Supporting Paper for

Capstone Recital
of

Cody Ortz

November 22, 2014

Approved and Evaluated by:

Dr. Daniel Perttu
Capstone Advisor

December XX, 2014

Date

Acknowledgments

I would like to thank Dr. DeSalvo for her hard work and encouragement in preparation
for this recital, but also for all that she has taught me over the last three years. I owe another
thanks to Mr. Andrew Erb for being a great studio teacher my first three years at Westminster
and for teaching me that an education is not a destination, but a journey. I would also like to
thank Dr. Timothy Preston Winfield for showing me new ways to think about playing, being a
great inspiration, and helping me make the most out of my time this semester. I must finally
thank my parents for giving me my love of music, supporting me in all that Ive done, and
getting me to where I am todayI owe you the world!

Introduction
The first piece of the recital, Someone to Watch Over Me by George Gershwin, was
selected for both its popularity as a show tune and its lyrical nature. Being the first song that the
performer ever performed (though it was a different arrangement), it is a piece with significant
meaning to the performer. It is placed first in the recital for two main reasons. First, the piece
functions well as an opener because it is popular, catchy and highly lyrical; it draws audience
members into the performance and prepares them for some of the more contemporary pieces that
will follow. Secondly, and more importantly, the placement of this piece is symbolic of the
beginning of the performers time as a soloist. The culmination of this point of the performers
musical career begins with the same song that began it.
The next two pieces on the program are George Enescos Lgende for Trumpet and
Alexandra Pakhmutovas Concerto for Trumpet. These two pieces are placed early in the recital
because of the physical demand required by the composition. However, since both pieces have
neither a significant connection to the performer, nor a potential popularity with the audience,
they would not function well as an opening. Lgende was selected as a technical challenge. The
difficult finger patterns combined with extensive use of multiple tonguing create a unique
challenge unlike those in the other pieces of the recital. The Concerto is significant in both its
challenge to the performer and its outright beauty. Aesthetic appeal is highly important in music
and is something that is shared by all the pieces on the program. For the Cocnerto in particular
though, it is an impressive feat of the composer to be able to compose such an extensive piece
that is both intriguing and beautiful to hear.

The second movement from Eric Ewazens Sonata for Trumpet serves as both a stylistic
contrast to the previous two pieces and an opportunity for the performer to collect himself
physically and mentally. After the extreme physical demands of the previous two pieces, the
frequent resting, lyrical nature and tame range of the Sonata allows the performer to relax the
muscles during performance. This also has the psychological effect of calming the performer and
allowing him to feel comfortable on stage. It is very stylistically different in terms of the overall
mood of the piece. Ewazens Sonata is almost like a lullaby and, while the previous two pieces
frequently exercised loud dynamics, rarely reaches an extremely high dynamic level.
The final piece of the recital will be an instrumental arrangement of Nessun dorma
from Giacomo Puccinis incredibly famous opera, Turandot. This piece is not only a very
moving aria, but it is also a very catchy one. The purpose of a closing piece is to uplift the
audience and give them a lasting memory from the performance. The new sonic texture with
antiphonal brass combined with the beautiful writing of Puccini creates an awe-inspiring musical
moment.

George Gershwin: Someone to Watch Over Me

Historical Context. George Gershwin (1898-1937) was one of the foremost composers
for jazz musicians and musical theatre in the early 20th century, best known for his compositions
Rhapsody in Blue, An American in Paris, and Porgy and Bess.1 Working in conjunction with his
brother, Ira (1896-1983), Gershwin is credited with the composition of over 500 songs.
1

Charles Schwartz, Gershwin: His Life And Music (New York: The Bobbs-Merrill Company, Inc., 1973).

Gershwin showed very little interest in music until he was roughly ten years old. He began
playing the piano that his parents bought for his brother and began studying with Charles
Hambitzer in 1910. Hambitzer taught Gershwin both traditional and contemporary piano
technique and encouraged him to attend orchestra concerts. Gershwin went home after each
concert and learn to play the songs on the piano by ear.2 Until his death in 1918, Hambitzer acted
as Gershwins mentor and musical guide. Gershwin later studied with composer Rubin
Goldmark.
The Gershwin Brothers lived in New York City and were surrounded by a large
community of musicians who would often collaborate with (or even ghost write for) the brothers.
These collaborations, particularly with orchestra leader Paul Whiteman, helped to establish jazz
as serious music.3 Someone to Watch Over Me was written for the 1926 musical Oh! Kay!
and, despite Gershwins original vision of an up-tempo swing tune, became one of the most
widely-performed jazz ballads of all time.4 Some of the most famous performances of the song
include those done by Frank Sinatra, Barbra Streisand, Ella Fitzgerald, Chet Baker and Chris
Botti.
In 2006, the New York Philharmonic Principal Trumpet, Philip Smith, recorded a solo
album featuring songs from various composers including Leonard Bernstein, George Enescu,
Eric Ewazen and George Gershwin. On this album, Someone to Watch Over Me was arranged
by composer/conductor Joseph Turrin who has worked extensively with orchestras such as the
New York Philharmonic. He was commissioned to write several pieces for the orchestra. His
2

Edward Jablonski, Gershwin (New York: Doubleday, 1987).

