An example of programme notes for a recital

Elizabeth Fitzpatrick

Serenades for

Trumpet and    Friends…

Piano          Harvey Davies

Soprano  Fae Evelyn

Cello          Joseph Donmall

Organ          Jonathan Scott

Final Recital

Wednesday 26^th May 2010

The focus and inspiration for my final recital grew from working with the Austrian composer Scherwtsik and his Serenade.  The piece encapsulates an array of emotions portrayed through the trumpet’s mellifluous melodic lines.  This aspect encouraged me to explore the theme of Serenades including how the trumpet can be closely assimilated with the human voice. 

Prior to the seventeenth century the trumpet was used primarily on the battlefield.  However, within the seventeenth century it was integrated into high art and began to use the human voice as its perfect model. Today’s Scarlatti Arias which include a soprano vocalist are reminiscent of war, labour and love, themes often explored in baroque music.

By the twentieth century the trumpet had developed its own language, from battlefield to jazz.  American composers including Aaron Copland and Leonard Bernstein often wrote for the trumpet in a sweet, lyrical style.  In Peaslee’s Nightsongs, this aspect is captured by use of the flugelhorn.

Although Mozart’s Serenades are often considered the perfect art form, Handel’s writing may be amongst the most rousing, ever reminding the trumpet of its stately origins. 

History of the Serenade

Through musical history the Serenade has taken a number of different forms and meanings. The name is derived from the Italian sereno, meaning light and calm and indeed most Serenades do depict this character.  Originally, a serenade was played to a lover or friend, typically sung and played ‘a due’. 

By the early baroque, the serenade was generally performed outdoors, amongst other musicians.  To carry the sound this included wind instruments, such as trumpets.  Throughout the Romantic era, the serenade became more of an established orchestral work.  The term divertimento was also used to describe these types of pieces.  They were established works for larger ensembles; however, their purpose was more for light relief and tunefulness than thematic development or dramatic intensity. 

Today’s serenades can be free and experimental but tend to always relate back to their original format and instrumentation.

Schwertsik Serenade

 This contemporary Serenade was originally written in 2001.  However, more recently Schwertsik incorporated it as the second movement of his Trumpet Concerto Divertimento Macchiato, written in 2010.  Schwertsik was initially reluctant to compose a divertimento due to other post war compositions of the same style which were not to his taste.  He therefore disguises the concerto by accompanying Divertimento with the word Macchiato which is supposed to capture the ironic image of modern ‘designer coffee’. 

This Serenade holds two conflicting characters that seem to oppose one another.  The dark and pessimistic nature of the opening is quickly diminished through the lofty, dreamlike middle section, yet the return of the opening material forebodes an existent eeriness.

Scarlatti 4 Arias for Trumpet and Voice

These four miniatures reflect Italian operatic history and culture.  Italy suffered much political turmoil during Scarlatti’s time and man’s longing for peace can be heard through stepwise melodies in contrast to the heroic battle calls.  Living most of his life in Rome and Naples, Scarlatti wrote music for the Court and as in these four movements he would often address such emotions as courage, love, anger and praise.

Si suoni la trombe

            Let the trumpet sound.

            My faithful warriors,

            Now bolder on the battlefield,

            Resound to the call to arms.

In terra la Guerra

            Let war in the world

            Pass swiftly and be done with,

            That it may bring us the comforts

            Of peace from the ends of the earth

Mio Tesoro

My darling,

For thee I die!

Come quickly to console

This heart, which so much longs for you

And calls upon you

To restore it.

Con voce festiva

            With a festive voice

            In musical ways,

            Let the banks of the Tiber

            Exalt him with praise

            And let the playful wave

            With an echo of love,

            Respond to the trumpet.

            Let my heart rejoice.

Peaslee Nightsongs

Nightsongs was commissioned by trumpeter Harold Lieberman for a recital at Carnegie Hall in 1973. Written specifically for flugelhorn it features the dark lyrical qualities of the instrument.  The music shifts between different dramatic sections and exploits the different characteristics between the flugelhorn and the trumpet.

Handel Suite in D Major

1. Overture
2. Gigue
3. Aire
4. Bouree
5. March

This piece was originally written to Serenade King George I amongst royal friends.  It was popular from that very day, and remained so ever since.  The Daily Courant in 1717, wrote;

“On Wednesday evening at about 8.  The King took water at Whitehall in an open barge…a city company’s barge was employed for the Musick, wherein were 50 instruments of all sorts, who play’d all the way from Lambeth…the finest Symphonies, compos’d express for this occasion, by Mr. Hendel; which his Majesty like so well, that he caus’d it to be plaid over three times in going and returning.”

Thank you all for coming to listen to my recital today.  I would also like to thank the musicians who accompanied me for all their hard work and effort leading up to the day.  I am eternally grateful to all my family and friends who have encouraged me through my studies.  Not to mention the invaluable expertise and support from my trumpet teachers.