4 Impromtus

4 Impromtus (1. March-Quo Vado - 2. Pastorale - 3. Scherzino - 4. Postlude-In Paradisum The 4 Impromptus for Trumpet and Piano were written for Anne McAneney in January 1994. The Introduction to the March exposes an antagonism between the two notes B and C, which becomes something of a recurring motif throughout the 4 pieces. The March itself has an ironic overtone and the player may perform in a semi-theatrical manner by marking time in some sections of the movement and mimicking the trumpet with the voice. The Pastorale is built from two opposing chords based on B and C and is in a reflective but unsettled mood. The Scherzino again uses a pair of unrelated chords based on B and C. The turbulant opening section is followed by a more settled Trio and a brief, agitated but now quiet recapitulation. The Postlude-In Paradisum has a suggestion of calm disturbed by polychordal progressions in the piano and an increasingly anxious, questioning trumpet line. Even at the end the simultaneous B major and C major chords prevent resolution. Performance notes: March: Use the voice to imitate the effect of the plunger. As this was written for a female performer the pitch will normally be too high for male trumpeters, unless he is an able falsetto singer! Therefore, it is acceptable to sing the notes an octave lower if necessary. Singing should not be directly through the instrument; either turn the head sightly to one side or move the trumpet a little away from the face. If it is impractical to sing then continue to play with the plunger as marked. Where marked,* perform a slightly exaggerated marching step, preferably on a floor that will give a good footstep sound. The singing and marking time should not be self-conscious but rather contemptuous in effect. The music also should be played with an exaggerated flourish, very rhythmic and characterful. Pastorale: try to make a big difference between the feel of the rather cold, non-vib phrases and the more expressive vib moments in the first passage. Thereafter be as deliberately expressive and passionate as possible, shaping the phrases as desired. Scherzino: Play the opening section in an extrovert and aggressive manner though without becoming harsh. By contrast make the Trio as gently appealing as possible. The recap should have the energy of the opening but now in a more delicate manner. Postlude-In paradisum: The long piano chords should ideally ring through under the trumpet recits but if the piano cannot acheive this do not re-attack the chords. The trumpet figures should be freeish in feel and a little exaggerated in rhythm and articulation. Make sure the pulse, though, is constantly felt as a slow 3. )