Elisa Koehler, reporter

Baroque trumpet artist Barry Bauguess began his recital in bold style by taking the stage, regarding the audience, and launching directly into an unaccompanied performance of Fantini's Sonata di Risposte detta la Salvati. Playing an Egger long model trumpet at Baroque pitch (A=415), his ringing tone and elegant phrasing were most impressive. Organist John O'Brien followed with a solo rendition of the Sonata d'Intravolatura by Domenico Zipoli on a Klop portable chamber organ. Indeed, alternating organ solos with trumpet works proved to be an effective and enjoyable structure for the program.

Trumpet and organ joined forces next for Viviani's Sonata Prima. Before the performance, Bauguess told the audience that the program was designed to provide a chronological survey of natural trumpet music from different eras and nationalities as well as “something I can play at 9:30 in the morning.” Throughout the Viviani Bauguess's effortless trills and debonair ornamentation displayed the unique characteristics of the instrument and its repertoire. Before performing Pachelbel's Choral mit 4 Variationen “Werde munter, mein Gemute” for solo organ, O'Brien provided a brief clinic on organ construction and the different sound combinations used in the recital. Bauguess performed two more Fantini works, Sonata detta del Niccolini and Sonata detta del Nero with a meditative organ solo, Froeberger's Toccata XI in E minor, between. Bauguess's confident control and secure intonation were notable highlights. Fantini's works were some of the first for trumpet and organ (1638) and Bauguess performed them on a trumpet pitched in C.

Switching to the key of D, the duo performed music from 17th-century Spain, the Canciónes de Clarines. Moving to England, O'Brien played a Voluntary by John Travers and then Bauguess returned for the Suite from “The Judgment of Paris” by John Weldon. Following an enlightening performance of Bach's Jesu, Joy of Man's Desiring on a slide trumpet, the recital ended with John Stanley's familiar Voluntary in D.

Throughout the recital, Bauguess fielded occasional questions and impressed the audience with his historical knowledge and disarming wit. When addressing topics regarding authenticity, he said, “there is no historical use of vent holes,” and “the spit valve is actually a really good invention.” He was quick to point out that playing without holes (on genuine “natural” trumpets) was becoming more common, especially in France, and added that the problem of playing without holes was “getting fired” because modern conductors expected to hear modern equal temperament (Valotti temperament was used for this performance). After the fine recital, several audience members took advantage of Bauguess's generous offer to answer additional questions.