The third session of the Chosen Vale International Trumpet Seminar convened in Enfield, New Hampshire from June 16–28, 2008. The seminar was presented by the Center for Advanced Musical Studies and received generous support from the California Institute of the Arts (CalArts) and the Yamaha Corporation of America.

The 2008 session featured the same faculty from the first two years. Director Edward Carroll was joined by Gabriele Cassone, Mark Gould, and Stephen Burns the first week. Thomas Stevens and Markus Stockhausen joined the second week, and David Rosenboom was there as Composer-in-Residence for both weeks.

The seminar is conducted entirely on the grounds of the Enfield Shaker Museum, which includes the Shaker-built Great Stone Dwelling, a four-story dormitory with dining hall where both students and faculty stay. Classes convene in various buildings at the museum, including a converted Shaker mill with vaulted ceiling. Concerts are held in the historic Mary Keane Chapel, which adjoins the Shaker dorm.

The setting of Enfield gives students the opportunity to spend time with the faculty nearly all day—in addition to scheduled classes and workshops, there are morning yoga sessions, shared meals, post-concert discussions, the inevitable iPod listening and YouTube viewing sessions, and impromptu trumpet ensembles.

2008 Participants

The workshops given by the faculty in 2008 included:

“Building a Foundation for Technique: Efficient Sound Production” (Gabriele Cassone)
Cassone’s classes highlighted his careful attentiveness to the fundamentals of tone production and technique and his diligent approach to learning and interpreting difficult repertoire. His instruction showed the way to complete control of the shape and speed of airstream, leading to more efficient playing.

“Rhythm, Meter, and the Art of Phrasing” (Thomas Stevens)
Stevens shared lessons of artistic integrity, with his discerning perspectives on rhythm and phrasing. Emphasizing critical listening and careful attention to all the details that converge to make a piece of music take shape, he took students through exercises that challenged everyone to listen more closely to their own playing and to properly convey a musical line.

“Teaching Others and Yourself: Doing What You Do Well” (Mark Gould)
Gould made incisive points about the realities of performing and teaching music and openly discussed the ingredients necessary to construct a career. He emphasized that lessons and practice are the place for asking questions, exploring, identifying our strengths, and charting one’s own course in music.

“Extreme Charlier” (Edward Carroll)
Carroll guided students to a more critical evaluation of the trumpet’s repertoire, taking into account the distinction between musical exercises (which abound for the instrument) and true concert music (which is decidedly less abundant). He suggested that, if used properly, exercises can fulfill a very important function in our development, helping stretch our expressive boundaries.

“Poise and Presence: The Power of Positive Practice” (Stephen Burns)
Burns spoke about the psychological aspects of performance, focusing on the role of perception in the contexts of practicing and performing. He described the value of increased awareness of our own thoughts and actions, and of greater attention to the dramatic space we create in performance. By improving our own perception of these aspects of our practice, our experience of performance, and that of our audience, can be enhanced.

“Intuitive Music: The Art of Listening” (Markus Stockhausen)
Stockhausen conducted several classes in group improvisation during the seminar, in which players were encouraged to explore unfamiliar vocabularies, concentrate on building a group sound, and foster meaningful musical exchanges. He emphasized careful listening (both in the sense of ear training and in terms of group interaction) as a key component to improvisation.

“The Performer/Composer: Emergent Forms in Music” (David Rosenboom)

Excerpts class

Rosenboom mused about the changing relationship between composer and performer in history. He suggested that with the resurgence of the performer/composer in recent decades, the idea of a common musical vocabulary makes less sense. The class explored some of the paths that creative musicians take to develop their own vocabularies, to “compose” their own technique.

“New Developments in Trumpet Design” (Bob Malone)
Malone, Chief Brass Designer at Yamaha, visited to discuss aspects of trumpet design and construction, and gave students a preview of several new prototype trumpet designs.

“The Orchestral Trumpeter” (Edward Carroll and Thomas Stevens)
A selection of standard orchestral excerpts were performed and subjected to intense scrutiny by Carroll and Stevens. In addition to practical advice on each excerpt, they discussed more general topics, such as when it is appropriate to use just intonation, how to adjust to the acoustics of a space, and special considerations for offstage playing.

A faculty panel discussion was held on the subject of career options for musicians today, covering a range of questions about the business of music, including marketing, fundraising, building audiences, and artist representation.

