Rimsky-Korsakov Mlada Suite (Trumpet Parts)

This professionally re-engraved and transposed set of orchestral trumpet parts greatly eases learning and performance of the work.  Available as PDF download or hard copy (9″ x 12″). You can buy the parts individually or as a package:

• Trumpet 1 in C
• Trumpet 2 in C
• Trumpet 3 in C

Notes from the Editor

The original edition of Rimsky-Korsakov’s Mlada Suite is rife with engraving oddities. This new edition aims to bring the work into the 21st century while solving many of the problematic issues of the original.  Of the three movements in the suite that the trumpets play on, the following updates have been made:

Mov. 2  Rédowa
Instead of creating all new parts for the Suite, the original publication simply cut and pasted material from the Ballet trumpet parts, which resulted in a layout that preserved the terribly cramped spacing of the Ballet parts as well as showing systems of as little as three measures. This new edition has been formatted so that every part fills all of the pages efficiently.

Mov. 3  Danse lithuanienne
For this movement, the original edition calls for Trumpet 1 to switch to “Picc. in Ré (D).” This is, by any measure, completely unnecessary.  The range of the movement simply does not warrant the change.  It also created a convoluted mess that shows:  Trumpet 1 in D (picc.), Trumpet 2 in B-flat, and Trumpet 3 in equally unnecessary “F alta” (which the entire Trumpet 3 part of original suite is in).  In this new edition, the editor chose to set the Trumpet 1 part in this movement for Trumpet in E-flat (which subsequently transitions seamlessly to the final movement).  Trumpet 2 and 3 are shown throughout the entire suite for concert pitch Trumpet in C.

Mov. 5  Procession of the Nobles
Procession of the Nobles is by far the most well-known music from the original Mlada Ballet, Suite, and is regularly performed as a stand alone piece.  Due to the extended portions of the movement in the higher range, as well as awkward trills in that tessitura, it has become industry standard for the Trumpet 1 part to be performed on E-flat trumpet, thus this modern edition has engraved it as such.  Finally, the trill over the last four measures in the original Trumpet 2 part has been removed.  Its inclusion by the original copyist was an error. The trills are only meant to be executed by performers playing a concert E-flat.

Other notable general updates include:

• Removing all key signatures in favor of accidentals.
• Including numbered repeated measures in passages where slight rhythm changes are not easily discerned.
• Modern best practices of slur usage employed.

The Andrew Bishop Orchestral Editions explore the concept of how these orchestral masterworks would appear if they were composed today.  There are myriad differences in how music is currently published compared to when many of these works were originally engraved.  “Tradition” is usually the (poor) excuse I hear when the topic of updating these masterworks is discussed – most often in reference to transposition(s).  As a performer and teacher, I remain committed to the practice of honing vigorous transposition skills.  However, there are many of these original engravings set in keys that are truly antiquated, and make almost no sense whatsoever to keep perpetuating.  Transposition, however, is the least of the issues most of these original editions suffer from.  Paper is no longer a premium and scarce product, and therefore the practice of cramming as much material on a page is not necessary.  “Readability” was obviously not a concern with copyists of the times, and it is my opinion that the music suffered because of it.  Therefore, a ”Bish Edish” (as they are popularly referred to) features many upgrades, including:

• Judicious spacing throughout the engraving (not too cramped, not too open)
• Correct enharmonic spellings of notes.  This is an unfortunate byproduct of writing in asinine transpositions.
• A careful reconsidering of cue usage.
• Corrections of many inconsistencies between original parts and score, and even between parts themselves.
• The addition of measure numbers, including helpful ranges listed under multi-measure rests.
• Deleting key signatures and writing all parts utilizing accidentals only.
• All parts are formatted for standard Concert 9×12 paper, and is best printed on that size.

Reading it on 8.5×11 is not ideal, but the compression percentage isn’t too significant.  Similarly, reading it off a larger tablet (e.g. iPad Pro) doesn’t present any significant issues.

In some instances, there are other upgrades specific to individual works that will be mentioned within the respective product.  If you happen to find something questionable that you would like to bring to my attention, please feel free to do so at:  trptshallsound@gmail.com.  If it is something that I need to correct, I will be happy to do so and make sure you receive a corrected part/parts.  If you have other works that you would like to have a custom edition made, please also reach out with that as well.

Andrew Bishop, Editor