Ibid.
4
Schwartz.
3

arrangement of Someone to Watch Over Me, for Trumpet and Piano, utilizes several
compositional styles characteristic of different musical eras, including typical jazz harmonies and
Alberti bass. Though the piece is not commercially available for performance purposes, it was
transcribed in 2014 for this Capstone Recital.
Analysis. This particular arrangement of George Gershwins Someone to Watch Over
Me is a modern adaptation of the highly popular show tune. Because it is based on the jazz
standard version and not the 1926 Broadway edition, it varies considerably from Gershwins
original setting. The whole piece is in strophic form with two themes used in various styles,
despite remaining in one key. Because it is in a strophic form, recognizable themes are repeated
with slight variations to add musical variety (Table 1).
Table 1Gershwin
Measures
1-8
8-23
23-26
27-34
35-42
43-51
52-35

Section
Introduction
A Section
transition
B Section
A Section
B Section
A Section

Key
Eb major
Eb major
Eb major
Eb major
Eb major
Eb major
Eb major

66-75

Coda

Eb major

Description
Piano solo (not based on thematic material)
Main Theme (Ballad Style)
Transition to new tempo and style
Secondary Theme (Waltz Style)
Main Theme (Ballad Style, slightly embellished)
Piano Solo (Classical style)
Main Theme (Ballad Style, highly embellished,
chromaticism)
Recap of Introduction, soloist added at end

In the beginning of the piece (mm. 1 to 8), there is a substantial introduction in which the
piano accompaniment establishes the key, style, and mood of the piece. This introduction utilizes
figuration that is characteristic of the mid-Romantic Era and does not use easily-recognizable
thematic material from the main section of the piece. The first theme (Figure 1.1) is stated by
soloist in measure 9 and is used as a point of familiarity throughout the pieces varied styles. The

style used for this theme is always a Ballad Style, though it goes through slight embellishments
later in the piece.
Figure 1.1

This first theme is stated twice and then transitions to the second theme (Figure 1.2)
which arrives in the pickups to measure 27. The style of this short section (measures 27 to 34) is
that of a slow waltz. The meter changes from common time to and significant emphases are
placed (both by the soloist and the accompanist) on the first beats of each measureas if one
were to dance to the music. This section is the first true departure from the theatrical style of
Gershwin and a stark contrast must be made by the performers to give this section its full impact.
Figure 1.2

The middle section of the piece (measures 35-42) is a single restatement of the first
theme (Figure 1.1) that reestablishes the style of the original ballad, although there is some
embellishment through the addition of runs at the end of certain phrases. There is an interlude
(measures 43-51) played by the piano in which the secondary theme (Figure 1.2) appears to
make reference to the stylistic and harmonic aspects of the Classical Era. These aspects heavily
emphasize the use of clear phrasing in tonic, predominant, and dominant sections. Turrin decided
here to relinquish the use of jazz voicing that would have been used by Gershwin (primarily
extended harmonies and drop-two voicing) to further add to the contrast between styles. This

section (measures 43 to 51) features the accompanist and makes use of rubato tempos that add to
the development of the thematic material.
At measure 52, there is a return to the primary theme. In this melodic return, there is not
only melodic embellishment, but also some structural chromaticism (ex. measure 58) used both
to add drama and propel the piece into the final melodic ascent in measure 62. The piece ends
with a coda section (measures 66 to 75) which mixes the introductory material and the opening
contour of the primary theme, creating a very aesthetically-pleasing close to the piece.
Performance/Interpretive Challenges. There are several performance traits to keep in
mind when performing this arrangement of Someone to Watch Over Me. Firstly, this piece
was originally a vocal ballad which requires the trumpet player to imitate the tone of a singer as
closely as possible. The player must strive for a dark, rich tone which is a particular concern for
a trumpet player who has a naturally bright timbre. Doing this requires sensitivity to the size and
shape of the oral cavity, as well as the quality of air support. (Dark timbres come from large,
round oral cavities with a solid air stream.) There must also be a light, flowing quality to the
music, emulating the characteristics of a jazz vocalist in the 1920s. Additionally, there should
be an organic interpretation to the rubato sections that appear in the piece. While it is important
to know when and where rubato moments occur before rehearsal of the piece, the exact
interpretation of them should be done in the moment. To ensure that this interpretation is not
overly rigid, it is suggested that the performer memorize the piece (as a vocalist would do). This
organic nature of the time throughout the piece, however, poses a particular problem for the
accompanistit is exponentially more difficult to play together when there are frequent shifts in
7

tempo. One section that exemplifies this issue would be measures 39-40, where the solo line
moves out of rhythm during a slight accelerando. For the line to be effective musically, both the
accompanist and the soloist must arrive at the downbeat of measure 40 precisely together. Both
musicians must have an identical interpretation of the time shift in order for this to occur.

George Enescu: Lgende for Trumpet

Historical Context. Born in Botosani, Romania, George Enescu (1881-1955) was one of
the most important of the countrys musicians in the 20th century.5 Enescu began composing at a
very young age of five. Though only short pieces remain (most of them pieces for violin and
piano), it is clear that Enescu had the makings of a fine composer. In 1888 (age 7), he was
accepted in the Vienna Conservatory; not only was he the youngest student ever admitted, but he
was also the first non-Austrian to be allowed to study there. While staying at the home of a
professor, Enescu met Johannes Brahms who would become a great influence on Enescus life
and musical works.6 In 1895, he moved to Paris to study composition with famed composer
Gabriel Faur. During his time at the Paris Conservatory, Enescu continued to draw from his
Romanian heritage and wrote numerous pieces based on Romanian folk music.
Lgende for Trumpet was written in 1906 and represents an arrival point in the solo
repertoire of the trumpet.7 A mindset frequently taught by Merri Franquin, professor of cornet at
the Paris Conservatory, this piece marks the full development of the trumpet as a completely
5

Istvan Kosztandi, The Great Romanian Composer and Master of the Violin, George Enescu, the Creative and
Virtuoso Violinist (Budapest: Liszt Ferenc Academy of Music, 2013).
6
Noel Malcolm, George Enescu (Toccata Press, 1990).
7
Ibid.

