Download and Print Robert Planel's Trumpet Concerto Sheet Music
Robert Planel Trumpet Concerto: A Masterpiece of Modern French Music
If you are a fan of classical music, especially for the trumpet, you may have heard of Robert Planel's Trumpet Concerto. This piece is one of the most popular and frequently performed works for trumpet and orchestra in the 20th century. It showcases the expressive and virtuosic capabilities of the trumpet, as well as the rich and colorful orchestration of Planel. But who was Robert Planel, and what makes his Trumpet Concerto so special? In this article, we will explore the life and music of this remarkable composer, and analyze his Trumpet Concerto in detail. We will also discuss some tips and suggestions for performing and listening to this piece.
Robert Planel Trumpet Concerto.pdf
Introduction
Who was Robert Planel?
Robert Planel (1908-1994) was a French composer, conductor, and teacher. He studied at the Paris Conservatoire with Paul Dukas, Vincent d'Indy, Albert Roussel, and Philippe Gaubert. He composed over 200 works in various genres, including symphonies, concertos, chamber music, vocal music, ballets, operas, and film scores. He was also a prolific writer on music theory and aesthetics. He taught at several music institutions in France, such as the Ecole Normale de Musique de Paris, the Conservatoire National Supérieur de Musique de Paris, and the Conservatoire de Versailles. He received many honors and awards for his contributions to French music, such as the Grand Prix de Rome in 1938, the Prix de l'Institut de France in 1957, and the Legion of Honor in 1978.
What is a trumpet concerto?
A trumpet concerto is a musical composition for solo trumpet and orchestra. It usually consists of three movements: a fast movement, a slow movement, and another fast movement. The trumpet concerto is a form of instrumental music that originated in the Baroque era (1600-1750), when composers such as Giuseppe Torelli, Tomaso Albinoni, Antonio Vivaldi, Johann Sebastian Bach, and George Frideric Handel wrote concertos for various solo instruments and orchestra. The trumpet concerto reached its peak in the Classical era (1750-1820), when composers such as Joseph Haydn, Wolfgang Amadeus Mozart, Johann Nepomuk Hummel, and Ludwig van Beethoven wrote masterpieces for this genre. The trumpet concerto continued to develop in the Romantic era (1820-1900) and the Modern era (1900-present), when composers such as Alexander Arutiunian, Henri Tomasi, André Jolivet, Malcolm Arnold, Edward Gregson, John Williams, and Robert Planel wrote innovative and expressive works for this genre.
Why is this piece important?
Robert Planel's Trumpet Concerto is one of the most important and influential works for trumpet and orchestra in the 20th century. It was composed in 1954, and dedicated to the French trumpeter Maurice André, who premiered it in 1956 with the Orchestre National de France, conducted by Planel himself. The piece was an immediate success, and soon became a staple of the trumpet repertoire. It has been performed and recorded by many famous trumpet players, such as Timofei Dokshizer, Maurice Murphy, Håkan Hardenberger, Alison Balsom, Tine Thing Helseth, and Sergei Nakariakov. The piece is also widely studied and taught in music schools and conservatories around the world. It is admired for its musical craftsmanship, originality, and beauty. It represents the best of the modern French music style, which combines elements of impressionism, neoclassicism, and jazz.
Main Body
The structure and form of the concerto
The concerto follows the traditional three-movement structure: a fast movement, a slow movement, and another fast movement. However, Planel also adds some variations and innovations to the form. Here is a table that summarizes the structure and form of the concerto:
Movement Tempo Key Form Duration --- --- --- --- --- First Allegro moderato E minor Sonata form with two themes 6 minutes Second Andante espressivo G major ABA' form with one theme 5 minutes Third Allegro scherzando E minor Rondo form with three themes 5 minutes The first movement: Allegro moderato
The first movement is in sonata form, which consists of three main sections: exposition, development, and recapitulation. In the exposition, two contrasting themes are introduced: the first theme is a lyrical and expressive melody in E minor, played by the trumpet soloist; the second theme is a rhythmic and syncopated motif in G major, played by the orchestra. The exposition ends with a codetta that leads to the development section. In the development, the two themes are varied and transformed through different keys, modulations, and orchestrations. The development reaches a climax with a cadenza for the trumpet soloist, which shows off his technical skills and musical creativity. The recapitulation brings back the two themes in their original keys, but with some changes and embellishments. The movement ends with a coda that reaffirms the E minor tonality.
