Works: Concerto for Trumpet and Orchestra (2007)
The Concerto started life at the suggestion of trumpeter Rhydian Griffiths, after he performed the solo part in Tim Benjamin's 10-piece brass work The Four Dragons in January 2006 at Christ Church. Tim Benjamin composed the Concerto over the Summer and Autumn of 2006, and finally delivered the completed work almost a year after its inception, in January 2007.
The work is titled Concerto for Trumpet and Orchestra rather than simply "Trumpet Concerto", because the orchestra has - as a whole - almost as important a part to play in the work as the solo trumpet. In contrast to the 19th century idea of the concerto as a vehicle for a heroic solist, this Concerto returns somewhat to the older idea of the concerto as dialogue between soloist(s) and orchestra. The dramaturgy of the work is retold in an ongoing musical dialogue between the soloist and the orchestra.
While the trumpet soloist in this Concerto is not literally portraying a hero in the Romantic sense, the part is extremely demanding: the performer is required to demonstrate extremely fine tongue control, great stamina, and powerful command of the upper register of the instrument.
Unusually, the first solo entrance in Benjamin's Concerto for Trumpet and Orchestra is a cadenza: traditionally, the cadenza in a concerto is at the end of the first or final movement - literally, a "cadence". The work opens with a viola ostinato; for a few bars, this is rather reminiscent of the opening of Neilsen's Fifth Symphony. The ostinato continues throughout the first movement of the Concerto, and makes a triumphant return at the end of the second (final) movement. Neilsen's Fifth is suggested again at the end of the first movement of the Concerto, with a set of prominent snare drum flourishes.
The opening section of the second movement (which, in more traditional terms, is essentially a slow movement and faster finale combined) is built of several ingredients: a plaintive recitative, an "Arioso", and a fugue. The fugue appears twice: the second time, it is inverted, and leads directly to the finale of the work in which the opening ostinato of the first movement makes a return. This use of material reminds us of the final movement of Beethoven's Op. 110 piano sonata, in which sections of recitative, aria, and fugue (which is also inverted) build to a
triumphant climax.
Benjamin's Concerto for Trumpet and Orchestra makes use of the serial technique of Schoenberg, although the technical influence of fellow "Second Viennese School" composer Alban Berg is perhaps more prominent. Benjamin
has used the serial technique to derive harmonies and melodic fragments reminiscent of Bebop and modal jazz influences, perhaps reflecting his passion for big-band jazz, which is shared by the Concerto's dedicatee, Rhydian
Griffiths.
1. Guisto, non troppo lento - Poco più vivo, Animato
attacca:
2. Adagio, doloroso - Arioso, molto cantabile - Tempo I - Fugue: Andante - Tempo I - Tempo di Arioso: poco maestoso - Tempo di Fugue, poco più Animato
Progamme note: (c) 2007 Jemima Bannit
Concerto for Trumpet and Orchestra was commissioned by Rhydian Griffiths.
Further Information / Downloads
| Premiere: | 2nd March 2007 by Oxford Millennium Orchestra, Sheldonian Theatre, Oxford; soloist Rhydian Griffiths, conductor Charlie Wilson |
| Duration: | c.20 minutes |
| Instrumentation: | 2 (+picc).2.2.2 4hn 2tpt 2tbn btbn tba perc timp solotpt strings |
| Available files: |
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| Listen: | You must first get Flash to see and use the MP3 player.
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