Review

Pietro Mascagni
Selections from the opera Cavalleria Rusticana:

Arranged by Vikentios Gionanidis

Arranged for 10-part brass ensemble and percussion: 1. Piccolo Trumpet in A, Trumpet in C 2. Piccolo Trumpet in A, Trumpet in C 3. Trumpet in C 4. Flugelhorn, Trumpet in C Two Horns in F Trombone 1/Euphonium Trombone 2 Bass Trombone Tuba Marimba Timpani Percussion

Vancouver, British Columbia, Canada
Publisher: Cherry Classics Music
Date of Publication: 2020
URL: http://www.cherryclassics.com

Score and parts

Primary Genre: Brass Ensemble - 6+ brass (choir)

Pietro Mascagni’s one-act opera Cavalleria Rusticana stands as an early example of verismo opera, an attempt in literature and in music to portray a more realistic world. In opera, this meant less of a focus on the ancient mythology and historical spectacle of many late, 19th century operas. Premiered in 1890, this work is often performed as a pair, starting as early as 1893, with Leoncavallo’s one-act opera Pagliacci. No stranger to the operatic repertoire, tubist Vikentios Gionanidis of the Deutsche Oper Berlin has taken highlights from Mascagni’s opera and arranged them for ten-part brass ensemble and percussion. The score calls for four trumpets in C, three of which are required to double on either piccolo trumpet or flugelhorn, two horns, two trombones, one of which requires a euphonium double, bass trombone, tuba, marimba, and percussion: snare drum, bells, tam tam, cymbals, and bass drum. Many of the percussion parts are included as cues in the brass parts, enabling the piece to be played without percussion. The Cherry Classics Music website notes that the piece is “suitable for advanced performers.” The range of some parts, the doubling in four of the parts, the technical demands in certain sections, and the musical maturity needed to bring this to life certainly bear that out.

Score and parts are easy to read and carefully laid out. When the parts with doubles have to change instruments, they are labelled clearly and time is given for the change, though some changes are quick. When the first trombone player, doubling euphonium at that moment, needs to leave the stage for an off-stage solo, there is plenty of time for that exit and return. Gionanidis has given us a challenging arrangement of an important work. This arrangement will showcase the abilities of a skilled brass quintet with some of the best of late, 19th century Italian opera music.