movement I, measures 15-273 53 acsimile o the original score, page 3 Concerto or Trumpet and Orchestra y Liy Larsen, Movement I, measures 2-3237 5 Reduction o Concerto or Trumpet and Orchestra y Liy Larsen, Movement I, measures 2-333 vii
55 A reduction o Concerto or Trumpet and Orchestra y Liy Larsen, Movement I, measures 5-939 5 acsimile o the original score, page Concerto or Trumpet and Orchestra y Liy Larsen, Movement I, measures 1-0 57 acsimile o the original score, page 5 Concerto or Trumpet and Orchestra y Liy Larsen, Movement II, measures 2-72 5 A reduction o Concerto or Trumpet and Orchestra y Liy Larsen, Movement II, measures 2-73 59 A reduction o Concerto or Trumpet and Orchestra y Liy Larsen, Movement III, measures 1-510 acsimile o the original score, page 55 Concerto or Trumpet and Orchestra y Liy Larsen, Movement III, measures 2-55 511 Reduction o Concerto or Trumpet and Orchestra y Liy Larsen, Movement III, measures 79-93 viii
1 CHAPTER I INTRODUCTION Liy Larsen s Concerto or Trumpet and Orchestra as commissioned y Daniel Culver and the Quad City Youth Orchestra, in celeration o its 30 th anniversary It as ritten in 197 and premiered on May, 19 Daniel Culver conducted the Quad City Youth Orchestra and David Greenhoe as the trumpet soloist Aside rom this single premiere perormance, the piece has not een perormed and has remained virtually unknon to the pulic Given Liy Larsen s ongoing success as a ell-knon, living, American composer, one ould assume that this ork ould have immediately een adopted into the trumpet and orchestral communities It is the purpose o this document to reintroduce Liy Larsen s Trumpet Concerto to the trumpet, orchestral and academic communities, so that it has the possiility o ecoming idely knon and requently preormed Overvie The idea or this thesis proect as orn rom conversations ith David Greenhoe in my early years o study at the University o Ioa, pursuing a Doctor o Musical Arts degree in Trumpet Perormance and Pedagogy Having premiered the concerto, Proessor Greenhoe seemed continually perplexed as to hy this piece as not given proper attention He alays spoke very highly o the ork, its demands and its artistry, hich prompted considerale interest on my part During my second year o study, he gave me a copy o the solo trumpet part I immediately ecame enthralled ith the ork The ay in hich the composer rote or the trumpet as quite unlike anything that I had ever seen Although the piece is
2 extremely challenging, it allos or the trumpet player to expresses a unique and extremely organic type o lyricism, all ithin the context o an adventurous harmonic and rhythmic language In addition, various types o articulations are called or throughout the ork, requiring a delicate touch and attention to detail The trumpet player is asked to sing The trumpet player is asked to dance In addition, the trumpet player is asked to play in the style o the American English dialect The concerto not only represents the unique American language and culture, ut also modern American music As my interests in the piece gre, Proessor Greenhoe suggested contacting Dennis Lotin, ho at the time as a musician in the Quad City Symphony Orchestra and a proessor at Augustana College in Rock Island, Illinois Lotin as active in the innerorkings o the Quad City Youth Symphony at the time o the premiere and had a great interest in the commission o the trumpet concerto Lotin noted that he had, at one time, planned on creating a reduction himsel, ut never had ound the time He had actually continually monitored the piece over the years, and as the irst to inorm me that the piece had not een perormed since the premiere Dennis Lotin then put me in contact ith ulie Scott, ho as in charge o the lirary o the Quad City Symphony Orchestra, hich houses the original score and parts used in the premiere She as kind enough to send me the score and parts, to use as a reerence or my proect Ater acquiring those materials, I contacted Brad Bradsha, ho as Liy Larsen s associate at the time, and expressed my interest in the concerto and orking toard making the piece more ell-knon He communicated that Dr Larsen as interested in my proect and very eager to help We then scheduled to separate intervies in the Summer o 2009 at the composer s home in Minneapolis, Minnesota
3 Shortly eore the irst intervie, I as also asked i I ould e interested in helping to proo the score and parts, in an eort to replace the original hand-ritten score and parts ith a ne, clean and error-ree version o the piece This prooing process led to countless questions aout the piece, and actually ended up serving as the oundation on hich the intervies ere ased Although not intentional, the act o meticulously going through the piece ith the composer (at some points literally one note at a time) gave me great insight into her inspiration and compositional process Ater the irst intervie ith Liy Larsen, I contacted and as susequently ale to intervie the conductor o the premiere perormance and leader o the commission proect, Daniel Culver He provided incredile insight into the process o the commission, as ell as the concerto Throughout the olloing chapters, there are various points in hich speciic pitches must e mentioned I chose an octave laeling system in hich middle C is reerred to as C This system is shon in igure 11 igure 11 The octave laeling system used in this document
Summary Although there are a numer o small actors hich may have led to the piece essentially disappearing into oscurity ater its premiere, the to most palpale reasons or this are the overall lack o knoledge aout the existence o the ork and the asence o a piano reduction o the orchestral accompaniment This proect as designed to serve as a possile solution to each o these to speciic prolems irst, I provide a rie historical account o the composer, conductor, soloist, commission and premiere perormance Most o this inormation as acquired irst-hand y ay o intervies ith composer Liy Larsen, conductor Daniel Culver and trumpet soloist David Greenhoe inally, a reduction or trumpet and piano has een created rom the orchestral score
5 CHAPTER II BACKGROUND AND HISTORICAL PROSPECTIVE Biographical Inormation Liy Larsen as orn in Wilmington, Delaare on Decemer 2, 1950 She received her Bachelor o Arts (1971), Master o Music (1975) and Doctor o Philosophy (197) degrees rom the University o Minnesota and studied composition ith Paul etler, Eric Stokes and Dominick Argento 1 Larsen is a ounding memer o the Minnesota Composers orum, hich later ecame the American Composers orum She is a Grammy Aard-inning composer, ith over our hundred orks spanning every genre, including solos and concerti or a variety o instruments Larsen s proessional accomplishments include residencies ith the Minnesota Orchestra, Charlotte Symphony Orchestra, Colorado Symphony Orchestra, Caliornia Institute o the Arts, Cincinnati Conservatory, Arnold Schoenerg Institute, and the Philadelphia School o the Arts 2 Her compositions have een perormed y the London Symphony Orchestra, Minnesota Opera Company, National Symphony o Mexico, Des Moines Symphony, National Symphony Orchestra, Colorado Symphony Orchestra, US Army Band Pershing s On, and US Air orce Band She has had orks commissioned rom The Lirary o Congress, The Minnesota Opera Company, The Minnesota Orchestra, Shenandoah Bach estival, American/Soviet Youth Orchestra, St Paul Chamer Orchestra, National Symphony Orchestra, Rochester Philharmonic Orchestra, San Antonio Symphony, American Or-Schulerk Association, Alany Symphony, 1 eldman, Mary Ann "Larsen, Liy" In Grove Music Online Oxord Music Online, http://oxordmusiconlinecom/suscrier/article/grove/music/27 (accessed March 23, 2011) 2 Iid
