The fanfare is scored for three trumpets. The parts are notated for modern trumpets in C; however, they are actually written using only the notes of three different harmonic series based on F, C and D and could thus be performed on three natural trumpets in those three keys. The natural trumpets were not specified by the composer; indeed it may have been a bit early in the rediscovery of natural trumpet playing for it to be safe to do so. This technique had been used by the classical composers in horn section writing, to enable lines to be played outside the natural scale (e.g. 2 horns in C and 2 horns in D or E flat). Some of the first experimentation of this technique is demonstrated by F.G.A. Dauvernè from around 1850. Dauvernè was Arban's teacher (the father of modern-day trumpeting) and wrote one of the last methods for the dying art of natural trumpet playing, including some of the first exercises for the cornet and valved trumpet. Nevertheless, the scoring is sometimes taken as signal enough to justify playing it on natural trumpets, on which it works well.[2] This multitonal use of natural instruments is an interesting trick which might have caused some surprise at the height of the natural trumpet's power in the Baroque era, when three playing together would almost always have been in the same key. Performance of the fanfare on modern valved instruments remains the norm and does not lessen the effect: the parts still feel like natural trumpet lines. Britten commented, "The trumpeters should be placed as far apart as possible, even when the Fanfare is played indoors."[1]
Descriptionedit
Each trumpet plays one solo "verse" in turn. These are not only separated from each other in key but also in style: although they all include some long notes at phrase ends, overall one is a bouncy 6/8, one a martial-sounding, bold statement, and one a series of smooth arpeggios. So when they all come in together at the end and play their verses simultaneously the initial effect seems chaotic. As the last playthrough progresses it gradually dawns on the listener that a unity is emerging from the chaos as the long notes start to settle and overlap: by the last few bars the three trumpets are playing triumphant block chords together.[3]
Recordingsedit
Many recordings are available, but nearly always on compilations of modern brass or fanfare music – the piece is so short that it almost never receives separate billing. Recordings have been made by the Philip Jones Brass Ensemble and similar groups.[4]
Referencesedit
^ ab. Surrey Brass. Archived from the original on 18 February 2009. Retrieved 28 March 2010.
^. Seattle Trumpet Consort. 2008. Archived from the original on 25 October 2012. Retrieved 28 March 2010.
^Britten, Benjamin. Fanfare for St Edmundsbury for 3 trumpets. Set of parts with full score, Boosey and Hawkes, London. Ref B&H 19774, ISMN M-060-01425-3
fanfare, edmundsbury, this, article, needs, additional, citations, verification, please, help, improve, this, article, adding, citations, reliable, sources, unsourced, material, challenged, removed, find, sources, news, newspapers, books, scholar, jstor, march. This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Fanfare for St Edmundsbury news newspapers books scholar JSTOR March 2010 Learn how and when to remove this message The Fanfare for St Edmundsbury is a fanfare for three trumpets written by the British composer Benjamin Britten for a Pageant of Magna Carta in the grounds of St Edmundsbury Cathedral Bury St Edmunds in 1959 1 Contents 1 Technical 2 Description 3 Recordings 4 ReferencesTechnical editThe fanfare is scored for three trumpets The parts are notated for modern trumpets in C however they are actually written using only the notes of three different harmonic series based on F C and D and could thus be performed on three natural trumpets in those three keys The natural trumpets were not specified by the composer indeed it may have been a bit early in the rediscovery of natural trumpet playing for it to be safe to do so This technique had been used by the classical composers in horn section writing to enable lines to be played outside the natural scale e g 2 horns in C and 2 horns in D or E flat Some of the first experimentation of this technique is demonstrated by F G A Dauverne from around 1850 Dauverne was Arban s teacher the father of modern day trumpeting and wrote one of the last methods for the dying art of natural trumpet playing including some of the first exercises for the cornet and valved trumpet Nevertheless the scoring is sometimes taken as signal enough to justify playing it on natural trumpets on which it works well 2 This multitonal use of natural instruments is an interesting trick which might have caused some surprise at the height of the natural trumpet s power in the Baroque era when three playing together would almost always have been in the same key Performance of the fanfare on modern valved instruments remains the norm and does not lessen the effect the parts still feel like natural trumpet lines Britten commented The trumpeters should be placed as far apart as possible even when the Fanfare is played indoors 1 Description editEach trumpet plays one solo verse in turn These are not only separated from each other in key but also in style although they all include some long notes at phrase ends overall one is a bouncy 6 8 one a martial sounding bold statement and one a series of smooth arpeggios So when they all come in together at the end and play their verses simultaneously the initial effect seems chaotic As the last playthrough progresses it gradually dawns on the listener that a unity is emerging from the chaos as the long notes start to settle and overlap by the last few bars the three trumpets are playing triumphant block chords together 3 Recordings editMany recordings are available but nearly always on compilations of modern brass or fanfare music the piece is so short that it almost never receives separate billing Recordings have been made by the Philip Jones Brass Ensemble and similar groups 4 References edit a b Fanfare for St Edmundsbury Benjamin Britten Surrey Brass Archived from the original on 18 February 2009 Retrieved 28 March 2010 Recordings After Baroque Music for The Natural Trumpet Seattle Trumpet Consort 2008 Archived from the original on 25 October 2012 Retrieved 28 March 2010 Britten Benjamin Fanfare for St Edmundsbury for 3 trumpets Set of parts with full score Boosey and Hawkes London Ref B amp H 19774 ISMN M 060 01425 3 Amazon Portal nbsp Classical Music Retrieved from https en wikipedia org w index php title Fanfare for St Edmundsbury amp oldid 1212680749, wikipedia, wiki, book, books, library,
