Verdi Requiem (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
• Trumpet 4 in C
• Offstage Trumpets 1-4 in C

Notes from the Editor

This new edition of the trumpet parts for the Verdi Requiem was created using the 1990 urtext full score edition published by the University of Chicago Press (edited by David Rosen) as source material. After much scholarly research that went into preparing the 1990 edition, there are certain differences from the standard parts that have been circulating for decades. Most of the changes pertain to updating dynamic and articulation indications. Many of the slurs have been changed to dotted-slurs, but it is the editor’s opinion that the passages which were slurred in the original publication should still be observed.

Other updates that have been incorporated into this Andrew Bishop Orchestral Editions publication include a significantly more spacious format. The original publication was engraved by hand and suffers extremely dense and cramped manuscript – especially at the end of systems and movements. Between the four trumpet parts, Trumpet 2 was particularly awful to read.

A better system of cues have been implemented, resulting in easier to hear signposts before entrances and less likelihood of wrong entrances.

The manner in which note abbreviations appear (simplifying measures full of 16th note repeated figures) have been updated and avoid the slightest confusion of intended rhythms.

A new set of the four offstage trumpet parts has also been prepared for this edition.

All four trumpet parts (and all four offstage trumpet parts) now appear only in concert pitch for trumpet in C, instead of switching back and forth between C, D and E-flat in the previous editions.

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