The Rite of Spring (Piccolo Trumpet in A - alt. Bb and C Parts Provided)

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:

• Piccolo Trumpet in A (alt. B♭ and C Piccolo Parts Provided)

Notes from the Editor

For decades Stravinsky's The Rite of Spring was in dire need of massive editing.  It is such an iconic work, but sadly suffered from error-ridden parts from the very beginning. Around 2000, Principal Librarian of the Philadelphia Orchestra Clinton F. Nieweg endeavored to undertake the daunting task of correcting these errors.  It is said that over 21,000 errors and inconsistencies were remedied. Then in 2021, Nieweg and editor/engraver James Chang released a brand new Critical Performing Edition of The Rite of Spring and gifted the world a definitive rendering of the masterwork.  

I had always intended on cleaning up all of the trumpet parts, but thanks to the new CPE there no longer was a need.  However, the "Tromba Piccolo in Ré" (Piccolo Trumpet in D) part remains somewhat problematic. The CPE preserved the original transposition, which doesn't account for the fact that many trumpeters prefer to perform the part on instruments other than piccolo trumpet in A, which is the usual instrument of choice for reading a part for trumpet in D (yet even that standard transposition is needlessly awkward). Instead, many trumpeters find using a piccolo trumpet in B-flat preferable, which is similarly awkward to read for a part in D.

Therefore, I have decided to create a full set of companion piccolo parts for the CPE that retain all of the error/inconsistency fixes, yet finally solve some of the playability issues which remain in the Piccolo Trumpet in D part.  I chose to treat it in the same manner which I did for the piccolo trumpet part for Ravel's Bolero.  There, I created three separate parts for Piccolo Trumpet in A, B-flat, and Piccolo in C (which shows the concert pitches in sounding and written notation).  The same three parts are available as a companion to the CPE of The Rite of Spring in the Andrew Bishop Orchestral Editions, depending on the performer's prerogative.  

Besides the key(s) in which these parts appear, I have made the following engraving changes - because of the incredible amount of complex time signature changes, I opted to show slightly oversized time signatures.  I contemplated all cues shown in the CPE part, and opted to revise/add/subtract when I thought it was warranted.

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