4 Airs de Bravoure pour trompette à clefs (Trp in Bb)

4 Airs de Bravoure pour trompette à clefs (Trp in Bb) (Roy: Théme et Variations sur un air dEtienne Nicolas Méhul - Théme et Variations; Rossini: "Assisa a piè dun salice" Canzona tirée dOhtello; Colobrana: "Ombra che a mi ritorna" Cavatina tirée de "Gabriella di Vergi") In 1824, Editions Schott in Mainz (Germany) published a trumpet method by C. Eugène Roy of which Editions Bim has now printed a facsimile as Volume 1 of the HKB-Historic Brass Series (for additional details about Roy and his method, see the introductory text of the facsimile book, BIM TP276). The final pages of that method contain 4 works in the virtuoso style of the time that represent archetypical examples of such trumpet music and constitute a significant contribution to its repertoire. This practical edition renders it now possible to play these “Airs de bravoure” in concert. Edoardo Torbianelli, professor for historical keyboards at the Schola Cantorum Basiliensis and the Hochschule der Künste Bern (HKB - Higher school of the Arts - both institutions in Switzerland), has reconstructed piano parts in conformity with the style of that period, inspired by the originals of Méhul, Rossini and Carafa. The trumpet part is presented here in its original version, with some brief introductions and interludes that have been added to provide rest periods from the physical challenges posed by the main body of the works. Roy, a military musician and flageolet virtuoso (an instrument similar to the recorder) has published numerous instrumental methods as well as arrangements of well-known melodies. His trumpet method introduces the natural trumpet and the “keyed trumpet” (or bugle). The four pieces included at the end of this book are evidently written for these keyed instruments and are pitched in Bb flat, thus enabling the opera arias to be played in their original keys. These pieces can today be played on trumpet, cornet or fluegelhorn.Two of the four take the form of the traditional “theme and variations,” while the two other are arrangements of popular opera arias of the time: “Joseph in Egypt” by Etienne Nicolas Méhul; the dramatic aria of Desdemona from the act two of Gioacchino Rossini’s Othello and “Gabriella di Vergi” by Michele Carafa. Adrian v. Steiger Bern, 2010