chromatic instrumentsubstantially more developed than the trumpets of the Classical Era. The
piece was premiered by Franquin in the same year that it was written. Compositionally, this
piece epitomizes Enescus musical style. There is a distinct Romanian nature present in the
mood of the whole piece, but there is also a considerable amount of Impressionistic writing.8 The
Impressionistic writing (i.e., nontraditional harmonic progressions, parallel chords, frequent
figuration, and unresolved non-chord tones) comes as a result of his time studying with Faur
(who also taught Maurice Ravela prominent figure in Impressionist music). The mood of the
piece captures what Enescu described in his memoirs as the essence of Romanian music. A
general characteristic of our [Romanian] national music is the ubiquitous sadness, present even
in happiness. The dor [painful longing, nostalgia] is indefinite yet deeply moving. But to me this
music is, above all, a music of reveriea music prone to the minor mode, the color of nostalgic
dreaming.9
Analysis. Enescus Lgende is a five-section rhapsody written in a way that develops and
embellishes a fairly small amount of thematic material. Two arguments could be made for the
overall form of this piece: a Rondo with two alternating sections or an extended ternary form,
where the last two sections are repeated (Table 2). While a Rondo Form would have its merits
(particularly that the themes alternate with A being in the same key each time), the extended
ternary argument10 is more convincing for several reasons. First, there are only two thematic

Frederick Sienkiewicz, F. A. (2005). Research in Performance: Analysis of Five Trumpet Works. Boston, MA:
University of Massachusetts.
9
Malcolm.
10
Sienkiewicz.

sections that alternate and in most Rondo forms, there are usually at least three. Additionally,
when the A theme returns in a Rondo it is almost always an immediate return to the tonic key.
However, when the A theme returns in this piece, it is not always in C-minor. It always ends on
C-minor, however, and this is more typical of a ternary form.
Table 2Enescu
Measures
1-17
18-19

Key
C-min, (Ab), C-min
F#-min to A

Description
Slow, easily-recognizable theme in C minor
Uses thematic material from A, but sets up the key of B

20-30
31-43

Section
A
Trans.
B
A

A
C-min

44-67

68-78

Tonally Unstable
(C moving to Db-min)
(D to) C-min

Quick, chromatic passage. Rhythmic variation in figuration

Piano interlude based on A theme, moves to the solo
restatement of the theme up an octave
Features sequence that creates a tonally unstable center
Return to the A theme, but rather than a diatonic theme
becoming chromatic, the chromaticism becomes
consonant and more tonic

The first section of the piece (measures 1 to 17) establishes the key of C-minor. The first
four measures spell out the theme (Figure 2.1) which is a slow, mournful melody. There is a
moderate degree of harmonic variety in the first 17 measures. The accompaniment is very simple
and simply provides chordal support for the soloist. Where the soloist does not play a moving
line, the piano takes over as the soloistic voice. At the end of this section, there is a short
transition section that prepares the listener for the tonality of the B section.

10

Figure 2.1 (A Theme)

The second section begins at measure 20 and lasts until measure thirty. This section is
written in 3/4 (as opposed to 6/4 at the beginning of the piece), but the meter is not the only thing
that contrasts with the first section. The B section is full of chromatic runs and impressionistic
gestures. This B section does remain quite Romantic, harmonically speaking, but there are
moments in the second B section that stray further from the traditional approach to chordal
progression. The thematic material in this section (Figure 2.2) is similar in contour to the first,
but shares very little else with it. The connection to the A material lies in the piano which, in
addition to the figuration ubiquitous in this section, also has short motives from the first section.
Figure 2.2 (B Theme)

After the first B section, there is a short piano interlude that returns to the A theme. The
soloist restates this theme an octave higher than the first time it appears and ends with a tonally
unstable embellishment of the melodic material in the piano. This melodic embellishment
prolongs the dominant chord and leads the listener to believe that the piece is coming to a close.
However, this section only builds to a strong half cadence; the tonic does not reappear until the
11

return of the B theme in measure 44. It is here that the argument for ternary form is strongest.
This A section ends with terminative material as would be expected in traditional ternary form.
However, it does not end on the tonicit ends on a half cadence and then returns to the material
from the B section. This subversion of a strong cadence leaves the listener in a state of unease
until the final section, which is back on the tonic. It functions similarly to a prolonged cadence,
but on a much larger scale. This is not something that would typically fall into the style of a
Rondo, but aligns more accurately with an extended ternary form.
The B section (measures 44 to 67) is characterized by Impressionistic variation of the
thematic material in the original B sectionimpressionistic insofar as the traditional harmonic
progressions seen in the first B section are replaced by sequences and parallelism. Melodically,
this section begins by transposing the motive up a minor second from its first statement. The
harmonic accompaniment, though, is what is truly interesting. In the first B section, the
harmonies were very tonal. Understandably, they were highly chromatic, but they still had a
sense of tonal progressiontonic, predominant, dominant, tonic. In B, Enescu foregoes the
feeling of progression and instead uses parallelism, a trait of Debussy and the Impressionistic
style of writing. Measures 45 to 51 (Figure 2.3) could easily be mistaken as a type of sequential
modulation. However, the repeated harmonic gesture (parallel chordsalso known as chord
planing) in measures 60 to 62 (Figure 2.4) suggest that Enescu is actually blending
Impressionism with his more Romantic style of writing. This parallelism creates a sense of
unease and further prolongs the cadence that was averted in measure 43.

12

Figure 2.311

Figure 2.412

11
12

Sienkiewicz.
Ibid.

