KARL PILSS TRUMPET SONATA PDF

They are examples for solo trumpet of the late German Romantic style of melody, harmony, form and structure. Musicians and audience often overlook composer Karl Pilss outside his native Vienna. His ties to the Trompeterchor der Stadt Wien and the National Socialist Party during the years preceding the Second World War have limited widespread acceptance of this composer. His four symphonies provide examples of post-Romanticism at the beginning of the twentieth century. His characteristic use of melody, harmony, form and structure is in the mold of Richard Strauss. Schmidt did not write any works for solo trumpet.

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They are examples for solo trumpet of the late German Romantic style of melody, harmony, form and structure. Musicians and audience often overlook composer Karl Pilss outside his native Vienna. His ties to the Trompeterchor der Stadt Wien and the National Socialist Party during the years preceding the Second World War have limited widespread acceptance of this composer. His four symphonies provide examples of post-Romanticism at the beginning of the twentieth century.

His characteristic use of melody, harmony, form and structure is in the mold of Richard Strauss. Schmidt did not write any works for solo trumpet. However, his Symphony No. This work discusses in detail the musical and compositional connection between Karl Pilss and his teacher, Franz Schmidt.

Musical elements of melody, harmony, form and structure are used to illustrate the close connection between pupil and mentor. The Concerto for Trumpet and Orchestra and the Sonata for Trumpet and Piano deserve wider acceptance on the basis of their musical merit and as unique examples of the late German Romantic style for solo trumpet.

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Stephenson III are both American composers whose works often show up on programs and recordings by ensembles connected with educational institutions in the U. This musical world has spawned a rich repertoire of solo instrumental music, and it must be gratifying, not only for these composers but for those concerned with the state of American concert music in general, to see such works as the trumpet sonatas by Ewazen and Stephenson gain prominence in a place as compositionally competitive as Finland, and to win a place on a program grandly titled The Great Trumpet Sonatas. The program itself is the biggest strength, for it offers a nice European-American continuum with four works that are distinct yet animated by the same basic ideas. The Ewazen and Stephenson works are, if not more progressive, at least more eclectic than Hindemith , while the most unusual work on the program, at least outside the German-speaking world -- the Trumpet Sonata of Austrian composer Karl Pilss -- is more conservative, but for once the music all seems cut from the same cloth rather than retreating into the cubes defined by "isms. Track Listing.

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