A Broader View of the Musical Landscape

The whole spectrum of trumpet repertoire is considered at Chosen Vale. Masterclasses, workshops and concerts embraced works from the early Baroque to the present. Everything from Baroque trumpet to cornetto and from didjeridu to quarter-tone flugelhorn could be seen on campus. The occasional stomp box and laptop made an appearance onstage as well.

The natural trumpet class was conducted by Gabriele Cassone, who performed trumpet ensemble works by Johann Schmelzer (1623–1680) and Daniel Speer (1636–1707) with the class at the final concert. A performance of the Adagio from Leopold Mozart’s Concerto in D (1762) was offered by natural trumpeter Nathaniel Mayfield with organist Gerald Weale.

Early music was also performed on modern instruments. Samuel Scheidt’s Canzon Cornetto was played by Josh Davies, Casey Tamanaha, Andre Dubelsten and Christopher Carroll. Trent Austin performed the Michael Haydn Concerto in D (MH 104).

As in past sessions at Chosen Vale, a range of contemporary music was performed, and in 2008, an unprecedented number of new works were presented, including several premieres:

Works for trumpet alone included:

Giacinto Scelsi: Quattro Pezzi (1956) performed by Amy Horvey

Stanley Friedman: Solus (1975) performed by Philippe Brunet

Bob Allaire: Curiosity (2007) commissioned and performed by Chris Kallmyer

Ryan Purchase: Apparatus Inoconcinnus (2006) written for and performed by Amy Horvey

Larry Sitsky: Dagh (1984) performed by Laura Hertaeg

H.K. Gruber: Exposed Throat (2000) performed by Philippe Brunet

Olga Neuwirth: Laki (2006) performed by Matthew Conley

Cecilia Arditto: Música invisible (2005) performed by Amy Horvey

Robert Henderson: Variation Movements (1967) performed by Robbie McCabe

Robert Erickson: Kryl (1977) performed by Philippe Brunet

Allen Vizzutti: Cascades (1980) performed by Josh Davies

Hans Erik Apostel: Sonatine (1970) performed by Scott Reynolds

Antoine Tisne: Emotion (1992) performed by Rachel Kincaid

Mauricio Kagel: Morceau de Concours (1972) performed by Philippe Brunet

Chosen Vale students were also represented as composers:

Rachel Kincaid: Reverberation in the Stillness (2007) performed by Halie Silverman

Philippe Brunet: So(u)l(e) (2008) performed by Philippe Brunet

Rachel Kincaid: Loss (2005) performed by Rachel Kincaid and Rebecca Wilt, piano

Works for trumpet ensembles included:

Jonathan Lloyd: Go Blow Your Own (2000) performed by Scott Reynolds and Simon Wolnizer

Verne Reynolds : Calls and Echoes (1984) performed by Josh Davies and Andre Dubelsten

Sofia Gubaidulina: Trio (1976) performed by Philippe Brunet, Matthew Conley, and Huw Dann

Joan Tower: Fanfare for the Uncommon Woman (1993) performed by Kathryn Driscoll, Sonja Lindsay, Sarah Reid, Halie Silverman

David Rosenboom: Kicking Shadows (2007) performed by Trent Austin, Matthew Conley, Huw Dann, Robert McCabe, with David Rosenboom, piano

Accompanied works for trumpet included:

Alfred Desenclos: Incantation, Thrène et Danse (1954) performed by Katie Miller and Rebecca Wilt

Thomas Reeves: Sonata (2008) commissioned and performed by Annie Lemieux with Rebecca Wilt

Harry James (attr.): Trumpet Concerto (1939) performed by Simon Wolnitzer and Rebecca Wilt

Richard Mills: Trumpet Concerto (1982) performed by Huw Dann and Rebecca Wilt

Paquito d’Rivera: Contradanza and Vals Venezolano performed by Brian Sand and Rebecca Wilt

Astor Piazzolla: Café 1930 performed by Brad Hogarth and Rebecca Wilt

Vincent Bach: Concert Fantasie performed by Andre Dubelsten and Rebecca Wilt

Two pieces with live computer processing were presented:

Michael Clarke: Cascade (1999) for trumpet and computer processing, performed by Chris Kallmyer and Tom Dambly

John Liberatore: Catalyst (2008) for trumpet and computer processing (premiere), performed by Jeremy Maitland and John Liberatore

Improvisation-based performances included:

Markus Stockhausen: From Silence to Sound (2008) performed by Philippe Brunet, Tom Dambly, Brad Hogarth, Rachel Kincaid, Jeremy Maitland and Markus Stockhausen

Markus Stockhausen: Wings (2008) performed by Trent Austin and Markus Stockhausen

Terry Riley’s In C

Rehearsal of Terry Riley "In C"

Terry Riley’s In C (1964), considered by many to be the first minimalist composition, was performed by all 38 trumpeters in attendance, with Edward Carroll and Rebecca Wilt playing the pulse and David Rosenboom conducting. The group was divided into sections (some playing C trumpet, other playing Flugelhorn or piccolo trumpet) with entrances and overall balance orchestrated by the conductor. While many performances of In C have included trumpet as part of a larger ensemble (Jon Hassell played on the first recording), this was the first known performance by an all-trumpet group.

