Ournal: International Trumpet Guild

z
International Trumpet Guild ®
J O U R N A L
to promote communications among trumpet players around the world and to improve the artistic level
of performance, teaching, and literature associated with the trumpet
Vol. 29, No. 4 Gary Mortenson, Editor June 2005
ARTICLES
6 Remembering Timofei Alexandrovich Dokshizer 1921 – 2005 Compiled by Gary Mortenson
19 What a Wonderful World! Reflections of Ron Modell by Al Hood
29 The Trumpet Section of the London Philharmonic Orchestra by Gary Mortenson
37 Baroque Trumpet Study in the United States by Leigh Anne Hunsaker
44 Marvin Stamm on Expectations and Responsibility by David Champouillon
51 Andrew Balio’s Journey to Baltimore by Luis Engelke
56 John Swana: Learning and Relating Through Jazz by John Almeida
Timofei Dokshizer
page 6 COLUMNS
3 From the President; Stephen Chenette
4 From the Editor; Gary Mortenson
4 ITG Calendar; Al Lilly, Column Editor
63 Trumpet in B-flat (a'=468 Hz) by Andreas Barth submitted by Sabine K. Klaus;
Edward H. Tarr, Historic Instruments Column Editor
64 Trumpet Playing and Dentistry: An Historical Perspective by Peter Rosenstein; Kris Chesky,
Health and Awareness Column Editor
66 ITG Profile: Leanne Sullivan; Laurie Frink, Column Editor
67 ITG Young Artist Award: Traci Nelson; Del Lyren, Chair
68 The Smartest Player Wins! by Chase Sanborn; Frank Campos, Clinic Column Editor
Ron Modell 69 The Lead Trumpet Player by John Thomas; Chuck Tumlinson, Jazz Corner Column Editor
page 19
70 Editor’s Corner: My Treble Clef Friends by Denis Wick
74 Trumpet Ensembles Can (Now) Play More Than Fanfares by Jon Burgess,
Pedagogical Topics Column Editor
75 More “Inside the Trumpeter’s Studio” with Gary Peterson by James West,
Inside the Orchestra Section Column Editor
76 Orchestra Section Profile: The BBC Scottish Symphony Orchestra;
Murray Greig, Column Editor
77 Some Final Thoughts on Bell Vibrations by Thomas Moore, Science Desk Column Editor
93 News from the Trumpet World; Neville Young, Column Editor
The London Philharmonic

REVIEWS
page 29 78 Web Site Reviews by Michael Anderson, Column Editor
80 Recording Reviews; Elisa Koehler, Column Editor
87 Music Reviews; Bryan DePoy and Luis Engelke, Column Editors
91 Book Reviews; John Korak, Column Editor
ADMINISTRATIVE
Main Menu
101 1995 – 2005 ITG Membership Demographics by Bryan C. Goff and David C. Jones
Search
102 ITG Journal Index, Volume 29
June 2005 ITG Journal

106 Index of Journal Advertisers
107 New Members and Organizations
Marvin Stamm 127 ITG Legacy Endowment Information
page 44 ITG Journal Advertisement Information (inside back cover)
The ITG Journal is an official publication of the International Trumpet Guild®. ISSN: 0363-2845.
© Copyright 2005 International Trumpet Guild®. All rights reserved.
