Kari Brooks, reporter

After a rousing introduction from ITG Past-President Stephen Chenette, trumpet soloist David Bilger, along with Barbara Govatos, violin and Susan Nowicki, piano entered the stage to a packed concert hall of trumpet players. With people sitting in the isles and standing in the back, there was a feeling of eager anticipation in the air.

Bilger opened with a four-movement piece, Trio for Trumpet, Violin, and Piano (1992) by Eric Ewazen. This piece was rich with the beautiful harmonies and playful lyricism that is so characteristic of Ewazen's writing. The first movement, “Andante,” displayed how beautiful the lower register of the trumpet can be. The second movement, “Allegro Molto,” contrasted nicely with effortless trumpet runs and double stop harmonies in the violin. “Adagio” incorporated both open and muted trumpet in the third movement with an almost ethereal sound throughout. The final movement, “Allegro Molto” began with a rhythmic motive that faded into the background as a golden trumpet melody sang over it. The intensity grew as violin and trumpet played together in a passionate duet. Eric Ewazen was recognized during the rousing applause at the conclusion of the trio.

5 Parts of the Dance (1992) begins with a long introspective trumpet solo beautifully played by David Bilger. Barbara Govatos - piano and Angela Zator Nelson - marimba, entered as the piece continued. This work consists of five short movements, each incorporating different effects and muted sounds to create five very different stylistic moods. From lip bends to flutter tonguing and from plunger to Harmon mute, the many sonorities of this piece kept the audience's ears plenty busy.

The final selection of Bilger's recital was Encounters III by William Kraft. This work was composed to represent a medieval battle between trumpet and percussion, where the percussionist eventually wins. An extravagant percussion set up, consisting of xylophone, vibraphone, triangle, woodblocks, snare drums, bass drum, cymbals, and gongs were used in a well-choreographed performance. “Strategy,” the opening movement, begins with a soft sustained pitch in the trumpet and a chaotic vibraphone motive. These two instruments spat back and forth in a conversational manner. The conversations get progressively more heated until in the third movement tension rises with obnoxious fluttering and boisterous percussion until finally Bilger relinquishes the field of battle by sustaining a pitch in the low register. He slowly walks off stage while the vibraphone continues to play. The piece ends quietly; leaving the audience feeling like a battle had been fought.
This overflow audience enjoyed the wide variety of music on David Bilger's recital. His musicality and astonishing accuracy left everyone satisfied.