This document explores selected trumpet works by Jacques Castérède, both in terms of musical content and performance practice. His Concertino for Trumpet, Trombone, String Orchestra, Piano, and Percussion, published in 1959, and his 1965 work for trumpet and piano, Brèves Rencontres, will serve as the focus of the document.As there is very little information available on Castérède and his music, a personal interview was conducted on May 28 of 2008, at the composer's residence in a suburb of Paris, during which his biographical details and stylistic features were discussed.Following a brief biographical introduction to the composer, the primary focus will be to examine the various levels of rhythmic complexity of these pieces, as well as studying his creation of formal structure through various musical elements including texture, orchestration, harmonic rhythm, and the use of silence. While the works feature shared characteristics such as metric dissonance, motivic development, and modified formal structures, the compositional devices vary greatly in terms of degree, technique, and result, even from movement to movement within each piece.Additionally, this document will address technical and musical issues or decisions that may arise in performance, both as an extension of Castérède's compositional technique and of the circumstances surrounding their compositional genesis.

Jacques Castérède's works for brass are monumental and demand extreme agility from the performers. Many brass players are familiar with the Sonata for Trombone, but Castérède's trumpet repertoire has not been as thoroughly considered. Due to the lack of scholarly works and recordings of Jacques Castérède trumpet repertoire, a study is necessary to aid its performance. The study is based on performance analysis and interviews with the composer. The first chapter provides information on the composer's life. The second and third chapters are performance analysis of Brêves Rencontres and Concertino for Trumpet and Trombone. These two chapters also discuss rehearsal technique and sound concept. The performance guide takes place in chapter 4. This chapter gives specific indications on articulation, range and mute choice.