Jazz Corner: Charles Tumlinson
2003 – 2005 Offi cer s Department of Music, California State University – Fullerton,
President: Stephen Chenette Fullerton, CA 92634; [email protected]
17 Bridgeview Road, Toronto, Canada M6S 4M9 Jazz Editor: Tom Erdmann
[email protected] Music Department, Elon University – CB 2800, Elon, NC 27244;
Vice-President/President-Elect: Jeff Piper [email protected]
Department of Music, University of New Mexico, Albuquerque, NM Music Review s: Bryan DePoy and Luis Engelke
87131 Bryan DePoy, Southeastern Louisiana University, Department of
[email protected] Music, SLU 815, Hammond, LA 70402, fax 504-549-2892;
Secretar y: Kevin Eisensmith [email protected];
Department of Music, 101 Cogswell Hall, Indiana University of Luis Engelke, Music Department, Towson University, Center for the
Pennsylvania, Indiana, PA 15705 Arts Bldg., Room 459, Towson, MD 21252;
[email protected] [email protected]
Treasurer: David C. Jones New s from the Trumpet World: Neville Young
241 East Main Street #247, Westfield, MA 01085-3307 49 Muswell Avenue, London N10 2EH, UK; [email protected]
[email protected] Orchestral Section Profil e: Murray Greig
Pas t President: Vincent DiMartino Springfield Cottage, Forest Hill Road, Outlane, Huddersfield,
Music Department, Centre College, Danville, KY 40422 HD3 3FB, UK; [email protected]
[email protected] Pedagogical Topics for Trumpet: Jon Burgess
School of Music, Texas Christian University, Fort Worth, TX 76129;
2003 – 2005 Boa rd of Di rector s [email protected]
Michael Anderson, Frank Campos, Leonard Candelaria, Joyce Davis, Recent Programs Book: Kevin Eisensmith
Timofei Dokshizer, Kim Dunnick, Brian Evans, Laurie Frink, Department of Music, 101 Cogswell Hall, Indiana University of
Murray Greig, Vera Hørven, Frank Kaderabek, Gary Mortenson, Pennsylvania, Indiana, PA 15705; [email protected]
James Olcott, William Pfund, Anatoly Selianin, Karl Sievers, Recording Review s: Elisa Koehler
Roger Sherman, Michael Tunnell, Arthur Vanderhoeft Goucher College Music Department, 1021 Dulaney Valley Rd,
Baltimore, MD 21204; [email protected]
Executi ve Sta ff Science Des k: Thomas Moore
Affiliate Chapter Coordina tor: Larry Johansen Department of Physics, Rollins College, Campus Box 2743, 100 Holt
P.O. Box 141, Redlands, CA 92373; [email protected] Ave., Winter Park, FL 32789; [email protected]
Director of Publ ic Relations : Brad Ulrich Youn g Artist Aw ard: Del Lyren
Western Carolina University, Music Department, Cullowhee, Department of Music, Bemidji State University, 1500 Birchmont
NC 28723; [email protected] Dr NE, Bemidji, MN 56601; [email protected]
General Couns el : Mark Haynie Journal Printer: Classic Printing, Nashville, TN
Haynie, Rake, and Repass; Dallas, TX Proofreading: Mary Beave, Kristin Mortenson
Membership an d Development Coordinator: David Scott
Department of Music, McNeese State University, Lake Charles, ITG Web Si te – http://www.tr umpetgui ld.or g
LA 70609; [email protected] Director: Michael Anderson
Wanda L. Bass School of Music, Oklahoma City University, 2501 N.
ITG Jour na l Sta ff Blackwelder, Oklahoma City, OK 73106; [email protected]
Editor: Gary Mortenson ITG Links Hub Man ager: Ralph Jones; [email protected]
Department of Music, 109 McCain Auditorium, Kansas State
University, Manhattan, KS 66506; phone 785-532-3828, ITG Edi tor i a l Commi ttee
fax 785-776-1154; [email protected] Gary Mortenson, Editor, Kansas State University; Michael Anderson,
Ass is ta nt Editor / Editor, i tg jour na l , jr.: Kristin Mortenson; Oklahoma City University; Kris Chesky, University of North Texas;
[email protected] Joyce Davis, University of Florida; Kim Dunnick, Ithaca College;
Subscriptions , Addres s Chan ges, Back Iss ues , Damaged or Miss ing Michael Ewald, University of Illinois; Laurie Frink, New York
Journal s: David C. Jones, ITG Treasurer; fax 413-568-1913; University; Patrick Harbison, Indiana University; Ronald Holz, Asbury
[email protected] College; H. M. Lewis, Georgetown College; Richard Montz, Sydney
Advertisements and Production Ma nager: Joseph Walters Conservatorium; Thomas Moore, Rollins College; James Olcott, Miami
5604 Brockton Ct NE, Albuquerque, NM 87111-6625; University; Karl Sievers, University of Oklahoma
fax 505-797-0488; [email protected]
B ook Reviews : John Korak The ITG Journal is published four times each year in October,
Box 1771-Department of Music, Southern Illinois University, January, March, and June. ITG memberships run from July 1 to June
Edwardsville, IL 62026; [email protected] 30, and include a subscription to ITG publications.
