FoR WYNTON MARSALIS NAPOLI VARIATIONS ON A NEOPOLITAN SONG FOR SOLO CORNET AND WIND BAND HERMANN BELLSTEDT (1858-1892) ARRANGED BY DONALD HUNSBERGER (ASCAP) INSTRUMENTATION 1 Ist F Horn SUPPLEMENTAL 1 Solo Br Cornet (Trumpet) 1 ~ 2nd F Horn and WORLD PARTS yore 1~ 3rd F Hom Available for dwonload from 3 ~ Ist Flure 1 —4th F Hom, ret afd comorkfpert 3 ~ 2nd Flute 2 ~ 1st ‘Trombone ; 1 ~ Ist Oboe. 22nd ‘Trombone Baritone Treble Clef 12nd Oboe 2 - 31d Trombone Ist Horn in Bs 1 -English Horn 2 -4th Trombone 2nd Horn in Eb 1 ~ Ist Bassoon 2 — Euphonium 3rd Horn in E> 1 ~ 2nd Bassoon 4 Tuba 4th Horn in B 1 —Contrabassoon 1 String Bass [st Trombone in Bt Bass Clef 1 — Eb Soprano Clarinet 1 —Harp 2nd Trombone B> Bass Clef 3 = Ist Br Clarinet 1 — Mallet Percussion 1 3rd Trombone B> Bass Clef 3 ~ 2nd Bb Clarinet bell) 4th Trombone B> Bass Clef 3 ~ 31d Br Clarinet 2-—Mallet Percussion 2 Ist Trombone in B* Treble Clef 2 ~ Br Bass Clarinet (Sslophone/ Tambourine) 2nd Trombone B» Treble Clef 1 — Bb Contrabass Clarinet 1 — Timpani 3rd Trombone Bs Treble Clef 2 = Ast E> Alto Saxophone 1 Percussion 1 4th Trombone B Treble Clef 2 = 2nd E> Alco Saxophone (Sonate Deum) Baritone in B+ Bass Clef 1 —B» Tenor Saxophone 2 — Percussion 2 Tuba in B Bass Clef (Crash Cymbals, Bass Deum) Tuba in E> Treble Clef 1 -B2 Baritone Saxophone 2 — Ist Bb’Trumpet 2 — 2nd Bb’Trumpet 2 — 3rd Bo Trumpet 24th Be Trumper ‘Tuba in Bs Bass Clef ‘Tuba in Bs Treble Clef Pleat nate: Our bind an ochre now beng ole by atoms hfrsped stan The elt prs ar now sorted by pge coun raha an sar ordCARNAVAL A 25" ANNIVERSARY! Carnaval is a celebration of the master cornet soloists and performers of the late 19th and early 20th centuries ough a recording, touring and publication praject exeated for Wynton Marsalis and the Bastman Wind Ensemble, Donald Hunsberger, Conductor. This reissue of the original solo with piano folio and th the accompaniments f of the EWE, lease of 3 wind band, in print and/or ental, salutes Wynton and the performers and conductor ‘Comet performers including Jean-Baptiste Azbsn, Jules Levy, Matthew Arbuckle, W. Pasis Chambers, Walter Rogets, Herbert L. (Clarke, Del Staigers, Frank Simons and Herman Bellstedt among many others, have long been the idols for succeeding brass players due to their extranrdinary performance abilities and their inventive slo and pedagogical writings These soloists, at the beginning of the lat century, were endovwed with flowing, agile techniques involving rapid, light multiple tonguing, the mastery of harmonic series slurs, extreme registers and expecially the ability eo project warm, “singing,” cantabile melodic lines Phe themes that formed primarily on the basis of their simplicity and beauty. Not only did the principal melodies offer the audience feelings of warmth and repose, they especially provided a lyrical contrast to the flashy py 1e foundation for theie variations were selected by the soloist/ wis rotechnice that surrounded them, Carnaval was created to salute these earlier day performers through displaying the unique abilities of one nday’s master soloists: Wynton Marsalis. Perhaps, i is best to have Wynton describe the events that led to this unique collaborative undertaking, a written by him in the Foreword (December 1988) to the original publication of these solos and accompaniments. “This project began in 1984 when CBS Masterworks asked me to consider Jbum of cornet masterpieces with a wind band accompaniment. I that this was something [ wanted to da because I grew up playing these pieces and entered all the festivals and contests thac high school plavers today have available co them. One area I wanted ro see changed for this recording, however, was the arrangements: In particular the introductions and break-strains that today sound so “corny” because they frequently were more “filler” than substantive musical material. So, during a visit to the Eastman School of Music, ‘where I was appearing as soloist with the Eastman Jazz. Ensemble [Raybum Wright, Director], I mez wich Donald Hunsberger, Conductor of the Eastman Wind Ensemble and a well known artanger-otchestratr. asked him to create new arrangements for the solos tobe included on the album. The result, as you can heat, and now see, provided an entizely new view of these great solos; we used only the original melodic ines and Don wrote a combination of new and modified original wand Wynton ‘material forthe accompaniments. The cadenzas are also new, exceps for Herbert L. Bar Wah and We Clarke's eadenzas, where I wished to use some of his orginal writing, Following the recording, the project continued with a tour of the Hast Coast and Canada. ‘The Eastman Wind Ensemble and I played major halls such as The Place des Arts in