13

The final of this section of this piece (measures 68 to 78) is a final restatement of the A
theme. It returns to the somber nature of the opening and finally returns to the tonic of the piece
in the last three bars after a clear cadence. This section does not start out on the tonic; instead, it
begins in D major and directly modulates to C-minor in the measure 70 (where the soloist
reenters). This key structure suggests even further that the form of this piece is an extended
ternary form, as opposed to a Rondo. This section is a homophonic texture, similar to the
opening and ends solidly on the tonic. The end of this section dies away and leaves the listener
with nothing but an echo of the main theme ringing in their ears.
Performance/Interpretive Challenges. Though this piece is not particularly extensive
(roughly 6 minutes performance time), it requires significant consideration to rehearse
effectively. Perhaps the most prevalent issue in the piece is the metric interpretation. The piece is
marked at a quarter note equaling 54 bpm. Such a slow tempo demands very careful attention.
To work around this tempo, the piece should be counted on the eighth note (equaling 108) which
makes it much easier for the accompanist and soloist to match speed. There should not, however,
be emphasis placed on the eighth note. This is a common issue among many performers;
musicians (often unknowingly) place accents on downbeats, regardless of whether or not they
should be accented. Placing this metric accent on twice as many notes (due to counting in double
time) breaks up the phrase in an unmusical way. A similar issue can be found in the
interpretation of various rhythms, namely the 32nd notes in measure 29. Several performers (Phil
Smith, Matthias Hofs, and Thomas Duis) do not play these 32nd notes as written, but syncopate

14

them or otherwise play them out of time. While this helps the line flow to a certain extent, it is
not the correct rhythm.
Some challenges that have been extensively addressed in preparation for this recital
include articulation and dynamic choices. In the B sections of this piece, there are numerous
multiple tonguing demands. Multiple tonguing requires using both the tip and middle of the
tongue, as opposed to single tonguing which only uses the tip. While double tonguing (groups of
two or four) is only interpreted as Ta-Ka (front-middle), triple tonguing (groups of three or six)
can be altered depending on the player and the musical demands. The two interpretations are TaTa-Ka (front-front-middle) or Ta-Ka-Ta (front-middle-front). To an untrained listener, there will
not be a significant aural difference between the two. However, a keen musician should be able
to hear that Ta-Ka-Ta has a different feelalmost a liltthan Ta-Ta-Ka. For this recital, Ta-TaKa is the preferred interpretation because the groupings suggest a flowing line, not a lilting line.
The final challenge addressed is the dynamic ranges throughout the piece. In particular, the final
section of the piece which has the soloist performing at piano with a mute. The soloist should
focus on playing with a full, present sound before striving to play at a soft dynamic. Otherwise,
the soloist will not be heardespecially in a large auditorium.

Alexandra Pakhmutova: Concerto for Trumpet

Historical Context. Famous for her 400+ vocal pieces, Alexandra Pakhmutova was born
in Stalingrad, Russia, in November of 1929. She studied music at both the Central Music School
and the Moscow State Conservatory, finishing her graduate work in 1953. In all of her music, it
15

is the humanistic approach embodied in lyrical song that made her so well known.13
Pakhmutova has won numerous awards including the Peoples Artist of the USSR (1984), the
Lenin Komsomol Award (1967), the State Prize of the USSR (1975, 1982), and the Hero of
Socialist Labor (1990).
Pakhmutovas Concerto was written in 1955 and was premiered by Ivan Pavlov, the
trumpet instructor at the Moscow Conservatory, later that year. Though the piece was not written
for anyone in particular, it was made famous by the Soviet Unions most prominent trumpet
soloist, Timofei Dokshitzer (1921-2005). In 1935, Dokshitzer began studying at the Central
Music School where he met and began corresponding with Pakhmutova. At this time, the
available trumpet literature was very limited; very few solos were allowed to be performed in the
USSR. (Interestingly, Enescus Lgende was banned in the Soviet Union at this time, likely due
to his heritage.) Dokshitzer performed the piece several times starting in 1955, but thought that
there were some characteristics of the Concerto that did not fit the tendencies of the trumpet. In
1978, he asked Pakhmutova to rewrite two sections of the piece to make it easier for the player
and more characteristic of trumpet playing. On this recital, the original 1955 version will be
performed. The differences between the 1955 and 1978 versions of the piece will be discussed
later.
Analysis. Pakhmutovas Concerto for Trumpet and Orchestra is a through-composed
solo written in a style that defies classification into a Classical form (such as Sonata, Rondo,

13

Holly Cook, Alexandra Pakhmutova's Concerto for Trumpet and Orchestra (Los Angelos, CA: University of
Southern California, 2012).

16

Binary, Ternary, Strophic, etc.). However, there is a large degree of compostional unity
displayed throughout the piece (see Table 3).
Table 3Pakhmutova
Measures
1-33

Section
Intro

Key
Eb minor

Description
Slow, quiet introduction, thin texture, uses primary material

34-37

Trans

V of Eb minor

No thematic material, on V of Eb minor

38-78

Eb minor

79-150

F minor

151-186
187-209

Trans.
C

F minor
E major

210-240

Trans.

A minor

241-290

291-350

Tonally
unstable
Eb minor

351-381
382-430

A
B

Eb minor
Eb minor

Agitated, highly chromaticbut still maintains hierarchy of

tonality (I-V-I)
Half-time, legato section, intimate playing style (but still
makes use of full dynamic range)
Simplistic piano accompaniment with a busy solo line
Beautiful adagio section, avoids landing on the tonal center
completely, uses suspensions, deceptive cadences, and
chromaticism to prolong the section and avoids a definitive
cadence
Rhythmically driven, entire section is written around or on
the dominant of the key
Blends motives used in the A section and the E section, makes
use of sequence to modulate through various keys
Develops B theme from a half-time melody into a forceful
statement
Shortened version of the A section
Statement of theme is entirely in the accompaniment, with
the soloist performing a countermelody over that texture

