Hubeau Sonata For Trumpet Pdf Free

written in 1937. Written and composed whilst Hindemith was exiled in Switzerland for the duration of World War II (1939 – 1945), it was published late in 1945 by Universal Edition, a publishing company based in Switzerland, and is now one of three works in the Sonata op. 14 for Trumpet and Piano.

Throughout this composition, Hindemith uses the phrase ‘Nun fa la lanciate piano e chiavi fallite’ (‘Now hurl the keys, and lock-up in your room’). Hindemith utilises quotes from the Latin poet Horace to accompany the final three movements, which are a free form of parody and parody. These quotations are present in the first movement – Lamento, (‘Lament’) – the second movement – Secondo soggetto (‘A second subject’) – and the last movement – Diminuto (‘Minor’).

The Lament provides the principal theme and the first instruction in the Sonata. Through this movement Hindemith conveys the performer’s internal struggle against the music. He undermines the natural and classical sound of the trumpet and lyrically describes its internal qualities – its ‘note-drip’ and ‘head-tilt’. The second subject movement, following the ideal, or grammatical, structure of ‘ABA’, is a ballad-like setting of a jazz melody. Hindemith combines this number with the typical and somewhat sentimental language of the classical period to convey the soggetto (‘subject’), or theme, of the Sonata. The Diminuto presents an innovative modal technique, which is based on the technique used to produce the ‘hiss’ effect of the trumpet made popular by jazz musician. Carl Baron continued this technique by picking on the lower keys of the instrument. Knowing full well the intrinsic limitations on the trumpet player, Hindemith uses quotations from and references to Bach’s Contrapunctus IX for his final movement.

The passage “Jetzt denke ich.” which appears at the beginning of a bass and piano version of the Sonata, is helped by a slightly abbreviated piano part. Instead of the classical practice of placing the major and minor triad on two consecutive notes, the Dandoville Trio’s practice of only using major triads (keeping the minor triad throughout) gives a more lush, characteristic sound for this section.

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