ITG 2004

Lisa Blackmore, Reporter

Jens Lindemann opened his recital/lecture with Fats Waller’s A Handful of Keys on piccolo trumpet. The audience immediately knew they were in for a treat, both musically and with his sense of humor. Lindemann threw balls into the audience; a reference to yesterday’s incredible recital by Allen Vizzutti. As he adjusted the microphone he said, “I just want to be like Allen Vizzutti.” Someone in the audience replied, “We all do!”

Lindemann picked up his C trumpet and performed the second movement, “Recuerdos” (Memories) of a new Concerto for Trumpet by Eric Ewazen. He explained that this work was just premiered by James Thompson and that he (Lindemann) had received the music two days ago. The main theme was a lyrical haunting tune, dramatic and poignant.

The title of his presentation was “Escaping Trumpet Purgatory…How to Get Back to Simplicity.” His approach to playing the trumpet is a simple one emphasizing efficiency. The best players are relaxed when they perform. Relax the body and move the air. The trumpet is actually easy to play; we present the difficulties! If we approach the trumpet as a friend and have a child-like curiosity towards it (like Doc Severinsen) we will be successful. The way we inhale is crucial. Open the mouth in an oval shape and don’t produce a “hissing” sound. Tension is our enemy. Think of a “radio voice” and you will have the resonance you need.

Lindemann spoke about mouthpieces indicating that there is no “perfect” mouthpiece and generally trumpeters play on mouthpieces that are too large. He plays on a custom Yamaha mouthpiece roughly equivalent to a Bach 5C or 7C. The mouthpiece should match the type of playing we do. “Mouthpiece-itis” or constantly looking for the perfect mouthpiece is a dangerous thing, but during the aging process we change physically and need to sometimes make mouthpiece adjustments.

Lindemann challenged the audience to approach the trumpet a little differently. He has coined the term, “Golden Sixth” for his embouchure set. This refers to the interval from second line G (g') up to top space E (e''). He keeps the same set on g' for notes below this pitch rather than letting the embouchure sag. The idea is to move air “horizontally.” This allows for greater freedom and fewer minor embouchure adjustments. His setting on e'' is used for the high range. Stay on e'' (the top of the treble clef) physically as you go higher, and think forward motion rather than upward. He demonstrated this by playing an “E” an octave higher (over high C) softly with a breath attack while lying on the floor. He again stressed the importance of being relaxed. If it hurts to play, you are doing something wrong!

The next work he performed was the Enescu Legend on C trumpet from memory. His incredible musicianship and vibrancy of tone, even at soft volumes in the low register, was memorable. He began and ended facing the piano, the sound of the trumpet emerging slowly from that of the piano. He mentioned that this is one of the greatest works for trumpet and piano as far as color possibilities. The pianist is a collaborator, not merely an accompanist. The pianist is essential to what we do, and we need to be open-minded to their suggestions. He credited Rebecca Wilt for a wonderful collaboration on the piano.

Jens Lindemann is a delightful entertainer and obviously has great fun performing. He absolutely loves sharing music and talking about the trumpet. In his words, he is the ultimate “trumpet head” or “trumpet geek.” It is fair to say that the “trumpet geeks” in the audience appreciated his talents and candor. Lindemann closed with Clyde McCoy’s Sugar Blues and Gershwin’s Someone to Watch Over Me.