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2005 INTERNATIONAL TRUMPET GUILD® CONFERENCE
GRAND HOTEL BANGKOK, BANGKOK, THAILAND TUESDAY – FRIDAY, JUNE 21 – 24, 2005 |
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Wednesday, June 22 John Irish and Gary Mortenson, reporters Evocations by Richard Faith opened with a noble, flowing line setting the mood for this
2004 work. The composer’s inspiration was contained within his admiration for the beauty of the lyric sound of the trumpet. Portraying a series of moods, which Faith refers to as the seven humors: Somber, Mythic, Heroic, Nostalgic, Passionate, Frivolous, and Sentimental, the piece effectively led the listener through an engaging variety of moods. Grant Peters’ lovely sound and the sensitive accompaniment of Rebecca Wilt combined to wonderful effect. The full, rich sound of the trumpet in this performance truly fulfilled the composer’s original inspiration. Faith’s lyric traversal of the seven humors through the dignified sound of the trumpet will surely be heard often in years to come. (JI)
Douglas Hedwig’s Its Soul of Music Shed for solo valved-posthorn was written in 2005 and performed by the composer. He based the work on the Birch Reynardson poem, “The Old Mail Horn” (1875) in which a previous era’s anticipation of the mail coach and it’s signaling posthorn is recalled. Hedwig’s piece featured passages performed on the valved-posthorn, interspersed with recitations parts from the poem. The posthorn sections featured an opening passage of long flowing lines; a more energetic, angular passage followed by more fanfare-like passages. For the final posthorn statement, a typical passage on the open notes of the horn nostalgically recalled the signals heard from the instrument’s signaling past. In addition, from notes given from the stage, Hedwig recently added more poetry to his work, in this case, a short poem “A Brief Journey” by von Eichendorf. (JI) Statements, Commanding by Robert J. Bradshaw is a four-movement work whose inspiration comes each of the four American presidents that grace the side of Mount Rushmore.
The order of presentation progresses through Washington, Roosevelt, Lincoln, and Jefferson. Performed by the Orenunn Trio: Mark Boren-trumpet, Julianne Boren-cello, and Kate Kyungmi Lee-piano, the group displayed impeccable ensemble, excellent balance, and confidence in the many demands required of this contemporary work. The first movement (Washington) was an intervallic tour-de-force whose angular lines were handled with great accuracy by all four musicians. The second (Roosevelt) was more introspective (slow), completely changing the mood of the work. Julianne Boren’s lyrical lines were rich and flowing…this is an effective chamber combination that more composers should explore in the future. Bradshaw’s use of mutes in the trumpet line was effective in bringing more color and balance to the work. The Lincoln-inspired movement returned to a more disjunct, angular approach. Boren’s accuracy and Lee’s virtuosity throughout the work were especially evident in this movement. Mark Boren is an exceptionally accurate player, and he centers his sound beautifully even when required to move all over the range of the instrument (C trumpet). The concluding movement (Jefferson) makes use of suspended cymbal during the beautifully played phrases of the opening cello solo. The slow opening quickly gives way to a faster tempo and a return to complex lines that require attention to detail and focus from all three musicians. Robert Bradshaw’s Statements, Commanding is a contemporary work that is accessible to a variety of audiences. I hope that this work gets many more hearings as a staple in Orenunn’s repertoire! (GM)
Rex Richardson performed an unaccompanied piece, a departure from the printed program. Improvising in a free form was the modus operandi for this performance. Working in the Phrygian mode (in this case, G Phrygian mode) was today’s subject; Phrygian Fantasy was the impromptu title. Richardson employed a multitude of techniques including pedal tones, bends, extended jazz licks, cascades of arpeggios, and explorations of the entire extended range—of the piccolo trumpet! The audience enjoyed an impressive performance full of inventive bravura from the solo performer. The subject for Robert Bradshaw’s Right Then, Same Time Tomorrow? is how the meaning of words, which frequently have several connotations, may change over time. Performed by the Bala Brass Quintet, this six-movement work covered a very diverse range of moods, instrumental colors, mute combinations, and brass techniques. “Fat Tire” was a mocking flippant rant; “Black Tusk,” a sinuous, serpentine wave-form; “Mad Badger,” an energetic, persistent, even egotistic romp; “Flying Dog,” weaved an agitated dance-like tale, yet was full of romantic passion and intrigue; “U.F.O.” was subtitled Jarringly: having a disconcerting effect, and came off ullen and withdrawn but with grand statements; “Mulberry Tree” corrects all of the previous five, “taking great care to show how everyone else’s accounts were flawed. Of course, he is completely incorrect and will, by his own choosing, remain alone with his own superiority.” All members of the Bala Brass were in top form in this difficult piece. The excellent performance of this ensemble was stellar—adjectives offered in their most honest, sincere meaning. (JI)
Smoke, Fog, Mirrors for solo trumpet, brass choir, and vibraphone by Kari Juusela was the co-winner of the 2005 ITG Composition Contest, and featured Edward Reid on solo trumpet, and the University of Arizona Brass Ensemble (3 trumpets, 2 horns, trombone, tuba, and vibraphone). The work opens in an ethereal, conjunct manner with the solo coming in after a short introduction featuring muted brass. A short time later, the tempo increases as the lines become more disjunct. This work is reminiscent of Einojuhani Rautavaara’s Requiem for the End of Time in its harmonic and rhythmic treatments. Juusela’s effective use of tone clusters, bell-tone entrances that build in the various registers throughout the ensemble, intricate musical dialogue (especially between the solo trumpet and low brass), and dynamic extremes, was all well executed. Eward Reid is to be commended, not only for chairing the 2005 ITG Composition Contest, but also for doing an exceptional job on the solo part to Juusela’s co-winning entry. (GM)
The final work on this year’s New Works for Trumpet program, Rhapsody for trumpet and brass ensemble by Jamie Keesecker (also a horn player in the ensemble), a co-winner of the 2005 ITG Composition Contest, featured Jonathan Clarke as soloist. Accompanied by the University of Arizona Brass Ensemble, Clarke, Principal Trumpet of the Hong King Philharmonic Orchestra, was heard to brilliant effect with the modern harmonies, lush and energetic styles of the full complement of brass. His exciting playing masterfully covered the full range of the trumpet with beautifully reflective lines and then engaging, technical passages. The work, a basic three-part form, held one’s attention with the colorful sonorities and interesting writing. Kudos to Clarke for a stunning performance. (JI)
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Program “Its Soul of Music Shed,” for solo valved-posthorn (2005) - - Douglas Hedwig Concerto for Jazz Trumpet and Orchestra - Rex Richardson Rex Richardson, trumpet, Alex Shuhan, piano, Charles Villarrubia, bass, David Gluck, drums Right Then. Same Time Tomorrow? - Robert Bradshaw |
