Itg2010.ARTICLE

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International Trumpet Guild Journal

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THE 2010 INTERNATIONAL TRUMPET GUILDCONFERENCE, SYDNEY, AUSTRALIASPECIAL ONLINE REPORT COMPILED BY GARY MORTENSON

TUESDAY, JULY 6 SATURDAY, JULY 10, 2010

THE 2010 INTERNATIONAL TRUMPET GUILDCONFERENCE, SYDNEY, AUSTRALIASPECIAL DAILY REPORT COMPILED BY GARY MORTENSON

Tuesday, July 6: Youth Day

The 21st Century Trumpeter (GM)This, the opening session of Youth Day, brought forth a

greatpaneldiscussioninvolvingJamesAckley,SeelanManick-am,andRexRichardson.Thepanel talked, at length, abouttheir respective backgrounds in the areas of solo playing,orchestral work, teaching, freelancing, and chamber music.Ackley talked about his late arrival on the trumpet scene(towardtheendofhishighschoolyears),howhisearlyinspi-rationcamefromhearingthetrumpetintheorchestralsetting(mostnotablytheClevelandOrchestra),andhowitgrewfromtheretoincludemusicfromawidevarietyofsettings.HisearlycareertookhimtoLatinAmericaandhecontinuestotraveltothatpartoftheworldtoperformmorethanadozentimesayear.Healsosaidthatheisinspiredeverydaybyhisstudents

andhisfamily.Manickamtalkedabouthisworkasachambermusicianwith theBalaBrass, as a soloist, andas a freelanceplayerintheBostonareawhereheteachesatanall-boysschoolteachingtrumpetandconductingensembles.Hetalkedspecif-ically about a project he put together at the school thatinvolvedacompositionalprojectthatthestudentsdevelopedthat includedcollaboratingwithahip-hopartist.Manickamstressedthatversatilityandadaptabilityareextremely impor-tant traits formusicianson todaysmusic scene.Richardson,who also actedmore-or-less as a moderator for the session,talkedabouthisinitialcollegeeducationatNorthwesternUni-versityandwiththeCivicOrchestraofChicagobeforemov-ingontopursuehisinterestinjazz,chambermusic,andcon-temporarymusicrealms.Richardsonhadgreatadviceontheimportanceofconnectingwithothermusicians,beingopentomusicalchallengesandofferedinsightsonhowtoapproachnewmusic.ThiswasagreatwaytokickoffYouthDayandwas

thoroughlyenjoyedbytheseveralhundredparticipants(ofallages)inattendance.

Jazz Lecture/Recital: Richardson/Barnard (BA)

JazztrumpetlegendBobBarnardandRexRichardsonopenedtheirjazzlecturerecitalwithafabulousrenditionofHarryWarrensThere Will Never Be Another You.Theeversodapper Barnards exuberant sound filledVerbrugghenHallwithhissmoothsnakingstyle,andhipsterRichardsonscleaneighth-noterunsarticulatedtheirwaytothelisten-ers. Barnard continued to speak about hisearlytrumpetinfluences(LouisArmstrong,Muggsy Spanier, and Bunny Berigan) andhowhismusicalfamilyupbringingledhimtothetrumpetattheageofelevenin1944,which led into a discussion about ii-V7-Iprogressionsinrelationtoscalesandmodesandwaystochangeyourthinkingaboutthevertical versus horizontal elements of im-

2 ITG Journal Special Supplement 2010 International Trumpet GuildL R: James Ackley, Seelan Manickam, Rex Richardson

2010 International Trumpet Guild ITG Journal Special Supplement 3

provisation.ArequestsparkedBarnardsnextperformanceofYouve Changed and Bobby Haggarts Whats New. BarnardspokeofhisplayingwithLouisArmstronguponhisarrivaltoAustraliainthe1950s,andconcludedwithablues.

Youth Gala Concert: Premieres by Richardson/Collins/Bradshaw (MR)

Theopeninggalaconcertofthe2010ITGconferencewasashowcasefeaturingtalentedyoungAustralianmusicians,worldpremiers,anddazzlingtrumpeting.AfteropeningremarksbyconferencehostBryanEvansandITGPresidentKevinEisen-smith,TheSydneyConservatoriumBrassEnsemble,conduct-ed by Steve Rosse, led-off the evening and performed threeworkswithbalance,blend,andintonationmuchmoretypical

of groups far in advance of the players chronological ages.They began with a bold yet precise performance of PaulDukasFanfare.Fromthestartoftheirperformancethroughtheir final chord, they seemed remarkably confident and

unfazed by their surround-ings.The groups finemusi-cianship and solid prepara-tion was especially evidentduring their second work,EdvardGriegsFuneral March.The extreme delicacy of thebeginningofthepieceseem-ed to draw the audience inandsetthestageforthebeau-tiful contrast they displayedastheworkdrewdynamical-ly fuller. Their wonderfulplaying set the bar high fortherestoftheevening!TheNSWDepartment of

EducationArtsUnitOrches-tra,ledbyStephenWilliams,next took the stageandper-formed Huapango, by JosePabloMoncayo.Thegroupslively performance of thiscolorfulworkwas highlight-ed by fine, and stylisticallycorrect, solo passages formuted trumpet and trom-bone.James Ackley and Seelan

Manickamjoinedtheorches-tra on-stage for the premier

ofRobertBradshawsDouble (Concerto for Two Trumpets).Thework is comprised of fourmovements that tested the duos

abilitytoblendwithoneanotherwhilemeldingtheirindivid-ualandcombinedsoundswithorchestra.ItwasinterestingtoseeAckleybeginthethirdmovementbackstageleft,executingahauntingechothatmirroredManickamsdeclamatorystate-ments.AckleyandManickamplayedaverysolidperformanceofaconcertofilledwithcadenza-likesections,examplesofcall

Bob Barnard and Rex Richardson perform together

The Sydney Conservatorium Brass Ensemble

The trumpet section of the NSW Unit Orchestra

4 ITG Journal Special Supplement 2010 International Trumpet Guild

andresponse,andchallengingtechnicalpassages.Bravogentle-men!

James Stephensons twomovement compositionRextreme-Concerto No 2 for Trumpet,writtenforRexRichardson,seemedaperfectvehicletosuitafewofRichardsonsmanyvirtuosicstrengths:multi-phonics,lyricflugelhorn,andjazzimprovisa-tion. Richardson rose to the occasion, delivering a brilliantperformance!

BrendanCollinssTrumpet Mambo, performedbyTheAus-tralian Elite StudentTrumpet Ensemble, composed ofmorethanthirtytrumpetersages12 16aidedbyAndreaTofanel-li,camenext.Thisultra-hipmamboallottedtwoyoungtrum-

petersspaceforimprovisation,backedbyafour-piecepercus-sionsectionthatincludedacameobyBrianEvansonbassgui-tar.Itwaswonderfultosee(andhear!)thestagefullofsuchvibrantyoungtrumpetplayers!TheanchorlegoftheeveningbelongedtoTheSydneyCon-

servatorium Elective Jazz Orchestra, under the direction ofDavidTheak.The ensemble performed six pieces with jazzlions Vincent DiMartino, Kelly Rossum, Richardson, andTofanellieachperformingasolofeature.Thelastchart,Thad

JonesstandardDont Git Sassy,sawallfoursoloistsjoiningtheensembles trumpet section, with each professional taking aburningsolo. Australiahasabrightmusicalfutureembodiedbythesewonderfulyoungtalents! Itwas truly remarkable tosee so many young musicians performing with such poise!Whatawaytoopenthisyearsconference!

James Ackley and Seelan Manickam perform on the Bradshaw

Rex Richardson solos on Rextreme

The Australian Elite Student Trumpet Ensemble

Kelly Rossum solos with the Elective Jazz Orchestra

Andrea Tofanelli soloing with EJO


The Board meeting in progress; theres a good chance that Jet Lag was discussed.

The ITG Board members present at the conference. This picture was apparently taken before the meeting began, as they are all smiling.

AdditionAl Photos


Above: ITG President Kevin Eisensmith speaks to the conference attendees.Below: Conference Host Brian Evans welcomes everyone to the conference.


Wednesday, July 7

Gala Opening: The Trumpets of Sydney (NY)Itwasveryexciting tobe sitting in the stunningVerbrug-

ghenHallatSydneysConservatoriumofMusic(knowntoallandsundryastheCon),awaitingthestartofAMusicalWel-come, theopeningconcertof ITG2010.Ofcourse,withagreatprogramofyoutheventsthepreviousdaythiswasreallyasecondbiteofthecherryindeed,wedbeenherejusthoursbefore for thepreviousnights fantasticYouthDaygala.Butthiswastheofcialopeningconcertandwehadpeopletowel-comeandthank,andfanfarestoplay,andthingstodointheright and traditionalmannerand so theywere, butwith auniquelyAustralianavour.

ProceedingsstartedwithAndrewsEvans,theChairofBrassat the Con, giving a warm speech of welcome to this 35thannualITGconference.EvanswentontointroduceITGvice-presidentKimDunnick,whowelcomedusonbehalf of theGuild,emphasizingthewonderfulprogramandfacilitieshere.Dunnickrecalledwithaffectiontherstmeeting,twelveyearsago,oftheAustralianTrumpetGuild.Heisafounder-mem-ber of this thriving organization, whose rapid developmentand ambitious vision has led directly to our all being heretoday.After these speeches it was time for the rst musicand

whatabeginning.TheTrumpetsofSydneyplayedDavidStan-hopesAustralian Fanfare, conducted by the composer.Thisnine-playerensemblecomprisedalmosteveryplayerfromboththe Australian Opera and Ballet Orchestra and the SydneySymphony,andalsoincludedDavidEltonfromtheWestAus-tralianSymphony andAndrewEvans from righthere at theCon.TheTrumpetsofSydneybroughtawonderfullyclearandbroadsoundtothisuplifting,tonalfanfare.Withitsimpres-sive,solidunisonsandlovelycontrapuntalpassagesStanhopesworkwasjustthethingtogettheconferenceofftoarousingstart.Sydneytpts.jpgNextcamethewelcomespeechfromourhostBrianEvans.

Despitehis combining the roles ofATGPresident and ITGSecretarywithhisfull-onmusicalcareer,somemiracleoftem-poraldistortionhas left thishumandynamoalsoorganizingthe SouthernHemispheres rst ITGConference:myword,thatmandoesgetaround.NaturallyEvanshadalsobeenplayingintheStanhopefan-

farebut,hardlypausingtodrawbreath,hemadeamostsin-cereandcomprehensivespeechofwelcomeandthanks,rejoic-ing in the conferencenally beinghere, and celebrating thesupportofthemanypeopleandorganizationswhohadhelpedget us all to this moment. Alluding to the nearby SydneyOpera House on Bennelong Point, and the historical reso-nancesofthatname,EvansrstremindedusthatmodernAus-traliaowesitsverypresenceheretotheoriginalinhabitantsoftheland.Hefurtherwelcomedthefortyworldpremiresbeinggiventhisweek,aswellasthestrongelementofyouthinthe

2 ITG Journal Special Supplement 2010 International Trumpet GuildAndrew Evans


conference,showingusthatthefutureofthetrumpetisinsafehands.WithEvansshost-dutyperformeditwastimetohearsome

moremusic; indeed, to enjoy one of thosemany premires.