Cleveland Chamer Symphony, Ne York Concert Singers, Cornell University Chorus, National Guild o Organists, British Broadcasting Corporation, Bach Choir o Bethlehem, Aspen Music estival, and American Choral Directors Association Larsen s compositions have een programmed and conducted y Zuin Mehta, Nicolas Muni, Michael Christie, Dmitri Kitayenko, Philip Brunelle, oseph Giunta, Hugh Wol, oel Revzen, Marin Alsop, Harvey elder, Eii Oue and Neville Marriner Although Larsen had requently ritten or the trumpet in orchestral settings eore eing commissioned to rite this concerto, this as her irst concerto or solo trumpet Later in her career, she rote or the trumpet in smaller, chamer ensemles much more requently, 3 including a ork or trumpet alone, anare or the Women (199) The Quad City Youth Symphony Orchestra, Conductor and Soloist The Quad City Youth Symphony Orchestra is one o the youth ensemles that operates under the organizational umrella o the Quad City Symphony Orchestra, located in Davenport, Ioa Since the Quad City Youth Symphony s inception in 195, the ensemle has experienced a considerale amount o success, locally, regionally, nationally and internationally In the years leading up to the premiere o Liy Larsen s Concerto or Trumpet and Orchestra, the ensemle s conductors had elevated the perormance capaility o the ensemle to a very high level At the time o the commission, Daniel Culver as the conductor o the ensemle and he also served as the leader o the commission proect Culver studied at Cornell College in Mt Vernon, Ioa 3 Among these pieces are Brass light (199) or rass choir, Brazen Overture (2000) or rass quintet, anare or Humanity (2003) or rass ensemle, and anare or a Learned Man or rass quintet (2005) Past conductors include Charles Gigante, William Henigaum and ames Dixon
7 and earned his Doctor o Musical Arts rom The University o Ioa His principal teachers include ames Dixon, Roert Sha and William Hiard Culver s involvement in and around the Quad City Youth Symphony and Quad City Symphony alloed or him to ecome amiliar ith David Greenhoe s trumpet playing Principal Trumpet o the Quad City Symphony and Proessor o Trumpet at the University o Ioa (no, Proessor Emeritus), David Greenhoe as the perormer or hom this concerto as ritten A graduate rom the Eastman School o Music, his principal teachers include Cliord Lillya, Gilert ohnson, Sidney Mear, Edin Betts, Gordon Mathie and Arnold acos Greenhoe as a soloist ith and memer o the United States Marine Band He currently perorms as principal trumpet in the Quad City Symphony Orchestra and the Lake Placid Sinonietta The Commission Proect and Premiere Perormance The idea or this commission originated in discussions surrounding possile ays in hich to celerate the thirtieth anniversary o the Quad City Youth Symphony Orchestra Director Daniel Culver simply said to the oard o directors, Why don t e commission a ork 5 He said, in recollection o this process, in its inancy, I ent to the manager, the executive director and the oard o directors, and at the time, the music director as ames Dixon, ho as my teacher And, i anyody as amenale to the idea o contemporary music, it as ames He, in his lie, had done a numer o commissions and as a real champion o ne music He as [a] ounder o The Center or Ne Music [at the University o Ioa]so he as very supportive o the hole venture o a commission 5 Intervie y the author on uly 27, 2009, Rock Island, Illinois
When asked aout his reasons or pursuing a concerto ritten speciically or the trumpet, Culver said, Why trumpet Well, ecause I admired David Greenhoe so much, as a player, and as a riend o the youth orchestra, and as a colleague Culver also expressed some rustration ith the lack o variety o repertoire that is selected or trumpet soloists ith regional and maor orchestras 7 I ust thought that [the trumpet] as an instrument that could eneit y having a concerto And, ecause David and I got along musically, that this as a perect opportunity Speaking on his personal choice or the intended composer o the ork to e commissioned, he said, Why Liy Well, ecause I had met her It as ust ortuitous; she had come here the year or to eore to do Parachute Dances, a piece that ames [Dixon] had discovered She came to visit and attended rehearsals and e got along very ell I as really impressed ith the piece and I ve done it, since 9 Someone said, ell, do you have an idea or a composer And I said, yes, Liy Part o the reason or that is hen I ve commissioned pieces, in my time, I ve alays commissioned orks rom composers that I kno; I kno their orks and I kno them personally 10 I m going to ork ith someone I have a lot o respect and admiration or, as a composer And I certainly [have] that or Liy Unqualiied respect 11 Iid 7 Iid Iid 9 Iid 10 Iid 11 Iid
9 Culver noted that the agreement had a very rie contract hich, along ith details o the instrumentation o the ensemle and the desired length, stated that it could e composed in a style and manner that she sa it 12 He continued, I mean, e eren t aout to say that it needed to sound like something or someone else We anted her to use her on rich and ertile imagination 13 When asked o this detail o the agreement, Larsen commented, Sometimes people ill commission a piece and they commission it in a ay that - you're orking in the culture o nervousness and expected ailure 1 But, Dan as very much nurturing and staying out o the process, some people try to micromanage the process 15 That s the est possile o all orlds: He trusted the creativity and I trusted his musicianship 1 Culver s enormous success ith the talented group had given him the conidence to challenge the composer to not speciically rite or an orchestra o menial musicians 17 He energetically said to Larsen o the ensemle, They can play anything! and urther proved this to her y sending a numer o recent recordings o the group successully perorming a numer o serious orchestral orks rom the standard repertoire 1 The audio evidence o the group s aility, comined ith the passion o the conductor and 12 Iid 13 Iid 1 Intervie y the author on uly 29, 2009, Minneapolis, Minnesota 15 Iid 1 Iid 17 Intervies y the author in April and May o 2009, Ioa City, Ioa 1 Intervie y the author on uly 1, 2009, Minneapolis, Minnesota