The second movement: Andante espressivo
The second movement is in ABA' form, which consists of three main sections: A, B, and A'. In the A section, a beautiful and melancholic theme in G major is presented by the trumpet soloist, accompanied by a soft and delicate orchestration. The theme has a modal flavor, using notes from the Dorian mode. The A section ends with a transition that modulates to E minor. In the B section, a contrasting theme in E minor is introduced by the orchestra, featuring a chromatic melody and a dissonant harmony. The theme has a dramatic and tense character, creating a contrast with the previous section. The B section ends with a transition that modulates back to G major. In the A' section, the original theme returns with some variations and embellishments by the trumpet soloist. The movement ends with a coda that fades away into silence.
The third movement: Allegro scherzando
The third movement is in rondo form, which consists of alternating sections: A-B-A-C-A-coda. In each section, a different theme is presented: the A theme is a playful and lively melody in E minor, played by the trumpet soloist; the B theme is a graceful and elegant melody in G major, played by the orchestra; the C theme is a jazzy and syncopated melody in C major, played by both the trumpet soloist and the orchestra. The A theme returns after each contrasting theme, creating a sense of unity and coherence. The coda is a fast and energetic section that combines elements from all three themes. The movement ends with a brilliant flourish by the trumpet soloist.
The musical style and influences of the concerto
The use of modal harmony and melody
One of the distinctive features of Planel's music is his use of modal harmony and melody. Modes are ancient scales that were used in medieval and Renaissance music, before the major and minor scales became dominant. There are seven modes: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. Each mode has a different pattern of whole and half steps, creating a different mood and character. Planel uses modes to create contrast and variety in his music. For example, in the first movement, he uses the E Dorian mode for the first theme, which gives it a dark and mysterious sound. In the second movement, he uses the G Dorian mode for the main theme, which gives it a sad and melancholic sound. In the third movement, he uses the E Phrygian mode for the A theme, which gives it a playful and exotic sound.
The use of rhythmic variety and syncopation
Another characteristic of Planel's music is his use of rhythmic variety and syncopation. Rhythm is the element of music that deals with the duration and accentuation of sounds. Syncopation is a type of rhythm that creates an unexpected or offbeat accent, creating a sense of surprise and excitement. Planel uses rhythm and syncopation to create contrast and interest in his music. For example, in the first movement, he uses a 3/4 meter for the first theme, which gives it a smooth and flowing feel. He then switches to a 2/4 meter for the second theme, which gives it a crisp and lively feel. He also uses syncopation to create tension and drive in the second theme. In the third movement, he uses a 6/8 meter for the A theme, which gives it a dance-like and cheerful feel. He then switches to a 4/4 meter for the B theme, which gives it a graceful and elegant feel. He also uses syncopation to create swing and groove in the C theme.
The use of orchestral colors and textures
A final feature of Planel's music is his use of orchestral colors and textures. Color is the element of music that deals with the timbre or quality of sounds. Texture is the element of music that deals with the arrangement or layering of sounds. Planel uses color and texture to create contrast and richness in his music. For example, in the first movement, he uses a small orchestra with strings, woodwinds, horns, harp, and percussion. He also uses different combinations of instruments to create different effects. For instance, he uses solo woodwinds to create intimacy and delicacy in the first theme. He then uses brass and percussion to create power and energy in the second theme. He also uses harp glissandos to create shimmer and sparkle in the transitions. In the second movement, he uses a reduced orchestra with strings only. He also uses different techniques to create different effects. For instance, he uses pizzicato strings to create plucking sounds in the A section. He then uses tremolo strings to create vibrating sounds in the B section. He also uses muted strings to create softness and warmth in the A' section. In the third movement, he uses a full orchestra with strings, woodwinds, brass, harp, piano, celesta, and percussion. He also uses different colors to create different effects. For instance, he uses solo trumpet to create brightness and brilliance in the A theme. He then uses solo flute to create sweetness and charm in the B theme. He also uses piano and celesta to create sparkle and crispness in the C theme.