AlanHolleysworkOrnithologia wasperformedbytheSydneySymphonys PaulGoodchild. First, though,Holley took thestage toexplain someof the thinkingbehind thepiece. It isgreatly inuenced by the colours and sounds of Australiaswidelyvariedbirdlifeandhespokewithenthusiasmofthepar-rots,eagles,nches,andmanyotherspeciesheroutinelyseesandhears.Very littleof thework is adirect transcriptionofbirdsong but it is inspired throughout by the sounds andmovementsofbirds.Therstof thepieces twomovements,Flight,isallaboutbirdsleavingthenest,thesoaringofeaglesonthermalsinthevalleyswestofhere,andsoon,andinits

lively and constantly rising motifs we hear this clearly por-trayed.Themovementhasdeclamatory,fanfare-ishmoments,interspersedwithmore lyrical, longerphrases and little trillsandhesitationsinsomequietersections.Theincredibleuen-cyyetdelicacyofthesoloistwasmuchondisplayhereaswashissatisfyinglybig,warmsound.

The Trumpets of Sydney

2010 Conference Host Brian Evans

Composer of Ornithologia Alan Holley


In the secondmovement, Calling,weheard very clearlythe inuence of birdsong. In his introduction Holley hadtalked about the mimicry of birds and especially the veryskilledmimicryofthelyrebird,aground-dwellingAustralianspecies,andinthemusicweheardthisrepetitionandtheedit-ingandre-useof fragments.Another starofCalling is theowl-like Tawny Frogmouth, whose repeated D-ats were a

strong,ostinato-likefeatureofthelaterpartsofthemovement,withinterjections,sometimesveryashy,alwayscomingbacktothissteadyinginuencebeforeaery,excitingending.Thiswasanassured,masterfulperformancegivingthefeelingthatGoodchildisasolidtrumpetplayertowhomHolleywaswiseto entrust this exciting premire. Copies of the music weregenerously given out to the audience, who will nd it anappropriatemementoofaneconcert.

Australian Baroque Brass (BA)JohnFostersAustralianBaroqueBrassopenedtheir recital

withMonteverdisTocatta LOrfeo, itsfanfare-likeopeningtak-ingtheaudiencebackintimewiththeregalsoundsoftheearly17thcentury.VerbrugghenHallcontinuedtobelledwiththebeautifulblendofnaturaltrumpets,sackbut,andorganwithLeopold Mozarts Suite from Serenata that the AustralianBaroqueBrassperformonreplicatedperiodinstruments.ThegroupthenperformedCaldarasSonata a3 and Indradens I, II,and III usingvariousmembersofthegroupindifferentcom-binations.FostercontinuedtheprogramwithBachsCantata#147 Jesu Joy Of Mans Desiring performed on theCornettowithitsvocalqualityaccompanyingDrurysmelody,leadingtoan explosive performance of Buxtehudes Praeludium. Aus-tralian Baroque Brass concluded their recital with BibersSonata a7, whichtypiedthewar-likeoriginsofthetrumpetandkettle-drumcombination,andwasreminiscentofhuntingcalls. This was an exquisite display of talent and style per-formedbyvirtuosomusiciansonperiodinstruments. ABB2

The Business of Jazz ( JI)Today,trumpetersneedmoreinformationthanjusthowto

playthehornwell.Awealthofgreatadvicewasgivenontop-icsdealingwiththebusinesssideofjazz.Topics(with answers)included: Bookingswho handles this?Most of the panelists handlebookings themselves.

ManagementTeamwhoisonit?The publicist is the mostim portant one to keep.

Contractsgethalffeebeforehand?Mostly yes.

Paul Goodchild

The Australian Baroque Brass


Doublebookingwhatdoyoudo?Honor your rst commit-ment.

Doyouplayfreecharityevents?Yes, because they often lead tomore gigs, but watch the quality of the gig and other players.

Threethingstoconsiderinajazzgig:a.Thequalityofthemusic.b.Yourcolleaguesonthegig.c.Thenancialsideoftheequation.Hopefully, most of the time two out of three of the above will be

positive. Its ideal to have all three of these factors in the win col-umn. Avoid a gig when one of three of these factors are present.

Practice Techniques/Solving Problems (AC)YigalMeltzeristheprincipaltrumpetintheIsraelPhilhar-

monicOrchestraandprofessoroftrumpetatTelAvivUniver-sity;inhispresentationdiscussingpracticetechniqueshegave

insightintomakingpracticemorerewardingandwaystoen-suremusicalprogressionofthesoloorexcerptbeingrehearsed.Thepresentationfocusedontheideaoftacklingproblematicareaswithinyour literature fromasmanydifferent angles aspossible.Sooftenwhenpracticingthetrumpetweplayapas-sage over and over again at the same tempo hoping it willsomehow begin to come together.More often than not thepassagedoesnotcomeandallthatoccursarereinforcedbadhabits. Instead it is important to take time and think of asmany different ways possible to practice a certain phrase,whetherthatbetoslowthetempodown,orbreakaphraseupintotinyworkablesections.Practicingcanbefunwhensuc-cessfulperformancesaremadepossible.Inordertohavesuc-cessfulperformancesitisimportanttopracticethenotescor-rectly,evenifthatisataslowtempoandbyisolatingtheindi-vidualpartsofeachphrase.Thespeed,uidity,andmusicalitywillcomewheneverypitchiscenteredandfocused,andcon-sistencyisachieved.

Tofanelli Jazz Recital (BA)TofanellisscintillatingentryinChickCoreasSpain during

the Ensemble deTrompetas prelude wasmore than enoughintroduction.Tofanellis jazz recital continued, accompaniedby students from theSydneyConservatoriumJazz course. ItwasimmediatelyclearthatthegreatMaynardFergusonwasaninuence and inspiration forTofanelli andhe continued theprogramperformingFergusonsversionofBarbaraStreisandshit People and followed this with some beautiful Italianmelodies.BobbyTimmonsDat Dere wasperformednextwithTofanellicontinuingtochangecolorsbetweenugelhornandtrumpet.The recitalproceededwithabeautiful renditionofTu si Na cosa Grande whichisanItalianlovesongthattrans-lates to you are the one for me composed by DomenicoModugno,whoalsocomposedVolare.Theperformanceended

Business of Jazz Panel, L R: Nadje Noordhuis, Vincent DiMartino, Matthew Jodrell, Eitenne Charles, Andrea Tofanelli

Yigal Meltzer


withTofanelligettingtheaudiencetoparticipatewithafunkyrhythmonGeorgeGershwinsstandardSummer Time.

New Works for Trumpet #1 (MR)Therstnewworksrecitalcontained

afascinatingcollectionofcompositionsas varied as the musicians who per-formed them. Jazz Trio, by BarryMcKimm,was a piece that trumpeterChristopher Perrin compared toClaudeBollingsToot Suite.Thethree-movement trio for trumpet, bass, anddrum set was a test of Perrins en-durance.Hepassedwithyingcolours!The performers expertly navigatedcomplexjazzmusicandprovidedater-ricstarttoanerecital.Mark Clodfelter and Rebecca Wilt

next took the stage. Clodfelter notedthat Sean OLaughlins Origins forTrum pet and Piano wasmistakenlymis-labelled in the conference program.Themusicsextendedchordsandmod-ern tonal sonorities were captivating.

The piece moved between technical up-tempomusicandslowlyricwritingwhileallowing ample rest for the trumpeter.Both Clodfelter and Wilt displayed ex-trememusicalsensitivitywhiledeliveringavibrantandexpressiveperformance.The Trumpeter Dreams of Music,byNeil

Flory,wascommissionedforthemusicalpreferences and personality of MaryThornton.The work is a duet betweenThornton and pre-recorded snippets pla-yed through amplied sound system.Thornton, performing on E-at trumpetand ugelhorn, produced a beautifullywarmsoundthatwaseventhroughallvol-umesandregisters.Richard (trumpet) and Suzanne (clari-

net)TirkgavethepremierperformanceofRobertLevysReflections; performing four

oftheworksvemovements:Kinetic Energy, Play Song, Asser-tation, and Intuition. The pairwas well-prepared and demon-strated excellent balance andblend, especially while Richardswitched between cup, straight,and plunger mutes. Each per-former expertly assumedchang-ing musical roles, shifting be-tween melody and accompani-mentwithgrace.Thetwosomesrelaxedapproachmadethischal-lengingmusicsoundeasy.James Ledgers Devils on the

Underground (for Trumpet andLaptop), written for David El-ton,wasscoredfortrumpetandlive electronics. The piece ex-ploredpitchesoutsideofnormaltemperament, while all soundsweremanipulatedbyacomput-

er.Eltonsplayingwasenergeticandcreativeashewoveamusi-

Andrea Tofanelli

Christopher Perrin performs the McKimm

Rebecca Wilt and Mark Clodfelter perform Origins


cal fabric that was complex, innovative,captivating,andmusicallyfullling.Iskander Akhmadullin and Kathryn

Fouse performed James Wintles Vaude-ville.Themusicwasashyandpowerful,demanding equal virtuosity from eachperformer. Akhmadullins playing wascrystalclearasheemployedvariousmutesto t the changing moods of the piece.Themusiccontainedanunderlyingdriveand tumultuousness that each musiciandispatchedeasily,equallycontributingtoaneperformance.The Fortune Brass performed Clint

NeedhamsCleveland Sketches.This workwasanITGcompositionprizewinner in2004. The ensemble demonstratedremarkableexibilityastheynavigatedthethree-movementwork.Therstandthirdmovementswerecharacterizedbyourish-esandfanfares.Solougelhorndominat-ed the secondmovement; providing lushandowingmelodies.Out of Hand, by John Gibson, per-

formedbyGibson(computer),MikeTun-nell (trumpet), and Brett Shuster (trom-bone)providedattingendtoawonder-

Mary Thornton performs Trumpeter Dreams

Richard and Suzanne Tirk perform Reflections

David Elton performs Devils on the Underground


ful recital.The trio combinedtoproducemusicthatsoundedreminiscent of modern organmusic, pointillism, and funkband. Tunnell and Shustermelded with the computer inseamless fashion. Fine playingfrombothperformers!

Vincent and GabrielDiMartino (KK)

This collaboration amongVincent DiMartino, GabrielDiMartino, and organistSchuyler Robinson was a veryexciting andmusical perform-ance. The recital featuredpiecesofmanystylesandgen-res,fromBachtoGershwintoTomasi. Vincent and Gabrielopenedtherecitalwithaduet,Concertino Classico byHorovitz,which allowedus tohear how well their soundsblended. After this, VincentandGabrieltookturnsplayingsolosandRobinsonplayedtwoorgan solos. All of this wasplayed very musically. TheAkhmadullin and Fouse perform Vaudeville

The Fortune Brass perform Cleveland Sketches


recital endedwith theDiMartinos special version/transcrip-tion of Pictures at an Exhibition. It was a very captivatingarrangementutilizingthefullrangeofthetrumpet,requiring

theuseofbasstrumpet insomeparts.Gabrielaccomplishedthis exquisitely.Vincent andGabriel impressed the audiencewithnotonlytheirabilitiesasincrediblesoloists,butasexcel-

lentmusicianswhoeffortlessly respondedto each other, sounding as onemusicianrather than two.This was a superb per-formancebyall threecollaboratingmusi-cians.Bravo!

The Comeback Player (AC)Presented by Dan Hallock and Jeffrey

Piper, this lecture discussed ways toimprove the playing ability of trumpetplayers who do not play for a primarysource of income. The majority of thetrumpetcommunityfallsintothiscatego-ry,thesepeoplearemusicloversandwanttoplayinordertolearnaboutthemselvesandcommunicatewithothers.Oftenitisdifcult to practice a steady amountthroughouttheweekbecauseourdayjobsandfamilytimeconictwiththeamountoftimewewantandneedtopractice.Itisimportant to schedule practice time intoour schedules and treat those thirtymin-utes to an hour of daily practice time aspartofourjob.Asmallamountofpracticetimeeachdayismorebenecialthanmul-

Tunnell and Shuster perform Out of Hand

Vincent and Gabriel DiMartino perform with Schuyler Robinson on organ


tiplehoursofpracticeontheweekend.Itisalsoimportanttojoinasmallensembleorcommunitybandandregularlyper-formqualityliterature,thatwayyoualwayshaveasourceforfreshknowledgeandinspirationontheinstrument.Thereare

many places an amateur trumpet player canplayandwillbegreatlyappreciatedbyapublicaudience such as churches, schools, andmonthly gigs. Finding situations where youhavearegularperformanceoutletcanprovetobe one of the bestmotivational tools to helpmakeourdailypracticerelevant.