10 impressive capailities o David Greenhoe, prompted Larsen to reely rite a maor ork, ithout reservation Culver had participated in a numer o commission proects prior to the one that resulted in Larsen s Trumpet Concerto He remarked, on the early stages o a previous commission proect, I rememer talking to the oard and this guy as very, very diicult to deal ith and he said, Well hat guarantees do e have that this piece is gonna e orth anything And I said, The same guarantee you have ith a race horse: You don t kno until they re to years old, hether they re going to e any good And [the oard memer] said, That s good enough or me! He alked out and the executive director said, Ho did you kno that that guy raises horses And I said, I had no idea he raised horses, it s ust an old expression I as pretty ell sure that Liy as going to rite us a good piece No, I think e got not ust a good piece, I think e got really a great concerto 19 [This concerto] is a real statement, a real statement aout Liy s skill 20 She talked ith Manny Laureano, 21 in Minneapolis ho as principal trumpet and I think she talked ith Maynard erguson 22 and she talked ith David [Greenhoe] and Gary Bordner 23 2 It as a great collaorative eort, I thought 25 19 Intervie y the author on uly 27, 2009, Rock Island, Illinois 20 Iid 21 Manny Laureano ecame Principal Trumpet o the Minnesota Orchestra in 191 He as previously Principal Trumpet o the Seattle Symphony 22 Maynard erguson (192-200) as a legendary trumpet player and and leader His expertise as azz and especially lead trumpet playing, hich requires distinct agility in the high register o the instrument 23 Gary Bordner has een principal trumpet o the St Paul Chamer Orchestra since 190 He previously perormed ith the Boston Symphony Orchestra 2 Intervie y the author on uly 27, 2009, Rock Island, Illinois
11 The ork as premiered on May, 19 in Davenport, Ioa That day, severe eather had approached and the touchdon o a neary tornado required the soloist, conductor, composer, orchestra and the entire audience to move to a sae location, thus causing the concert to egin late 2 The organizers o the event actually decided to have the reception during this time, rather than ater the concert 27 Hoever, due to the storm, some poer as lost to the uilding so the air handling system had een shut o This resulted in an uncomortaly arm auditorium, hich remained an issue or the remainder o the concert 2 The other orks perormed on the concert ere Ludig van Beethoven s Overture to Egmont, Op ; Benamin Britten s Matinées Musicales; Ottorino Respighi s Ancient Airs and Dances, Suite No 3; Erik Satie s Gymnopédies; and Richard Wagner s Elsa s Procession to the Cathedral 29 25 Iid 2 Intervies y the author in April and May o 2009, Ioa City, Ioa 27 Intervie y the author, uly 27, 2009, Rock Island, Illinois 2 Intervies y the author in April and May o 2009, Ioa City, Ioa 29 This inormation came rom the program to the concert A acsimile o this program, in its entirety, appears in Appendix D o this document
12 CHAPTER III THE CONCERTO OR TRUMPET AND ORCHESTRA (19) The Score and Parts Liy Larsen composes in a ay that requires very little sketching or early drats o a musical score In addition, she rites all o her ull scores y hand In present day, ater riting a piece, it is sent to an engraver ho inputs the music into computer sotare hich generates a nely inished score, as ell as individual parts or the perormers In 19, a traditional process o hiring a copyist as implemented, hich involved one person riting out each individual part y hand, using the score as the source As is commonplace in this entire process, many errors ere ound, oth in the score and hand-copied parts Most o these errors ere discovered during rehearsals leading up to the premiere perormance As part o the commission agreement in 197, the Quad City Symphony Orchestra lirary as given the original score and parts rom the premiere Currently, the only set that is pulicly availale is through rental rom the EC Schirmer Pulishing Company, in Boston, Massachusetts The current rental ee is $30 or one perormance and $190 or each additional perormance 1 Although a computerized engraving process or the score and parts has egun, this rental set unortunately contains the many errors that ere corrected in the set that as retained y the Quad City Symphony Orchestra lirary 1 This price is current as o eruary 10, 2011 It as conirmed y phone to ECS Pulishing: Rental Department, Boston, Massachusetts, (00) 777-1919
13 The Composer s Approach and Inluences As previously stated, although Liy Larsen s Concerto or Trumpet and Orchestra as commissioned and premiered y an ensemle speciically laeled as a youth symphony, it as never part o the composer s approach to rite the music at a menial level Also, no part o the commission agreement called or the composer to rite in any predetermined style Because o this, Larsen as ree to rite in as creative a ay as possile The process o riting this concerto (along ith her Symphony No 3 Lyric ) as an important one: It alloed her to discover her on musical language She as searching or the est ay in hich to rite in the style o the American English dialect, thus ringing her to speciic inluences rom azz 2 Not only does this represent a notale quality o this particular ork, ut also or many o her orks that olloed, most o hich have had enormous success in nearly every genre The composer recalled, I really as grappling ith - starting in aout 19 - I really as grappling ith here azz came rom and hat it had to do ith classical playing So, I asn t trying to look at third stream azz or to look academically or clinically at azz; not at all I as trying to understand - hat I no kno - I as looking to American English, our language itsel, as the generator o rhythms that sing and rhythms that more naturally evolved into azz, ut orking through classical ensemle, to see hat that as But, I didn t really get that that s hat I as doing until aout 1990 When I inally rote The Third Symphony, hich is called The Lyric Symphony, hich it really is all aout: What is the lyricism in our culture and here does it come rom We don t live in a very lyrical (pause) in a traditionally lyric culture: We live in a very lyrical culture, ut it s a dierent kind o 2 Intervie y the author on uly 1, 2009, Minneapolis, Minnesota
1 lyricism, hich much more naturally lends itsel to rips, and ends and, you kno, sing triplets 3 She continued, Instruments like the Trumpet, also the saxophone, they really speak our language much etter than the stringed instruments and classical piano They ust speak our spirit much more readily and easily On the topic o this ourney o personal discovery, she continued, This is all part o a real searching: There s aout ive years o really searching - really, truly trying to understand hat the impetus or our rhythmic and harmonic lie is And I m pretty sure it lies in American English, hich is a rand ne language, since aout 1950 You kno, as its on language, it s really quite ne So, this is a searching piece, sort o like I used to like Stravinsky I did! I used to really like Stravinsky and no I truly admire him, ut no it s like ait - ut - (pause) Stravinsky ith a groove 5 Many aspects o the ork are challenging, especially or the trumpet soloist As much as any piece in the repertoire, this diicult ork requires an extremely versatile perormer The piece calls or a ide range o styles and articulations throughout all three movements In addition, many sections o the solo trumpet part necessitate a perormer ith speciic agility and endurance in the upper register o the instrument Shortly eore the premiere, soloist David Greenhoe, conductor Daniel Culver and composer Liy Larsen orked together to help to make the concerto more approachale rom a technical and perormance-ased standpoint One o these causes or adustment includes the length o sustained notes in the high register Another involves the inclusion o rests in the solo trumpet part, or the purpose o the soloist having time to regain strength The 3 Iid Iid 5 Iid
