{"id":4417,"date":"2024-02-16T11:55:32","date_gmt":"2024-02-16T11:55:32","guid":{"rendered":"https:\/\/resonatamusic.com\/?post_type=product&p=4417"},"modified":"2024-02-16T11:56:55","modified_gmt":"2024-02-16T11:56:55","slug":"respighi-gli-uccelli-the-birds-for-trumpet-piano-pdf-download","status":"publish","type":"product","link":"https:\/\/resonatamusic.com\/?product=respighi-gli-uccelli-the-birds-for-trumpet-piano-pdf-download","title":{"rendered":"Respighi – Gli Uccelli (The Birds) for Trumpet & Piano (PDF Download)"},"content":{"rendered":"

Alongside subsequent sets of \u2018Ancient dances and airs\u2019, Respighi composed his appealing five-movement suite, Gli uccelli (The birds), in 1928, skillfully paraphrasing baroque keyboard pieces and dovetailing a musical menagerie of feathered friends, specified and implied. The opening \u2018Prelude\u2019, employing an arresting theme by Pasquini, is pure exhibition: our attention turns from caged canaries to many delicate and exotic species<\/p>\n

all emerging fleetingly to the foreground and ceremoniously flying off in formation, save for the decorous peacock.<\/p>\n

Rather more specific is \u2018La colomba\u2019 (\u2018The Dove\u2019) which is afforded an old-world<\/p>\n

sarabande, almost biblical in its nostalgic cadences, peaceful feathers barely ruffled. It is an exquisite chamber set-piece. The real onomatopoeic action starts in the coop of Rameau\u2019s famous \u2018Hen\u2019 (\u2018La gallina\u2019 in Italian) where the restless pecking manifests itself in tripping semiquavers, at once whimsical, graphic, sequential and<\/p>\n

ironic. Respighi\u2019s respect for the pantomime <\/i>from within the sinews of Rameau\u2019s original is both instinctive and lends itself to this idiom where the trumpet\u2019s mute can contribute to a kind of musical Botticelli.<\/p>\n

Quite how Respighi sourced his material so successfully at a time when \u2018early music\u2019 was barely accessible in the representative advocacy of the post-war era is probably more a matter of serendipity than anything. Yet the aptness of folksong material in the atmospheric \u2018L\u2019usignuolo\u2019 (\u2018The Nightingale\u2019), from Jacob van Eyck\u2019s \u2018Engels Nactegaeltje\u2019, is intimate and affecting.\u00a0 What follows in \u2018Il cuc\u00f9\u2019 (\u2018The Cuckoo\u2019) is the most clich\u00e9d of springtime sound worlds but through an inventively counterpointed patchwork of \u2018baroque\u2019 pastiche-incipits, we finally return, maze-like, to the opening theme where the full aviary takes its final bow.<\/p>\n

This concert suite requires dexterity from both players. The greatest chance for success lies in the nature of the preparation with the duo partner, primarily by harnessing interpretative ideas through rhythmic control, varied articulation and deft characterization.<\/p>\n

Jonathan Freeman-Attwood<\/i><\/p>\n

Parts included:<\/p>\n