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. : Sonata for Trumpet and Piano: Edition, Part(s) ( ): Kent Kennan: Books. Kent Wheeler Kennan was an American composer, author, educator, and professor. Giuseppe Galante – Kent Kennan: Sonata for Trumpet and Piano: I. With.

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Kennan meant for the trumpet and the piano to be fairly equal in this piece, so trumpet players need to be aware of this and play accordingly McNamara 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 Dearden The fanfare leads into the slurred motive that is mostly comprised of eighth notes 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.

The second movement begins with a piano introduction that is made up of a G that stretches to three octaves Dearden This first statement begins in minor, goes through Phrygian, and ends in major Dearden This page was last edited on 8 Novemberat This theme is only in the piano part Dearden He was the half brother of the diplomat and historian George F.

You can follow any responses to this entry through the RSS 2. The main theme of this movement is written three times in a row, the first centered around E-flat Dearden Kennan wanted to write in a similar style of those who he admired, so he modeled ,ennan writing style after Paul Hindemith and Howard Hanson, a teacher of his McNamara Notify me of new comments via email.


The piano has this theme at first underneath the trumpet, then they switch and the trumpet has the inverted form of the yrumpet theme while the piano plays something keennan different Dearden The main motive that was introduced in the first movement appears frequently in this theme Dearden In the following measure, the three pitches begin with a leap down by a perfect fifth, then a whole step Dearden You are commenting using your WordPress.

Fill in your details below or click an icon to log in: All of the themes from the exposition are written in the recapitulation Dearden This is followed by a restatement of the main theme in a new key and at a slow tempo, making it lyrical at first, then transitioned to the original tempo and style 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 kennaan finally resolves to the tonic Dearden The secondary theme is lyrical, with no sonaha, and in minor Dearden To find out more, including how to control cookies, see here: The first theme then returns, once again, but xonata is altered much more than it was when it was stated the second time Dearden The Development Osnata development begins after a short transition from the exposition 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 You are commenting using your Facebook account.

The recapitulation also begins with a soft dynamic, which is quite the opposite of tradition Dearden By using this site, you agree to the Terms of Use and Privacy Policy.

Retrieved from ” https: The transition into the cods is mostly based on the transition theme from earlier in the movement Dearden He also uses some kdnnan accents to kenan it sound as though it is in a different meter than the one in which it is written Dearden The development begins after a short transition from the exposition Dearden The first theme is very rhythmic and separated Dearden By continuing to sonafa this website, you agree to their use.


McNamara, Anne Kovarik It is based on the secondary theme and uses accents to make the meter difficult to figure out by simply hearing it Dearden The first movements are both in Sonata-Allego form, the second movements are in Three Part Song form, oennan the third movements are in Rondo form, causing them to both have the same overall structure as well McNamara The third theme is a chorale in G that begins in minor and ends in major Dearden The second theme starts in the piano with an ostinato line over a pedal a D, followed by the trumpet two measure later, playing the main motive that was introduced in the first sonat 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 You can help Wikipedia by expanding it.

Leave a Reply Cancel reply Enter your comment here The American Trumpet Sonata in the s: This movement also has a short closing theme Dearden Most of it is an exact restatement of the exposition, but transposed up a half step Dearden