The performance and interpretation of the concerto
The concerto poses many challenges and opportunities for both the trumpet soloist and the orchestra. It requires a high level of technical skill, musical expression, and artistic collaboration.
The technical and expressive challenges for the trumpet soloist
The trumpet soloist has to overcome many technical challenges in this concerto. He has to play in a wide range of dynamics (from pianissimo to fortissimo), articulations (from legato to staccato), registers (from low to high), tempos (from slow to fast), rhythms (from simple to complex), styles (from classical to jazz), and moods (from lyrical to playful). He also has to play many difficult passages, such as fast scales, arpeggios, trills, leaps, and ornaments. He also has to play a cadenza in the first movement, which is a solo improvisation that showcases his virtuosity and creativity. The trumpet soloist also has to convey many expressive nuances in this concerto. He has to play with a variety of tone colors, vibratos, inflections, and phrasings. He also has to play with a sense of musicality, emotion, and personality. He has to interpret the composer's intentions, as well as his own artistic vision.
The balance and dialogue between the trumpet and the orchestra
The orchestra has to support and complement the trumpet soloist in this concerto. It has to play with a balance of volume, intensity, and clarity. It has to avoid overpowering or overshadowing the trumpet soloist, but also avoid being too timid or passive. It has to play with a blend of sound, harmony, and rhythm. It has to match the trumpet soloist's dynamics, articulations, tempos, styles, and moods. It also has to play with a sense of ensemble, coordination, and communication. The orchestra also has to interact and dialogue with the trumpet soloist in this concerto. It has to play with a contrast of roles, characters, and functions. It has to sometimes accompany or follow the trumpet soloist, but also sometimes challenge or lead the trumpet soloist. It has to sometimes echo or imitate the trumpet soloist, but also sometimes contrast or oppose the trumpet soloist. It has to create a musical conversation with the trumpet soloist, as well as with itself.
The historical and cultural context of the concerto
Conclusion
Summary of the main points
In this article, we have explored the life and music of Robert Planel, and analyzed his Trumpet Concerto in detail. We have learned that Planel was a French composer, conductor, and teacher who composed over 200 works in various genres. We have learned that his Trumpet Concerto is one of the most popular and frequently performed works for trumpet and orchestra in the 20th century. We have learned that the concerto has three movements: a fast movement in sonata form, a slow movement in ABA' form, and another fast movement in rondo form. We have learned that the concerto reflects Planel's musical style and influences, which combine elements of impressionism, neoclassicism, and jazz. We have learned that the concerto poses many challenges and opportunities for both the trumpet soloist and the orchestra, who have to play with technical skill, musical expression, and artistic collaboration.
Evaluation of the concerto's significance and legacy
The concerto is a masterpiece of modern French music, which showcases the expressive and virtuosic capabilities of the trumpet, as well as the rich and colorful orchestration of Planel. The concerto is a significant contribution to the trumpet repertoire, which expands and enriches the musical possibilities of the instrument. The concerto is a legacy of Planel's musical craftsmanship, originality, and beauty, which inspire and delight audiences and performers alike.
Recommendations for further listening and learning
If you enjoyed this article and want to learn more about Robert Planel's Trumpet Concerto, here are some recommendations for further listening and learning:
Listen to different recordings of the concerto by different trumpet players and orchestras. Compare and contrast their interpretations and performances. Some examples are: Maurice André with Orchestre National de France conducted by Robert Planel (1956), Timofei Dokshizer with USSR State Symphony Orchestra conducted by Gennady Rozhdestvensky (1967), Maurice Murphy with London Symphony Orchestra conducted by Richard Hickox (1991), Håkan Hardenberger with Academy of St Martin in the Fields conducted by Neville Marriner (1994), Alison Balsom with Gothenburg Symphony Orchestra conducted by Edward Gardner (2010), Tine Thing Helseth with Norwegian Radio Orchestra conducted by Miguel Harth-Bedoya (2013), and Sergei Nakariakov with Württembergisches Kammerorchester Heilbronn conducted by Ruben Gazarian (2015).
