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Thursday 4th July - 16.00
Brown Shipley Concert Hall
David Guerrier – trumpet
John Wilson - piano

Christopher Moore, Reporter
After hearing comments from the last few years and personally hearing the 2nd Concerto by Jolivet on the Tuesday evening program, I knew that the ITG audience would once again be in for a treat at David Guerrier's solo recital. Although many already know of this young artist's resume, it is worth mentioning some accomplishments again. Presently, at the age of seventeen, Guerrier has won numerous international solo competitions, including the ITG Mock Orchestral Audition and Porcia International Solo Competition in 1999, and the ITG Solo Competition and the International Maurice Andre Competition in 2000. This already "highly decorated" trumpeter is continuing to win competitions and to play in highly regarded ensembles throughout Europe.

David Guerrier opened the recital with Sonate by Paul Hindemith. What is most striking at the outset, is Guerrier's presence on stage. He appears relaxed, yet serious, prepared for the task at hand. His sound from the start is free flowing and full of "core" - most noticeable throughout the work was Guerrier's use of little or no vibrato. This characteristic begins to grow on the listener though, and it allows for the true characteristic warmth of Gurrier's tone to permeate the hall. Most noticeable in the first movement was a fullness of sound in all registers and his articulation was immaculate. In the second movement, the phrasing was remarkable - once again, the clarity of articulation was brilliant and the ending that troubles so many of us was flawless and delicately "tossed off." In the final movement, what came to the fore was Guerrier's impeccable intonation, particularly when meeting the pianist, John Wilson, on unisons. The phrasing throughout the movement was exceptional. Guerrier negotiated the final chorale quite tastefully, never seeming to tire at the end.

The next three works on the program were unfamiliar to this reporter, but after hearing them performed so artistically this afternoon, they are definitely worthy of investigation. The second work on the program was entitled Tanz Fantasie by Escaich. The work opened mysteriously, with Guerrier playing with a cotton lined cup mute. The introduction builds into sweeping lines (unmuted now) leading to an allegro section containing great energy. This section combines flutter tongued material with great leaps and double tongue articulations and leads to a finale that ends with a flourish. Guerrier played with great energy, shifting easily from the powerfully dark style of the Hindemith to the lighter, more technical style of the Escaich. His ability to shift from one register to another was fantastic and his articulation once again was remarkable.

The third work on the program was Gavotte de concert by Sutermeister. As can be imagined from the title, the style is dance-like with arching, intervalic leaps followed by long flowing descending lines. The wide range of dynamics in this work were quite effective. The Gavotte ended humorously with a whimsical statement in the piano.

The fourth work, Rhapsodie by Sancan, opened very softly. As the introduction progressed, Guerrier alternated between the sounds of cup mute, straight mute and open trumpet. The allegro which followed contained wide leaps, double tonguing, and ended emphatically on a high C. Once again, Guerrier impressively "tossed" both works off. His soft mute playing was incredibly effective and his flexibility and tonguing were astonishing.

The final work on the program was the well-known Quartre variations sur un theme de Domenico Scarlatti by Marcel Bitsch. It was a treat to hear Guerrier perform the work on cornet for it only increased the lushness of his already warm flowing sound. Guerrier filled the hall with beautiful flowing lines, a delicate sense of clarity, and speed in articulation that is rarely heard. Most memorable were the smoothness of the lines in the cantabile variation and the incredible speed in which he performed the final variation. The most difficult lines were performed with ease, incorporating excellent technique with exemplary phrasing.

The ending of the Bitsch brought the appreciative audience to their feet. Guerrier returned to the stage for a much deserved encore, Goedicke's Concert Etude. The Etude has rarely been heard as fast, but Guerrier navigated with ease, demonstrating excellent light tonguing and proving once again why he is one of the finest young trumpeters in the world. Many deserved compliments go to pianist John Wilson who performed

wonderfully throughout the entire recital.

For many, this recital will remain as a highlight of the 2002 ITG Conference. As we watch the career of David Guerrier, we can only imagine what the future holds for this astonishing young trumpet virtuoso.

Trumpet Prelude
The Royal Scottish Academy of Music and Drama Natural Trumpet Ensemble
director : Iain Muirhead
Programme : t.b.c.

Hindemith - Sonate
Escaich, Thierry - Tanz Fantasie
Sutermeister, Heinrich - Gavotte de concert
Sancan, Pierre - Rhapsodie
Bitsch, Marcel - Quatre variations sur un thème de Domenico Scarlatti