Calendar Editor: Al Lilly Ideas and opinions expressed in this issue are those of individual writ-
980 Centennial Road, Martinsville, IN 46151; ers, and are not necessarily those of the editors or of the ITG.
[email protected] Deadlin es for receiving information to be published: May 15
Cl inic Editor: Frank Campos (October Journal), Augus t 15 (January Journal), October 15 (March
School of Music, Ithaca College, Ithaca, NY 14850; Journal), January 15 (June Journal).
[email protected] Membership Dues : $40 (regular), $75 (library), $25 (student or
Health and Awareness Editor: Kris Chesky senior citizen). Optional first class mail to USA address: $13. For inter-
Texas Center for Music and Medicine, 3500 Camp Bowie Blvd., national members: the ITG Journal will be sent via air to the country of
Forth Worth, TX 76017; [email protected] destination as part of the cost of membership. All payments must be
Historic Ins trumen ts Editor: Edward H. Tarr made in U.S. dollars and must be payable through a U.S. bank.
[email protected] Payments by major credit card are accepted.
Inside the Orchestra Section: James West Please make check or money order payable to ITG, and mail to:
Louisiana State University, School of Music, Baton Rouge, LA 70803; David Jon es , ITG Treasurer
[email protected] 241 Eas t Main Street #247, Wes tfield, MA 01085-3307 USA
ITG Profile Editor: Laurie Frink; 240 West 98th #7G, New York, NY fax: 413-568-1913
10025; [email protected] [email protected] • w w w.trumpetguil d.org/ join /join.htm
For Change of Address, notify ITG Treasurer David Jones (as above)
2 ITG Journal / June 2005 © 2005 International Trumpet Guild

From the President
Stephen Chenette
“ITG is trumpeters helping other trumpeters.” I wrote this release—preparing liner notes, designing the booklet, and ob-
when I began my term as ITG President, as part of the presi- taining releases from performers and publishers. The ongoing
dent’s greetings on the ITG Web Site. I believed it then, and projects chair is responsible for the actual production of the
now I have had the chance to see first-hand how true it is. So CD and accompanying booklet. Jim Olcott is project coordi-
many trumpeters volunteer to work for ITG, some in visible nator for the 2005 CD, and has volunteered to continue in
ways and some behind the scenes. This is my last “From the this position for the 2006 CD. Wade Weast is the ongoing
President” letter, and it is time to express appreciation to some projects chair, ITG Treasurer David Jones always comes up
of these people. with accurate information on how much everything will cost,
Thanks are due to the nominations committee who selected and Kim Dunnick and I put in our two cents’ worth.
the slate of candidates for this year’s elections. As this is being The ITG bonus CDs make available recordings of perfor-
written (early February), the ballots haven’t gone out; when mances and repertoire that would likely never be available oth-
you read this, you will probably know the results. A nomina- erwise. These, along with the bonus compositions sent each
tions committee is put together for each election, and their job year with the ITG Journal and the books that have been pub-
is to select a slate of candidates from the many that are pro- lished with ITG’s support, represent a substantial and lasting
posed by ITG members. The aim of the committee is to have contribution to trumpet players of the present and future.