15 composer humly admitted that she no eels that she as somehat inexperienced in giving a rass soloist suitale amounts o physical reprieve She noted, I as anting to explore lyricism on the trumpet, rather than ravura So, hen you sing, you hold a note all the ay over, take a reath and move on But, one o the things I learned is that your lip needs to get some rest She also said, almost hinting that she elt retrospectively naïve aout her approach, You can alays tell a young composer: You can! Oh! I m so energetic! 7 One additional example o an edit made at the time o the premiere (explained in greater detail in Chapter IV) shos ho the composer s inluence o azz comes to lie in the third movement In various sections o this movement, the composer imagined a very speciic manner o articulation, hich is similar to a kind o azz articulation knon as doodle tonguing This concept, as applied to this part o the ork, as irst suggested y David Greenhoe and as urther clariied y the composer 9 While discussing the suect o doodle tonguing, Larsen recalled a speciic poem that inluenced the third movement She recalled, Ah! I recognize it, no! There s a poem! The Langston Hughes poem, Tamourines! 10 I as osessed ith that poem, at this time and it s the ord, tamourine that I as osessed ith The poem is tamourines tamourines to the glory o God! 11 Excitement can e heard throughout Iid 7 Iid Intervies y the author in April and May o 2009, Ioa City, Ioa 9 Intervie y the author on uly 1, 2009, Minneapolis, Minnesota 10 Langston Hughes (1902-197) as an American author, est knon or his poems and short stories 11 Intervie y the author on uly 1, 2009, Minneapolis, Minnesota
1 all o the third movement, oten accomplished y ay o rhythmic activity One example o this is the recurring melody that irst appears in measures 23 and 2 o the third movement (shon in igure 31) olloing this recollection, she egan to veryrhythmically sing the melodic line in the solo trumpet part, ut ith the added lyrics tamourine, tamourine igure 32 shos the ay in hich the composer sang the ord, tamourines during the intervie and igure 33 shos the ull text o the original poem
igure 31 acsimile o the original score, page 59 Concerto or Trumpet and Orchestra y Liy Larsen, Movement III, measures 23-2 17
1 igure 32 A reproduction o Liy Larsen s singing o the solo trumpet melody in movement III, measures 23-2, as inspired y Hughes poem igure 33 The poem Tamourines y Langston Hughes 12 Tamourines! Tamourines! Tamourines! Tamourines To the glory o God! Tamourines To glory! A gospel shout And a gospel song: Lie is short But God is long! Tamourines! Tamourines! Tamourines To glory! Larsen recalled rom that stage o her career, I think I orked on [the concerto] aout a year And, to e real honest ith you, my daughter as orn in Spring o and so time moved very dierently, that year 13 I can tell you that hile I as orking on [it], I had insomnia and I also discovered one o the most interesting things aout the ecology o composition - the mythology that surrounds composition hich is [the idea] 12 Langston Hughes, The Collected Poems o Langston Hughes, ed Arnold Rampersad and David Roessel (Ne York: Knop, 199), 5 13 Intervie y the author on uly 29, 2009, Minneapolis, Minnesota
19 that you need locks o uninterrupted time to develop the piece The act is, that hen you have a child, you never have uninterrupted time again - male or emale I you re involved ith your child, and it s not ecause you re playing ith them, and that all is part o it too, ut hat happens is your rain - the part o you that is orking on all the details o the music - eore the child speaks, you kno, veral, they have aout seven dierent languages, there s acial, there s cries, there s movement, there s this - and that part o your rain ust goes to ork, trying to learn all the languages And so, I learned that I had een so unconsciously luxuriating in eing ale to put a thought aay and then take it out again 1 During the irst year she as in our lives, physically, I learned ho to hold a thought deep 15 I learned ho to ork on a piece all the time and have it come rom a hole dierent part o creativity And actually, I think it comes out in this piece: In that cadenza in the opening o the second [movement], I ould say that is much more composing rom deep composition than it is rom sitting at the tale 1 I learned during this year o composing this piece, instead o counting on an hour to develop an idea, i I had ive minutes, I ent deep and it elt like our hours, and the product as the product o our hours It s strange 17 It s proaly the ay Mozart orked He must have orked in deep time instead o surace time Bach, too, I m pretty sure 1 1 Iid 15 Iid 1 Iid 17 Iid 1 Iid
20 CHAPTER IV SIGNIICANT EDITS MADE TO THE SOLO TRUMPET PART Edits made or the Purposes o Practicality and Playaility During an intervie ith soloist David Greenhoe, 1 I spoke ith him aout the concerto and the premiere perormance experience I also had the opportunity to examine his solo trumpet part Upon vieing the various interpretations and edits he made to the piece, it ecame clear that in any uture versions o the piece, all o these adustments needed to e explicated and included in the score Most o these alterations took place during the rehearsals leading up to the premiere perormance and ere approved y Liy Larsen As stated in Chapter III, many aspects o the ork are challenging, especially or the trumpet soloist At the time o the premiere, David Greenhoe, Daniel Culver and Liy Larsen orked together to make the concerto more physically approachale The irst maor edit in the concerto as done or that purpose, and is in the irst movement, at measure 177 In its original orm, the surrounding music as ritten in such a ay that in the course o tenty-nine measures, only three measures included rests This, comined ith a variety o diiculties not the least o hich includes requently playing in the upper register, made or an extremely diicult passage The solution as to essentially perorm measure 177 (Shon in igure 1) a total o three times, ith the solo trumpet part resting on the second and third occurrences, thus alloing or rest at an extremely crucial point in the perormance o the part The composer urther adusted this region y adding a three-measure decrescendo, shon in igure 2 1 Intervies y the author in April and May o 2009, Ioa City, Ioa
igure 1 acsimile o the original score, page 25 Concerto or Trumpet and Orchestra y Liy Larsen, Movement I, measures 172-177 21
22 igure 2 A reduction o Concerto or Trumpet and Orchestra y Liy Larsen, Movement I, measure 177 At the end o this long passage, in measures 192-19, the trumpet part calls or the pitch C to e played or six eats Soloist David Greenhoe asked or permission to release this note early, i the circumstances o live perormance required it The composer very illingly approved A similar situation occurs in André olivet s Concertino or Trumpet, Strings and Piano At the end o the ork, and ironically on the same pitch as the aorementioned note in Larsen s Concerto, olivet presents the option o releasing the note at the perormer s discretion, y notating all ut the irst to measures ith reduced (cue-sized) notes, linked ith ties, comined ith the text ad li 2 Because olivet s manner o notation (igure 3) makes it very easy to understand his intention, a similar notation as used to clariy this section in Larsen s concerto igure shos this optional release o the pitch C in the solo trumpet part 2 This is an areviation o ad liitum hich, in Latin, means according to pleasure In common musical practice, this marking instructs a perormer to adust the music or perorm reely, at his or her discretion