431-463

Trans

Tonally unstable

464-492

Reuses background material and creates a large build-up to the finale

Augmented statement of the A section, little counterpoint,

little dynamic variation until final 5 measures

The piece begins with a soft introduction (measures 1-33) that exposes the primary
thematic material that will be used in the A sections of the piece. This theme (Figure 3.1) starts
on an ascending perfect fourth and heavily implies the tonic key of Eb minor throughout the
melody. The accompaniment in the beginning is very thin, using little counterpoint and
frequently sustaining chords. In measure 34, the accompaniment changes style and becomes
more agitated which foreshaddows the first A section. For two reasons, it is argued that measures
34-37 are a short transition to A which arrives definitively at measure 38. Firstly, those four
17

measures are primarily in Bb, the dominant of this section (which is irrefutably Eb minor in
measure 38). Secondly, there is no thematic material used in these four measures, either in the
orchestral score or the piano reduction. While there is a rehearsal marking at measure 34, this is
most likely due to a change in tempo and not a significant change in form.
Figure 3.1

Throughout the first A section (measures 38-78), there is a significant use of

chromaticism and tonicization, but there is still a hierarchy of tonality. This section begins in Eb
minor, moves to the dominant in measure 46, and returns to the tonic (Eb minor) in measure 63.
The motivic writing is very melodic and is driven mostly by the flow of the solo line. There is a
key change in measure 79 which, along with the stark change in style, marks the beginning of the
first B section (measures 79-150). The theme in this section (Figure 3.2) is a half-time melody in
F minor; first stated by the piano, it is built on two 8-bar phrases. The theme is developed
through this section and eventually morphs into the next section at measure 151.
Figure 3.2

Measures 151-186 are a transitional section that not only connects the only two slow
section of the piece, but also develops motives from both the A and B sections. The theme from
this section (Figure 3.3) is roughly based on the theme from the A section. It is based on an
18

opening fourth and has strong harmonic implications, but has a different melodic contour and
phrase structure. This section is mostly in F minor, but uses some tonicization and
choromaticism to add variety to the progression. This section ends with a definitive cadence on
F, followed by common tone modulation to the next keyF minor to E major, using Ab/G# as
the common tone (Figure 3.4).
Figure 3.3

Figure 3.4

Perhaps the most unique section of the piece, the C section (measures 187-209) implies a
tonic, but but does not arrive there until measure 205. There is a written key change that displays
4 sharps, suggesting either C# minor or its relative major, E major. Pakmutova intentionally
wrote this key signature, so there is very little room for interpretation with respect to its purpose.
The melodic writing and the tonality of the section suggest E major instead of C# minor, but it is
written enharmonically (Figure 3.5). The reason why the melody implies E major is purely
auralthe melodic B natural sounds like the dominant of the melody and the D# sounds like the
leading tone. What is interesting about this section is that it never harmonically arrives on E
19

major as the tonic. It begins with an F-minor chord in measure 187 which acts like a suspension
to E. However, when the chord does arrive on E in the next bar, it is a dominant 7 chord which
acts like a secondary dominant. Pakhmutova uses this harmonic writing to delay a sense of
finality and create a sense of continual motion throughout the section.
Figure 3.5

The transitional section in measures 210-240 marks the beginning of a move from
beautiful development to energetic conclusion. This section uses a rhythmic motive (Figure 3.6)
to propel the piece forward. There is little melodic development in this section, but the beginning
of the next section (measures 241-290) is similar and could be considered a development of
section E. This development section is actually the A section and blends thematic material from
both the A section and the E section. It is tonally unstable, frequently modulating, which adds to
the sense of forward motion.
Figure 3.6

The next section (measures 291-350) develops the thematic material from the B section.
Initially stated by the piano again, the theme is transformed from a gentle, flowing melody into a
forceful statement of the theme (Figure 3.7). This section gives way to a shortened version of the

20

A section (measures 351-381) which uses elements of both the original statement and later
developments of that section.
Figure 3.7

From measures 382 to 430, Pakhmutova writes a full statement of the B theme in the
accompaniment which little to no thematic material (from B) in the solo voice. Instead,
Pakhmutova gives the soloist a countermelody (Figure 3.8) that metrically and harmonically
complements the theme, but never lines up with it. This section creates a lot of emotional tension
and concludes in an expressive statement of the theme by the soloist in measure 423. Afterwards,
there is a transition (431-463) from the B theme to the finale of the entire piece.This transition
uses very few motives from the main sections and relies more on reusing the material derived
from the developments and previous transitions.
Figure 3.8

The finale of this piece (measures 464-492) is an augmented statement of the A section.
In this section, there is very little countrapuntal writing. The texture is homophonic, and
Pakhmutova relies heavily on the ability of the soloist to project over the entire orchestra (when
performed with one) for a lengthy period of time. There is incredibly little dynamic contrast until
the final 5 measures where there is a subito piano followed by a rapid crescendo. This piece ends

21

with a definative cadence on the tonic of the piece (Eb minor) andwith the plethora of
terminative material in the last 6 measuresleaves the listener with little doubt that the piece has
ended.
Performance/Interpretive Challenges. The first, and perhaps the most prominent,
performance issue is the length of the concerto. In its entirety, Pakhmutovas Concerto is
between 15 and 20 minutes long. For a brass player, this is a concern due to the stamina of the
player. The only way to work around this issue is to routinely do physical exercises during
practice, starting several months before the recital. Another concern is the physical and
psychological demand of the piece. The beginning of the Concerto is marked ppp in the lowest
register of the instrument. While this is not physically demanding, the psychological impact on a
player is quite apparent. Trumpet players typically are known for high and loud playingit is
the quintessential trait of the lead player mentality. To open a piece with the opposite style of
playing (low and soft) puts the performer in an uncomfortable state. Often, this state of mind can
impact the entire performance. Since Pakhmutova intended the piece to be an academic solo
(therefore displaying traits common to the trumpet) Dokshitzer asked Pakhmutova to rewrite the
beginning and ending of the piece.
In the 1978 version of the piece, the trumpet begins up a perfect fifth from the original
and there is also a significant change in the texture. The original opens with just a timpani solo,
but the 1978 version opens with the whole string section playing above the staff. The trumpet
solo is also written at a louder dynamic. Adding these plays and bringing up the dynamic alters
the state of mind for the performer. It allows him or her to feel more comfortable at the
22

