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Napoli: Concert Band Conductor Score & Parts

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Napoli: Concert Band Conductor Score & Parts

For Wynton Marsalis (Variations on a Neopolitan Song for Solo Cornet and Band)

By Hermann Bellstedt / arr. Donald Hunsberger

Grade: 3 (Medium Easy) (Solo 4)

Item: 00-38388

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Description
Born in Germany, Hermann Bellstedt immigrated to America in 1867, where his family settled in Cincinnati. A prodigy on the cornet, he played with Patrick Gilmore as cornet soloist and assistant to the famous Ben Bolt, and, in 1904, joined the Sousa Band, playing alongside Walter Rogers and Herbert L. Clarke. Bellstedt's variations on Napoli feature the popular Neopolitan song "Finiculi, Finicula" (composed by Luigi Denza in 1880) that celebrated the funicular railway built up the side of Mt. Vesuvius in 1880. Other popular Amalfi Coast songs include "'O Solo Mio" and "Torna a Sorriento." A variety of solo textures, whimsical to intense, are demonstrated by this Donald Hunsberger arrangement dedicated to Wynton Marsalis as a part of the "Carnaval" project. A grandiose opportunity to feature your cornet or trumpet soloist! (5:45)

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Napoli: Concert Band Conductor Score & Parts comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Additional Details
Series: Donald Hunsberger Wind Library
Publisher: Alfred Music
Page Count: 348
UPC: 038081430164
SKU: 00-38388

More about this title

About the Composer: Hermann Bellstedt

Hermann Bellstedt was born in Germany but became a cornerstone of American cornet virtuosity after immigrating to Cincinnati in 1867. His career trajectory reads like a masterclass in 19th-century brass performance: he played alongside Patrick Gilmore, served as assistant to Ben Bolt, and joined John Philip Sousa's legendary ensemble in 1904, where he performed with other cornet immortals like Walter Rogers and Herbert L. Clarke.

Bellstedt's compositional legacy rests primarily on his variations for cornet. These pieces showcase both his deep understanding of the instrument's capabilities and his ear for popular melodic material. His variations on Napoli, built on Luigi Denza's beloved "Finiculi, Finicula," exemplify his gift for spinning a simple folk tune into a vehicle for technical display and musical storytelling.

Why we love this

Donald Hunsberger's orchestration lifts this charming Neopolitan theme beyond a simple solo vehicle into a full concert experience where the ensemble remains genuinely engaged throughout. The variety of textural approaches, from delicate accompaniments to robust tutti passages, keeps ensemble players invested rather than relegated to supporting roles. For directors seeking to feature a soloist without sacrificing the concert band's musical vitality, this arrangement delivers on both counts.

What to expect

Breezy and nostalgic, with whimsy bubbling just beneath the surface. The familiar Italian melody carries warmth and charm, while Bellstedt's imaginative variations range from intimate and decorative to outright virtuosic, creating moments of genuine sparkle and warmth throughout the five-minute span.

Who it's for

Concert bands at the medium-easy level seeking a crowd-pleasing showcase for a strong cornet or trumpet soloist. The arrangement works equally well for departments wanting to celebrate a returning or departing principal player, or for directors building a program around lighter, internationally flavored repertoire.

How to get the most out of it

  • Establish a clear rhythmic foundation in the accompaniment during the theme statement; the syncopations in Denza's melody can blur if the ensemble doesn't lock the pulse first.
  • Balance the cornet's or trumpet's natural projection with dynamic restraint during lyrical variations. This soloist needs space to breathe without pushing against a wall of sound.
  • Shape the ensemble's supporting figures with the same care you'd give the solo line. Countermelodies and harmonic fills deserve voice and character of their own.
  • Use rehearsal sections to isolate the accompanimental parts; players must understand how their lines interact with the variations being performed above them.

How to use it

This works beautifully as a centerpiece in a pops or family concert, or as a lighter companion to more substantial symphonic fare in a mixed program. The duration and emotional trajectory make it ideal for closing a concert on an uplifting note, leaving audiences humming a tune they'll recognize.

Skills your students will build

  • Balancing solo and ensemble textures through dynamic listening
  • Accompanying a featured soloist with rhythmic precision and musical sensitivity
  • Responding to varied articulation and phrasing within a single thematic idea
  • Maintaining groove and forward momentum through repeated harmonic cycles
  • Reading a full score context where ensemble parts interact with virtuosic solo material

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