23 igure 3 Concertino or Trumpet, Strings and Piano y André olivet, 5 measures ater rehearsal 3 to the end 3 igure A reduction o Concerto or Trumpet and Orchestra y Liy Larsen, Movement I, measure 19-19 On the topic o this approach the composer asked, Should I mark it this ay Or ill a good perormer, seeing a dotted hal say, oh, e ll [stop playing hen e need to do so] Ater some discussion, it as decided that it as est to use the alternate notation, ut ith a dashed tie marking, or even urther clarity As she put it, Because then that gives permission 5 A similar modiication as employed in measures 22 and 23 o the irst movement Perhaps the most physically demanding portion o the movement is oserved at the end o the irst movement Ater a lengthy segment o music ith e opportunities or rest, the movement ends on the pitch D Not only is the note one that lies in a very 3 André olivet, Concertino or Trumpet (Paris: Durand, 19), 7 Intervie y the author on uly 1, 2009, Minneapolis, Minnesota 5 Iid
2 high register o a C trumpet, ut it also is repeated telve times at a ortissimo dynamic level The solution to this issue as to remove seven o the notes that occurred in the middle o the thirteen notes that take place in the inal our measures o the movement Although most o the instruments in the orchestra are perorming this same rhythm, the solo trumpet part is the only part that the composer chose to e modiied (Shon, reduced in igure 5) igure 5 A reduction o Concerto or Trumpet and Orchestra y Liy Larsen, Movement I, measure 252-25 Clariied Articulations and Edits to Sho Stylistic Intentions The second movement contains several edits that ere crated ith the sole purpose o recreating the premiere perormance o David Greenhoe Larsen said on the topic o editing the solo trumpet part in the second movement, Let s put in his markings, ecause this as gorgeous, the ay he played it The composer, ith lucid admiration or the soloist and the musicality he exhiited in the perormance, made it apparent that in any uture versions o the solo trumpet part, she anted his musical ideas to e very clear in the notation She said in a letter to soloist David Greenhoe ater the premiere Intervie y the author on uly 1, 2009, Minneapolis, Minnesota
25 perormance, Your perormance as truly onderul and humling to me You made the ork live You made the ork eautiul You made the ork much etter than it is 7 The composer clariies the style o the second movement y indicating that it is to e played ith great reedom and elasticity Although this is airly speciic, there as some concern as to ho someone might interpret a large section o music that is ritten in common time ith clearly-deined ar lines The composer remarked, I I ere riting this no, I proaly ould take out a lot o the ar lines and ust use rests ith ermatas In act, I kno I ould Ultimately, the composer decided that dotted ar lines retained the music as it as in the score, ut also ould lead the perormer to not eel sternly oligated to them In addition, to ermatas, one in measure 7 and one in measure 12, ere added to hopeully replicate the amount o time that the soloist took during the premiere perormance Upon irst examining the third movement o the concerto ith David Greenhoe, one rhythm as o particular stylistic interest This doodle rhythm irst appears in measure 23 and is shon in igure igure acsimile o the original score, page 59 Concerto or Trumpet and Orchestra y Liy Larsen, Movement III, measures 23-2, solo trumpet part 7 Larsen, Liy Letter to David Greenhoe May 1, 19 This letter is shon in its entirety in Appendix E o this document Iid
2 This melody, as mentioned in Chapter III, is inspired y a poem y Langston Hughes and is dance-like in nature Hoever, in the context o the entire ork, it seems as i it could e inluenced y azz When asked i this articulation might call or a sort o azz articulation, Greenhoe remarked that it seemed to e on the order o a doodle tongue 9 During my irst intervie ith Liy Larsen, 10 I searched to understand her musical oective in this segment o the music She clearly stated that the sound o this articulation should e doodle dah dit, 11 shon, aligned to the rhythm, in igure 7 igure 7 Larsen s spoken articulation example Bo McChesney is an active tromonist, teacher and a leading expert on the art o doodle tonguing He rote a ook entitled, Doodle Studies and Etudes: A Complete Course o Study using Doodle Tonguing or the Slide Tromone In the introduction, he rites, Doodle tonguing is a multiple tongue technique used to acilitate smooth, ast legato playing on the slide tromone Its main use has een in the perormance o azz and is employed y such notale tromonists as Bill Watrous and Carl ontana The technique is commonly called doodle tonguing ecause it uses syllales like those used 9 Intervies y the author in April and May o 2009, Ioa City, Ioa 10 Intervie y the author on uly 1, 2009, Minneapolis, Minnesota 11 Iid
27 hen pronouncing the ord doodle 12 The roadest application o doodle tonguing is in azz soloing, ut it is also valuale in ensemle playing and in any situation here ast legato articulations are necessary 13 Surprisingly, McChesney s methodology or approaching this articulation does not actually use the to syllales o the ord doodle that one ould assume to create the articulation, doo and dle Instead, he uses the three syllales, da, ul and la in a progressive ormat Regardless o McChesney s approach, and ith acknoledgement that the composer vocalized this speciic sound, the character o the sixteenth notes in this passage are est personiied ith the to syllales doo and dle olloing the clariication y the composer, a prolem arose in ho to est indicate her intention in the score Ater a numer o drats, e concluded that the notation shon in igure as the est method or epitomizing the style o articulation and spirit o the melody Because this melody is recurring, a decision had to e made regarding ho to notate the style throughout the rest o the movement At one point, Larsen as somehat leery o the addition o large amounts o editing marks She commented on the suect, It s a real conundrum rom a composing point o vie, ecause e live ith electric light - hich shines evenly on the page, and ecause o it, you re tempted to ant to put every-every-every-everything don And yet, the tradition that e come rom is a notated tradition in hich perormance practice as assumed 1 She then recalled a recent collaorative proect ith amed saxophone perormer and pedagogue Eugene 12 Bo McChesney, Doodle Studies and Etudes: A Complete Course o Study Using Doodle Tonguing or the Slide Tromone, ed Richard ote (North Hollyood: Chesapeake Music, 1992) 13 Iid 1 Intervie y the author on uly 1, 2009, Minneapolis, Minnesota
2 Rousseau: his preerence or composers is that they include as much as possile, to ensure the highest proaility o recreating the composer s intent 15 Because several dierent varieties o sixteenth-note articulations are called or in the movement, the use o an oten-used stratagem o simply riting in the score simile or as eore ould not guarantee clear understanding o her artistic intent Because o this, the editorial markings have een added each time the special articulation is meant to occur 15 Iid