Montreal, Roy’Thompson Hall in Toronto, Boston's Symphony Hall, The Academy of Music in Philadelphia, Kennedy Center, Washington, Camegie Hall in New York and finished in the Eastman Theatre in Rochestes.” ‘Wonton Marsalis New York City As Wynton Marsalis so clearly states in his accompanying Foreword, the development ofa /ricalconepr is of utmost importance. Heavy, aver-blown attacks and tonguing will impede the speed and clarity necessary for clea articulations and will create awkwaed, o sloppy, unmusical effects. While itis possible co develop the technical resources to play these solos, the ability to “sing from che heart” is frequently more difficult to achieve. Wynton clearly demonstrates in the various lyrical selections chat he indeed has chat abilicy Carnaval was recorded in the Eastman 'Theatte of the Kastan School of Music, University of Rochester, in early September, 1986 by Producer Steve Epstein and Engineer Buddy Graham. Originally issued as CBS Masterworks LP IM42137, it was later renumbered Sony CD MK 42137. Nominated for a Grammy Award in the "Best Instrumental Soloist with Orchestra” category, it has now become available as well in various download format. Donald Hunsberger Rochester, NY September, 2010, ‘Wynton and Donald Hunsberger relax berween takes a the (CBS Marterworka recording sessions 1 Schoel of Masie, Univer of Rochester Photo by Louis Ousce Photos coutey of Special Callens, Sibley Mane LibraTHE COMPOSER HERMANN BELLSTEDT (1858-1892) Herman Bellstedt, born in Bremen, Germany in 1858, emigrated to America with his family in 1867. They settled in Cincinnati, OH, which served as his primary residence throughout his catcet. An eatly prodigy on the cornet, he played with several prominent bands and was hited by Patrick Gilmore as assistant to the famous Ben Bent as well as serving as cornet soloist. Following Gilmore’s death in 1892, he organized a band and served as Conductor and cornet soloist. In 1904, he joined the Sousa Band, performing solos and playing alongside Walter Rogers and Herbert L. Clarke, (the three were known as the famed “Three Solitaires"), and upon Rogers’ departure from the Band, became Clarke's stand partner Bellstede returned to Cincinnati following numerous years playing and touring and became a pedagogue at the Gincinnati Conservatory of Music where one of his most successful students was Frank Simon, Bellstedt was a successful composer/arranger for both Sousa and the Frederick Innes Band; the solos Mandolinata and Napoli remain as his two most remembered performance vehicles. NAPOLI Bellstedt’s variations on Napoli features the popular Neopolitan song “Finiculi, Finicula” (composed by Luigi Denza in 1880) that celebrated the funicular railway built up the side of Mt. Vesuvius in 1880, The popular tune was used by Richard Strauss in his composition “Aus Italien” under the mistaken idea that it was a folk song, not someone's actual composition. Denza took Strauss to court and won an injunction that forced Strauss’s publisher to pay Denza a royalty every time “Aus Italien” was performed! ‘Schoenberg also wrote a version of the song for string quartet. Other popular Amalfi Coast songs include ““O Solo Mio and “Torna a Sorriento” (Come Back to Sorrento). (Carnegie Hall, March 22, 1987WYNTON MARSALIS Wynton Marsalis isan internationally acclaimed musician, composer, bandleader, educator and a leading advocate of American culture. The ‘world’s first jazz artist to perform and compose across the full jazz spectrum from its New Orleans roots to bebop to moder jazz, Marsalis has expanded the vocabulary for jazz and has ereated a vital body of work that places him among the world’s finest musicians and composers Born in New Orleans, Louisiana on October 18, 1961 to Ellis and Dolores Marsalis, the second of six sons, he exhibited at an early age a superior aptitude for music and a desire to participate in American culture. At age 14, he performed with the New Orleans Philharmonic and duting high school, also performed with the New Orleans Symphony Brass Quintet, New Orleans Community Concert Band, New Orleans Youth Orchestra, New Orleans Symphony, various jazz bands and the popular local funk band, the Creators Atage 17, Wynton became the youngest musician ever to be admitted to Berkshire Music Center at Tanglewood where, despite his youth, he was awarded the school’s prestigious Harvey Shapizo Awatd for outstanding brass student. Wynton moved to New York Giey to attend Juilliatd in 1979. The following year Wynton seized the opportunity to join the Jazz Messengers to study under master drummer and bandleader Art Blakey. In the years to follow Wynton performed with Sarah Vaughan, Dizzy Gillespie, Sweets Edison, Clark Terry, Sonny Rollins, Ron