ITG 2004

Feierlicher Einzug by Richard Strauss provided an appropriate fanfare-style opener to the festival program. Conducted by ITG President Stephen Chenette, this work drawn from the large brass ensemble tradition was performed with great sensitivity, balance, and resonance. Thanks to the DU musicians for helping to fill out the ensemble. (GM)

Toccata by James Barnes featured an interesting use of technique and varied sonorities in the trumpet ensemble setting. In the absence of James Olcott, Arthur Vanderhoeft conducted this work set in three choirs featuring a varied use of the dark flugelhorn timbre mixed with the rich trumpet sound. Their performance was filled with energy and excitement propelling the program moving forward. (DM)

Hymn to Gil (In Memory of Gilbert Johnson) by Bert Truax provided a change of mood to the program. The Hymn presented beautiful flowing lines in an understated fashion and was performed with sensitivity. The work was highlighted by some fine piccolo playing. (GM)

Sonata for 9 Trumpets by Alexander Rapoport was the next selection on the program. One of the highlights of the concert, the work featured moments of lyricism and rhythmic aggression. All of this was done with excellent control and confidence in extremes of dynamics. Varying styles included references ranging from Baroque to modern 21st century sounds including interesting tone clusters and instrumental effects. All of this was done with precision and conviction. (DM)

The Trumpet Players International Network Trumpet Ensemble performed Three Impressions for Trumpet Choir by Steve Wright. Conducted by TPIN Founder and Administrator Michael Anderson, TPIN has performed at four previous Festival of Trumpets programs. This work featured brilliant driving rhythms, high energy, great lead playing, and some fine jazz solo work. Another hallmark of this excellent work was the variety of moods presented within its three movements. I’m sure the three jazz greats this work is dedicated to (Oliver Nelson, Gil Evans, Thad Jones) would have been pleased with the composition and the performance. Bravo! (GM)

Robert Bradshaw’s Carillon, as the title would suggest, provided bell-like sounds to lend further variety to the program. Far from being a slow, melodic carillon, this composition featured highly rhythmic and energetic playing including rapid sixteenth note figures that were performed with excellent precision. An exciting conclusion, the work ended with a brilliant fanfare section. (DM)

Fanfare by Carolyn Johns provided the energy to keep the program moving forward. Scored for 10-piece brass ensemble, this work was written in a heroic style and received an energetic performance that was rhythmically secure and well balanced. (GM)

Robert Brownlow’s Fantasia and Toccata provided an interesting contemporary adaptation of this traditional form to the afternoon program. From the sonorous introductory fantasia, the piece was done with purity and control of sound. By contrast, the toccata featured impressive passages of rapid tonguing combined with energetic phrases all done with attention to balance and precision. (DM

In a tribute to William Adam, David Roth’s Fired Up! was originally written for Bill Adam’s 80th birthday celebration (a surprise party) held in Bloomington, Indiana in 1997. Roth wrote this work in a swing style, however there is no “lead” part as this part is shared among the section of five in a spirit of equality. This reading featured a great rhythmic sense from the members and some fine lead playing and section playing in the appropriate style. (GM)

The program continued with Eidolons by Norman Lockwood. This piece began a welcomed slowing of pace to the program. A more somber and melodic work, it was performed with excellent sensitivity and musicality. This colorful work displayed the darkness of the flugelhorn to the brightness of the piccolo and proved to be highly effective. (DM)

The classic traditional ballad Sometimes I Feel Like a Motherless Child arranged by David Marlatt provided a complete change in mood and emotion. This tender ballad arrangement opened with harmon muted trumpets and alternated the melody between flugel horn and B-flat trumpet sonorities. The work was performed musically, sensitively, and employed the effective use of dynamics. (GM)

The sounds of Brazil permeated Gates Concert Hall in the next selection, Fantasia Braileira by Jose Ursiscino de Silva “Duda” as arranged by Luis Engelke. The composition, excellently performed, displayed moments of flair and power in combination with sections that were more playful in character. In addition, there were fulfilling moments of lyricism. (DM)

The Storms Path was a work in two parts written by Brian Balmages. The first section featured fine control, blend, and balance. Static rhythms and Klangfarben melodie effects led to building effects that led to the second section that was fast and intense. This rhythmically vibrant featured excellent double tonguing and fine “lead” playing by Robert Murray. (GM)

Eric Ewazen has written numerous works for brass sonorities over recent years. This conference has featured a number of his works. Concert Fanfare provided yet another shining example of Ewazen’s mastery of brass writing. Characteristic of Ewazen’s writing, the work featured passages that were highly rhythmic contrasted with soaring melodies. Their performance was done with artistry and conviction. (DM)

The program continued with another adaptation of a traditional melody with Gregory Pascuzzi’s Meditation on a Scottish Hymn Tune (Amazing Grace). This work was dedicated to the memory of Marcia Olcott who passed away during the conference. After an extended introduction by Rebecca Wilt on piano, Daniel Kuehn entered with the melody. Kuehn’s playing was excellent throughout on both B-flat and piccolo trumpet. Pascuzzi made use of the traditional melody in canonic variations, offstage playing, and effectively used bagpipes to convey the appropriate mood of the piece. Over the course of many years this author has not heard a more eloquent or musical selection in this program setting. I truly wish that James Olcott had been able to be among his friends during the playing of this traditional melody. Our hearts go out to the Olcott family. (GM)

As the program entered the home stretch all the stops were pulled-out in the presentation of the Allegro Vivace section of Rossini’s William Tell Overture arranged by conductor Thomas Wilson. This familiar piece was performed with the character and energy associated with its popularity. A particular highlight was the fluidity and ease of the trumpet solo performing the middle violin passage. In addition, the brilliant piccolo playing at the end brought the work to a thrilling conclusion. (DM)

The American military establishment was well represented in the stirring Trumpets of Freedom by SMSgt. Ken Miller as adapted for this setting by TSgt. A. Kale Rodabough. WOW is about all that comes to mind to describe the playing on this piece. The eight trumpets of the Air Force Academy Band screamed, soared, and flew us through the various moods of this piece. The lead playing shared among these musicians was nothing short of amazing. Everyone that hung on to experience this group was treated to an outstanding display of raw energy. These guys are the F-16 supersonic jets of the trumpet world! (GM)

In a massive display of sheer energy the combined Festival of Trumpets participants came to the stage to perform Schlup’s arrangement of Turandot by Giacomo Puccini. An amazing conclusion to an incredible concert, this stirring arrangement and powerful performance brought the concert to a fitting conclusion and yet another outstanding Festival of Trumpets. (DM)

Again, special thanks go out to the amazing organizational skills of William Pfund this year’s coordinator for the Festival of Trumpets program.