Tom Erdmann, reporter

Aaron Smith's eclectic program of classical and avant-garde works showed him to be a performer with an open mind and, more importantly, an open ear. Throughout the recital Smith's accompanist, Rebecca Wilt, did an outstanding job in every respect. The first piece was the technically demanding Piece en Forme de Habañera by Maurice Ravel. Smith's clear tone and expertly articulated fast runs set the tone for the early evening program - don't expect the expected. A piece demanding the control and light touch such as this is rarely, if ever, used as an opener, but in Smith's hands it worked.

Pilss' well known but rarely played Sonata continued the program. Smith's slightly breathy tone, especially in the upper register, fit the dark tonal soundscapes. The ending of the first movement was brilliant in its fire and its stylistic contrast to what had preceded it. The second movement's clear-toned figures were cleanly rendered before a return to the breathy style employed earlier. The beautiful air control on the muted ending was especially satisfying. Smith is to be commended for not allowing the dimming of stage lights to affect or interrupt his performance.

The meat of the program was the final avant-garde-ish works. It was in these pieces that Smith's uniqueness truly emerged. The extremely difficult Sonatina by Hans Werner Henze included great moments of expression, both melodically and dynamically. His exceptional control and mastery of his instrument was on display right from the first note. It is obvious that Smith has a real feel and affinity for music of this complexity. The shouts of adulation from the audience, following this piece, only reaffirmed what this reviewer heard.

The Maresz Metallics, which usually employs live computer manipulation of the live trumpeter's sound, was performed in a version with tape (CD) that did not, however, diminish the performance. It was especially pleasing to hear a work of this type performed at the conference. It seems the only people to bring live electronic manipulation of acoustic sounds into the music world anymore are jazzers like Dave Douglas and Evan Parker, and this is just sad considering it was the classical world that first introduced electronics into music. It would have been more satisfying, to this reviewer's ear, if the work had been performed as intended.

The concert ended with the tantric Tongnyi Tayang by Bede Williams. This piece featured Smith improvising over a pre-recorded bed of Tibetan Monk chants with electronically produced accompaniment. On top of this Smith, sometimes using live reverb, added a meditative improvisation that complemented the previous four works. It will be interesting to watch Smith develop over the coming years.