29 CHAPTER V REDUCTION O THE ORCHESTRAL ACCOMPANIMENT Purpose and Approach With the status quo, it can e assumed that this concerto ill remain largely unknon to most trumpet perormers Thereore, a reduction o the orchestral accompaniment has een created or piano, thus enaling the piece (and particularly the solo trumpet part) to potentially ecome easily attainale The methodology o this portion o the proect attempts to adhere to a e important points outlined in a passage o ames Grier s ook The Critical Editing o Music: History, Method and Practice The reduction presents a perormale version o the ork and includes cues and musical instructions that help to provide some insight into the original orchestration Grier rites aout this process, A more delicate task [than ormatting individual orchestral parts] is the preparation o a keyoard reduction or vocal orks ith orchestra, or concerti Again, ith a great deal o modern music, this is simply not a practical undertaking, although a short score, instead o a proper keyoard reduction, is more useul to the player than no reduction at all This is the imaginative solution used in the pulished version o Henri Dutilleux concerto or violoncello and orchestra entitled Tout un monde lointain ; here the reduction can e used in rehearsal ith a pianist to provide cues or the soloist ithout trying to replicate the orchestral texture In the traditional repertory, and in at least some tentieth-century music, it is oth possile and desirale to provide a keyoard reduction, oth or rehearsal and, in cases here economic actors dictate it, perormance In preparing such a reduction, the editor needs to exhiit a light touch, or the undamental decisions to e made involve knoing hat to leave out in order to make the reduction playale Some decisions ill
30 e easy enough: all octave doulings need not e included Others, hoever, ill require a great deal o sensitivity as the editor must capture the essence o the orchestral part ithout incorporating all its details In act the editor recomposes the piece in eect, a challenging and ormidale task, to say the least, taking the editor s knoledge and aareness o the composer s style to the ullest 1 Because I had not previously created a piano reduction rom an orchestral score, much time as spent exploring the score and experimenting ith various ays in hich to include as many orchestral parts as possile To accomplish this, I reerred to the sound rom a recording o the premiere perormance 2 I oten compared this sound to that o sound o inale sotare 3 playing a midi version o the piano part and also pianists perorming short portions o the reduction, in a variety o settings Throughout the entire process o creating the piano reduction, the aspects o practicality and perormaility ere o particular importance To ensure the reduction as ritten in as pianistic a ay as possile, large sections o the nearly-inished reduction ere played and revieed y a numer o estalished collaorative pianists at various stages throughout the process To urther polish the reduction, the Liy Larsen and I orked to examine the reduction ith University o Ioa student and pianist Casey Ran The composer as kind enough to travel to Ioa City in late eruary, hich alloed us the opportunity to urther ork on the reduction and ring it to a high level o artistic quality The main 1 ames Grier, The Critical Editing o Music: History, Method, and Practice (Camridge: Camridge University Press, 199), 17-177 2 I acquired this recording rom soloist David Greenhoe He had the recording on a cassette tape that he elieved as extracted rom the audio on a VHS tape that had captured the premiere perormance 3 or this proect, I used inale 2010, y MakeMusic, Inc We met in the Orchestra Rehearsal Room o the Music West Interim Building on the campus o the University o Ioa on eruary 19 and 20, 2011
31 purpose o this collaoration as to make certain that the reduction as eective in representing the quintessence o the original ork, ut is also as inviting as possile or a potential collaorative pianist In addition, she provided incredile insight into eectively riting or piano Ran, a talented and versatile pianist, also provided suggestions In addition, his lexiility in playing alloed us to try many dierent options, hich yielded a reduction that as sure to e possile, practical and eective Speciic Aspects o Adapting the Orchestral Accompaniment or Piano In the eginning stages o this proect, it appeared as i the overall eect o the ork could not e properly portrayed ithout the perormance o percussion instruments Ater careul consideration, it ecame clear that the logistical diiculties associated ith the coordination o a small ensemle (rather than collaoration ith a single pianist) ould not necessarily aid in the mission o attempting to make the piece more accessile Hoever, ecause the percussion parts are so important, the inclusion o the music ritten or them as the most diicult aspect o creating a reduction or piano To est represent this concerto, the piano had to e exploited to its ullest extent In several parts o the concerto, the score calls or some sort o sustained sound, hile other separately-articulated notes are also perormed Although this interaction could have een avoided, it ould have greatly reduced the similarity to the original ork aced ith this task, I turned to the sostenuto pedal (the middle pedal on a concert grand piano), a eature on the instrument that as not previously amiliar to me The complexity o the sostenuto pedal s operation is est summarized y Arthur Relitz in his ook Piano Servicing, Tuning, Reuilding Relitz rites, The middle pedal usually operates the sostenuto mechanism When a key is depressed, and then the sostenuto pedal is depressed, the sostenuto rod lip engages ith the lip on the damper
32 assemly, holding the damper up o the strings ater the key is released In other ords, any notes played and held don hile depressing the sostenuto pedal are sustained ater their keys are released, as long as the sostenuto is held don Any keys depressed ater the sostenuto pedal is depressed are not aected, ecause their damper sostenuto lips remain under the lip on the rod, alloing the dampers to drop hen the keys are released The sostenuto allos the pianist to play certain notes, sustain only those notes ith the pedal (hich acts like an extra hand) and then use oth hands to play other non-sustained notes 5 This pedal seems extraordinary in its potential Hoever, is rarely used and is seldom regarded as particularly useul Larence Nalder rites in his ook The Modern Piano, Musicianshave oten spoken o [the sostenuto pedal] as eing o doutul value Many regard the third pedal as a positive danger, ecause it is apt to e dry and patchy Others dislike it ecause, as they claim, it tends to complicate the instrument Undoutedly, the act that this pedal does not ork in exactly the same ay in every piano design might also act as an additional deterrent With limited knoledge, in my on early experiments ith portions o the second movement, I struggled to achieve the desired eect that I thought ould e possile ith this pedal This as caused y the act that I as sometimes using an upright piano or the purposes o study On upright (vertical) pianos, three possiilities exist or the unction o and purpose o the middle pedal The irst and most common design is called a ass sustain pedal, hich simply acts as a sustain pedal or only the let-most portion o the piano keyoard Relitz 5 Arthur A Relitz, Piano Servicing, Tuning, Reuilding (Ne York: The Vestal Press, 197), 32-33 Larence M Nalder, The Modern Piano (Surrey: Unin Brothers Limited, 1977), 31