beginning of the piece which can lead to a better performance overall. Dokshitzer also asked
Pakhmutova to rewrite the ending, but for the opposite reason. The ending of the original version
ends with a particularly long halftime section in the upper register. This is very physically
demanding and takes a lot out of the performer. The reason for the rewrite is to add more
rhythmic elements to the piece to ease the physical demands and put the performer in a more
relaxed state of mind.
Other performance issues in this piece include multiple tonguing, exotic scales, and
register shifts. As discussed previously, there are several ways to approach multiple tonguing,
and this piece as numerous sections that make use of this technique. Due to Pakhmutovas
heritage, she is also quite prone to using exotic scales. For a classically trained musician who is
used to playing only diatonic scales, the frequent use of exotic scales can be difficult. Finally, the
register shifts (usually form the upper register to the lower register) can cause problems with
responsiveness of the lips.

Eric Ewazen: Sonata for Trumpet, mvt. II

Historical Context. Born in Cleveland, OH in 1954, Eric Ewazen is well known for his
orchestral, chamber, and solo compositions. Ewazen studied at the Eastman School of Music as
well as the Juilliard School; some of his teachers include Milton Babbitt, Samuel Adler, Warren
Benson, and Joseph Schwantner. Ewazen has been a faculty member at the Juilliard School since
1980. His Sonata for Trumpet was commissioned by the International Trumpet Guild in 1993.
The piece was finished in time for the 1995 ITG Conference at Indiana University where it was
23

premiered. Throughout the pieces three movements, Ewazen actively avoided the avant-garde
techniques used in so many contemporary solos. Its melodic nature and lack of extended
techniques is the reason that it has gained recognition as a staple in the contemporary literature.14
The piece is very melodic with clear tonal centers and features a contrast between the first/third
movements and the second movement. Perhaps one of the most influential factors in the piece
was the collaboration with Ewazens friend Chris Gekker(trumpet professor at the University of
Maryland School of Music).15 During the pieces composition, Ewazen sent selections to Gekker
for suggested changes, advice on how to proceed, etc. Gekker premiered the piece a few weeks
after its completion with Ewazen accompanying at the 1995 International Trumpet Guild
conference at Indiana University (Bloomington, Indiana). Since completing the Sonata, Ewazen
has written numerous works for both orchestra and wind ensemble. Ewazen is well known for
his chamber music and Neoromantic style. His music is available through the Hal Leonard
Corporation, the Lauren Keiser Music Publishing Company and the Theodore Presser Company.
Analysis. The Second Movement from Eric Ewazens Sonata for Trumpet and Piano is
an unusual example of the traditional Sonata Form. Pieces in Sonata Form follow the examples
that have been used for centuries and have three sections (Exposition, Development and
Recapitulation) that are driven by the key of the themes used; there may also be an introduction
and/or a coda. While these characteristics define the Sonata Form, composers make this standard
blueprint their own through a unique approach to development. Referencing Table 4, it is clear

14
15

Eric Ewazen and Bruce Duffie, Composer Eric Ewazen in Conversation with Bruce Duffie (March 21, 1998).
Ibid.

24

that this movement follows the standard form with the Exposition, Development, Recapitulation
and Coda.
Table 4Ewazen: Movement II
Measures
1-39

Large Form
Exposition

45-65

66-106

Small Form
Theme Group I

Key
F#(Gb) major

Theme Group II

C#(Db) minor

Development

F# (Gb) minor
(unstable)

106-133

134-144

Cb major

Recapitulation

144-161
161

TG 1

F#(Gb) major

Tonal Reconciliation

F#(Gb) minor

Coda

Ab major

Description
Lilting lullaby, rolls blocked
chords, uses Quintal
Harmony to add to
relaxed/open timbre
Forceful melodic line,
figuration in piano used to
imply harmony and add nonchord tones
Fragmented portions of
Theme Groups,
stylistic/metric variance from
Exposition
2/4 Section, Most developed
that melodic material
becomes (almost unrelated
to Exposition, except mood
and melodic contour)
Restatement of Theme a, but
not b
Style and melody of Theme c,
but now on the tonic key
Based on Theme a, not in
tonic key

That which cannot be accurately shown in a table is Ewazens unique approach to development
which resides in his use of key structure and melodic/structural development. The piece begins at
the start of the exposition (without an introduction) and presents Theme Group I in the key of F#
majoralso written enharmonically as Gb major in some measures. This Theme Group consists
of two themes which will be referenced as Theme a (Figure 4.1) and Theme b (Figure 4.2).