Asia/Pacific and Beyond Recital ( JI)This recital featured a selection of players

from the Asian Pacic areaand beyond. Aperfect example ofwhat the I in ITG is allabout. Performers represented Australia, NewZealand, Singapore, Thailand, as well asTurkey,Greece,andBrazil.JohnCoulton playedwith a beautiful, full-

bodiedapproachinthedifcultArnoldConcer-to.CherylHollingerofferedaowing,singingstyle in her Gliere Concerto. Erden Bilgensoriginalcomposition,Peaceful, hadpassagesofboth free form and complex rhythms. NikosXanthoulissself-composedFantasy highlightedlyricism contrastedwith energetic rhythms inkeepingwith hisGreek roots.Gerassimos Io-nannidispresentedalushugelhornsoundonRodrigos beautifully haunting piece. LertkiatChongjirajitras work was a study in gentlebeauty depicting the lotus in a musical stylewhere East met West. The only Baroque-erapiece was played by Laurie Gargan in a bril-

liant, resplendent manner. Luis Engelke expertly traverseddrivingBrazilianrhythmswithrichresonance.

Bukovsky Jazz Recital (BW)The Wednesday afternoon

recital featured a medley oforiginal songs by MiroslavBukovsky and one song byguitaristJeremySawkins.The2010 ITG Rhythm Sectionperfectlyaccompaniedthear-tistic abilities ofBukovsky inthis very entertaining perfor-mance.Oneaspectoftheper-formance that made an im-pact on the listener was theseamless ow of the music.After the rst piece, Deli-catessence, Miroslav intro-duced the band. From thereon, the group performed amedley of two originals,Broute Cafe and Dakat byMiroslav, and one originalwork, Field Call, by JeremySawkins.Theaudienceappre-ciated the smooth transitionsbetween each piece and theideaspresentedbyeachmem-ber of the band in their ex-tended solos. I particularlyJeff Piper

Dan Hallock


enjoyedthesecondchart,withitsenergeticdrumgrooveandfeel.Thiswasaveryrelaxedperformancethatbroughtaverybusy,andenjoyable,afternoontoaclose.

Gala: St. Marys District Brass Band (NY)The Brass Spectacular, at Sydneys very attractive City

RecitalHallAngelPlace,gotofftoarousingstartwiththeStMarysBandClubBrassandsoloistJensLindemann,conduct-edbyPaulTerracini, giving theAustralianpremireofPeterMeechans Apophenia. Its a long story about apophenia(Googleisyourfriendhere)butwhateverthebackground,itallmadeforaninterestingpiece.Intherstmovementalive-ly,drivingmelodybuildstoaclimaxfollowedbyamorelyri-cal,quietersection.Acadenzaleadsbacktotheearlier,quick-er material, building with fantastic high-precision low brassplaying to an almost shockingly sudden end. The secondmovementstartedwithugelhorninacalm,almosthymn-likebeginningopeningoutintolyrical,moreballad-likestyle,and

trumpetreworkslater.Theworkseguedintoitsthirdmove-ment,rhythmicallymorecomplex,fastandbusy,andbuildingin intensity. A cadenza for solo cornet and drums followed,withcleverlightingtoemphasizethetwoprotagoniststhenthedrivingrhythmwasre-establishedleadingintowhatIcanonlydescribeasaninsanehighendingofcrowd-pleasingintensi-ty.

AgreatarrangementofArbansFantasie Brillante followed,featuringcornetsoloistAshleyHallandMarkHowcroft,thebands soloeuphonium.Whatagreatduo.Thearrangementwasentertainingandclever,withdifferentwaysofdividingthelaboursometimes in startlingly precise octaves, sometimeshandingthemelodyoverbetweentheinstruments.Having heard Paul Goodchild earlier in the day I was

delighted to see him on stage here as soloist in BarryMcKimms Concerto for Trumpet. The work started with abroad,almostlanguidfeelbutratchetedupthetensionsoon,the introductorymaterial givingway to a waltz-like passagewith an busy, edgy, shifting feel and some virtuoso displayfromthesoloist,andalwayswithasuperbinterplaybetweenGoodchildandtheband.Inthesecondmovementweheardaslow,lyricalmelodythatyouthoughtmightalmostbeafolk-

Miroslav Bukovsky

Jens Lindemann performs on the Meechan


tune,becominglouderandgrander,andultimatelyheroicbythemovements end.The thirdmovement started bold anddeclamatory, with help from some well-placed percussion,thencalmingdownformorelyricaltrumpetsolopassage.Sev-eral such changes ledus through to a substantial and ratherbeautifulcadenzatoasuperfast,exhilaratingending.

NextweheardtheITG2010FestivalBrass,a1215piececlassicalbrassensemblewithtwopercussionists.PaulTerraciniconducted his ownConcerto for Brass, a work premired in2003.Therstmovement,describedbyTerraciniasharmon-icallyminimalisticbutnotinanyotherwayhadanenergetic

beginninggivingwaytoamorereectivemelodyinlongernotesover gently rocking horn rhy-thms, before building back tothemoreenergeticmusicagain.Thesecondmovement isbasedon StThomas Aquinass PangeLingua and starts with a solostatement on trumpet of thatmedievalhymn.Thetuneisre-statedanddevelopedwithvary-ing and beautiful accompani-ments, largely from the hornsand trombones and with raretouchesoftubaanchoringitinacompletelydifferentsonority.Terracini tellsusthatthe last

movement is an exploration ofcertain twentieth century tech-niques, that threatens to crossover but decides against it. Itcharges straight in,driving andexciting, very fast and urgent,before a bigger, almost lmicthemecomesinonthehorns.Asuddenslowdownbringsamorereectivefeel,backmoretothesoundworld of the second

movementbutwiththesilverytingeofpiccolotrumpet.Thenwevequicklyback to theurgency,pushing ahead,withdra-maticgapspunctuatingtheenergeticow.Acouplemorecon-trasted passages like that kept us on the edges of our seatsbeforethemovementeventuallyslowedrightdownforanexu-berantanddramaticending.

AtsoAlmilasTePaTePa camenext.Atitsstart a chugging quaver (eighth note)rhythmpassedaroundwithvariedinstru-mentationtoprovidetexturalvarietythesame note in many voices. Building inspeed and harmonic richness the workcontinued until eventually the trumpetsenterwithmoremelodiclines,thenallbe-comes busier as more conversationsemergefromallovertheensemble.Grad-uallythegroupsmergeintobiggersoundblocks, under which you can hear huge,unstablemovementswhich remindedmeof earthquake or ocean currentssome-thingbiggoingonunderthesurface.Thisledtoaquiet,calmsectionwithanunin-ected, almost detached feelquite dryandbrittle,with lotsofmuted trumpets,thendevelopingintoabroaderandmoresymphonic sound andmoving towards abigclimax.Adelicatemutedtrumpetsolofollowed, at rst unaccompanied then

withthetubadoublingandhornsaccompanying;alittlelateritacquirestimpsandagongunderneath,likeawarning.Thisleads to the trombones starting off a new,more threateningsection,withpiccolotrumpetinterjections,movingtowardsanenergeticsectionwithbrilliantlittlepercussionandtubasolos

Mark Howcroft and Ashley Hall solo on the Arban

Paul Goodchild performs the McKimm Concerto


andbuildingtoanimpressiveending.Thelastwork,bringingbothensemblesbacktogetheranda

clutchofoffstageplayerstoadornthebalcony,wastwomove-mentsfromRespighisPines of Rome. Thecatacombswereasmysteriousanddarkasyoucouldwish,withabeautifuloff-stage trumpet solo to shed a little sunshine, and theAppianWaywassimplymagnicent.ItsdifculttothinkoftheseasarrangementswhentheyworkedsowellitsmorelikethisiswhatRespighiprobablymeantandheonlyhadtoputthosestrings and woodwind in to keep the publisher happy.The

ugelhornplayerdidasplendidjobonthepeasantslittlepipetunebeforebeingscaredoffbythemarchofthelegions,andthe whole workand indeed this ne concertended in ablazeofglory.

Late Night Jazz with the Don Rader Quintet (BA)Thesudden inuxofbrass to theParagonHotelbeganto

createtheperfectatmospherefortheDonRaderQuintet,whoimmediatelysparkedajazz-reinthedimlylitroomofchat-tingtrumpeters.Raderssuperlativeimprovisationsaresound-

ing as unbelievable as theyever! The accompanyingband of Craig Walters onsaxophones,GerardMasterson piano, Brendan Clarkeon bass, Tim Firth ondrums, andguest a appear-ancebyTonyAzzopardionpercussioncreatedthefertileterrainforthehornstosoloover. Ashyia, memories ofthesoundsofJapan,aRaderoriginal, featured the duetofRaderonugelhornandMastersonpiano.Thetunewas beautifully performedbeneath the roarof a roomfullofdrinkingtrumpeters.Raderssoundandelocutionon the tubular liabilityreectedhisyearsofexperi-ence performing with not-able pioneers of the jazzrealm such asCountBasie,Maynard Ferguson, HenryMancini, andWoody Her-mantonameafew.

The Festival Brass

The combined ensembles perform the Pines of Rome


Thursday, July 8

Teaching Around the World (KK)The International Pedagogy Panel was composed of Joe

Bowman,JudithSaxton,LaurenceGargan,CathyLeach,Vin-centDiMartino, andLertkiatChongjirajitra.Therst ques-tion given to the panel was, What does a teacher look forwhenauditioningstudentsforhisorherstudio?Theuniver-sal theme among the answerswas teachability and a goodattitude.Next,thepanelwasaskedwhattheydotokeeptheirstudentsmotivated.Givingthemresources,settinggoals,andattendingperformancesweresomeofideasthepanelgave.Thenalofcialtopicwastheuseoftechnologyinmodernteach-ing.TheuserecordingdevicessuchastheZoomH2torecordlessonswasstronglyencouraged.Thisallowsstudentstopickup on things that theymay havemissed the rst time theirteacher said them in the context of the lesson.The use ofSmartMusic asanaidtoteachingwasalsohighlyencouraged.Following this, the audience was allowed to ask questions,whichbroughtupevenmoreenlighteningdiscussion.

Orchestral Excerpts Competition (NY)Competition chair Jack Laumer welcomed the audience,

judgesandnalistsandthankedthepreliminaryjudgesthecomplete trumpet section of theMinnesota Orchestrafortheir work in selecting todays three nalists from an initialgroupof fourteen.The judges for todaysnalwereGordonWebb, the formerprincipal trumpetof theLondonPhilhar-monicandSydneySymphonyOrchestras;StephenChenetteoftheUniversityofTorontoandformerprincipaltrumpetoftheMinnesota,BostonPops, St. PaulChamber andDenverSymphonyorchestras;andGeoffPayne,theprincipaltrumpetoftheMelbourneSymphonyOrchestra.TherstnalistwasPeixang Li of the University of Kansas; next was NathanielLocke,UniversityofNorthernColorado;andlastlyweheardAlexanderWilson from Grand Valley State University. Theexcerptschosenwerefrom:MahlerSymphony No. 5, RespighiPines of Rome, DebussyFtes, Mussorgsky Pictures at an Exhi-bition, StravinskyPetrushka, RavelPiano Concerto in G, andStraussDon Juan.ThecompetitionresultswillbeannouncedatSaturdaysFes-

tivalofTrumpets.