all excellent candidates on the ballot, and it appears to me that I am old enough to remember the days when serious trum-
this one succeeded. The members of this year’s committee were pet repertoire was rare—a time when the Arutunian Concerto
Jeff Piper, Kim Dunnick, Betty Scott, Don Roeder, and Pat hadn’t been written, the Hummel Concerto was undiscovered,
Harbison. very few Baroque trumpet solos were in print, and so on. For
Thanks to Kevin Eisensmith for heading an ad hoc commit- me, the wealth of trumpet repertoire that has been written or
tee of the ITG officers plus Jim Olcott to revise, update, and arranged because of ITG is perhaps the most important of
expand the International Trumpet Guild Handbook (last updat- ITG’s accomplishments, and a few years ago I started compil-
ed in 1997). The Handbook is ITG’s basic operational docu- ing a list of these pieces. ITG’s commissions and works written
ment; it includes our constitution, bylaws, procedural guide- for performance at ITG Conferences obviously make the list,
lines, services, and programs. It also lists present and past offi- but in some cases the ITG Conference programs do not make
cers, board members, and ITG competition winners. This new clear whether or not pieces qualify. I had to put the project
edition of the Handbook will be posted on the ITG Web Site. aside when I became an officer, and would happily pass my
Thanks to Leonard Candelaria on behalf of ITG for hosting data on to someone looking for a good research topic. I’m will-
the 2004 Ellsworth Smith International Trumpet Solo Com- ing to bet that there are over two hundred compositions and
petition at the University of Alabama at Birmingham. The arrangements that owe their existence to ITG.
Ellsworth Smith Competition is one of ITG’s premiere pro- Finally, thanks to all of you for giving me the opportunity to
jects, and has been, since its inception, one of the leading clas- be your president. ITG is a great organization, and I’m proud
sical trumpet competitions in North America. You can get the to be a part of it.
details of the 2004 ESC competition in Gary Mortenson’s
informative article on the ITG Web Site, or in the March issue
of the ITG Journal. Leonard has contributed greatly to ITG ITG Young Artist Award
over the years as a board member, president, host of the 1988 to provide recognition for developing young trumpeters
ITG Conference at the University of North Texas, and host of Music Teachers and private instructors are invited to
the 1998 Carmine Caruso Competition, also at UNT. He is
now the ongoing chair of the Carmine Caruso Competition,
nominate high school students (age 18 or younger at
working with the hosts of this bi-annual competition. The the date of nomination).
2005 Caruso Competition will be held October 15, at the Letters of recommendation must include mailing
University of Washington, with Vern Sielert as host. I had a addresses, phone/fax numbers, and EMail addresses of
great time at the 2003 Caruso Competition, and I hope that I the teacher and nominee.
can get to this one. Winners will receive a one-year membership to
The ITG Journal and the ITG Web Site continue to do us ITG and will be featured in the ITG Jour na l.
proud. Many thanks to Gary Mortenson and Michael Ander-
son. P lea se submi t nomi na ti ons to:
Thanks also to those who produce ITG’s bonus CDs. There Del Lyren, Dept. of Music
are currently six members of the working group. There is a Bemidji State Univers ity
source provider who furnishes the source material for the CD
and program notes. (The source provider for the 2005 CD of 1500 Birchmont Dr NE
European soloists was Edward Tarr, and for the 2004 CD of Bemidji, MN 56601 USA
Ukrainian trumpeters, Valery Posvalyuk). The project coordi- ya [email protected]
nator has the responsibility for getting everything ready for
© 2005 International Trumpet Guild June 2005 / ITG Journal 3
From the Editor
Gary Mortenson
With the publication of the June 2005 ITG Journal I com- told to John Almeida; and a unique way of looking at orchestral
plete my fourth year as Publications Editor for the Inter- playing in Andrew Balio’s thoughts expressed to Luis Engelke.
national Trumpet Guild. What will always stay with me, long Leigh Anne Hunsaker’s “snapshot” of the current state of
after my time in this position is concluded, are the treasured Baroque trumpet study in the United States will serve as a valu-
friendships that have been forged through my close association able resource to enthusiasts of early music. My interview with
with ITG officers, board members, column editors, and the London Philharmonic Orchestra was the result of a tremen-
authors. dous measure of generosity on the part of the entire section. The
There are several editorial errors to report in the March 2005 afternoon I spent hearing them rehearse and then interviewing
issue of the ITG Journal. In the “Editor’s Corner” column them, and the performance of Mahler’s Symphony #10 witnessed
titled A Closing Fanfare by Jonathan Kruger (page 60, last para- the following evening with my wife, will remain with me forev-
graph) it states, “As Stravinsky’s work was dedicated to two er. With London still very much on my mind, I would like to
trumpet players, A Closing Fanfare likewise is dedicated to two thank Denis Wick, President of the International Trombone
trumpeters: Barbara Butler and Charlie Geyer.” In fact, Strav- Association, for his contribution to this issue’s Editor’s Corner.