A New Carnival of Venice

Thomas Stevens originally wrote his “New Carnival of Venice” for four trumpet soloists and piano. He arranged a new version of the piece for 4 soloists and double trumpet quintet expressly for the 2008 session at Chosen Vale. This arrangement was premiered as the closing piece on the final concert. Ryan Bancroft, Josh Davies, Andre Dubelsten, and Halie Silverman were soloists, accompanied by Trent Austin, Christopher Carroll, Tom Dambly, Daniel Herdtner, Laura Hertaeg, Brian Sand, Ian Schwartz, James Strzalka, Kyle Wallner, and Erik Zbik. The performance was conducted by the composer.

Thomas Steven's "Carnival of Venice" rehearsal

PARTICIPANTS IN THE 2008 CHOSEN VALE INTERNATIONAL TRUMPET SEMINAR

Xylo Acevedo (BM and ADip McGill University, MMus in progress, McGill University), Trent Austin (Jazz Trumpet Instructor: University of Southern Maine, BM University of New Hampshire), Ryan Bancroft (BFA in progress, CalArts), Aaron Boyle (BA in progress, New England Conservatory), Philippe Brunet (BMus., McGill University, MFA in progress, CalArts), Mark Bush (BM, Cal State Long Beach), Chris Carroll (BM and BA in progress, Bard College Conservatory), Matthew Conley (BM Cincinnati College Conservatory, MMus. in progress, McGill University) Tom Dambly, Freelance musician in San Francisco, MA UCSD, MFA Mills College), Huw Dann (BMus. Victorian College of the Arts), Josh Davies (BM University of North Carolina, MM University of Texas/Austin, DMA in progress, University of Texas) Kathryn Driscoll (BM in progress, New England Conservatory) Andre Dubelsten (BMus. in progress, McGill University), Eric Hennies (BM in progress, Juilliard School), Daniel Herdtner (BM University of Miami, MM in progress, Illinois State University), Laura Hertaeg (BMus, University of Melbourne), Brad Hogarth (BM and BA, Eastman School), Chris Kallmyer (BA, St. Mary’s College of Md., MFA in progress, CalArts), Rachel Kincaid (BM Eastman School, MMus. in progress, Royal Northern College of Music), Annie Lemieux (Baltimore School for the Arts/Juilliard Pre-College), Sonja Lindsay (BM in progress, New England Conservatory), Jeremy Maitland (BMus University of Alberta, MLic McGill University, MM in progress, Eastman School), Robert McCabe (BM Grand Valley State, MM in progress, Eastman School), Matthew McMurray (BM in progress, Grand Valley State University), Jonathan Morales (BM and BA in progress, Oberlin College Conservatory), Katie Miller (BM Juilliard School), Mark Peterson (BM in progress, Grand Valley State University), Sarah Reid (BMus. in progress, McGill University), Scott Reynolds (BMus. in progress, McGill University), Brian Sand (BMus University of Victoria, MM Yale University, DMus McGill University), Benoit Sargeant (Amiens Conservatoire), Peter Schiller (BM New England Conservatory, MM in progress, McGill University), Ian Schwartz, (BM in progress, Boston University), Halie Silverman (BM Eastman School, MM in progress, Louisiana State University), James Strzalka (BM in progress, Illinois Wesleyan University), Casey Tamanaha (BM in progress, Boston University), Kyle Wallner (BM in progress Grand Valley State University), Diana Wensley (BM in progress, New England Conservatory), Simon Wolnizer (BMus., Sydney Conservatorium), Erik Zbik (BM in progress, University of Miami)

Assistant to the Director: Nathaniel Mayfield (Executive Director, Austin Brass Center, BA Juilliard School/Columbia University)

Sound Engineer: Beau Sievers (MA in progress, Dartmouth College)

For more information, visit http://www.chosenvalemusic.org