2 ITG Journal Special Supplement 2010 International Trumpet GuildTeaching Panel, L R: Joe Bowman, Lertkiat Chongjirajitra, Laurence Gargan, Cathy Leach, Vincent DiMartino, and Judith Saxton


Andrea Giufreddi in Recital (LE)Whileheoriginallymadehismarkasprincipaltrumpetwith

majorItalianorchestrasformorethan25years,AndreaGiu-freddisworkinlmandcommercialstyleslargelyinuencedthe repertoire for this recital.He openedwith several lovelyballads mostly from famous Italian soundtracks. Giufreddisstunninglyricismwassupportedbysubtleunderlyingtexturesthrough tender piano accompaniments, acoustic bass, anddrumsetmostlywithonlybrushes.OnemightbestdescribetheserenditionsasthetrumpetplayedinthestyleofAndreaBoccelli with rhythm section accompaniment, and indeed,Giufreddis passion equaled that of this renowned vocalist.Somebriefbe-bopstyle interjectionsprovideddazzlingtech-nique with the same sentimental and stunningly movingsound.Highlights fromtherecital includedMisty performedinatraditional jazzballadstyle,acrowd-pleasingLatin-funkversionofThe Carnival of Venice,anup-tempochorobyleg-endaryBraziliancomposerPixinguinha,andVittorioMontisCzardas integratedwiththeextremepedalregister.Giufreddisuniquestyleandluscioussoundservedasawonderfulvoicefortheimpassionedmelodiespresented.

David Baldwin on the Charlier Etudes (BW)DavidBaldwinsexpertiseonthecelebratedetudebookthat

Charlier wrote is certainly known to long-timemembers ofITG. He has recorded the complete book (along with theBitschVingt Etudes)andhasgivendemonstration/lecturesonthisspecicsubjectatseveralotherITGConferences.Thisses-sionwaspricelessforyoungerplayerswhoneedtoheargoodmodelingofthesestylisticallyandtechnicallybrilliantpiecesofmusic. Baldwin, in his calm and focused way, performed anumberofstudiesgivingtheaudienceanicemixofbothlyri-calDuStylestudiesandexamplesofthemoretechnicalvari-ety.Study#2wasperformedbyRhythmandBrassintheformofanarrangementdonebyastudentattheUniversityofMin-nesota,whereBaldwinservesasprofessoroftrumpet.BaldwinalsoperformedthelostCharlieretudethatheannouncedas#37.Thisstudywasoriginallyindicatedas#18inthemanu-scriptbutwasnotincludedwhenthebookwaspublished.Ontopofbeautifullyplayingmanyetudesforus,heofferedmany

insights on mastering the etudes. And which etude is hisfavorite?TheoneImplayingatthemoment.

The Trumpet World in Greece (MR)Thispresentation wasalecture/recitalbyGreektrumpeters

NikosXanthoulisandGerassimosIoannidis.Eachmanspoke

Andrea Giufreddi

David Baldwin

Nikos Xanthoulis


about Greeces uniquemusical heritage; Ioannidis giving anoverviewofthetrumpetthroughoutGreekHistoryandXan-thoulis describing the background and idiosyncrasies of thesalpinx.Xanthoulisgaveanimpressiveperformanceoftwoofhisownoriginalconcertos:onefortrumpet,andanotherforsalpinx;AnthonyBaldwinaccompaniedbothpiecesonpiano.Xanthoulissperformanceonbothinstrumentswasstrongandextremelyaccurate.Hismasteryofthesalpinx,aninstrumentaslongasheistall,wasremarkable.Thesoundoftheancienttrumpetwasbrittle,delicate,andbrilliantlyshrill.Xanthoulisexecuteduentpitchbendsthataddedmorenotestothecon-certFbasedharmonicseries.Hiscommandofwhatmustbeadifcultinstrumenttomasterwasextraordinary.Allinatten-dancewitnessedaremarkableandinformativepresentation!

James Klagess Film Healed (GM)Itisfairtosaythattrumpetteacher/performerJamesKlages

has had to enduremore challenging situations, emotionally,physically, and psychologically, than anyone should have tofaceinonelifetime.InthisinspiringlmtheaudiencewasabletojourneywithJamesthroughhisdevastatingdiagnosiswithmultiple sclerosis, and to observe his struggle, and attitudetowardlivinghislifetothefullestinspiteofthisdiseasetothepointwherehehas takenback control of his life andwork.Klageswaspresenttoanswerquestionsattheconclusionofthelmandwassurroundedbyanaudiencethatwasbothappre-

ciativeofhisstoryandinaweofhisstrengthofwillagainstthisdisease.

US Army Trumpet Ensemble (KE)TheUSArmyBandPershingsOwnhasbeenthepremier

musicalorganizationoftheUSArmysince1922.TheCere-monial Band is the ceremonial component of PershingsOwn,anditsprimarymissionistosupportthe2,000militaryfuneralsheldeachyearatArlingtonNationalCemetery.Eightmembers from the trumpet sectionof theCeremonialBandpresented a varied program ofmusic for trumpet ensemble,includingpremiereperformancesofworksbyPhilSnedecorWalkabout,StevenSaccoMusic in Three Movements for EightTrumpets, and Denis DiBlasioCharge with Vinnie. Thegroupdemonstratedthehighestqualityofensembleplaying,with awless intonation, unied tone quality, and a precisemusicalstyle.TheprogramendedwithJ.D.ShawsCaravan,whichfeaturedguestartistsVinceDiMartinoandJensLinde-mann.Theinevitablehighnotecontestensued,withsmilesandcheersfromperformersandaudiencemembersalike.

Remembering Louis Armstrong (BA)BobBarnardandhisquintetopenedtherecitalwithArm-

strongsCornet Chop Suey with a fantastic ourish, movingontoArmstrongs signature tuneWhen Its Sleepy Time DownSouth withBarnardsuidsoundllingtheMusicWorkshopwith the melody. Accompanying musicians Paul Furniss onclarinetandsaxophones,PeterLockeonpiano,DarcyWrightonbassandLawrieThompsoncreatedasplendidsupportingstructure,whichsymbolizedthemusicianshistoryofperform-ing invariouscongurations foroverftyyears.FurnisswasfeaturedonsopranosaxophoneonArmstrongsTwo Juices andanothertune,Mighty River, whichhehadre-writtenthelyricstodepictArmstrongsexcellenceininterpretingasong,butnotafterhumoringtheaudiencewithashortparodyoftrumpetshoptalkwhichgainedthedesiredchuckling.DarcyWrights

Gerassimos Ioannidis

Viewing the film Healed


polishedbasssoundwasfeaturedonSweet Georgia Brown andthe performance concluded with Take Me Out To the BallGame.

.Gabriel by Robert Bradshaw (NY).Gabrielto be pronounced dot Gabrielis the new

chamberoperabyRobertJBradshaw;itsWorldPremiretookplaceintheMusicWorkshopattheSydneyConservatorium,transformedforthisoccasionintoanoperaworkshopandthe-atre.The opera is written for a small cast and orchestra oftrumpet (JoshuaClarke), soprano (JaneParkin), tenor (SamSakker),baritone(ChrisHillier),viola(VirginiaComerford),bassoon(MattOckenden),clarinet(PeterJenkins)andpiano(TonyLegge),allappearingbycourtesyofOperaAustraliaandtheAustralianOperaandBalletOrchestra.ConferencehostBrianEvansintroduced.Gabriel. Evansand

BradshawhadrstspokenaboutthepossibilityofthisworkatITG 2007 in Amherst; the operawas commissioned by theAustralianTrumpetGuild for thisconference.EvansbelievesthatitistherstoperatobecommissionedforanITGcon-ferencearchivists, to work please!andmade no secret ofhisabsolutedelight inseeing itperformedtoday:he is,afterall, a singing trumpetplayerwhoworks in theworldsmosticonicoperahouse and lives andbreathesopera, so you can

believe that this was really a very joyfulthingforhimtopresideover.Next, pianist/MDTony Legge ran an

openrehearsal/workshopsowegottoseepeopleatworkandbegantohearourwayintoBradshawsalways-fascinatingsound-world. The composer then took a fewminutes to talk us through the conceptandtoexplainalittlemoreabouttodaysconcert performance; nally the wholeworkwasperformed.Icantinafewhundredwordsgiveyou

muchof anoutline of this splendidnewworkbutfortunatelyyoucanreadaboutitindetailonline,andIstronglyrecommend

that you do just that (http://www.gabrieltheopera.com). Inbrief, Principal (soprano) is a confused, isolated gure whospendsallhertimeonline(Ihopewe dontknowanyonelike

that, readers) and represents societys dependencyon theInternet, computers, and electronic communication. Shewas sung wonderfully by Jane Parkin who, astonishingly,wasunwell; ifsothenIreallycantimaginehowgreatshemust sound when blooming with good health.The onlyconcessionshemadewastouseamicrophonebutasLeggepointedoutthisactuallyworksratherwellgivenherisola-tion behind electronic barriersan accidental piece ofcleverstaging,then.TheenigmaticgureofGabrielspeaksonlythroughthe

trumpetsowedontknowthatmuchabouthimthatcan-not be expressed as an instrumental part, except that insomewayangel,conscience,imaginaryfriend?heistry-ingtoanchorPrincipalbackintotherealworldandhavehercommunicatewithnon-virtualfriendsandfamily.Itispowerful and terriblymoving stuff, strongly expressed byBradshaws interesting, challengingmusic.Memory I andMemoryII,themalevoices,areotheraspectsofPrincipalscomplexpsychologicalworld,andthechamberensembleofviola, twowinds andpianoprovidedwell, not really anaccompaniment,butmoreanothergroupofaccomplishedsoloists with their own vital contributions to the operasdevelopment.

The US Army Trumpet Ensemble

Bob Barnard

The vocalists for .Gabriel


ThetrumpetplayerJoshuaClarke,asGabriel,didasuperbjobonthiscomplexanddemandingmusic.Itwasreallyaverygreatpleasure to see aneperformer takingalmost literal-lycentre stage inanopera in suchan intriguingandcom-pellingpiece.Someoftheinterplaywiththeothercharactersisheartbreakinginitsintensity.Thistrumpetwassofarfromthepit, in somanyways, that itmade ita real revelation tohearandseeitsrolein.Gabriel.IfeelveryfortunatetohavebeenatthispremireandIwill

look forward, verymuch, to seeing further performances ofthisrichandrewardingwork.AnotherITG2010triumph.

Solo Competition Finals (KK)The InternationalTrumpetGuilds SoloCompetitionwas

wellattendedandapleasuretolistento.Eachcompetitorwastoplayonerequiredworkandonesolooftheirchoosing.TherequiredpieceforthiscompetitionwasEnescusLgende.ThersttoplaywasSergioFilpeachaPereirafromESMAEEscolaSuperiordoPortoPortugalwhostudieswithKevinWauldron.PereirarstplayedLgende andthenplayedhisselectedpiece,theArutunianConcerto.Nextwas Peter Smith fromFloridaStateUniversitywhostudieswithChristopherMoore.Smithalso started with the Legend and then followed with theTomasiConcerto.ThenalcompetitorwasAnnaGarciafromthe University of Missouri-Kansas City who studies withKeithBenjamin.Garcia openedwithEnescusLgende andchosePakhmutovasConcerto ashersecondpiece.Allofthecompetitorsplayedthesepiecesmusicallyandatahighlevel.

