Tom Erdmann, Reporter

Nothing more clearly exhibits why the annual ITG Convention is a “not-to-be-missed” event than the recital Allen Vizzutti performed on Thursday afternoon. Vizzutti, certainly no stranger to the world of professional trumpeters, nor, for that matter, is he a stranger to attendees of the annual convention, performed, as a recitalist in the trumpet/piano duo configuration at the conference, with pianist/wife Laura. To say he absolutely blew the walls down receiving multiple standing ovations in front of a packed audience in the large Gates Concert Hall would be an understatement of the highest caliber. Along with Laura, an extremely accomplished pianist in her own right, the collaborating duo set the crowd into repeated and multiple fits of enthusiastic delirium with musicality and technical prowess of a singular talent.

After Frank Campos’ extremely apropos introduction of Vizzutti as “this generation’s Herbert L. Clarke,” Vizzutti showed why he is worthy of that and greater accolades on Hertel’s extremely difficult Concert in E-flat. Vizzutti’s control, purity of line, extremely well intentioned phrase dexterity, impeccable intonation, and brilliant but musical tone throughout all registers was the epitome of what singing through the trumpet is all about. There’s a reason this piece is so rarely performed live, and the duo’s radiant performance left an aural image in the minds of the listeners never to be forgotten.

The remainder of the program featured compositions by the trumpeter himself, which were not devoid of all manner of imaginable high-jinks. On the five-movement Toy Box, for example, internally driven flying plastic birds, spinning tops, juggling and bouncing rubber balls and slinkies which dangled from mutes all added to and enlivened the merriment of Vizzutti’s artful composition. The effect of the children’s toys complimented and augmented the emotionally charged lines set up by the recitalists. It’s easy to overlook Vizzutti’s numerous gifts as a composer because of the total command he has of his instrument, but this piece, and the following newly composed Sonata #3, make the strongest case possible that long after we’re gone generations of future trumpeters will still be playing his music.

And funny! Throughout the entire program Vizzutti talked with, joked with, made funny asides with, and totally captivated an adoring throng. As one example, he opened his set of impossibly difficult variations on the many variations already published on The Carnival of Venice, here entitled The Carnival of Venus, by saying, “I can’t play this next piece.” He then proceeded to pass out copies of the solo part so audience members could, “keep score,” a true double entendre.

No amount of words can reflect the incredible exhibition of true brass dominance on display for the 65 minutes Vizzutti held the stage, but we were forewarned. Campos opened the program by saying that when Vizzutti burst on the scene “twenty years ago our notions of what was not impossible on the trumpet were changed.” Campos was not kidding. This recital reaffirmed for the entire world the place Vizzutti holds at the top of the “trumpeters to whom nothing is impossible” list. Pure tone, well-defined intonation, boundless technique and the charm of the complete entertainer, all this and more were gifts he shared with all those lucky enough to be in attendance.