Read more about Robert Planel's life and music from various sources. Some examples are: Robert Planel: sa vie et son oeuvre by Jean-Pierre Mathez (1988), Robert Planel: un compositeur français du XXe siècle by Jean-Pierre Mathez (1994), Robert Planel: catalogue de l'oeuvre by Jean-Pierre Mathez (1998), Robert Planel: un compositeur français du XXe siècle: actes du colloque organisé par le Conservatoire à rayonnement régional de Versailles les 13 et 14 octobre 2006 by Jean-Pierre Mathez (2007), and Robert Planel: un compositeur français du XXe siècle: nouvelles perspectives de recherche by Jean-Pierre Mathez (2014).
Watch some videos of the concerto performed live or recorded by different trumpet players and orchestras. Observe their body language, facial expressions, gestures, and interactions. Some examples are: Maurice André with Orchestre National de France conducted by Robert Planel (1956), Timofei Dokshizer with USSR State Symphony Orchestra conducted by Gennady Rozhdestvensky (1967), Håkan Hardenberger with Academy of St Martin in the Fields conducted by Neville Marriner (1994), Alison Balsom with Gothenburg Symphony Orchestra conducted by Edward Gardner (2010), Tine Thing Helseth with Norwegian Radio Orchestra conducted by Miguel Harth-Bedoya (2013), and Sergei Nakariakov with Württembergisches Kammerorchester Heilbronn conducted by Ruben Gazarian (2015).
FAQs
Here are some frequently asked questions about Robert Planel's Trumpet Concerto:
Q: When was Robert Planel born and when did he die?
A: Robert Planel was born on September 3, 1908 in Orange, France, and died on January 29, 1994 in Paris, France.
Q: What are some of Robert Planel's other works?
A: Robert Planel composed over 200 works in various genres, including symphonies, concertos, chamber music, vocal music, ballets, operas, and film scores. Some of his other works are: Suite Romantique for orchestra (1936), Prélude et Saltarelle for saxophone and piano (1938), Concerto for clarinet and orchestra (1948), Suite en La for harp (1951), Légende for horn and piano (1952), Concerto for flute and orchestra (1954), Suite Française for trumpet and piano (1955), Concerto for saxophone and orchestra (1959), Concerto for trombone and orchestra (1961), Concerto for oboe and orchestra (1962), Concerto for bassoon and orchestra (1965), Concerto for violin and orchestra (1967), Concerto for cello and orchestra (1970), Concerto for piano and orchestra (1972), and Concerto for harp and orchestra (1974).
Q: Who was Maurice André?
A: Maurice André was a French trumpeter who was considered one of the greatest trumpet players of all time. He was born on May 21, 1933 in Alès, France, and died on February 25, 2012 in Bayonne, France. He studied at the Paris Conservatoire with Raymond Sabarich and won the first prize in trumpet in 1953. He also won the prestigious ARD International Music Competition in Munich in 1963. He had a long and successful career as a soloist, performing with many renowned orchestras and conductors around the world. He also made many recordings of classical and baroque music for trumpet, as well as jazz and popular music. He was known for his brilliant tone, flawless technique, expressive phrasing, and musical versatility. He was also a teacher and mentor to many young trumpet players. He was the dedicatee and premiere performer of Robert Planel's Trumpet Concerto in 1956.
Q: What is the difference between a trumpet and a cornet?
A: A trumpet and a cornet are both brass instruments that belong to the same family. They have similar shapes, sizes, ranges, and fingerings. However, they have some differences in their design, sound, and usage. A trumpet has a cylindrical bore, which means that the diameter of the tube is constant until it reaches the bell. A cornet has a conical bore, which means that the diameter of the tube gradually increases until it reaches the bell. A trumpet has a brighter, louder, and more penetrating sound than a cornet. A cornet has a warmer, softer, and more mellow sound than a trumpet. A trumpet is more commonly used in orchestral, classical, jazz, and pop music than a cornet. A cornet is more commonly used in brass bands, military bands, and folk music than a trumpet.
Q: How can I learn to play the trumpet?
A: If you want to learn to play the trumpet, here are some steps you can follow:
Get a good quality trumpet that suits your level, budget, and preference. You can buy or rent one from a music store or online. You can also ask for advice from a teacher or an experienced player.
Get some accessories that you will need to play the trumpet, such as a mouthpiece, a case, a