insky’s Fanfare for a New Theatre was dedicated to two col- For all the recent ITG coverage of the London scene, a huge
leagues, not “two trumpet players,” as the composer’s dedica- note of thanks is in order for Neville Young, a true friend and
tion states “to Lincoln and George.” Thanks to Jonathan Krug- tremendous resource to me in my recent work for ITG.
er for pointing out this discrepancy. The June 2005 issue represents the fourth year in a row that
There are two errors to report in the March 2005 interview all scheduled component of the Journal—every column and all
with David Zauder. On page nine, Izzy Blank’s last name was of the review sections—are present in every issue. My gratitude
misspelled, and in a letter received from Mr. Zauder dated and thanks go out to our excellent staff for their remarkable
February 18, 2005, he states, “On page ten, column two, it record of consistency and quality. I would also like to thank
should identify Olin Trogdon as the Blossom Music Center the ITG Editorial Committee as it completes its third publica-
Concerts Manager. Trogdon was the retiring personnel man- tion season. The committee has proven to be an invaluable
ager of the Cleveland Orchestra. During that period of time resource to me. Finally, I would like to send my love and
George Szell changed the whole administration of the orches- thanks to Kristin Mortenson whose help and support make it
tra, starting with the General Manager!” possible for me to do this work for ITG. After three seasons as
Timofei Dokshizer’s death on March 16, 2005, marks the the founder and editor of itg journal jr., Kristin will pass that
passing of one of the most important icons of twentieth-cen- part of her ITG experience to Douglas Wilson, editor for
tury musical artistry. Please give your full attention to the the “Ask the Teacher” portion of the ITG Youth Site
many excellent remembrances of Dokshizer in the June (http://www.trumpetguild.org//itgyouth/ask_teachr.htm).
Journal’s lead article. Wilson starts his work on junior with the preparation of the
This issue contains a variety of interviews that should interest January 2006 issue.
you on many levels. I think that you will enjoy the timeless I’ll see many of you in Bangkok for what promises to be an
enthusiasm and humor of Al Hood’s interview with Ron extraordinary conference. Onward to volume 30 and the chal-
Modell; the commitment to dedication and responsibility that lenges of a new publication season… a wild, but enjoyable
comes through in David Champouillon’s interview of Marvin ride!
Stamm; John Swana’s thoughts on his journey as a jazz artist as
ITG Calendar
Albert L. Lilly III, Editor
For a complete list of worldwide events, visit http://www.trumpetguild.org/calendar/calendar.htm. To submit calendar items for
the ITG Journal and ITG Web Site, please contact: Calendar Editor Al Lilly, 980 Centennial Road, Martinsville, IN 46151 USA;
765-342-2811; fax 734-423-5896; [email protected]
June 1 – 14, 2005 June 5, 2005
Tafelmusik Baroque Summer Ins titute at the University of Trumpet Party 2005, to be held in Noordwijk, The Nether-
Toronto, Toronto, Canada. An intensive 14-day residency in lands. For more information, contact: Atelier Pfeiffer, haagweg
baroque period performance is planned. For more informa-
17, 2281 AA RIJSWIJK; Phone: 070 399 4346;
tion, contact: Phone: 416-964-9562;
EMail: [email protected] EMail: [email protected]
Web site: http://www.tafelmusik.org (Details are found in the Web site: http://www.atelierpfeiffer.nl or
training section of the site.) http://www.trumpetparty.nl

June 5 – 19, 2005 pus of the College of the Atlantic in Bar Harbor, ME (USA).
