Review

Giacomo Puccini
Crisantemi:

Arranged by Cory Mixdorf

2 b-flat trumpets, horn in F, trombone, tuba

Vancouver, British Columbia, Canada
Publisher: Cherry Classics Music
Date of Publication: 2024
URL: http://www.cherryclassics.com

Score and parts

Primary Genre: Brass Ensemble - 5 brass

Giacomo Puccini (1858-1924) composed Crisantemi (Chrysanthemums) for string quartet in 1890 in memory of Prince Amedeo of Savoy on the occasion of his premature death. Prince Amedeo was a symbol of national unity at the time and Puccini reportedly wrote this work in a single night while in mourning; in fact, the title of the work, Crisantemi, is significant as the flower is specifically associated with commemorating the dead in Italian culture. The work is relevant for us today as Puccini is largely remembered for his operatic masterworks; this is a rare example of his skill in writing chamber music. 

Crisantemi is an extremely effective string quartet, with transparent and emotive textures, yet today the work is arguably performed more frequently in a string orchestra version with the addition of string bass doubling the celli. The string orchestra version enhances the emotional weight of the composition. Arranger Cory Mixdorf adds even more ‘gravitas’ and resonance to the work in this transcription for brass quintet. Rather than simply adding the tuba as a doubled voice, Mixdorf effectively explores the sonic varieties of the brass quintet by creating five equally balanced parts that offer soloistic playing to each voice in the ensemble in turn. 

The form of the work is ternary (ABA), and the original is set in C-sharp minor, a key center often associated with deep melancholy in the late romantic era. Mixdorf sets the brass quintet in B-flat minor, a key center that on brass instruments lends itself well to the character of the work. In the opening A section, Puccini establishes a somber, wandering character, with lengthy melodic lines underscored by rich harmonies. In Mixdorf’s tasteful arrangement, these initial melodies are given to trumpet I in B-flat, while the other brass quintet members have lush, harmonic, counter-melodic lines. The B section of the work has an agitated, yearning quality. Mixdorf scores the melody here in the tuba, while the other quintet voices enhance with 16th-note ostinato figures that drive the harmonies forward. Then the melodic material is handed off to trumpet 2 in B-flat, and the trombone effectively doubles in octaves. In the D.S., the work returns to the initial A section, and quintets can interpret dynamics more freely in the second statement of these materials, perhaps playing with more intense dynamics to give the sense of loss an operatic quality. The work draws to a close with a brief coda and final cadence in B-flat minor. 

As the work is skillfully arranged, there are no extreme range demands in any voice; however, trumpet 1 in B-flat ascends to b-flat2, on several occasions. Range demands are moderate in all voices, though notable; the trombone has a couple of arpeggiated passages that span two octaves from the trigger register to the 6th partial. 

Crisantemi will make for a powerful programming choice for your next brass quintet recital program and I encourage you to add it to your ensemble's collection.