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An Alpine Symphony (Trumpet Parts)

An Alpine Symphony (Trumpet Parts)

Strauss, Richard

Arr. Bishop, Andrew

Ed. Andrew Bishop


  • Ensemble: Trumpet
  • Genre: Classical
  • Grade: 4
  • Duration: 45.0 minutes
  • Catalog Number: TSSP-SAS

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 + Offstage Trumpet 1 in C
  • Trumpet 4 in C + Offstage Trumpet 2 in C

Notes from the Editor

The format of the original engraving of An Alpine Symphony is notoriously cramped.  This modern edition is significantly more spacious.  

Trumpet parts that originally appeared in B-flat and E, now appear for Trumpet in C except for one passage.  Trumpet 4 doubles in Bb Trumpet due to the descent down to concert E at [95].

Superfluous and unhelpful cues were deleted in favor of custom, more instrument-appropriate, and helpful cues.

It is the editor's opinion that the famous "On the Glacier" passage in the Trumpet 1 part was engraved incorrectly by the original copyist.  In the original extracted Trumpet 1 part, the second and third bar after [68] shows a cresc. hairpin going to a mf.  Those indications appear to be meant for the Trumpet 2 part, which is holding multiple measures of second space A whole notes at a pp dynamic.  Trumpet 1 and 2 share a line on the score, and it seems the copyist ascribed the hairpin and mf to both trumpet parts.  In this modern edition, those dynamic indications pertain only to the Trumpet 2 part.

Similarly, in the original Trumpet 1 and 2 parts three bars after [69], there is a cresc. hairpin showing, but the editor believes that the hairpin belongs only to the Trumpet 3 part, which has the melody.  Trumpets 1 and 2 should remain at a p dynamic. 

In the Trumpet 3 part of this modern edition, the editor has chosen to show both the Trumpet 3 and 1 part together from measures 490-498.  It is helpful knowing where you are while holding the long string of whole notes, especially in the context of playing this often requested Trumpet 3 excerpt for auditions.  

Two bars before [104], all three original trumpet parts were missing any indication of whether they were still to be played muted.  After consulting multiple trumpet players from top-tier orchestras across the country, it is unanimous that those two bars should still be muted, and this edition clarifies that with a courtesy (con sord.).

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 9x12 paper, and is best printed on that size. 

Reading it on 8.5x11 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:  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

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