Yigal Meltzer Recital (MR)YigalMeltzer,principaltrumpetoftheIsraelPhilharmon-

ic Orchestra, teamed with Miriam Hickman to deliver arecitalthatwasfantasticallyprogrammedandplayed.Meltzerperformed six selections, bookending the recital with lessfamiliar works by Israeli composers Robert Mozes andTheodor Holdheim, along with popular French standardsEnescusLgened andBozzasRustiques. Itwas refreshing tohearanartistofthismagnitudeinterpretofthesepieces.HechosetempithatwereslightlyslowerthanIamaccustomedtohearing,bringingafreshandextremelycleanperspectivetothesegemsofourrepertoire.AlessandroMarcellosOboeConcerto in d minor wassimplybreathtaking;Meltzerspicco-

loplayingwasgorgeouslyoridandveryvocal-like.Hecom-pletelymesmerized the audiencewithHansWernerHenzesintervallicSonatina for Trumpet Solo. If this reviewer had tosumupMeltzersperformanceinoneword,itwouldbeWOW!ItwasoneofthenestrecitalsIhaveeverheard!

Troica Recital: Mauk/Dunnick/Birr (LE)Troicahasforgednewgroundbyresearchingoriginalworks,

adapting existing compositions, and commissioning newmusic for the genre of trumpet, saxophone, and piano.Theensemble is composedof three facultymembers fromIthacaCollege, including trumpeterKimDunnick,and itsname isderivedfromtheRussianwordTroika,signifyingathree-horsesleigh or more appropriately a governing body made up ofthreeequalindividuals.ThelettersICweresubstitutedforIKtorepresentIthacaCollege.DanaWilsonsFanfare providedabrief yet energetic and exciting opening. Next, Peter Law-rencesConcertino offeredmanyinterestingtexturesincludingthe ethereal sound of saxophone coupled with cup-muted

Joshua Clarke on trumpet, and the orchestra

Yigal Meltzer

Troica: Dianne Birr, Steve Mauk, and Kim Dunnick


trumpetandafuguewithallthreeinstrumentsbeginninginastrictlyBaroque style that eventuallymoved to amore com-mercial sound. A world premiere of Margery Smiths TheMusarithmetic Ark presentedamore aleatoric approach, aswell as many contemporaryeffectsincludingplungertech-nique, saxophone growls, anddissonantchordsandtremolosin the piano. Folk-likemelodies highlighted a selec-tionby theRussiancomposerMikhail Bronners andtomorrow will be better thanyesterday. Throughout thisinteresting anddiverse recital,blend and ensemble precisionwere excellent, particularlywith both wind instrumentsoftenplayinginthesamereg-ister.

Jazz Improvisation Competition Finals (BA)Repertoire for the jazz competition nals was Clifford

Browns Joy Spring, Antonio Carlos Jobims Wave, VernonDukesI Cant Get Started,andRayNoblesCherokee,acollec-tion of tunes from the vast jazz canon that typify themoststandard of the jazz trumpet repertoire. The Sydney-localaccompanying rhythm section of Alister Spence on piano,SteveArieonbass,andFabianHeviaondrumsprovidedtheperfect platform for the jazz improvisation nalists. ScottDickinson(fromtheUniversityofMiami)performedwithabrassy sound thatwas denitely inuenced byGregGisbert(histeacher),nottomentionhischromaticharmonicaesthet-ic.NexttoperformwasHermonMehari(UniversityofMis-souri-Kansas City) whose subtle approach balanced his per-iloususeof rhythmic intensityandbluesy lineswitha sweetsound.ThelasttocompetewasDavidNeves(BerkleeCollege

ofMusic)whosebalanceofsporadicandowingrhythmicusewascomplimentedbyhissmoothsoundandappropriateuseofadvancedharmonicconceptsreminiscentofWoodyShaw.

Gala Concert: Rhythm and Brass (KE)TheUS-basedgroupRhythmandBrassheldtheirinaugu-

ral season in1993.Since then theyhave traveledextensivelythroughouttheUnitedStatesandaroundtheworld,includingtoursinCanada,SaudiArabia,theUnitedArabEmirates,theVirgin Islands, and Japan.Their music incorporates a widevarietyofstylesandinuences,including(butnotlimitedto)JosquinDesPrez,PinkFloyd,JohnColtrane,JohannSebast-ianBach,andDukeEllington.Forthoseunfamiliarwiththegroup,R&Bismadeupofve

brass players (a traditional brass quintet instrumentation oftwotrumpets,horn,trombone,andtuba)withtheadditionofapercussionist.Boththepercussionistandthehornplayeralsoplay the piano, allowing for a great number of sonoritiesthroughouttheconcert.Withinthersttenminutesoftheperformancetheaudience

at the City Recital Hall wastaken from the music of J.S.Bach (Fantasia in C Major) toLennon and McCartney (Nor-wegian Wood) to JohnColtrane(Syeedas Song Flute). TrumpeterRex Richardson dazzled theaudience with his incrediblesolos. Wiff Rudds approach ismoreunderstated;hisugelhornsolo in David Glucks arrange-mentofStairway to Heaven wasrewarded with smiles and sighsofsatisfactionfrommanymem-bersoftheaudience.Oneofthebiggestovationsof

thenightwas given toCharlesVillarubia for his rendition ofArbansCarnival of Venice.Foratuba player to receive suchrecognitionfromaroomfulloftrumpet players is high praise,indeed!

Rhythm and Brass

Nadje Noordhuis solos with R&B


Australian trumpeter Nadje Noordhuis was featured withR&BonMaria SchneidersDivided by Two.Her soundwassubtleandsweet,andhersolosinterestingandwelldeveloped.Herperformancemadeitapparentwhyshewasselectedasasemi-nalist for the prestigious 2007TheloniousMonk JazzTrumpetCompetition.The concert endedwithDavidGlucks amazing composi-

tionentitledTemporary Heartbeat.Thisoriginalworksuperim-posesmusicfromThe Wizard of Oz withselectionsfromPinkFloydsDark Side of the Moon (ifyouareunawareoftherela-tionshipbetweenthesetwoseeminglydivergentworks,gotohttp://en.wikipedia.org/wiki/Dark_Side_of_the_Rainbow foran explanation). In addition, snippets of themovieWild atHeart byDavidLynch,whichincludesnumerousreferencestoThe Wizard of Oz, are inserted. The result is an incrediblemlangeofmelodies,rhythmsanddialogue.For their encore,R&Bplayed Jambalaya (On theBayou),

and featured trombonist Tom Brantley on the vocal madefamousbysingerHankWilliams.BrantleysCajunaccentwastheperfect touch for thispiece,whichwasmade evenmoreexcitingwithRexRichardsonsamazingpiccolotrumpetsolos.R&Bjustkeepsgettingbetter,inmyopinion.Theensemble

istighter,theimprovisedsolosgofarther,andthecommunica-tionbetweenthevebrassplayersandpercussionistmoresub-lime.Theylefteverythingonthestagethisnight!

Late Night JazzGianni Marinucci ( JI)Melbourne-based trumpeter, Gianni Marinucci took the

stage of the Paragon amid a lively crowd. Backed by thetremendousITGjazzrhythmsection,hegaveeveryoneafull

measureofsomeofthemostinspiringjazzaround.Beginningon ugelhorn, Marinucci and the quartet started withEmbraceable You inamediumup-tempogroove.AnoriginalpieceofMarinuccis,An Offer you cant Refuse,wasanengagingjazzwaltz.TwopiecesbyfellowMelbournemusiciansinclud-ed a lushballad,Simple Song whichdemonstratedhis lovelysoundanduidlines;andSong of the Survivor featuringasoul-fulyetnimblejauntovertheentirerangeofthehorn.Anup-tempo version of Look for the Silver Lining electried theenthusiasticaudience.AppropriatelyenoughtheynishedthesetwithamovingperformanceofIll be Seeing You inarelaxedswing.Latenightjazzjustdoesntgetanybetterthanthis.

R&B sings Jambalaya!


TheExhibitor/Vendorroomsarealwaysamajorattractionat the ITGConferences; where else can you try out all thishardware, comparemouthpieces, show that guynext to youhowloudandhighyoucanplay?

Here isa selectionof images fromtheexhibitors, courtesyEditorGaryMortensonandconferencephotographerRobertBurne.(JW)

AdditionAl Photos


Friday, July 9

Warburton on Mouthpieces (KK)Thelecture,MouthpiecesMythsandReality,givenby

KenTitmus ofWarburtonMouthpieces, presented informa-tion about common misconceptions regarding mouthpieceselection.Thesessionbeganwithavideothat featuredTerryWarburtongoingoverelevenofthemostcommonmythsofmouthpieces.Theseincludedplayingonmouthpiecesthataretoolarge,usingscreamermouthpiecestoincreaserange,goldplatingmakingmouthpiecesbetter,andmanyothers.Thisvideo elicitedmuch discussion on the topics covered in thevideoandonotheritemsofconcerntospecicmembersoftheaudience.Attheendofthesession,Titmusrevealedthenalmyth,whichisthatanewmouthpiecewillsolveyourplayingproblems.Manyoftheproblemsexperiencedbytrumpetplay-erswhichleadthemtolookfornewmouthpiecesactuallycanbesolvedbystrengtheningtheembouchurewithdevicessuchasWarburtonsP.E.T.E.

CollaborationA 50/50 Compromise (GM)In this highly informative session, Mark Clodfelter and

RebeccaWiltgavetheaudiencegreatgemsofadviceregardingthosethingsthatarenecessaryiftwomusiciansaretocollabo-ratesuccessfullyinatrumpetandpianoduo.Bothmusiciansfeltthatcarefulplanningandattentiontodetailareextremelyimportant in any successfulmusical endeavor.This includesgettingthemusictothepianistwithplentyofadvancenotice,talkingthroughthemusicifnecessary,settlinginontempos,

andbasicallycreatingasituationwherearelationshipcanbedevelopedthatopensupthespiritsothatthepianistwantsto work with the soloist. One of my favoriteWilt quotes(amongmany)washerassertionthat,Anemergencyonyourpartdoesnotconstituteanemergencyonmine.Translation:Doduediligenceingettingyourpianistthemusicandthenecessary information four to six weeks in advance of animportantrecitalorjury.Aspartofthesession,WiltandClod-felter performed music that helped us see and hear exactlywhatgoesonwhentwomusicianscollaborateinasuccessfulfashion.This presentation should be required information

2 ITG Journal Special Supplement 2010 International Trumpet GuildKen Titmus

Rebecca Wilt and Mark Clodfelter


for allmusiciansbefore theyworkwithapianist for thersttime!

Aducci/Johnson: Natural Trumpet Lecture (LE)PresentersKeith Johnson (University ofNorthTexas) and

KathrynJamesAducci(SanJosStateUniversity)werejoinedby Leanne Sullivan (Sydney Conservatorium of Music) incommencing the session with a beautifully rendered anony-moustriofromthePrussiancourtwrittenaround1791.Fol-lowing,thetwomaintypesofmodernBaroquetrumpetswereidentiedanddiscussed:thethree-holeGermanmodelandthefour-holeEnglishmodel.A fewconcepts addressed includedlearningtoplaywithouttheventholestoencouragelisteningandamoresong-likeapproach(nothavingtoworryaboutn-ger technique) andutilizing the longest trumpet available towarmup(forexample,aB-atpitchedBaroquetrumpet)topromote themost relaxed playing possible.The pedagogicalbenetsofplayingtheBaroquetrumpetincludepromotingarelaxed approach to sound production, improved exibility,andofferingabetter stylisticunderstandingof the style thatcanbe applied to themodern instrument.BeginningnoviceBaroquestudentsonamodernmouthpiecewassuggestedtoavoidintroducingtoomanynewconcepts/ideasatonetime,although Johnsons demonstration of a Baroquemouthpiececopy(withoutmouthpieceadapterforamodernmouthpiece)usuallyprovestobethebestacousticoptionforadvancedper-formers.Followingspecicsonstylisticnuanceandinterpreta-tionbyAducci,thesessionconcludedwiththeperformanceoftwoMoravianduets.

