Le nozze di Figaro: Cinque...dieci; Se a caso madama; Se vuol ballare / W. A. Mozart -- Dialogues des Carmelites: Act I, Scene 3 / Francis Poulenc -- Dido and Aeneas / Henry Purcell. / text

Lecture: Le nozze di Figaro / Da Ponte-Mozart. / text

Trumpet method books have existed almost as long as the trumpet itself. From Cesare Bendenelli collecting pedagogical information in the late 16th century, to the most recent publications, thousands of books have been written for the trumpet. Publishers including Carl Fisher, Belwin, Alfred, Charles Colin Music, M. Baron Company, and Alphonse Leduc offer over 400 trumpet method books containing studies on intonation, high-register, rhythm, orchestral excerpts, transpositions, solos, etc. With such a wealth of material, there is not one book containing trumpet excerpts from the wind band literature. This project seeks to fill this void by offering a compilation of 586 of the most popular and difficult trumpet excerpts from the wind band literature. In addition to the musical excerpts, each excerpt contains insights from some of the premier players in the wind band field. The aforementioned insights were applied to each excerpt to give the reader an easy-to-understand approach to learning wind band repertoire. As a result, this dissertation will serve multiple functions in the trumpet community, including promoting the wind band genre; teaching students important, yet neglected, works; developing healthy practice habits; presenting a more pragmatic application of higher musical study; and, of course, the identifying and organizing of difficult wind band literature for the trumpet. / School of Music

Warnung; Der Zauberer / W. A. Mozart -- Madchenlied op. 107, no. 5; Madchenlied op. 95, no. 6; Das Madchen op. 93a, no. 2 / J. Brahms -- Frauenliebe und Leben, op. 42 / R. Schumann -- Man is for the woman made; What can we poor females do? / H. Purcell -- Try me, good king; Last words of the wives of Henry VIII / L. Larsen -- Steal me, sweet thief / G. Menotti. / text

Les berceaux, op. 23, no. 1 / G. Faure -- Nilakhanta's aria from Lakme / L. Delibes -- Intermezzo, op. 39, no. 2; Widmung, op. 25, no.1 / R. Schumann -- Wolfram's romance from Tannhauser / R. Wagner -- Don Giovanni's serenade from Don Giovanni; Figaro's cavatina from Le nozze di Figaro / W. A Mozart -- Rodrigo's aria from Don Carlo / G. Verdi -- Crucifiction op. 29, no. 5 / S. Barber -- Tabor's aria from The ballad of Baby Doe / D. Moore -- Aleko's cavatina from Aleko / S. Rachmaninoff -- Onegin's aria from Evgeny Onegin; Net, tolko tot, kto znal op. 6, no. 6; Serenada Don Zhuana op. 38, no. 1 / P. I. Tchaikovsky. / text

This topic for the present thesis arose from the very reason I came to study at the KMH Royal College of Music of Stockholm where I have the opportunity to approach orchestral life in a direct manner, playing and collaborating with the great orchestras of the city and also to focus on orchestral repertoire, especially those excerpts which are required for auditions.   In the last year I have spent a lot of time trying to understand how an orchestral musician can manage time better and prepare for any kind of situation, precisely because I have had so many chances to participate in major projects that the university has offered and also in long tours around Europe, Canada and Central America. The theme of the present thesis, therefore, is what how I find the life in the orchestras I’ve worked with.  Tours show directly that playing and travelling for long periods of time can interfere with what we call the "physical form of the instrumentalist". The same thing happens when working for weeks on different productions, especially when you still must study and learn what may be a huge orchestral repertoire.   An orchestra can be a place for meeting and learning, but in the long run you need to carve out a personal study space to better prepare for the sometimes-frenetic life of a musician. My own experience and the reports of other musicians have shown how complicated it is to make all the commitments coincide; in fact, thanks to this unusual research on a subject rarely discussed formally I have learned directly and indirectly how to organize successful the personal way of practice.   In the research carried out, questions were asked to understand how orchestral musicians prepare some orchestral passages. I wanted to put attention to specific details, for example, sound control, the articulation of the various technical passages. I’ve chosen where possible regarding excerpts that not only have advanced my own experience but are also very important in the clarinet repertoire. In addition, I also wanted to talk about how important (and often essential) it is to have a flexible way of playing both in rehearsals and in concert.   In presenting this research, my intention is also to discuss some facts from my personal experience as an orchestral musician and answers to many questions I have prepared for my teachers and perhaps future orchestral colleagues.  The aim of this research is produce a report that is of use for any musician: one who already has worked in an orchestra or is still doing auditions, but also for teachers and students entering this environment, so as to allow everyone to explore and better understand this aspect of a musician's life. This has been a very interesting undertaking for me, and I believe an important one as it follows one of many paths, we musicians all take to reach the same goal.

Ave Maria / L. Luzzi -- Per pieta bel idol mio / Vincenzo Bellini -- Ideale / Francesco Paolo-Tosti -- Mattinata / Ruggiero Leoncavallo -- I wait for you; How fair this place; Believe it not / Sergei Rachmaninoff -- L'alba separa dalla luce; Non t'amo piu; L'ultima canzone / Tosti -- In un coupe; O Mimi, tu piu non torni / Giacomo Puccini -- Giovanna, ho die rimorsi; Parla, siam soli; Un di, se ben remmentomi / Giuseppe Verdi -- On the hill / Wonho Kim -- Mountain village / Dunam Cho -- Lullaby / Leslie Adams -- Ride on King Jesus / arr. Hall Johnson -- Mountain sunset / Pangil Park -- Boating song / Doonam Cho. / text

Ave Maria / L. Luzzi -- Per pieta bel idol mio / Vincenzo Bellini -- Ideale / Francesco Paolo-Tosti -- Mattinata / Ruggiero Leoncavallo -- I wait for you; How fair this place; Believe it not / Sergei Rachmaninoff -- L'alba separa dalla luce; Non t'amo piu; L'ultima canzone / Tosti -- In un coupe; O Mimi, tu piu non torni / Giacomo Puccini -- Giovanna, ho dei rimorsi; Parla, siam soli; Un di, se ben remmentomi / Giuseppe Verdi -- On the hill / Wonho Kim -- Mountain village / Dunham Cho -- Lullaby / Leslie Adams -- Ride on King Jesus / arr. Hall Johnson -- Mountain sunset / Pangil Park -- Boating song / Doonam Cho. / text

Ave Maria / L. Luzzi -- Per pieta bel idol mio / Vincenzo Bellini -- Ideale / Francesco Paolo Tosti -- Mattinata / Ruggiero Leoncavallo -- I wait for you, op. 14, no. 1; How fair this place!; Believe it not! / Sergei Rachmaninoff -- L'alba separa dalla luce; Non t'amo piu; L'ultima canzone / Tosti -- In un coupe?; O Mimi, tu piu non torni / Giacomo Puccini -- Giovanna, ho dei rimorsi; Parla, siam soli; Un di, se ben remmentomi / Giuseppe Verdi -- On the hill / Wonho Kim -- Mountain village / Dunam Cho -- Lullaby / Leslie Adams -- Ride on King Jesus / arr. Hall Johnson -- Mountain sunset / Pangil Park -- Boating song / Doonam Cho. / text

Dirti addio / Gaetano Donizetti -- Four songs / Andre Previn -- L'amero saro costante / W. A. Mozart -- La flute enchantee / Maurice Ravel -- Une flute invisible / C. Saint-Saens -- Scena, Le nozze di Figaro / W. A. Mozart -- Trio, Der Rosenkavalier / Richard Strauss. / text