25

Figure 4.1

Figure 4.2

These two themes are motivicly related, the second starting out as an inverted contour and
eventually sharing an augmented embellishment with Theme a. (The sixteenth notes in the third
bar of Theme b are an augmentation of the grace notes in the third bar of Theme a.) Theme a is
first presented in measures 1-14 provides the bulk of the easily-recognizable melodic material
throughout the movement. There is some transitional material in measures 14-22 which leads
into the appearance of Theme b. Theme b lasts through measures 22-35 and then returns to
Theme a for a short period (measures 35-39) before transitioning to Theme Group II.
Theme Group II is remarkably different than Theme Group I in both the writing of the
soloist and the accompanist. The solo line shifts from a lilting lullaby to a simpler, more forceful
melodic statement in Theme c (Figure 4.3). The accompaniment also makes a stylistic shift from
playing in a homophonic (block chords) texture to a texture that uses figuration to imply
harmony and add non-chord tones.
Figure 4.3

26

Theme c is in the key of C# minor (enharmonically, Db minor) and runs through measures 4554. In measure 54, Theme d enters. This Theme (Figure 4.4) is more similar to the style of those
in Theme Group I, but makes use of different rhythmic motives. This Theme Group ends with a
short restatement of Theme a (measures 62-65) and transitions to the development in measure
66.
Figure 4.4

The Development of this piece is where Ewazen begins to vary from the established
characteristics of a Sonata. Commonly, the Development is marked by a tonal instability caused
by adding various chromatic shifts or modulations/tonicizations. While Ewazen does utilize
some of these tools, his main focus is on creating instability of style. He begins the Development
by altering Theme A and changing its style from a gently rocking lullaby to a mysterious melody
that builds suspense to a release that uses Theme B. This section (measures 62-81) also
introduces a few meter changes and hemiolas that add to the instability. The next portion of the
Development (measures 81-105) returns to the style of the Exposition, but adds a lot of melodic
alterations. The solo line in measure 86 implies the same melodic idea as Theme a, but there are
several added notes which embellish the theme and make it less recognizable.
The second portion of the Development puts Theme Group II in a different meter2/4.
This second is very interesting because Ewazen completely averts the expectation of the listener.
Not only is the rhythmic feel of the piece totally different here, but it also changes the melodic
line so much that it is almost unrecognizable as Theme Group II. However, the melodic contour,
27

primary notes, and rhythmic figures give away this section as the Development of Theme Group
II.
The Recapitulation of this piece also differs from the typical example of Sonata Form.
Most Recapitulations have full restatements of both Theme Groups. However, this
Recapitulation only uses the first themes of each Theme Group. The Recapitulation begins in
measure 134 with Theme A and moves directly to Theme C in 144. The key factor in any Sonata
Form is the tonal reconciliation of Theme Group II, and this movement is no different. In
measure 144, Theme Group II is put in F#(Gb) which is the tonic of the piece. This Theme
Group is stated in full (measures 144-160).
An unusual aspect of this form is the coda. Typically, this section is used to bring the
piece to a close and provide terminative material. It is standard to have this section in the tonic
key (to further establish finality). However, Ewazen did not end this movement on the tonic (F#),
but rather on the super tonic (Ab). Though there is a sense of finality through the full statement
of Theme A, there is almost a need for more material due to the fact that the piece does not end
on the tonic. The reasoning for the piece not ending on the tonic can be attributed to its
placement within the whole piece. Since there is another movement remaining in the work, it
makes sense to avoid an absolute conclusion until the end of the Sonata.
Performance/Interpretive Challenges. Throughout the piece, there are several musical
choices that the performer must make. The most universal decision that must be made is how
quickly to perform the piece. The movement is marked at the pulse equaling 48 bpm. The

28

impression is that there should be a relatively tame quality to the piece; it should not have an
overbearing sense of forward motion. To further add to this idea, the tempo is being dropped to
roughly 42 bpm for this recital. Secondly, there are numerous grace notes throughout the piece.
It is the duty of the performer to unify them throughout the various sections in which they
appear. The grace notes must be unified in terms of their length, dynamic, and direction. The
final challenges presented by this piece are all technical challenges. A characteristic shared by all
of Ewazens brass music is that while it is beautifully lyrical, it almost always creates awkward
cross-fingerings, difficult tuning issues, and choppy leaps. Perhaps the greatest example of all
traits combined is in measures 150-152 (Figure 4.5). This passage requires not only great agility,
but an impeccable sense of pitch center to play musically, particularly with the choice of key.
Figure 4.5

Giacomo Puccini: Nessun dorma from Turandot

Historical Context. In the early 20th Century, one of the most famous composers in all of
Europe was the Italian Giacomo Puccini. Called the greatest composer of Italian Opera since
Verdi, Puccini gained fame by setting music to the everyday life of the middle and lower
class.16 This style of opera was known as verismo and rejected the lofty characters typically
assoiated with opera. Puccini was born in Italy in 1858 to a highly musical family. He received
musical eduaction from his uncle, Fortunato Magi, after his fathers death in 1864. Puccini began

16

William Weaver, Puccini: the Man and his Music (New York: Sequoia-Elsevier Publishing Company, 1977).

29

writing orchestral music, but it was suggested to him by Amilcare Ponchielli that he begin
writing operas; Puccini did extactly that and composed his first opera, Le Ville. As his musical
career developed, Puccini composed several operas including La Bohme, Madama Butterfly,
and (his first step into the verismo style) Tosca. After these three great successes, Puccini began
to compose less frequently, finally ending his career with his final opera, Turandot.17 Puccini
never finished the opera due to health problems concerned with his throat cancer. He died in
1924 after complications from a surgery and Turandot was finished by Franco Alfano.
Turandot has gained international fame in its entirety, but perhaps the most well-known
part of the opera is the aria Nessun dorma. Sung by the operas protagonist, the Unknown
Prince, its impressive vocal demand combined with its beautiful orchestration caused this aria to
stand out against all other Italian arias.18 Perhaps the defining performance that helped the aria
achieve pop status was the 1972 performance by world renown tenor, Luciano Pavarotti.
Though Pavarotti rarely sang the aria with context of the whole opera, it nevertheless became his
signature closing number at almost all of his solo appearances. Nessun dorma is from the final
act of Turandot and is symbolic of the external confilict occuring in the plot. In the previous act,
the Unknown Prince (Calaf)who has fallen in love with the beautiful princess Turandot
proved himself worthy of marrying her. The challenge he passed was correctly answering three
riddles; had he not, he would have been beheaded. However, despite answering her riddles
correctly, Turandot still refuses to marry him. In response, the Unknown Prince gives Turandot a
challenge: if she can guess his name by dawn, she would not have to marry him and could
17
18

John Louis DiGaetani, Puccini the Thinker (New York: Peter Lang Publishing, Inc., 1987).
Weaver.