Bilgen and the Turkish Trumpet Ensemble (MR)TheTurkishTrumpetEnsembleRecitalwasamixofhistor-

icallecture,andperformancesofmodernnon-Turkishpieces,played byTurkish students, andmusic composed inTurkey.ZynepCilingirreadapamphlet,writtenbynotedTurkishped-agogueErdenBilgen(alsodistributedtotheaudience),enti-

tledA Tradition of 2000 Years: Boru (Trumpet).Thedocumentprovided keen insight into the history of Turkish trumpet.UtkuAkyol,VolkanCosar,andOnurcanCagataytookturnsperforming Kennans Sonata, Wassilenkos Concert Poeme c-moll, and JolivetsConcertino.All threedisplayed remarkablepowerandstaminathroughouttheirperformances.Cagataysrendition of the Jolivet was especially noteworthy with anexciting opening, exemplary triple tonguing, and a dazzlingconclusion.Turkishmusic,withitsmodalavorandorientalsound,wasrepresentedbytwoshortetudesandonepiecefortrumpet quartet composedbyNikriz andHicaz.The recitalwasfascinatinglookintothebustlingworldofTurkishtrum-pet!

Barton on the Didgeridoo (BA)William Barton opened the recital with an improvisation

that communicated the origins of the didgeridoo, the Aus-tralianland.ThepiecefeaturedcharactersfromtheAustralianlandsuchasthecookaburra,adingo,awallabyandkangaroos.Bartonsdidgeridoo transported the soundsof theAustralianlandscapetoallinattendance.Bartondescribedhowadidgeri-dooismade:asuitablebranchthathasbeenhollowedoutbywhite ants is selected andAustraliannativeblackbeewax isthenusedtocreatethemouthpiecerim.Bartonsjoyfulperson-alitywasunmistakableinhissoundandhiscommunications

Kathryn James Aducci and Keith Johnson

Zynep Cilingir talks while Erden Bilgen observes

William Barton


aboutlifeandmusicthroughouttherecital.Atonepoint,Bar-toninvitedhismothertoperformwithhimonvoice,whosesoundhauntedtheaudiencewithanemotionalmuse.Bartonthen rehearsed the audience on the vocal techniques of theAustralian native animals. Bartons narratives impersonatednotonlysoundsoftheAustralianlandscapebutoflifeingen-eral.

Batavia Trumpet/Andrew Evans (AC)AndrewEvans,atrumpetplayerandresearcherteachingat

theSydneyConservatoriumofMusicgaveabrieflookintothehistoryoftheearly17th-centurytrumpet,specicallypertain-ing to the trumpet thatwas found aboardBatavia, aDutchtradingshipwhichranagroundandsankoffthewesterncoastofAustralia onherway to trade in theWest Indies.BataviasankJune1629andcarriedonboardthreetrumpetplayersClaesJanz,JacopGroenwald,andCornelisPeterzoon.Trum-petplayerswerecommononshipsduringthistimeandwereused for both ceremonial purposes and as entertainment forthe crew. Trumpet players aboard ships were held in highregard,receivedsalarieshigherthantheregularcrew,andwereallowed to sleep in the ships highest quarters on the poopdeck.Trumpetplayersoftenworehighlydecorateduniforms,whichallowedthemtoberecognizedasneutralpartymemberswhendealingwithindigenouspeoplealongthetradingroute.Musicwasoftenusedincommunicationwiththesepeopletoshowtheshipandcrewcameinpeace.Evanshadinhispos-sessionareplicaofthetrumpetfoundinBataviaswreckage,heperformedtraditionalworksontheinstrumentandexplainedhowitwasused.

New Works for Trumpet #2 ( JI)Lamento for Don Quixote byTerryMizesko,performedby

JudithSaxton,isasetofvariationsinaquasiSpanishBaroquestyledepicting themind set ofCervantesshero, rather thananyactualevents.Originallyforsolotrumpetandstrings,thecomposerdidthepianoreductionhimself.Saxtonsbeautifuland full singing tone quality suited the nature of the piece.Invigorating muted passages punctuated the texture. Crisp,clearfanfare-likepassagesaddedtothequixoticeffectaswell.The tonal, very Spanish-sounding harmonies and accessiblewritingoftheworkwillappealtomany;certainlywewillhearthispieceinfuturerecitals.

BrianChinperformedaworkthathecommissionedtitledSonata forTrumpetandPianobyDanielBukvich.Inthisworkthecomposeremployedboldharmoniclanguage,playfullines,andsetupaplayful interactionbetweenthetwoperformers.Chins rich sound permeated the work. He negotiated theoccasionalangularlineswithsurety.Anatmosphericpassageofrepeatedpianoguresandmutedtrumpetcreatedawonderfuleffect.Themiddlesectionofferedapeaceful,undulatingfeelthatwasgorgeousandinterpretedsplendidly.Aseriesofener-getic lines frombothperformersclosedthepiece in thrillingfashion.

Andrew Evans and Paul Goodchild

Judith Saxton

Brian Chin


Langston Fitzgerald III next performedDown a River ofTime byEricEwazen.Thispiecegot its inspiration fromanessay of nostalgicmemories that recounts ones life journey.Onlythesecondmovement,ofsorrowswasperformedontodays program. The movement was heartfelt, wistful, andpoignant.TheharmoniclanguageandstylewouldcertainlybefamiliartothosewhoknowEwazensmusic.Playinga liquidlineof lyricbeauty thatencompassedtheentire rangeof thetrumpetFitzgeraldgaveastunningperformancefullofsensi-tiveexpression.Themovements soaring lines, sweepinghar-monies,andtendermomentsrevealedhowEwazensmusiccanprovidecomfortinitslyricismandsincerity.

PeterWoodpresentedThe Concept of Anxiety,RobertBrad-shaw.ThisworkwasbasedonKikegaardsphilosophicalworkof thesamename.This ideaofdreador focused fearcanbeinterpretedinBradshawscomposition.Itopenedwithswift-movingarpeggiosinthepianosupportingaowinglineinthetrumpet. Then a pointed, angular section pitted the twoagainsteachother.Areturntotheopeningstyleroundedout

thework.Bradshawhasbroughtout thedualityofpersonalvolition where one has choices to make, ably depictingKirkegaardsphilosophy.Orperhapsonecanhearthesupportandintegralsynthesisofthetwovoicesastheycollaboratedependingonwhichchoiceonemakes.The nal work on the programwas performed byYoram

Levy and was titled In Memoriam by Australian composerPeter Sculthorpe. This work was a new arrangement of anexistingpieceinmemoryofthetragedyofPortArthur(Tas-mania,1996).Levyperformeditona19th-centurycornetthatwasonceplayedbyJulesLevy.Theworkwasalovely,melodicpiecethatcutrighttotheheartstringsofanyonewhoconsid-ersthehorrorsofthistragedy.Hisbeautifultoneandstylewereexactlyrightforthepieceandmovedallinattendance.

Australian Trumpet Summit (NY)The Cons Verbrugghen Hall was the scene of a great

lunchtime concert when the Australian Trumpet SummitshowcasedfoureminentAustralianjazztrumpetplayerstothedelightoftheenthusiasticaudience.Theconcertkickedoffwithonlythefourtrumpetartistson

stage.JamesMorrison,MattJodrell,PhilSlaterandScottTin-klerstartedwithasuperbunaccompaniedbluesyCaravan thatprettymuch servednotice onus that herewas a varied andinterestingprogramwithmultiplestylesfromthesefourformi-dabletalents.IcanactuallystillhearitveryclearlyinmyheadnowasIwrite:thiswasawonderfulwaytobegin.The rhythm section ofGerardMasters (piano), Cameron

Undy(bass),EvanMannell (drums),andJamesMuller (gui-tar)thentooktothestage,joiningtherstsoloistPhilSlaterfor the excellent Pemungkah by the Indonesian composerLotring. This driving and exciting tune started sunny andturnedpositivelyerywhenSlater reallygotgoing.NextupwasMattJodrellwithhisowntune,anangrythinghehopedwouldntscareanybody,Judgment Day.Thisisaspikytunefullofsharpcornerswithaverycoolswinginterjectionortwo.JamesMorrison was next, giving us a beautiful and very

quiet rendition of I Fall In Love Too Easily on his very neSchagerl bass trumpet, before swapping back to ordinary

Langston Fitzgerald III

Peter Wood

Yoram Levy


trumpetthoughordinary isnot at allhow it soundswhenMorrison plays itfor an exciting, uptempo There Is NoGreater Love.

ScottTinklerthenplayedalong,abstractandharmonicallyadventurousimprovisation,sparselyaccompaniedonbassanddrums only.This was an intriguing exploration of a sound-worldquitedifferentfromtheothersencounteredinthiscon-cert, at times quite contemplative and at others driving,declamatoryanddramatic.TheduoofMorrisonandSlaterwerefeaturednext,trading

somegreatphrasesandgenerallyhavingaballinWhat Is ThisThing Called Love, beforethefocuschangedtotheotherpairofTinklerandJodrellforastormingYesterdays.Finallyallfourtrumpetplayersandthesuperbrhythmsec-

tion were back together on stage, bringing the house downwithTheloniousMonksStraight, No Chaser.Afterwardsinthefoyer the talkwas all of the excitement of having four such

incrediblyvariedandtalentedplayerstogetherinoneconcert,thekindofconcertthatITGConferencesdosowell;thekindthat sends you out with your ears buzzing and your headaamewiththemusicalcreativityandgreatideasofthesenetrumpetplayers.

Mid-America Trumpet Ensemble (BW)TheMidAmericanTrumpetEnsemblepresentedanenter-

taininganddiverseprogram.ThemembersoftheensembleareallcurrentorformerteachersfromOhio.Theybeganthecon-certwithConcert Fanfare byEricEwazen.Next on thepro-gramwasFisherTullssCanonical Trilogy which featured thewonderfuluseofcanoninallitsmovements.Thenextsong,Meditation on a Scottish Hymn,wasaveryemotionaltakeonthe hymn tuneAmazing Grace and featured some very niceantiphonal playing.This inspired arrangement byGreg Pas-cuzziwaswrittenforRichardBurkart,theformerprofessoroftrumpetatTheOhioStateUniversityonthedeathofhissis-ter.Games by ScottMeisterwas up next and featured threeveryinterestingmovementsthatinvolvedalotofplayfulinter-actionamongthefourperformers.Theaudiencecouldtellthepiecewaswrittenbyapercussionist,withtheuseofbeansinstraightmutestomakethemshakers,andinamovementthatfeaturedsubmergedbellsinwatertogivevariousunderwatereffects.AnarrangementofScarborough Fair was followedbyVariants byWilliamsSchmidt.Thisworkfeaturedeachmem-beroftheensembleinextendedsolosandinvolvedagoodbitof choreography. The concert ended with two jazz tunes,Goodbye Pork Pie Hat and Struttin with Some Barbeque, forwhichtheybroughtupguestjazzplayerstoplaythesolos.Thevarietyofstylespresentedinthisconcertwasimpressivethiswasagreatdisplayofmusicalityandstylisticawarenessfromallofthemembersoftheensemble!

