Chaconne (12Trp)

Chaconne (12Trp) (The chaconne is the final movement of Bach’s Partita for solo violin. Of all the amazingly creative music he wrote for solo violin and cello, this movement can claim to be not only the most advanced exploitation of string technique of its time, but also one of the greatest of compositional tours de force. The chaconne form itself requires considerable degree of musical variation in counterpoint, harmonic change and texture if it is to be interesting, based as it is on a simple repetitive bass line of 8 bars in length. For Bach to have extended this form to nearly 10 minutes is testament enough to his imagination; one can only stand and admire him for having achieved it with only a solo violin as his instrumental forces. Although it needs no elaboration whatsoever, the genius of the piece has tempted numerous transcribers to attempt arrangements of it, from the simple addition of an accompaniment to full-scale orchestrations. Perhaps the most successful is Busoni’s version for piano. His slightly elaborated version has provided some of the material for this arrangement for trumpets. Performance notes: The players are divided into 2 groups, which should, preferably sit symmetrically in a semicircle with the high voices on the outside. Part 1 and 7 are for piccolo Bflat trumpet. Part 2 and 8 are for piccolo Eflat trumpet. Parts, 3, 4, 9, and 10 are for Bflat trumpet. Parts 5, 6, 11 and 12 are for flugels in Bflat. If flugels are not available or if the players find it impossible to play the low tessitura notes in tune, then Bflat trumpets may be used. If necessary and bass trumpets are available, they may discretely double some of the lower passages to add strength. It is essential that the music should be played throughout at a relatively reserved and non-symphonic volume; all temptation to overblow should be resisted. Even the stronger musical moments in forte and fortissimo should not become harsh. Musical style is more important than dynamic range; variety of articulation, legato and tone-colour are vital. Try to ensure that the two choirs are well matched so that there is no noticeable distinction in sound quality or volume when musical lines are exchanged. )