Sonata for Trumpet and Piano was premiere at the NASM convention by J. Frank Elsass, a colleague of Kennan’s from the University of Texas. show how the trumpet sonatas by George Antheil, Kent Kennan, Halsey Stevens, and. Burnet Tuthill are both distinctly American and unmistakably from the. Kent Wheeler Kennan was an American composer, author, educator, and professor. Giuseppe Galante – Kent Kennan: Sonata for Trumpet and Piano: I. With.
|Published (Last):||3 August 2016|
|PDF File Size:||13.74 Mb|
|ePub File Size:||9.84 Mb|
|Price:||Free* [*Free Regsitration Required]|
trumpey This movement also has a short closing theme Dearden This section is distinct from the others in this movement because it is the only section that is not muted Dearden Kennan wanted to write in a similar style of those who he admired, so he modeled his writing style after Paul Hindemith and Howard Hanson, a teacher of his McNamara The coda begins with a slow temp and a trumpet fanfare than is played over a C trmupet chord in the piano Dearden The last time that the first theme returns, it is in an inverted form and played in the piano while the trumpet is playing something totally different Dearden Views Read Edit View history.
The return of the first theme is very similar to the first time it is stated, but it is transposed down a half step and the piano accompaniment is different Kennaj He also made the first movement shorter and slowed the tempos in the first and third movement slightly McNamara His Night Soliloquy was written in and is set for solo flute, piano and strings. knt
The recapitulation also begins with a soft dynamic, which is quite the opposite of tradition Dearden In the coda, the trumpet is playing with a harmon mute and playing G, the dominant of C, until the last measure, when the line finally resolves to the tonic Dearden The three pitches in the first measure begin with the leap of a perfect fifth up, followed by a whole step Dearden Dearden, Jennifer Lorien It is also the only theme that stays centered around a tonic in the entire movement Dearden The first movements are both in Sonata-Allego form, the second movements are in Three Part Song form, and the third movements are in Rondo form, causing them to both have the same overall structure as well McNamara When the second theme is restated, it is down a half step as well and shortened a little bit Dearden This entry was posted on Thursday, April 30th, at 3: Even though the melody sounds like D minor, there is no F of any kind to confirm whether it is major or minor.
The development is the shortest section in the movement Dearden The third theme is a chorale in G that begins in minor and ends in major Dearden He also uses some displaced accents to make it sound as though it is in a different meter than the one in which it is written Dearden Movement II — Rather Slowly and with Freedom The second movement begins with a piano introduction that is made up of a G that stretches to three octaves Dearden The main theme of this movement is written three times in a row, the first centered around E-flat Dearden They knew each other while Kennan was composing the piece, so Elsass gave Kennan some advice about writing the trumpet part since he was a trumpet player and a former cornet soloist Dearden Then a short transition leads into a restatement of the third theme, but this time the soprano line of the chorale is played by the trumpet and the bottom three voices are not being played Dearden The fanfare leads into the slurred motive that is mostly comprised of eighth notes Dearden This first theme is full of mixed meter, often using asymmetric meters, which is characteristic of the 20 th century style of composing Dearden This piece is difficult in many ways.
Sonata for Trumpet and Piano by Kent Kennan | My Blog
You can help Wikipedia by expanding it. You can follow any responses to this entry through the RSS 2.
This page was last edited on 8 Novemberat By continuing to use this website, you agree to their use. This first statement begins in minor, goes through Phrygian, and ends in major Dearden The transition grumpet the cods is mostly based on the transition theme from earlier in the movement Dearden All of theme motives and variants of these motives are repeated throughout the course of this movement Dearden The piano has this theme at first underneath the trumpet, then they switch and the trumpet has the inverted form of the first theme while the piano plays something totally different Dearden This statement of the theme ends with a ritardando that goes into a fermata Dearden This theme is only in the piano part Dearden The piece ends with a trumpet fanfare in E-flat Dearden The development begins after a short transition kennqn the exposition Dearden Kennan composed his last major work in at the age of 43 and largely abandoned composition, writing only occasional small pieces and devoting himself to teaching and educational writing.
Leave a Reply Cancel reply Enter your comment here Movement III — Moderately Fast, with Energy Some analyze this movement as being in sonata form, while others analyze it as being in rondo form Dearden