{"id":6578,"date":"2022-01-17T08:00:42","date_gmt":"2022-01-17T07:00:42","guid":{"rendered":"https:\/\/www.henle.de\/blog\/en\/?p=6578"},"modified":"2022-01-18T11:25:19","modified_gmt":"2022-01-18T10:25:19","slug":"a-concerto-for-a-trombone-god","status":"publish","type":"post","link":"https:\/\/blog.henle.de\/en\/2022\/01\/17\/a-concerto-for-a-trombone-god\/","title":{"rendered":"A concerto for a \u201ctrombone god\u201d \u2013 finally, Ferdinand David\u2019s Concertino op. 4 in Henle Urtext"},"content":{"rendered":"
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Ferdinand David (1810\u20131873). Lithograph by J. G. Weinhold, Leipzig, 1846<\/p><\/div>\n

The trombone is an instrument with a venerable though also chequered history. After its first great heyday in the Renaissance and early Baroque, it long led a niche existence in the late 17th<\/sup> and 18th<\/sup> centuries. We owe to Beethoven its \u201creintegration\u201d into the symphony orchestra, where it has since become indispensable (see our relevant blog post<\/a> for the 2020 Beethoven year). As a veritable solo instrument, the trombone really came into its own only in the 20th<\/sup> century \u2013 its diverse timbres and playing techniques were prized above all in jazz (here<\/a> is a small sample of the legendary J. J. Johnson).<\/p>\n

The classical-romantic solo repertoire for trombone being, on the other hand, unfortunately small, the Henle catalogue has so far included only four editions for the instrument: the Morceau symphonique<\/em> op. 88 by Alexandre Guilmant (HN 1090<\/a>) and the Cavatine<\/em> op. 144 by Camille Saint-Sa\u00ebns (HN 1119<\/a>), both for solo trombone with piano accompaniment, besides the Equali<\/em> by Beethoven (HN 1151<\/a>) and Bruckner (HN 1157<\/a>) for trombone quartet or trio, respectively.<\/p>\n

Those familiar with the trombone literature will notice a work missing here, which we are very happy to be able to present finally in Henle Urtext: Ferdinand David\u2019s Concertino in E-flat major op. 4 for trombone and orchestra (piano reduction: HN 1155<\/a>). This enchanting concert piece, composed in Leipzig in 1837 in the best \u201cMendelssohnian\u201d style, is today one of the trombone compositions most frequently played worldwide, having become an essential standard work for auditions and competitions.<\/p>\n

As is often the case, alas, this work\u2019s popularity stands in stark contrast to the quality and reliability of its editions available to date. We are not aware of any modern edition where the solo part has not been \u201cadjusted\u201d to a greater or lesser extent by the respective editor, with supplementary details of articulation and dynamics, expression markings, changes to rhythm and pitches or even entire tone passages, everything, mind you, without identifying any as independent editorial additions. Here is a small impression of such, using the example of the last measures before the opening of the slow movement \u2013 also showing for comparison the original version of the first edition published in 1838, as authorised by the composer Ferdinand David. The most striking differences are marked in yellow:<\/p>\n

\"\"<\/a>

Kistner first edition, 1838, mm. 118 to the end of the first movement.<\/p><\/div>\n

\"\"<\/a>

J.H. Zimmermann edition, edited by Robert M\u00fcller.<\/p><\/div>\n

\"\"<\/a>

IMC edition, edited by William Gibson.<\/p><\/div>\n

\"\"<\/a>

A.E. Fischer\/A. Benjamin edition, edited by Fritz Grube.<\/p><\/div>\n

\"\"<\/a>

Fr. Hofmeister edition, editor unknown.<\/p><\/div>\n

So, it\u2019s high time for us to recover the David Urtext and make it available to the world\u2019s trombonists in a reliable new edition! We couldn\u2019t have found a better editor for this important edition than Sebastian Krause, solo trombonist of the Leipzig MDR Symphony, conservatory teacher and specialist on the history of the trombone, especially in Central Germany. Not only does Krause have decades of practical and artistic experience with the David concertino, but he also made a fundamental contribution to researching its history, in particular, with the biography of Carl Traugott Queisser (1800\u20131846), its first interpreter, purported to have commissioned the work.<\/p>\n

Queisser was solo violist at the Leipzig Gewandhaus orchestra, though simultaneously also a trombone virtuoso of international standing. He then enjoyed such a great reputation in Germany and beyond that he was ranked in concert announcements on an equal footing with such artists as Franz Liszt or Ignaz Moscheles. Robert Schumann even described Queisser as a \u201ctrombone god\u201d in an article on Leipzig\u2019s orchestral life\u2026!<\/p>\n

