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World Premiere of Tomasi Trumpet Concerto in 2021



 
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_TrumpeT_
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PostPosted: Tue Apr 13, 2021 9:01 am    Post subject: World Premiere of Tomasi Trumpet Concerto in 2021 Reply with quote

https://www.kdschmid.de/en/news/detail/news/haakan-hardenberger-and-fabien-gabel-with-the-orchestre-philharmonique-de-radio-france/

https://www.youtube.com/watch?v=_DqYzfMe2cg


Do you think this would bring about a fundamental change to how players play the Tomasi concerto?
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dstpt
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PostPosted: Tue Apr 13, 2021 2:54 pm    Post subject: Reply with quote

At a cursory pass, this is what I hear different from the original 1948 published version, and I only hear changes toward the end of the 3rd mvt. Maybe someone else can discern earlier changes in the work. What I hear are segments of music inserted in two places: (1) at Reh. No. 26 and (2) at the following Presto.

[16:52–17:07]
(1) This is a return of Mvt I, Reh. No. 1 thematic material transformed into a waltz feel for a few short bars and has some very intricately angular, fast-moving 8ths in the solo line, followed by a brief bridge of two alternating “lush" chords in the orchestra reminiscent of Mvt. 2. This is followed by a repeat of the orchestral line at Reh. No. 25 with the tpt entering at Reh. No. 26 as written and continuing until the fermata rest before the…

[17:20–18:09]
(2) ...Presto, where there is more music inserted, using the low bass line 8th-note pickups into the Presto repeated as a bridge, followed by a repeat of the muted, almost choppy theme in the solo tpt in Mvt. 3, Reh. No. 3, which appears to be verbatim for 10 bars. This is followed by a high-sounding theme in the bassoon, which is repeated in the mid-register in the solo tpt part, but this material does not appear to be related to the concerto and seems to be a peculiar place to introduce new material toward the end of a major work. The only unifying factor would be the posthumously “realized” orchestration with the xylophone striking octaves in tandem to the sustained string chords as they build with the tpt to a rapid cut-off. This passage also includes tricky, angular technical lines for the soloist.

These brief musical “insertions" are transformations of previous thematic material with the exception of the one part that appears unrelated, and subsequently does not seem convincing as something that Tomasi “intended.” According to the link in the OP’s open, the composer’s son (Claude, his one and only child) discovered this manuscript and had these “missing” sections orchestrated. The brief article reads:

“Tomasi's son discovered the original transcript of this well known work, including some bars that had been lost so never been orchestrated or played before, so now Hardenberger and Gabel will present the complete concerto as Tomasi intended for the first time."

It was my understanding that Henri Tomasi was present in the recording studio when Maurice André recorded it in 1968, three years before the composer's death in Jan. 1971. (This seems plausible, anyway, and lends to interesting discussions about André’s changes with mutes and articulations, although reasonable prerogatives for an artist.) The solo tpt part and piano accomp. were published by Alphonse Leduc in 1948, but the orchestral parts were not published by the same until 1966 (18 years later). Up to that point, all performances were done with rented manuscript parts and score. Why would the composer not have taken the time to do this revision some time during those years, leading up to the first recording? His compositional style reportedly changed around 1950, so maybe he felt it was just best to leave as is, so that no one, including André, would have to learn new material? Or perhaps these “sections” were something he decided to omit prior to sending it to Alphonse Leduc for publication. The latter seems more reasonable to me.
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Ekim Gram
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PostPosted: Tue Apr 13, 2021 3:14 pm    Post subject: Reply with quote

They did a fantastic job editing that live performance.

I listened to the live broadcast and I almost prefer that to this one since it's way more 'human' in nature.
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