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Wednesday, May 21 – 1:30pm Phil Snedecor, author of Lyrical Etudes for Trumpet and Low Etudes for Trumpet presents a performance/demonstration of music from his new Summit CD The Lyrical Trumpet including music of Mozart, Bernstein, Mahler and his own compositions for Trumpet and Organ. Joining him will be internationally acclaimed organist William Neil, organist for the National Symphony Orchestra and former organist for the New York Trumpet Ensemble. Phil Snedecor: The Lyrical Trumpet Opening with Toccata, an impressively flashy piccolo trumpet and organ composition, Phil S Phil Snedecor was a colleague of mine when we both freelanced in Chicago years ago, and it was wonderful to see and hear him espouse Arnold Jacob’s philosophy of “Wind and Song” in this recital The Lyrical Trumpet – also the title of Phil’s new CD. His focus on the vocal qualities of trumpet playing is a direct outgrowth of his study with the Jacobs. His two previous lyrical etude books, familiar to many, highlight the lyrical aspects of playing. After hearing the recital today and Phil’s quick-witted and knowledgeable commentary regarding the significance of a vocal musical approach, I look forward to his third book Etudes in the Operatic Style.
It makes for a well-rounded conference when there is a recital featuring the ever-popular pairing of trumpet and organ. With William Neil’s expert collaboration, a rebuilt organ designed by a Fort Worth local allowing any combination of sounds imaginable, and Snedecor’s choices ranging from flugelhorn to piccolo trumpet, we were treated to a whole rainbow of color! One especially flowing melody composed for Phil’s then newborn daughter, Air for Erin, was a fine model of his vocal approach to composition and playing. The audience, attentive throughout, was warmly appreciative of this heartfelt song. Another favorite was inspired by the events of 9/11 entitled Tribute. Phil mentioned that all his compositions are influenced by what he hears, and that the pieces often begin by sounding like other familiar tunes – he then takes the time to write all those familiar-sounding ideas down, and then goes in his own direction – creating his own composition in the process! Tribute is no exception, owing its genesis to Copland’s Fanfare for the Common Man. A highly effective composition utilizing the “trompette en chamade” – the horizontal trumpets emanating from the organ – it sounded like the Washington Symphonic Brass joined him in an early preview of the evening’s concert. With its broad sweeping heroic themes, it was a fitting end to a recital full of liquid attacks, informed phrasing, and much “vocal wisdom” – all serving the supple stylings of a lyrical trumpeter. We all eagerly await the publication of these lyrical compositions. |
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nedecor was quick to reassure the audience that they were, indeed, attending the Lyrical Trumpet recital and that the remainder of the hour would not continue in the “higher, faster, louder” vein. The recital was an oasis of velvety textures on the trumpet, and masterful designs on the organ by the Washington D.C. organist William Neil. Having worked with Don Smithers, Dave Bilger, and David Hickman, Neil was a sound choice for this sonic event. Phil presented a varied program featuring his own arrangements of Mozart and Mahler songs, and an intriguing, little-known composition by Bernstein – Olympic Hymn. In fact, every piece but one featured Snedecor’s own arrangements or compositions including some selections from Festive Processionals and Recessionals.
