Five strong compositions and five exceptional performances were presented during the New Music Chamber Concert. The concert opened with Sonata No. 3 “Arboretum” (2005) by Robert Bradshaw. This work is for solo trumpet, woodwind quintet, and piano. Eric Berlin used an instrument that is a cross between a Flugelhorn and a trumpet called a “Flumpet,” C trumpet, and piccolo trumpet in his performance of this composition. The Rowan University Woodwind Quintet with Rebecca Wilt on piano filled out the instrumentation required for the performance. Each of Bradshaw's four movements paid homage to a plant that had become endangered because of mankind's relentless encroachment upon nature. Berlin's playing throughout was beautifully centered and accurate as he adjusted to the demands of each of the movements. The work featured smooth flowing lyricism to make great phrases and an intelligent use of rhythmic and intervallic activity. One especially effective compositional device, occurring in the third movement, was the use of suspension/resolution to create recurring patterns of tension/release that was really interesting in its design and execution. All of the various resources employed by Bradshaw in this work came together to leave an eloquent symbol of this composer's deep concern over environmental issues.

Four Pieces for Trumpet and Percussion (2004) by Neil Flory featured the talents Mary Thornton and members of the Rowan University percussion studio…a studio that has been doing wonderful work all week at the conference. Three movements of this work (I, II, and IV) were presented. Thornton's crystal-clear tone quality and dead-on accuracy was in evidence from the first to the last notes of the piece. The first and last movement of this work featured driving rhythms that created a sense of energy and complexity as the trumpet and percussion dialogued with one another. The second movement contrasted the outer movements with its thoughtful, introspective nature that reminded me of wind chimes on a lazy summer afternoon as only a touch of wind cools the air. From its creation to its realization, every aspect of this composition came together successfully for our enjoyment on this program.

To Cast a Shadow Again (1991) by Eric Ewazen presented the talents of Randy Tinnin on trumpet, Rhonda Nus Tinnin as soprano soloist, and Janet Montgomery on piano. These three fine musicians perform as Serafini Brillianti. The name is appropriate as they are truly brilliant as a team. This work is in nine short movements with the soprano getting a break on the fifth (the trumpet and piano perform on all nine). Randy Tinnin performed the work on E-flat trumpet matching Rohnda Nus Tinnin's mature voice with perfect balance and control. It is obvious that these colleagues know each other very well. As the nine movements unfolded it was common to hear the trumpet and piano begin and end each movement, and to hear the soprano sing beautifully lyric lines around which the other two would comment. Randy Tinnin displayed fine control on both the technical and the lyrical side of the piece's substantial demands. Ewazen made use of many moods and styles to lend a sense of variety to the nine-movement set. All these demands were met with ease and maturity.

The Orennun Trio consisting of Mark Boren on trumpet, Julianne Boren on cello, and “Kate” Kyungmi Lee on piano presented Dream (2005), a work they commissioned from Kip Haaheim. Dream is an angular work that blends technical and lyrical elements most effectively. Haaheim blends rhythmic and intervallic elements to successfully evoke a dream sequence with multi-movement characteristics. Especially effective was the use of tremolo in the cello and Harmon mute in the trumpet. All three musicians interacted beautifully to make sure that this dream was both memorable and pleasant. Boren's trumpet playing was flawless…I hope that we can look forward to more interesting commissions from this Orennun in the future.

The varied nature of this program ended with Choragus Revisited (1999 rev. 2005) by David Durant. Peter Wood, performing on B-flat trumpet, did an exceptional job of syncing with the pre-recorded music that provided the other component on this interesting tour-de-force. Balance was good as the trumpet weaved in and out of the many varied sounds sampled and layered into the prerecorded music. At times Wood had to execute highly technical runs, and did so with perfect coordination and great control. This reporter is not a huge fan of this medium, but this particular piece is a fine example of how it can work well, and be both interesting and enjoyable. Congratulations to David Durant for writing so successfully for this combination of resources and to Peter Wood for truly making it work and sound excellent.

This was an excellent program in every respect. The composer's that made the trip to hear their music must have been very gratified to hear such fine performances of works that, no doubt, took a lot of time and effort to compose.