Sonata for Trumpet and Piano was premiere at the NASM convention by J. Frank Elsass, a colleague of Kennan’s from the University of Texas. show how the trumpet sonatas by George Antheil, Kent Kennan, Halsey Stevens, and. Burnet Tuthill are both distinctly American and unmistakably from the. Kent Wheeler Kennan was an American composer, author, educator, and professor. Giuseppe Galante – Kent Kennan: Sonata for Trumpet and Piano: I. With.
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Kennan composed his last major work in kenman the age of 43 and largely abandoned composition, writing only occasional small pieces and devoting himself to teaching and educational writing. McNamara, Anne Kovarik The fanfare leads into the slurred motive that is mostly comprised of eighth notes Dearden This is followed by a restatement of the main theme in a new key and at a slow tempo, making it lyrical at first, then transitioned to the original tempo and style Dearden All of the themes from the exposition are written in the recapitulation Dearden Movement III — Moderately Fast, with Energy Some analyze this movement as being in sonata form, while others analyze it somata being in rondo form Dearden The return of the first theme is very similar to the first time it is stated, but it is transposed down a half step and the piano accompaniment is different Dearden This movement also has a short closing theme Dearden When the second theme is restated, it is down a half step as well and shortened a little bit Dearden The second theme has the same character as the first theme, but it is melodically based on sonsta intervals of triads instead of the main motive that is introduced in the first movement Dearden This first statement begins in minor, goes through Phrygian, and ends in major Dearden The third theme is a chorale in G that begins in minor and ends in major Dearden It is based on the secondary theme and uses accents to make the meter difficult to figure out by simply hearing it Dearden The first theme is played by the trumpet and is muted Dearden His compositions include works for orchestrachamber ensemble and solo instrument as well as songs and choral music.
The American Trumpet Sonata in the s: From Wikipedia, the free encyclopedia. The three pitches in the first measure begin with the leap of a perfect fifth up, followed by a whole step Dearden The piano has this theme at first underneath the trumpet, then they switch and the trumpet has the inverted form of the first theme while the piano plays something totally different Dearden The piano part during this first theme is mostly comprised of chords that are moving in patterns that are traditional chord progressions Dearden The development begins after a short transition from the exposition Dearden The piece ends with a trumpet fanfare in E-flat Dearden The main motive that was introduced in the first movement appears frequently in this theme Dearden The main theme of this movement is written three times in a row, the first centered around E-flat Dearden They knew each other while Kennan was composing the piece, so Elsass gave Kennan some advice about writing the trumpet part since he was a trumpet player and a former cornet soloist Dearden The last time that the first theme returns, it is in an inverted form and played in the piano while the trumpet is playing something totally different Dearden kebnan He learned to play the organ and sonaha piano and received degrees in composition and music theory from the University of Michigan and the Eastman School of Music.
This made the piece much easier to perform McNamara The coda only uses fragments of the first theme with a modified rhythm Dearden The secondary theme is lyrical, with no fanfares, and in minor Dearden This first theme is full of mixed meter, often using asymmetric meters, which is characteristic of the 20 th century style of composing Dearden In the following measure, the three pitches begin with a leap down by a perfect fifth, then a whole step Dearden In the coda, the trumpet is playing with a harmon mute and playing G, the dominant of C, until the last measure, when the line finally resolves to the tonic Dearden The material in the coda moves from A-flat, to F, then to D-flat, and ending in B-flat for the cadence that ends the piece Dearden His Night Soliloquy was written in and is set for solo flute, piano and strings.
The second theme starts in the piano with an ostinato line over a pedal a D, followed by the trumpet two measure later, playing the main motive that was introduced in the first movement Dearden This section is distinct from the others in this movement because it is the only section that is not muted Dearden