33 rites, The ass sustain pedal, in the middle i present, operates a second damper lit rod, the length o the ass section and mounted aove or elo the ull sustain lit rod 7 Another common middle pedal or upright pianos is the practice pedal Relitz states, When [the practice] pedal is depressed, the elt is loered eteen the hammers and strings, muling the tone In some pianos, the practice pedal has a special notch in the cainet, alloing it to e locked don He continues (rather unortunately, or the purposes o this proect), The sostenuto pedal is so rarely encountered in vertical pianos that its operation is not descried [in this ook] Ater developing some initial skill in properly riting or the sostenuto pedal, I anted to increase the quality o my approach y ully understanding ho the system orked University o Ioa Piano Technician Steve Carver very-graciously oered to help me to understand its unction and operation He as kind enough to disassemle the appropriate parts o a piano in order to sho me the ay in hich the sostenuto system operates or this demonstration, he used a very common Ne York Steinay piano Carver noted that, even among various Ne York Steinay models, there are small variations in the design o the system In addition, he explained that the complexity o the design oten creates unique diiculties or piano repair technicians, hich can sometimes lead to a poorly-calirated sostenuto system In conclusion, there are many aspects o the sostenuto system that suggest that it is currently most common and perhaps a more simple approach to avoid its use Hoever, ecause the unction o the sostenuto pedal allos or an elevated level o 7 Arthur A Relitz, Piano Servicing, Tuning, Reuilding (Ne York: The Vestal Press, 197), 23 Steve Carver spent most o his career at the University o Ioa In April 2011, he ecame Chie Piano Technician at The ulliard School in Ne York, Ne York
3 artistic representation o the original ork, the inconstancies in the design, operation and maintenance o the pedal had to e dismissed The piano reduction in this document assumes the use o a traditional concert grand piano ith a sostenuto system that orks properly There is not a standardized ay in hich to indicate the use o this pedal, so the text Sost as chosen to precede the standard pedal icon Rather than the standard pedal release icon, a racket as used, or the purpose o clarity Speciic Arrangement Issues in Movement I Throughout the opening o the irst movement o Liy Larsen s Concerto or Trumpet and Orchestra, percussion instruments play an incredily important role In the opening to measures, the score calls or to snare drums (snares on) rolling continuously at a piano dynamic level Using the same approach as is oserved in the irst movement cadenza in Henri Tomasi s on reduction o his Concerto or Trumpet and Piano, I used a lo rolling pitch The pizzicato chords in the opening (Shon later in igure 52) suggest that a simple, sot tremolo on a lo D1 ould est it the tonal language ut not disrupt the amiguous nature o the opening Due to a suggestion y the composer, this as changed to tremolo on octave D s (D3 and D) or this and later occurrences o this music, the parts ritten or the piano and pizzicato string instruments ere comined The reduction o this segment is shon in igure 51
35 igure 51 A reduction o Concerto or Trumpet and Orchestra y Liy Larsen, Movement I, measures 1-1 As oserved in measures 1-12, the snare drums play in measures that exclude the piano and strings Hoever, eginning in measure 17, oth occur at the same time To continue the sound o the pitch and est prolong the mood o the opening, the pianist is asked to activate the sostenuto pedal immediately eore playing the staccato eighth notes in measure 17, hich is shon as a grace note (Shon in igure 52) The sostenuto pedal is not released until measure 19, thus alloing the D1 to carry through Unortunately, the D2 octave cannot e used in measures 17 and 1: Because the damper ould still e lited rom those strings, the D2 pitches that are rearticulated later ould ring, thus destroying the pizzicato eect
3 igure 52 A reduction o Concerto or Trumpet and Orchestra y Liy Larsen, Movement I, measures 15-27 In measure 30 (and similar measures in the movement), the rhythmic activity and pitches in the timpani part are extremely important to the composite rhythm that occurs in the ull orchestration (shon in igure 53)
igure 53 acsimile o the original score, page 3 Concerto or Trumpet and Orchestra y Liy Larsen, Movement I, measures 2-32 37
3 In addition to the indication o the instrument eing used, timp, in the inished reduction, accents have een place on those to eighth notes to urther-display their independence in style rom the surrounding notes (See igure 5) igure 5 Reduction o Concerto or Trumpet and Orchestra y Liy Larsen, Movement I, measures 2-33 An eerie eect in the violin and viola parts egins to appear eginning in measure 1 In an eort to not lose this change in texture, the octaves that are ritten in the lute and clarinet parts ere changed rhythmically to sixteenth notes, an adustment that also outlines the rhythmic activity oserved in the xylophone part The reduction, shon elo, in igure 55, retains the pitches rom the second violin part, hich have susequently een ritten as slurred dotted quarter notes, to preserve the eect o the gradually-rising line o the original orchestration (Shon in igure 5)
igure 55 A reduction o Concerto or Trumpet and Orchestra y Liy Larsen, Movement I, measures 5-9 39
igure 5 acsimile o the original score, page Concerto or Trumpet and Orchestra y Liy Larsen, Movement I, measures 1-0
1 Speciic Arrangement Issues in Movement II Throughout much o the second movement, pizzicato quarter notes in the violoncello and contraass parts play an important role Although ritten as quarter notes in the original score, staccato eighth notes ere chosen here, to avoid any assumption o sustain To urther clariy the style, an asterisk hich leads to a rie note has een added, clearly explaining the intention An important textural change occurs in and around measure Previously, the melodic line irst oserved in the celesta part in measure 25 had een accompanied y pizzicato notes Hoever, in measure 5, the contraass has a sustained, oed C2 and to measures later a sustained, oed D-lat2 (See igure 57)
igure 57 acsimile o the original score, page 5 Concerto or Trumpet and Orchestra y Liy Larsen, Movement II, measures 2-7 2
3 Originally, the reduction tended to the upper string accompaniment and melodic line, only During the orkshop ith the composer, given the useulness o the sostenuto pedal e had discovered in the irst movement, she speciically requested this note eing perormed The execution o this instruction requires signiicantly more coordination than previous uses o the pedal, ut it very eectively displays the change in texture at that moment (See igure 5) igure 5 A reduction o Concerto or Trumpet and Orchestra y Liy Larsen, Movement II, measures 2-7
Speciic Arrangement Issues in Movement III Overall, the reduction o the third movement as signiicantly more straight orard than the irst to movements The inclusion o the percussion parts as somehat o an issue In the eginning measures, the rhythm as present in all o the percussion parts, (See igure 510) ut the pitch as chosen rom the timpani part The pizzicato string and staccato oodind lines ere rearranged in a ay meant to preserve the large intervals and overall open sound (See igure 59) igure 59 A reduction o Concerto or Trumpet and Orchestra y Liy Larsen, Movement III, measures 1-