Carter, Herbie Hancock, Tony Williams, and countless other jazz legends ‘Wynton assembled his own band in 1981 and hit the road, performing over 120 concerts and workshops every year for 15 consecutive years. Many distinguished jazz musicians of today were students at one of his workshops ineluding James Carter, Christian MeBride, Roy Hargrove, Harry Connick Jr, ‘Nicholas Payton, Erie Reed, and Eric Lewis, to name but 2 few Wynton’s love of the music of Bach, Beethoven, Mozart, and others drove him to pursue a carecr in classical music as well. He recorded the Hayén, Hummel, and Leopold Mozart trumpet concertos at age twenty, a debut recording that received glorious reviews and won the Grammy Award for “Best Classical Soloist with an Orchestra.” He went on to record 10 additional classical records, all to critical acclaim. In 1986, he recorded the Carnaval project with the Eastman Wind Ensemble conducted by Donald Hunsberger and it was also nominated for the Grammy Award in the “Best Classical Soloist with an Orchestra” category. ‘Steve Eprein (CBS/Sony produces), Donald “Hunsberges, and Wynton spor their new Tics Wynton has performed with leading orchesteas including the New York Philharmonic, Los Angeles Philharmonic, Boston Pops, The Cleveland Orchestra, Saint Louis Symphony Oxchestra, English Chamber Orchestra, Toronto Symphony Orchestra, and London's Royal Philharmonic, working with eminent conductors including: Raymond Leppard, Charles Dutoit, Loren Maazel, Leonard Slatkin, Essa-Pekka Salonen, and Michael Tilson: ‘Thomas. Famed classical trumpeter Maurice André praised Wynton as “potentially the greatest trumpeter of all time.” ‘To date Wynton has produced over 60 records which have sold aver 7 million copies worldwiele including 3 Gold Records. A prolific and inventive composer, che dance community has embraced Wynton’ inventiveness with commissions to create new music for Garth Fagan (Citi Mecement-Griet New York), Peter Martins at the New York City Ballet (Jaza: Six Symcopated Movements and Them Tivos), Twyla Tharp with the American Ballet Theatre (Jump Start), Judith Jamison at the Alvin Ailey ‘American Dance Theatre (Steet Release and Here...Now), and Savion Glover (Petite Suite and Spares). Marsalis collaborated with the Lincoln Center Chamber Music Society in 1995 to compose the string quartet Ar The Octoroon Balls, and again in 1998 to create a response to Stravinsky's A Soldier’ Tale with his composition A Fiddler's Tab In his dramatic oratorio Blood OnThe dds, Wynton makes use of the blues, work songs, chants, call and response, spirituals, New ‘Orleans jaz2, Ellingtonesque orchestral arangements, and Aéro- Caribbean rhythms, and he uses Greek chorus-style recitations to move the work along. Wynton extended his achievements in Blood On The Fes with All Rise, an epic composition for big band, gospel chois, and symphony orchestra—a classic work of high art—which was performed by the New York Philharmonic ‘under the baton of Kurt Masur along with the Morgan State University Choir and the Lincoln Center Jazz Orchestra (December 1999). Marsalis further expanded his repertoire for symphony orchestra with his Symphony No. 3, Sting Symphony, premiered by the zenowned Berlin Philharmonic in June 2010 and performed by the New York Philharmonic and the Lincoln Center Jazz Orchestra in September, 2010, ‘Wynton and the EWE in rehearsal in Carnegie Hal, March 22, 1987In October, 1995 Wynton launched two major broadcast events when PBS premiered Marsalis On Music, an educational television series weitten and hosted by Marsalis on jazz and classical music. That same month National Public Radio aired the first of Marsalis’ 26-week series entitled Mating the Music, the radio and television series were awarded the most, prestigious distinction in broadcast journalism, the George Foster Peabody Award, Marsalis has also written five books: ‘Sweet Swing Blues on the Road, Jaze in the Bistersset Blues of Life, Toa Young Musician: Letters from the Road, Jazz ABZ (an A to Z ‘collection of poems ccebrating jazz greats and his most recent release Mocing to Higher Ground: How Jazz. Can Change Your Life ‘Wynton Marsalis has won nine Grammy Awards and honorary degrees have been conferred upon Wynton by thirty-one of America’s leading academic institutions including Columbia, Harvard, Princeton, Howard and Yale. United Nations Secretary-General Kofi Annan appointed him a UN Messenger of Peace in 2001 and in 2005, he received The National Medal of Arts, the highest award given to artists by the United States Government. In 1997 Wynton Marsalis became the first jazz musician ever to win the Pulitzer Prize for Music for his epic oratorio Blood On The Feld: In 1987, Marsalis co-founded a jazz