Recalling John Addison’s Concerto for trumpet, strings, and percussion (1949) Part 1

John Addison (1920-1998) is best remembered for his film scores which include such masterpieces as Reach for the Sky (1956), The Entertainer (1960) and The Charge of the Light Brigade (1968). Equally impressive was his music for the television studio, such as the ever-popular theme tune for Murder She Wrote (1984-96). It is often forgotten that he contributed several important works for the concert hall, the ballet stage, and the recital room. His masterpiece is Carte Blanche (1953) written for Saddler’s Wells, and first performed at the 1953 Edinburgh Festival.  There are also found a splendid Partita (1961), a Bassoon Concertino (1998) and the present Trumpet Concerto (1949). All these have been recorded at some point. Other pieces that demand a professional recording include the Wellington Suite, Harlequin for saxophone and piano, the Sextet for woodwind, the Trio for flute, oboe and piano, and a Serenade for wind quintet and harp. A brief resumé of John Addison’s life and achievement can be seen here.

Programme Notes.

It is more than 70 years since John Addison’s Concerto for trumpet and strings was composed. Despite never gaining traction with concert promoters and record producers, this delightful work remains as fresh and vibrant as the day it was written. The piece is characterised by the ‘extended’ range of the trumpet, rapid metrical changes, and many ‘virtuoso technical challenges’ from the first note to the last. There are three movements: ‘Allegretto’, ‘Adagio misterioso’ and ‘Allegro Con Brio’. The Concerto lasts for just under 18 minutes. I am beholden to the programme notes written by Robert McMahan for the only recording made in 1969.

The opening theme, which begins without introduction, sets the mood for much of the work:

It is clear from these bars that the melodic interval of the perfect 4^th will dominate much of this concerto. McMahan has termed this a ‘swinging tune’. The second subject, ‘poco meno mosso’, although slower is based similar melodic intervals:

 The development section includes a short fugal passage, which is not fully realised. After a short legato passage for orchestra, including solo violin, the trumpet plays a cadenza, ‘senza misura’ (without time signature) before the second subject is recapitulated. The movement closes with a short coda based on the opening theme. 

The second movement is an ‘adagio misterioso’ which has more than a touch of the Gershwin-esque about it. If pictorial language were allowed, I would suggest an American ‘horn’ (trumpet) player standing on the banks of the Harlem River in New York, serenading the moon.

The reality is a muted trumpet playing a short fanfare initially in melodic intervals of 5^ths creating a dreamlike mood. The musical palette changes to some complex string writing which gives bight through well-structured dissonances created by polytonal (two or more keys at once) writing. The tension breaks, and the opening theme of this ternary (three-part) movement brings the music to a hushed close: once again the soloist plays with a mute.

The finale is in complete contrast. The listener will feel that they had re-crossed the Atlantic and are back in the West End of London. There is much syncopation and urban hustle here, but it is ‘English’ in character, rather than the Big Apple. Addison has constructed a theme for this movement based on a combination of the predominant melodic intervals of the first and second movements - a 4^th and a 5^th respectively:

This is a rondo, with several quieter interludes or episodes interrupting the buoyant main theme. Much of the accompaniment scutters along in parallel contrary perfect 4^th chords, giving an edgy sound. The Concerto concludes with a short, but rousing, coda based in the main rondo theme.

Acknowledgments:

Musical excerpts from John Addison's Trumpet Concerto © Copyright 1951 Stainer & Bell Ltd, 23 Gruneisen Road, London N3 1DZ, UK, www.stainer.co.uk. Reproduced by permission.

To be continued…