30

behead him. The princess then orders here subjects to not sleep until they discover his name, lest
they all be beheaded themselves. The final act opens with the Unknown Prince alone in a
moonlit garden, commenting on the princesss actions.
Nessun dorma19
Nessun dorma! Nessun dorma!
Tu pure, o, Principessa,
nella tua fredda stanza,
guardi le stelle
che tremano d'amore
e di speranza.
Ma il mio mistero chiuso in me,
il nome mio nessun sapr!
No, no, sulla tua bocca lo dir
quando la luce splender!
Ed il mio bacio scioglier il silenzio
che ti fa mia!

None shall sleep! None shall sleep!

Even you, o Princess,
in your cold room,
watch the stars,
that tremble with love
and with hope.
But my secret is hidden within me,
my name no one shall know...
No! No! On your mouth I will tell it
when the light shines.
And my kiss will dissolve the silence
that makes you mine!

(Il nome suo nessun sapr!...

e noi dovrem, ahime, morir!)

(No one will know his name

and we must, alas, die.)

Dilegua, o notte!
Tramontate, stelle!
Tramontate, stelle!
All'alba vincer!
vincer, vincer!

Vanish, o night!
Set, stars!
Set, stars!
At dawn, I will win!
I will win! I will win!

Analysis. The form of Puccinis Nessun dorma is determined not by the musical
themes, but by the subject matter of the text. Puccinis melodic writing actually follows very
closely the vocal inflection that would be used if the text was read. Formally, this piece is
through composed, but uses and reuses basic thematic material for compositional unity (Table
5). In the original aria, there are actually four main sections: the Statement, the Secret, the Fantsy

19

Ibid.

31

and the Command. This version of the aria keeps those four sections and adds a coda section for
a more conclusive ending.
Table 5Puccini
Measures
1-11
12-18
19-24
25-38

Section
Statement (A)
Secret (B)
Fantasy (A)
Command (B)

Key
G
D
G
D

Description
Use of simple melodic writing to imply the vocal inflection
Bragging, first high point
Variation of Statement theme, different textual material
Climactic point of entire piece

The first section (measures 1 to 11) is a statement by the main character (Calaf, AKA the
Unknown Prince) about the feelings of Turandot and the discomfort she cast upon her subjects.
The melodic writing (Figure 5.1) is very simple, and its consistantly descending countour
matches the vocal inflection that would be used in a converstational statement. Interestingly, this
section displays very little harmonic progression. The majority of the accopmaniment is an
arrpegiated G-major chord with an added second (Figure 5.2). However, on the fourth beat of
each measure (excluding measures 5 and 11), Puccini writes a half-dimished four chord with an
added ninth (see Figure 5.2). This type of harmonic writing creates a very stagnant feeling in the
listener. Its function is, through contrast, to create an even greater sense of progression and
arrival during the climactic section.

Figure 5.1

32

Figure 5.2

This section seamlessly gives way to the next section, the Secret. At this point (measures
12 to 15), Calaf brags that he has a secret that will garuntee him the hand of the princesshis
name. Again, Puccini expertly matches the natural vocal inflection of the text (Figure 5.3) and
begins to write with more variety in the harmonic scheme. This first high point of the aria is in
this section and is symbolic of Calafs excitement at the idea of marrying the beautiful woman.
Figure 5.3

The Fantasy section (measures 22 to 24) is slightly based on the melodic writing of the
first section, though it is much shorter andbased on the melodic contour and its implications of
vocal inflectionshows that the character is much more excited (Figure 5.4). This short section
leads up to the Command section (measures 25 to 37) of the aria, which is based on the same
thematic material as the Secret section (Figure 5.3). Certainly the largest section of this piece,
the writing in this section gives off an aura of assured confidence and is, for this reason, the most
33

important section of the aria. All of the sections before the Command are, as one might expect,
strategically leading up to the big moment in measure 34 (Figure 5.5) The aria ends with a
broad statement of the main theme from the entire opera, performed not only by the piano
accompanist, but also a choir of off-stage brass players.
Figure 5.4

Figure 5.5

Performance/Interpretive Challenges. As with any vocal piece, the text must be taken
into consideration. The text determines the phrasing, emphasis and overall mood of the
performance; it cannot be ignored. Additionally, this piece was performed memorized because it
allows the performer to engage the audience as an actor would do. It also allows for a more
organic quality to the performance. The instrumental arrangement of this piece was completed
by the performer and features not only extended transitions, but an off-stage choir of brass
players (2 trumpets, 4 French horns). The choir was added to convey the effect of the off-stage
voices Puccini used in the original version. Additionally, it serves a programmatic purpose.
Since the piece is being played at the end of the recital, the change in timbre from solo trumpet
34

with piano to full brass choir adds a new dimension to the finality of the piece. It was intended to
leave the audience feeling uplifted and musically satisfied.

Conclusion
This recital features a wide variety of pieces, ranging from lush vocal arrangements to
contemporary instrumental solos. However, there is a unifying theme present in each piece that
connects the selections in the recital like a golden thread would connect a string of pearls
beauty. In each piece, there is a moment of impeccable, undeniable beauty. Be it a painful,
morose plea or a joyful shout to finally kiss your true love, there is a moment in each piece that
can touch the hearts of the audience and in some wayregardless of how smallchange their
life. Though the purpose of this recital is to culminate four years study in music, the intent of
the performance is to provide the audience with a rich aesthetic experience and change the life of
at least one person who hears it

35

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