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The Leipzig-style trombone model, such as Queisser presumably played:
Wide-bore tenor-bass trombone by Christian Friedrich Sattler, 1841.
Museum f\u00fcr Musikinstrumente der Universit\u00e4t Leipzig.
https:\/\/www.europeana.eu\/de\/item\/09102\/_ULEI_M0003731<\/a>
(Lizenz: Creative Commons BY-NC-SA)<\/p><\/div>\n

Queisser was a close acquaintance of the Gewandhaus orchestra\u2019s concertmaster \u2013 none other than Ferdinand David, at the time one of Germany\u2019s most famous violin virtuosos (for whom Felix Mendelssohn Bartholdy composed his violin concerto). David was also active as a composer and wrote the trombone concertino, so to speak, as a tailor-made piece of music for his friend (for further interesting details on the history of its genesis, see the preface<\/a> to our edition).<\/p>\n

As the concertino\u2019s autograph score has unfortunately been lost, our main source has been the first edition of 1838 mentioned above, published in Leipzig by Carl Friedrich Kistner. It is basically a reliable source, undoubtedly reflecting David\u2019s intentions, though the solo part has some engraving errors and inaccuracies needing correction.<\/p>\n

\"\"<\/a>

Original bell section of a tenor trombone by C. F. Sattler, ca. 1840s.
Private owner, Sebastian Krause<\/p><\/div>\n

Here, a fortunate circumstance came to our aid: in 1838 Ferdinand David produced an arrangement of the trombone concertino for cello and piano, certainly with a view to making the work accessible to a wider circle of musicians. Kistner also published this arrangement of David\u2019s in 1838; we were able to find not only an exemplar of the very rare edition, but also even its autograph! The manuscript, presently preserved in the library of Northwestern University at Evanston, Illinois, has, to the best of our knowledge, not yet been evaluated by scholars.<\/p>\n

The solo part of the cello version does, of course, differ from the original in many small details, owing to its arrangement as idiomatic for a string instrument: different positioning of slurs, sometimes different broken chords and figurations, use of double stops, and much more. David furthermore transposed the piece down a semitone, to the key of D major that is better suited for the cello. This arrangement, however, often provides helpful indications and confirms engraving errors in the original trombone version. Here is an example:<\/p>\n

In measure 121 there is no accidental in front of the a flat<\/em> (which doesn\u2019t really fit the harmony in the orchestral accompaniment), and in the following measure the repetition of the d flat1<\/sup> seems strange, musically:<\/p>\n

\"\"<\/a><\/strong>The cello version confirms the assumption that a natural and a tie should be added here:<\/p>\n

\"\"<\/a> \"\"<\/a><\/strong><\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

Further inadvertent errors in the first edition can occasionally be found in the articulation markings. To this end, our editor Krause makes some careful supplementary suggestions, always clearly identified within brackets in our edition. For example: in comparing measures 315\u2013317 with the analogous measures in the exposition (mm. 111\u2013113), some details in the recapitulation, such as the crescendo hairpin and three accents, are probably only inadvertently missing in the first edition, so these were added in brackets in our edition:<\/p>\n

\"\"<\/a> \"\"<\/a>So, our Urtext edition offers at last a secure music text as the basis for the most authentic possible interpretations intended by the composer. We wish all trombonists every success in studying and performing this standard work \u2013 so that they can read about themselves what Carl Traugott Queisser read in the newspaper: \u201cHe not only conquers great difficulties on the otherwise awkward instrument, but also plays absolutely cleanly, precisely, and with pleasantly surprising delicacy.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

The trombone is an instrument with a venerable though also … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[777,3,778],"tags":[779,147],"_links":{"self":[{"href":"https:\/\/blog.henle.de\/en\/wp-json\/wp\/v2\/posts\/6578"}],"collection":[{"href":"https:\/\/blog.henle.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.henle.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.henle.de\/en\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.henle.de\/en\/wp-json\/wp\/v2\/comments?post=6578"}],"version-history":[{"count":7,"href":"https:\/\/blog.henle.de\/en\/wp-json\/wp\/v2\/posts\/6578\/revisions"}],"predecessor-version":[{"id":6600,"href":"https:\/\/blog.henle.de\/en\/wp-json\/wp\/v2\/posts\/6578\/revisions\/6600"}],"wp:attachment":[{"href":"https:\/\/blog.henle.de\/en\/wp-json\/wp\/v2\/media?parent=6578"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.henle.de\/en\/wp-json\/wp\/v2\/categories?post=6578"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.henle.de\/en\/wp-json\/wp\/v2\/tags?post=6578"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}