igure 510 acsimile o the original score, page 55 Concerto or Trumpet and Orchestra y Liy Larsen, Movement III, measures 2-5 5
In the third movement, there ere signiicantly eer times in hich the sostenuto pedal as required or the est possile artistic value Hoever, one instance as chosen to aid in alloing the pianist to play these octaves connected, ut ith a very strong dynamic As seen in igure 511, in measures 5 and igure 511 Reduction o Concerto or Trumpet and Orchestra y Liy Larsen, Movement III, measures 79-93
7 CHAPTER VI CONCLUSION Liy Larsen s Concerto or Trumpet and Orchestra is a sustantial ork composed y a ell-knon, thoughtul, creative and inspired composer It as commissioned y a caring and amitious conductor o an impressive and passionate youth orchestra, and as ultimately premiered y an impressive and agile trumpet soloist Although it did not receive a large amount o initial attention, it is my hope that this proect ill provide a resh prospective and reneed interest in the ork The creation o a piano reduction o the orchestral score is clearly the part o this proect that could most directly aect the status o the ork It is my hope that this reduction ill e made availale and easily acquired To aid in this endeavor, I have egun a dialog ith the composer regarding the pulishing and circulation o the reduction y EC Schirmer, the pulishing company that currently ons the rights to the piece I am optimistic that this could occur and hopeul that its potential idespread distriution ill introduce many trumpet perormers to the ork, ultimately leading to perormances o the original ork or trumpet and orchestra
APPENDIX A PIANO REDUCTION - MOVEMENT I
9 Trumpet in C q = 0, ith mystery, expectation Concerto or Trumpet and Orchestra I Liy Larsen (197) Piano Reduction y oshua Thompson Piano p snare drums pizz/pno Ó Ó p Ó Ó 1 Ó # # Ó # # q = qd 5 5 5 l/cl Ÿ~~ hrn/tn Ÿ~~ e = e 15 ~~~~ 15 22 sost 2 22 Sost qd = q Ó p pizz/pno P # # # # Sost pizz/pno # # # # q = qd q = qd 5 5 5 e = e Ÿ~ Ÿ~~~~~~~~~~~~ o/sn 5 Ÿ~~ inds 5 p 5 e = e Ÿ~~~~~~~~ 3 accel qd = q
50 2 qd = 100 2 hrn l/cl Ÿ~~~~~~~ - timp Ÿ~~~~~~~ - 3 3 5 # n n P n # # # n # # # # n # # n # n # n # # Ÿ~~~~~~ - 0 0 Ÿ~~~~~~ - # # # # n n n n # # # # strings # # legato 5 5 n n n n
51 51 51 n n # # Ÿ~~~~ 7 Ÿ~~~~ - 5 5 - cresc poco a poco n tua/timp 3 n n 3 #
52 70 70 9 N N N N n n Í P # 75 10 75 Ÿ~~~~~~~~ p # # 0 0 # very legato n # # # # # # 11 # e = e 5 e = e 5 5 Ÿ~~
53 9 9 Ÿ~~~~ N 12 p # 9 9 vln P P vla/vcl 9 9 n # 13 strings lightly P g perc 102 # # n # 102 # n n n n n π n
5 10 10 P N n n N n n N N 110 110 n 1 l sn/c N N # 115 115 n # 120 120 15 n n n # n #
55 12 12 # n n n n n 9 9 9 1 qd = q Ó Sost pizz/pno Ó 129 129 13 13 hrn n Ó 17 Ó N Sost Sost 1 q = qd 5 Ó Ó Ÿ~~~ Ÿ~~ 5 cl # # p 5 A N gradually release pedal * qd = q 10 10 hrn pizz timp perc q = qd 5 p 5 N N gradually release pedal * 5 Ÿ~~~ picc # Ÿ~~~ #
5 15 # n 15 Ó ( ) p æ pizz pizz Ó 19 5 5 5 Ÿ~~ # 150 150 Ÿ~~~~~~~~ Ÿ~~~~~~~~~~~~~~ # # # # xylo Ÿ~~~~~~ # 20 qd = 0 Ÿ~~~~ n 15 15 n n # n n # 21 # # n Ÿ~~~~~ e n Ÿ~~~~~~~ # n ~~~~ e # # 11 11 # n N # # # # # # # # # # # - - Sost
57 15 - # # - - - 15 22 n P n # n n # n # # # P cl - # - - - Ÿ È # # p ~~~~~~~~~~~~~~~~~~~~ 19 19 # # # # # # # # # # # # 23 - - - - - - - - - - - - - - - - # n 173 173 # # n n # n # # # n # ƒ 177-177 n # - n - n # - n - n # - n inds/perc sn/c
5 10 # # # 10 # # n N N n, n n N # # # # # # # # # 15 15 's N # # # 2 # # # N # # # # # # # # # 190 190 n n n ƒ # # # # # # # # # # # # # # 19 19 # n # # # n n n n ad li # # # # # # ƒ # # #
59 197 197 # # str # # # # # 25 - - Ó - 203 203-2 # 210 210 # # # # # # # # # # Ÿ~~~~~~~~~~~~~~~~~~ # n P ƒ # # # # # 27 215 215 P n P n n n
0 221 221 2 n - - 29 # - - - - - - - - 227 227 - - - - - n - Ÿ~~~~~~~~~~~~~~~~~~~~~~ cresc n - - - - - - n 231 231 n ƒ # n - - P - - 30 - - - - ƒ - - - - - - - - 23 # n 23 - - - - - # - - - # # # # # # # #
1 23 # # # P 23 P # # # n n 2 # # # # # # 31 22 22 2 # # # ƒ # n # n 2 Ÿ~~~~~~~~ n # e tom-toms R R # R R # Ÿ~~~~~~ # 32 ad li R # R R # R n n # 250 250 ƒ ƒ
2 255 255
APPENDIX B PIANO REDUCTION - MOVEMENT II 3
P q = 9, ith great reedom and elasticity Ó p p II # # 3 # # # # 7 7 5 5 n U n n # n 3 n # 5 n 11 11 Ÿ~~~~~~~~~~~~~~~~~~~~~~~ e U π π 5 n p 5 n n 5 U 15 15 5 n n # 3 5 5 Ÿ~~~~~~ Ÿ~~~~~~~~~ e e suito p n # n 5
1 1 22 22 U # U 3 # 7 7 p # # u n U 1 still very reely 7 inds/perc π U - celesta - 2 Ó q = 9 gently, quietly loating 5 * see note, elo 2 2 Ó 30 # # Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # 30 # # # # # # # Sost 3 dolce Ó Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # Ÿ~~~~~~~~~~~~~~~~~~~~~~~ # # Ó # * All staccato eighth notes ith stems don in ass cle are contraass and/or violoncello pizzicato
3 # 3 ~~~~~~~~~~~~~~~~ 3 celesta ~~~~~~~~~~~~~~~~ H H H H 3 Ÿ~~ # # # # 3 0 0 Ÿ~~ # # # # n n # # P # # P tpts Ó sempre dolce p # 3 # n H H H H 5 push ahead 3 n 3 52 52 Ó n n Ó hrns 3 3 celesta # #
7 57 ( ) 57 # # # 2 2 # p Ó pull ack # 3 Ó p Ó 7 dolce q = 90 P o Ÿ~~~ Ó p Ó suito p Sost Ÿ~~~~~ l n Ó P # # # 7 7 P P P Sost Sost 71 71 Ÿ~~ #
75 ~~~ ( ) 75 n P 3 Ó * 79 79 gently 3 P Ó accel P n n p n n 3 3 3 e Ó marima Ó e 3 # n # n 9 q = 100 Ÿ~~~~~~~ Ÿ~~~~~~ 3 vla/vcl Ÿ~~~~~~~~~~~ 3 Ÿi ~~~~~~~ Ÿ~~~~~~~
9 93 l/strings Ÿ~~~~~~~~~~ 93 3 3 # # # # # # 3 3 10 Ÿ~~~~~~~ 9 9 n 3 # # # # n 3 11 q = 0 p celesta # n # n 10 ( ) 10 12 very reely to 13 dolce, lontano P legato Ó Sost Ó Ó ẇ 3 110 110 5 5 5 3 U
70 115 115 5, 13 p p * dolce Ó Ó p Ó * * * 120 120 rit
APPENDIX C PIANO REDUCTION - MOVEMENT III 71
72 5 5 Ó q = 13, ouyantly and rightly, vigorously snare ƒ timp III ƒ Ó Ó 9 9 Ó Ó 1 e = e throughout 5 5 5 Ÿ~~ p 5 5 5 1 5 1 5 5 2 lightly P - - - - n P N
73 19 19 25 Ó 25 - - - - 3 3 Ÿ~~~~~~ Ÿ~~~~ e 5 Ÿ~~~~~~~~~~~~~~ e 5 - - - 5 Ÿ~~~~~~~~~~~~ detached 5 3 - - - - - - 5 - - - - - - 3 5 - - 3 Ÿ~~~ Ÿ~~~Ÿ~~~Ÿ~~~ 3 Ÿ~~~~~~~~~~~~~~~~~~~~~ e e e e e P 3 A 31 31 3 3
7 0 0 p 5 legato lightly - - - - 5 - - - 5 5 5 5 - - - - - - P p - - - 5 5 5 50 50 n p legato n Ó p 5 5 Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~ e e e
75 0 0 legato Ó 5 5 5 7 5 5 71 71 7 7 - - - - - cresc poco a poco - - - - suito p suito p p N
7 1 1 # 91 91 N P 5 5 5 9 ƒ - - 9 9 7 10 rightly - - - - - - - n π P N N Sost - - -
77 101 legato p 101 p 107 107 112 112 P 5 5 5 lightly - - - P 11 5 5 5 p - - - - - - - - - - - - - - p p Ÿ~~~~~~~ e 12 Sost - - - - - - Ÿ~~~~ e n - 5 5 5 11 11 5 5 5 - - -
7 12 12 129 5 5 5 1 129 133 - - - 133 - - - - - - - - - - - - - 137 - - 137 15 3 3 3 P p - - - - - 5 5 5 - - 5 - - - 5 5
79 12 - - - 12 17 17 151 151 ƒ Ó - - Ó - - 17 - - - - - - - - Ó 5 5 5 1 perc Ó 15 pizz 15 pizz n 1 5 5 5 - - - perc - - - - - - 3 3 3
0 10 3 Ÿ~~~~ e 5 Ÿ~~~~~~~~~~~~~~ 10 3 e 5 3 5 - - - - - - - - - 1 3 Ÿ~~~ Ÿ~~~Ÿ~~~Ÿ~~~ 1 e 3 e Ÿ~~~~~~~~~~~~~~~~~~~~ e e e 3 19 171 5 Ÿ~~~~ 171 5 Ÿ~~~~ Ÿ~~~ e e n e - - 5 177 177 20 5 5 5 Ÿ~~~~ e Ÿ~~~~ e
1 12 12 5 5 5 Ÿ~~~ Ÿ~~~ e e p # 5 5 5 1 5 1 5 5 19 19 199 199 - - - Ÿ~~~~~~ e Sost - - - Ÿ~~~~~ e 22 - - - 5 5 5 21 Ÿ~~~~ e A Ÿ~~~~~ e Sost Ÿ~~~~~ e
2 203 203 20 20 Ó n Ÿ~~~~~ e ƒ ƒ ƒ n 5 5 5 23 - - - - - Ÿ~~~~~~ e ƒ P Ï n n
APPENDIX D PROGRAM ROM PREMIERE PERORMANCE 3
5