program at Lincoln Center In July 1996, duc to its significant success, Jazz at Lincoln Center became a permanent equal partner at Lincoln Center, along with the New York Philharmonic, Metropolitan Opera and New York City Ballet. He presently serves as Artistic Director for Jazz at Lincoln Center and Music Director for the Jara at Lincoln Center Orchestra which has developed an international agenda presenting rich and diverse programming that includes concerts, debates, film forums, dances, television and radio broadcasts, and educational activities, DONALD HUNSBERGER Donald Hunsberger is Conductor Emeritus of the Eastman Wind Ensemble, having served as its Music Director from 1965 to 2002. He also holds the title Professor Emeritus of ‘Conducting and Ensembles at the Eastman School of Music, where he served for many years as Chair of the Conducting and Ensembles Department. Under his leadership, the Eastman Wind Ensemble continued its development as an intemational performance model in the creation of numerous new works for the wind band providing a prime example of contemporary performance techniques as demonstrated fon numerous recordings on Sony Classics, CBS Masterworks, Mercury Records, DGG Records, Philips and Decea among others. In 1987 his scores and recording of Carnaval were nominated for a Grammy Award in che Best Solo Performance with Orchestra catagory: His final recording project with the EWE was a thsee CD set (the Eastman Wind Ensemble at 50- DHWL 001CD-WBP) celebrating ies SOth anniversary Under his direction, the EWE performed throughout Japan and South East Asia in 1978 for the Kambara Agency and the U.S. State Department. Sony Corporation and Eastman Kodak, Japan, sponsored an additional six tours of Japan and ‘Taiwan berween 1990 and 2000. He led the EWE on US concert touts to perform at national conferences of MENC and CDBNA, the MidWest Intemational Conference plus numerous state meetings. Since 2002 he has been a Visiting Conducting Fellow at the Kunitachi College of Music, Tokyo, Japan In addition to performing over 100 premiere performances, Hunsberger had been involved in writing projects including the books The Wind Ensemble and I's Repertoire (Alfted Music Publishing Co.), The Art of Conducting (with Roy Ernst, Random House), The Emory Remington Warmup Studies (Accura Music), and numerous articles published in educational journals. He is well known and recognized for his innovative scoring techniques for varying instrumentations of the contemporary wind band with numerous publications. He is the founder and editor of the Donald Hunsberger Wind Library (Warner Bros./Alfred) and an active contributor to the Library's publications. His research into the history and development of scoring for wind bands in America has led to numerous articles in WindWorks, a journal for wind conductors, performers and composers. Active in both wind and orchestral writing throughout his career, he created a ballet, dmericans We, for Twyla ‘Tharp and the American Ballet Theater at Lincoln Center in 1996, Hunsberger has been the recipient of numerous awards for research (Homespun America: the National Association for State and Local Historians), pedagogy (The Eastman Alumni teaching Award, The Herbert Bisenbart Award; Wiley Housewright Fellow, Florida State University ) and performance (the Crystal Award, from the Asahi Broadcasting Company, Osaka, Japan; the Ehud Evie! Award, Jerusalem, Israel) He is a Past president of the College Band Directors National Association and has served as a member of the boards of CBDNA, the World Association of Symphonic Bands and Ensembles and the Conductor's Guild. He currently serves as President of the Board of the Society for Chamber Music in Rochester. In the orchestral world he has created and conducted performances of orchestral accompaniments to over 18 silent films with fifty orchestras including the National, San Francisco, Houston, Pittsburgh, Vincouver, Utah, Virginia, San Diego, Jacksonville, Honolulu, Winnipeg, Syracuse and North Carolina Symphony Orchestras and the Rochester, Buffalo, Kansas City and Calgary Philharmonic Orchestras, among others. He has created scores for such historical masterpieces as The Phantom of the Opera, ‘The Hunchback of Notre Dame, The General, The Mark of Zorro in addition to producing and conducting performances of Charlie Chaplin's Goldrach, City Light: plus numerous short Chaplin favorites. In 1994, he conducted the premiere performance of Eisenstade’s Porambin, wich music by Shostakoviteh, at Wolf Trap with the National Symphony OrchestraFULL SCORE Napoli Approx. Duration -5:45 Variations on a Neopolitan Song for solo cornet and wind band. 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