Elisa Koehler, reporter

Brace yourself. Are you sitting down? Well, the audience sure wasn't! This was a concert to remember. This was why people come to ITG conferences. Imagine three of the world's great trumpet virtuosi performing beloved concerti with a fine orchestra for a packed house of wildly appreciative trumpeters, and take it up a notch. That begins to describe it.

The concert began with Hamilton Harty's romanticized transcription of the Overture to the Royal Fireworks Music by G. F. Handel. The azure loveliness of the lush strings infused the introduction with majestic warmth while the sprightly allegro danced with glee. The Chamber Orchestra of Philadelphia, under the direction of Salvatore Scarpa, opened the concert in fine fashion, complete with a sparkling trumpet section.

Rodney Mack was the first titan to take the stage on this night of nights. Performing Arutunian's immensely popular Concerto from memory, Mack's sound filled the hall with commanding presence. He soared above the waves of orchestral melody with strength and ease. Employing a cup mute for the slow muted section, his train of seductive melody traveled in and out of the orchestral fabric with playful rubato. Mack performed Dokshizer's cadenza with remarkably fresh pacing that created genuine suspense. After the final note, the audience roared its approval immediately.

Eric Aubier was next. He performed Tomasi's Trumpet Concerto with wit, fire, and inhuman ease. The first movement's cadenza with snare drum accompaniment was a dramatic highlight. The dreamy Nocturne oozed sensuality. The cartoonish pranks of the finale were realized with effortless facility. Aubier's incredible mastery of this famously difficult concerto was a wonder to behold. When he hit the final high note, it sounded like he had the strength to play the whole piece all over again. An appreciative ITG audience showered all of its collective praise on Aubier.

After intermission Matthias Höfs took the stage to perform a work written for him by his German Brass colleague, Enrique Crespo titled Camino a Jalisco (2006). Originally composed for trumpet and piano in 1996, it was freshly orchestrated this year, as conductor Scarpa explained to the audience. Featuring attractive melodies and cinematic orchestration, the three-movement work depicted a journey to Mexico. Performing on a rotary trumpet, Höfs's delicious, sweet sound animated passages of quicksilver virtuosity and rhapsodic grandeur, alike. The audience hovered in rapt attention during the quite moments at the end of the second movement. The orchestral brilliance of the finale erupted after a brief pause and danced to the end in a style reminiscent of Bernstein. Höfs's crisp, clean articulation dazzled with unnerving precision. Needless to say, the audience's reaction was ecstatic.

What could top three great soloists on the same program? How about three great soloists on the same piece? Aubier, Höfs, and Mack returned to play Eric Ewazen's enjoyable Emerald Rhapsody (2005). Filled with dramatic gestures and attractive melodies, Ewazen's work was a bona fide crowd pleaser. Following yet another extended standing ovation, the audience demanded an encore, and was not disappointed as the soloists returned to perform Leroy Anderson's Bugler's Holiday. It was greeted with cheers after the few notes of the introduction and performed with refreshing elegance. Following another rousing ovation - complete with rhythmic clapping - the trio returned for a final bow along with composers Ewazen and Crespo. Finally the New's Eve atmosphere had to end on this night of nights, this joyful celebration of great trumpet playing.