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
- Posthorn (part provided in B♭, E♭ and C)
Notes from the Editor
All on-stage trumpet parts in B-flat and F have been changed to trumpet in C, except for passages in which playing B-flat trumpet is necessary due to range. Therefore, since the trumpet parts mostly appear in concert pitch, correct enharmonic spelling of notes are utilized. For this edition I have also created three separate off-stage Posthorn solo parts in B-flat, C and E-flat.
Like so many of the original typeset Mahler Symphonies, the extremely crammed together spacing made for unnecessarily difficult reading conditions. In many instances even the flip-flopping between Trumpet in B-flat and F was obscured. I have endeavored to create modern parts that are significantly easier to read, in a more spacious layout.
Superfluous and unhelpful cues in the original edition have been deleted in favor of custom, more instrument appropriate cues.
Perhaps the most significant change in this edition from the original is the optional redistribution of parts, and therefore slight reorchestration of material in the third movement. It is common for the Principal Trumpet to walk off-stage to play the Posthorn solo, and in that scenario leaves four on-stage parts to be performed by three players. This isn't the case in the original 1897 edition because Trumpet 4 is tacet in Mov. 3, and therefore covering the Trumpet 1-3 parts is possible. The 1974 Universal edition, however, contains material for all four trumpet parts. If indeed a 5th player has not been hired to play the Posthorn solo, and it is being covered by the Principal player, this modern edition takes that into account in the following manner:
The entire Trumpet 1 part of Mov. 3 appears in the Trumpet 4 part. Cues still remain for the original Universal edition Trumpet 4 part if a 5th player has been hired for the Posthorn solo, and special instructions are provided in the part covering both scenarios.
Trumpet 2 has also been slightly modified to account for the possibility of one less trumpet on stage. In short, cued notes appear with special instructions on what to play covering both scenarios. Fortunately, all material affected in all four trumpet parts consists of doublings, so a judicious reorchestration of the material for three trumpets has been thoughtfully prepared.
Trumpet 3 is unaffected and consistent in either scenario.
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: 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