Australian Army BandSydney (KK)TheAustralianArmyBandSydneyunder thedirectionof

Major Peter OConnor was a very entertaining concert toattend. The program heavily featured trumpets, but alsoincluded some pieces for vocal soloists.The concert opened

LR: Phil Slater, Matt Jodrell, James Morrison, Scott Tinkler

James Morrison performing on the bass trumpet


with a lively piece in a big band style. After this, trumpetsoloist, Geoff Payne, was featured in twoMndez works incontrastingstyle.Hecontrastedtherstpiece,whichwasplay-ful incharacterwiththesecond,whichwasmorelyricalandretrospective. Geoff was featured again on La Virgen de laMacarena, which he played effortlessly. After this, the USArmy Band Pershings Own Ceremonial Band TrumpetEnsemble joinedtheSydneyBandforsomeexcitingfanfare-typeworks.Thebandsnevocal soloistwas featured in thenextthreeworks.Aninstrumentalnumberfollowedfeaturingimprovisationalsolosforeachmemberofthetrumpetsection,including guest Ramon Vasquez. TheconcertendedwithatrioperformedbyVasquez, Aaron Madden,andconferencehostBrianEvans.(Photoonnextpage-JW)

Hickman/Lindemann Recital (LE)OpeningwithAlexanderGdickesConcerto in B-flat major,

Op.41,DavidHickmanpresented thevarious sectionsbril-liantly, alternatingbetweenmajestic, lamenting, playful, andmartial styles as needed. PianistMiriamHickman providedoutstandingsupportbyenhancingcontrastbetweenthethickand lightorchestral textures.AbriefquotationofGoedickesConcert Etude duringthenalcadenzabroughtchucklesfromthe audience before the workwas brought to conclusion indramatic fashion.AlessandroMarcellosConcerto in G minor(originally for oboe) followeda new version recently pre-paredbytheduoforB-attrumpetandpiano.Thewarmthof

thelargetrumpetandthelowertessituraofferedafreshsoundtothispieceusuallyperformedonpiccolotrumpetinthetes-situraoriginallyscoredforoboe.Hickmansgorgeousphrasingand affectionate sound made this rendition of the secondmovementparticularlymoving.The recentlymarried duo continuedwith another one of

their new transcriptions: Alexander Glazunovs Chant dumnestral, Op. 71. Hickman used a ugelhorn mouthpieceadaptedfortrumpettoemulatethesoundofacello.Thisshortbutbeautifultranscriptionshowcasestherichnessofthetrum-petslowregisteraswellastheinstrumentsexpressivecapabil-ities. RafaelMndezs festive Jota No. 2, Hickmans favoriteMndezsolo,servedasanappropriatelyfestiveconclusiontohisneprogram.JensLindemannopenedthesecondhalfoftheprogramwith

astrikinglyexcitingperformanceoftherstmovementofPeterMaxwellDaviessSonata for Trumpet and Piano.He found anewwaytoconcludethismovement,onethatmanytrumpetplayersmayhavecontemplatedbutnot implemented:onthelastnote,kickingthestandintotheaudienceandthentakingeachpageofmusic,crumplingit,andthrowingittothecrowd.Interestingly,thismettheaudiencesenthusiasticapproval.LindemannsandaccompanistRebeccaWiltsfavoritecom-

positionfortrumpetandpiano,GeorgesEnescusLgende,fol-lowed.AsLindemannnoted,thisiswouldbetheonlypieceontheprogramthatwouldnotincludesomekindofcomicele-ment. After a display of mutes including what Lindemann

The Mid America Trumpet Ensemble, LR: John Schlabach, Alan Siebert, Charles Pagnard, James Stokes


calledhisKoalabearmuteandtheHannibalLectermute,MortonGouldsPavane servedasashowcaseforthecolorsoftrumpetmutes.Afewanticsincludedatestofamutesdura-bility(droppingitontheoor)andtheassurancethatamutedoesnotcomeoutofthehornthroughextrahumidity(orinthis case the additionof excessive salivawith the tongue).AparadingDavidHickmancompletewithumbrella(orasLin-demann stated TheMarriottHotel mute) assisted on thenalfewnotesofthearrangement.Pedro Itturaldes Suite Hellenique arranged by Lindemann

providedanotherdiversionthroughsomeextensivechoreogra-phyand foot stomping, aswell as some impassioned impro-visatory-styleplayingwithGreekrhythmicostinatiset inthepiano.BixBeiderbeckesIn the Dark,originallyforpianoandtranscribedbyLindemann,followed.Thisservedasabeautifulballadtoshowcasebothmusiciansexpressiveness.HickmanandLindemannhavesharedafriendshipspanning

a fewdecades aftermeeting at theBanffCentremany yearsago. Hearing and seeing both on the same program at thisyearsconferencedemonstratedthestarkcontrastforprovidingan entertaining trumpet recital: artistically motivated versusover-the-topandcomicallydriven.

Perspectives on the Industry of Trumpet Performance (MR)The Industry Panel was a roundtable discussion featuring

eightprominentfemaletrumpeters,withKellyParkesservingas moderator. Members of the panel wereMaryThornton,NadjeNoordhuis,AshleyHall,CherylHollinger,LeanneSul-livan,KathrynJamesAducci,JuliePayne,andJudithSaxton.Therstquestionposedtothegroupwashowtheybalanced

performing with practicing and teaching. Saxton remarkedthatthetwowereintertwined,explainingthatsheisnotthebest teacher I canbe if I amnotperforming. Ihave toper-form.Paynesaidthatshedoesnottakeextendedtimeawayfromthetrumpet.ThisledSullivanandAducciintoadiscus-sion about their preparation on the Baroque and moderntrumpets.BothagreedthatperformingontheBaroquetrum-petgreatlybenetstheirmodernplaying,buthadcontrastingviews on including theBaroque trumpet into thewarm-up.SullivanusesherVaroquetrumpet,whileAduccialwayswarmsuponhermodernB-attrumpet.The dialogue turned to freelance work. Noordhuis spoke

about the importance of networking, explaining that a vastmajority ofher friends aremusicians; We all just give eachothergigs.Thorntonsadvicewassayyestoeverythingand

The Australian Army Band-Sydney performs with the US Army Ceremonial Band Trumpets


beprepared for anything.Hall encouragedpreparation andwisdomwhenacceptinggigs.Shestressedthatyoumustsoundgood at all times. Sexton echoed this sentiment and added,Showupontime,bringapencil,andbefriendlyandaccessi-ble.The next question posedwas how tomarket oneself.The

overriding theme was that a quality recording should be amusiciansbestcallingcard.Hall,Aducci,Noordhuis,Thorn-ton, and Sullivan each encouraged recording projects, andndingagoodrecordingspaceandengineerswhenproducingyourownrecording.Hollingerdispensedusefuladvice;inher20-plus-yearcareerasafull-timeprofessionalorchestralplayer,shehaswitnessedatrendinthatperformersneedtobecomemoreversatileincommercialstylesandimprovisation.Eachmemberofthepaneldiscussedtheirmusicalinuences

androlemodels.ThemosttouchingmomentcamewhenHallspokeofhowherparentsplayedkeyrolesinintroducinghertomusic. She joked about always getting emotional, callingher father humble and servant hearted. Sullivan recalled ahumorousstoryofhowshecriedwhengivenaviolinbyherCatholic schoolteacher,SisterAgnes,who in turngaveheracornet to calm her emotions. Payne advised that balancingchildrenwith playing is difcult, but not impossible.Oftensheattendsrehearsalinlowgearbecausesheistootiredtobenervous.Ayoungwomaninthecrowdaskedifanyoneofthemever

thoughtaboutquittingandnearlyeverywomanonstagenod-ded.Noordhuisstoppedplayingforsixyearsinherlateteens,butreturnedbecauseherlifewasabigcirclethatalwaysledmeback to the trumpet.Saxton added that if there is any-thingelsethatyoucanimaginedoing,doit.Intheendyouneedtodowhatmakesyouhappy!Itwaswonderfullyrefresh-ingtoheartheseexceptionalwomendiscussourcraft!

Gala Concert: Des Trompettes de Lyon (NY)Pierre Ballester, Andre Bonnici, Didier Chaffard, Ludovic

Roux,andJeanLucRichardareLes Trompettes de Lyon and,itsays here, not just your average brass group.They certainlydemonstratedthis,withabundantclarity,intheirFridaynightITG2010concertatSydneysCityRecitalHallAngelPlace.Introducing the group, ITG board member Stephen

ChenetteexplainedthattheshowwascalledSans tambour nitambour. Now, the French saying Sans tambour ni trompettemeans(as,undoubtedly,weallknow)literallywithoutdrumor trumpet andguratively without fussorperhapsmore

appropriatelywithoutfanfare.Steveleftusguessingexactlywhattheself-contradictorySans tambour ni tambourwithoutdrumordrumwouldmeanbutitseemssafetoassumethatits somewhere along the opposite lines and that we shouldexpectplenty offussandfanfareandindeedtrumpet,andthisiswhatwedulyreceivedinahigh-energyandmostentertain-ingprogram.Now,IdontwanttoturnthispieceintotheITGequivalent

of aWikipedia article called LongList ofAmusingThingsSeeninSydneyonaFridayNightand,withmyapologiesforonceagaindeliveringoneoftheworstwritersclichs,youreal-ly did, I promise, have to be there. So instead of trying toexplainitlinebylineletmegiveyouafewhintsandimpres-sions.Firstly,thisshowisvery wellorganized,writtenandcho-reographed.ItsLes Trompettes secondcollaborationwithactor,comedianandwriterFranoisRollinanditmaywellbethattheirnaturalabilityandhisstageskillsareprettymuchawin-ningformula:thisisaverytight,veryclevershow.Oh,andthestagelightingistrulyexcellenttoo,workinginwiththeactionsowellthatyoudontactuallyseeitthatmuchwhichisthepointreally!Theshowopensfromadeadblackoutintoarhythmsetup

onbass trumpetwhichdevelops,as the lightscomeup, intosomesortof ratherpurposefulmarch,becomingacoupleofothertunesasitcontinues.TheTrompettes moveinexquisite-lyprecisemovements,sometimesmarching(intinysteps),andonceortwice,totheaudiencesobviousdelight,liningupandleaningoutlikemusichallartistesbeforetwirlingthetrumpetsoutoveroneanothersheadswithapparentdangerbutactual-lynaryading.Later,thingsgetmoredramaticasoneofthecastloseshisself-controlduringanimpassionedspeechandiscarriedoffbytheothers,stillloudlyprotesting.Fading up from another dark stage a brilliant, magical

momentisrevealed.Atrstyoucantquiteunderstandwhatyoureseeingasfootlightsilluminatearowofcardboardfaceslowontheoor,rightdownstage,nearesttheaudience.IttakesamomenttogetitbutLes Trompettes de Lyon arelyingdownontheirbacks,headsdownstageandfeetupstage,playingtheirtrumpetsdirectlyuptowardstheceiling.Eachtrumpethasanattachmentlikeaverytallbucketmuteindeed,thatisper-haps exactly what it isand each of these has a face on it,looking (mostly) out at the audience.Thats itsimple butbrilliant.Theensembleplays(ratherwell,asithappens)someniceBach and the faces interactwhile themusic goes onsometimesleaningintowardsoneanothertoconverse,some-

LR: Mary Thornton, Nadje Noordhuis, Ashley Hall, Cheryl Hollinger,Leanne Sullivan, Kathryn James Aducci, Julie Payne, and Judith Saxton


timesmoving in unison, sometimes seemingperhaps a littledisapprovingor isolated.Oneactuallymanages to turnrightroundthrough360,notreallyaneasymovementfortheplay-er.Andallthetimethefacesshadowsloomupthebackwallofthestage,metrestall.Sosimple,suchabitofmusic-theatri-calgenius.Icouldcontinue,butprobablyshouldnt,notleastbecause

you need to see this show. Oh, go on then, just a couple

morehowaboutajukebox,fedcoinsbyawillingaudiencemember?Shepaysanditplays;shestopsanditdoes.Itsuffersfrompowercuts,theneedlejumping(notetoyoungpeople:lookitup)andastrangetendencytoresettoMichaelJackson.OrhowaboutaSpottheDeliberateMistakeversionofAlbi-nonis Adagio with remarkably easy-to-spot Beatles interjec-tions every fewmomentsand some ashing lights, just incaseyouhadntquitegotit?Orapersonalfavoriteofmine,thishowaboutaBolero playedbyasmartly-hattedensembleseatedonofcefurniture,thebasstrumpetrotatingcomfort-ably, swivel-chaired, in themiddle of the group? And thatsonlyahandfuloutofperhapstwentytightly-integrated,zippylittlesketch-ideas,eachoneexecutedwithafantasticstyleandprecision.IshouldstopbutIcantquite:towardstheendoftheshow,

aftersomanyothergoodthings,aposseofhorses(andazebra,please dont ask why) gallops on to appropriately Westernmusicandthreatensthegallerywithsix-shooterswhichsome-howbecometrumpetmutesandsoitgoeson.Ifyouwerentthere you also missed some excellent audience-participationmooingandneighingandletsfaceit,theresnotmanytrum-petconcertscanmakethatclaim.Withahugevarietyofstyles,instruments, comedy, andmovementLes Trompettes de Lyongave us a wonderful evenings entertainment. If you get thechance,pleasesee this remarkablegroup: ifyouhavealreadyseen them, Im preaching to the converted because youwillalreadywanttoseethemagain.Marksoutof10?Onze!

Late Night Jazz with Nadje Noordhuis (BA)TheParagonHotelwasonceagainlledwiththeresound-

ingteetertatterofoveronehundredconferencedelegates.The

Les Trompettes de Lyon imitate a jukebox

Les Trompettes de Lyon as the cavalry!


atmospherewasperfectforNoordhuissperformancefeaturingonceagaintheSydneybasedrhythmsectionofAlisterSpence-piano,SteveArie-bass andFabianHevia-drums.Noordhuissversatilityasatrumpetperformershowedthroughhercompo-sitionsandstylethatreectedinuencesbysomeofthegreat-esttrumpetersofboththejazzandclassicalspheres.


Saturday, July 10

Orchestra Panel (MR)TheSaturdaymorningpaneldiscussion,OrchestralPlaying

for Dummies, featured prominent international orchestraltrumpetersGordonWebb,CherylHollinger,DanMendelow,andLaurenceGargan;JackLaumerservedasmoderator.Thegroupdiscussedtheirtraining,careerpaths,andviewsontop-icsliketrumpetrepertoire,collegiality,andlifeingeneral.Therecollections of their musical journeys served as marvelousexamplesofthevalueofhardworkanddiscipline.Theaudi-ence, consisting of mainly young people, asked thoughtfulquestionsthatproducedastuteanswersfromeachprofession-al.Webbprovidedseveralmemorablequotes;onebeingthatatrumpetermust be constantly improving and keeping theirnosecleanatalltimes.Mendelowadvisedstudentstoalwaysputthemusic,notego,rst.Thevastknowledgeandoverrid-ing respect displayed by each individual for the orchestralrepertoire was impressive and inspiring. The talk providedentertaininginsightintotheinternationalworldoforchestraltrumpeting!

Jules Levys 1877 78 Tour of Australia (LE)GeorgeForeman,anotedhistorianofbrassbandscurrently

researching the legendarycornetvirtuoso JulesLevy, led thisinformativeandentertaining session regardingLevysmemo-rabletourthatincludedconictswithmanagement,threatsofbodily injury, lawsuits, insolvency,achargeofmurder,andastealthy exit from New Zealand. Interspersed between achroniclingofLevystourandvisualaidssuchasLevysearliestknownphotograph(ca.1860),concertprograms,andreviewswere performances of themusic featured on his tour. First,Gabriel DiMartino beautifully rendered John HartmannsAlexisGrand Fantasia.FollowingsomeinsightonLevysearlystart as a cornetist that included practice only on a stolenmouthpieceforhisrstthreeyears,VinceDiMartinoprovid-ed a virtuoso rendition of one of Levys laudedWhirlwindPolka.A chronicling of Levys tours through America, England,

Russia, and eventuallyAustralia andNewZealand followed.Conference attendees from America were asked to comparetheir14-hourplaneighttothefour-weekvoyagebyseathatLevy endured.His 200-concert tour of Australia sometimesincluded audiences of more than 10,000. Levys programs

2 ITG Journal Special Supplement 2010 International Trumpet GuildL R: Laurence Gargan, Dan Mendelow, Cheryl Hollinger, Gordon Webb


oftenfollowedaformatthatpresentedtwovocalistsinoperat-icarias,famoussongs,andfolkmelodiesinadditiontoLevyscornetplaying.Inthislight,alikelyITG-rstincludedconfer-ence hostBrianEvans being featured as the vocalist onTheLast Rose of Summer.WhileLevyonlylistedthreecornetworksonhisprograms,hetypicallyperformedasmanyasninewithencores,suchasLevysversionofYankee Doodle performedbyVinceDiMartino.Interestingly,ForemannowpossessesLevyscornet,whichwaspurchasedonauctionafterapawnshopinLos Vegas misidentied the instrument. Having GabrielDiMartinoandYoramLevy,principaltrumpetoftheTasman-ianSymphonyOrchestra,performLevysCarnival Venice andLevyathan Polka, the latter on the virtuosos original cornet,

servedaspoignanttributesandawonderfulconclusiontothisremarkablesession.

Sydney Brass Quintet (BA)TheSydneyBrassQuintetperformedarecitalthatincluded

trumpetersPaulGoodchildandCraigRossonaprogramthatfeaturedmusicthatgavetheaudienceAnAustralianPerspec-tive. Repertoire included Fanfare for St. Andrew by RossEdwards,Concert Overture for Brass Quintet byBarryMcKim(McKimhadothercompositionspremieredduringtheconfer-ence),Canzona in Memory of Ligeti byAlanHolley,Brass One(world premiere) by Bruce Smeaton, Sea Call by AndrewSchultz,andFolksong Suite byDavidStanhope.Thisquintetplayswithgreatensemble,clarity,andstylisticawareness.Thiswasanexcellentperformance!

New Works for Trumpet #3 (KK)The third and nal installment of the NewWorks series

occurred on Saturday, July 10. This recital featured manyworldpremieresandexposedtheaudiencetonon-traditionaltrumpettechniquesandsounds.Attendingthisrecitalwasveryenlightening.Therstpieceontheprogramwasaworldpremieretitled

Ehwaz by Liza Lim, performed by trumpet playerTristramWilliamsandpercussionistPeterNeville.Thetitleofthispiece

comesfromVikingrunesandthepieceitselffocusesontrans-formationfromtheeverydaytothespiritual.Thistransforma-tion is achievedmusically through theuseof extended tech-niquessuchasdistortedtones,pitchbending,breaththrough

The Sydney Brass Quintet

Tristam Williams


the trumpet, and the employment of multiphonics. All oftheseelementscombinedtomakeEhwaz interestingtolistentoauniqueandmemorableexperience.Fandango byJamesHenryandSteveLeisring,performedby

theUniversity ofKansasTrumpetEnsemble,was secondontheprogram.ThispiecewaswritteninaSpanishstyleandutilizedugel-horns as well as trumpets. It fea-tured an exciting opening followedby a lament. As the tempo pickedbackup,anumberof soloistswereaccompanied by the rest of thetrumpet ensemble who provided arhythmic backdrop (clapping) intheformofostinato,Flamenco-likerepetitive patterns. This piece wasveryfunandexcitingandperformedextremelywellby theKUTrumpetEnsemble.James Coriglianos Sonata was

played next by Cathy Sheridan ontrumpetandJoAllanonpiano.Thiswork, a world premiere, featured the prominent use of theintervalsofthefourthandfth.Therstandthirdmovementswereupbeatforthemostpart,withsomereectivepassages.Thesecondmovementwasmorecalmandretrospective.

A change from the original program order, Kim Pensylswork,Yosemite,wasperformednextbyabrassquintetconsist-ingofAlanSiebert,CharlesPagnard,BourianBoubbov,Gre-goryvanderStuik,andEdDiefes.Theworkwaswritten in

three movements, each representing a location within theNational Park. These movements were different stylisticallybutcontainedmusicalelementsthatservedadmirablyasauni-fying thread. The performance of Yosemite was yet anotherworldpremiere.

FifthontheprogramwasthepremiereofapiececalledTheFinal Stroke of Nine byEricHonour,performedby trumpetplayerAlanWengerandpianistKathyFouse.Thepianointro-ductionwaswritten to soundapprehensive and the trumpetpart beganmuted, and pointing into the piano rather thantoward the audience.The overall effect was somewhat omi-nous.Thepieceworked throughvariations that increased inincreasingintensityuntilwindingbackdowntoamelodysim-ilartothebeginning,withoutthemute,butstillplayedintothepianotobringtheworktoacloseinasimilarfashionheardatthebeginning.

The University of Kansas Trumpet Ensemble

Cathy Sheridan

Alan Siebert & Charles Pagnard, trumpets

Alan Wenger


Ian Davidsons Eclogue: Phoresey featured Jack Laumer ontrumpetandIanDavidsononEnglishhorn.Davidsonmen-tionedthattheonlypiecethatcomestomindwhenonethinksof a duet between trumpet and English horn is CoplandsQuiet City.Davidsonwrotethispiece(anotherworldpremiereontherecital)usingpitchsetsandothertechniquesfoundinatonalmusic that gives us a completely different result thanthatachievedinQuiet City.

NextontheprogramwasaSonata byThomasZugger,per-formedby JamesStokes on trumpet and JoAllanonpiano.Only the thirdmovement,Allegro Vivace,was played at thisworld premier performance. The piece was very cheerfulsoundingandendedtriumphantly.

Sketches byDominicSewell,performedbyMichaelChappleontrumpetandJoAllanonpiano,wasalsocommissionedforandgivenitsworldpremiereatthisconference.Theideawasto depict comedy sketches from the BBC. As a result, thepiece,writtenforpiccolotrumpet,containedmanycomicele-mentsandwasveryfuntohear.

Thenalpieceonthisrecital (andthe lastofmanyworldpremieresthisafternoon)wasKings Canyon byStephenLias,performedbytheUniversityofNorthTexasAlumniTrumpetensemble. Depicting a national park located in the state ofTexas,thisworkcontainssoaringmelodiesandisscoredforB-at trumpet, piccolo trumpet, and ugelhorn. It ends withmanyourishes,makingitaveryeffectiveclosingpiece.

Jack Laumer and Ian Davidson

James Stokes

Michael Chapple

Leonard Candelaria


ThisthirdrecitaloftheNewMusicseriescontainedpiecesofmanydifferentstylesandintroducedeveryonewhoattend-ed to somethingnewandunexpected.Extended techniques,innovativerhythmicdevices,andawidevarietyofstylesandmoods were employed keeping the audiences full attentionthroughout this unique recital.There is no shortage of newmusic available to trumpet players as evidenced in all threenewmusicrecitalsattheconference!

Festival of Trumpets/Awards Presentation (GM/NY)TheFestival ofTrumpets andAwardPresentations for the

2010Conference tookplaceat2:00p.m.at theCityRecitalHall in theheartofdowntownSyd

Itg2010.ARTICLE

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