Bras s Ses sion at Le Domaine Forget Mus ic and Dance Acad- The faculty for the week includes Music Director Blair
emy, Saint-Irenee, Quebec, Canada. Trumpet faculty for the Bollinger, trumpeter Chris Martin, hornist Adam Unsworth,
session includes Vincent Cichowicz, Geoffrey Thompson, trombonist Matthew Vaughn, and the Extension Ensemble.
Trent Sandhein, and Manon Lafrance. For more information, Web site: http://www.barharborbrass.org
contact: Le Domain Forget, 5 Saint-Antoine, Saint-Irenee EMail: [email protected]
Quebec, G0T 1V0 Canada; Phone: 418-452-8111; EMail:
[email protected]; June 27 – July 1, 2005
Web site; http://www.domaineforget.com Master Clas se s in Trumpet Performance, featuring Barbara
Butler and Charles Geyer. All events will be held on the cam-
June 15, 2005 pus of Northwestern University, Evanston, IL (USA). For
Application Deadline for the Carmine Carus o International more information: Summer Session, Northwestern University
Jazz Tr ump et S ol o Compe tition, sponsored by the Inter- School of Music, 711 Elgin Road, Evanston, IL 60208-1200
national Trumpet Guild in cooperation with the Herb Alpert USA; Phone: 847-491-7485;
Foundation. Applications must be received no later than June EMail: [email protected]
30, 2005, for consideration. The competition is open to trum-
peters born after October 15, 1975. July 9 – 16, 2005
T he compe tition w ill be h eld o n Octobe r 15, 2005. Full T he 2005 Madison Early Mus ic Fes tival pres ents music from
details and rules of the competition can be found in the the Faires t Isles. Four world renowned ensembles-in-residence
Januar y or March 2005 ITG Jour nals, or online at will be together for eight days of workshop classes and concert
http://www.trumpetguild.org/resources/caruso.html, or by series focusing on early music from England, Ireland, and
contacting: Vern Sielert, ITG Caruso Competition, UW Scotland. The ensembles-in-residence include King’s Noyse,
School of Music, P.O. Box 353450, Seattle, WA 98195-3450; Piffaro, and the Baltimore Consort. Faculty will include Kris
Phone: 206-543-1189; EMail: [email protected] Ingles and Greg Ingles, of The Spiritus Collective and Piffaro.
Web site: http://www.dcs.wisc.edu/lsa/memf;
June 18 – Aug ust 13, 2005 EMail: [email protected]
Mus ic Academy of the Wes t, to be held in Santa Barbara, CA
(USA). The trumpet faculty for the academy includes Josef July 9 – 27, 2005
Burgstaller, Stuart Laughton, and Paul Merkelo. For more Su m me r B ra s s In s t it ut e to be held on the San Francisco
information, contact: Music Academy of the West, 1070 Fair- Peninsula, in San Francisco, CA (USA). The Bay Brass will
way Road, Santa Barbara, CA 93108; serve as faculty for the event. Events planned include intensive
Web site: http://www.musicacademy.org study in chamber music, orchestral playing, and master class-
es. For more information or to apply online, contact:
June 19 – July 3, 2005 Web Site: http://brass.menloschool.org;
Obe rlin Cons ervatory of Mus ic 34th Annual Baroque Pe rfor- EMail: [email protected]
mance Ins titute, with artistic director Kenneth Slowik and
trumpet faculty John Thiessen. For more information: July 23 – 30, 2005
Conservatory of Music, 77 West College Street, Oberlin, OH Indiana Univers ity School of Mus ic Colleg e Audition Pre par-
44074 USA; Phone: 440-775-8044; ation, to be held at the Indiana University School of Music,
Web site: http://www.oberlin.edu/con.summer/bpi Bloomington, IN (USA). John Rommel will serve as trumpet
faculty. This program is for students in grade 10 – 12 as they
June 21 – 24, 2005 plan and prepare for the college audition process. Applicants
I nt e rn a t io n a l Tr u m p e t Gu il d Co n f e re nce , to be held in will be accepted pending the availability of space. Students will
Bangkok, Thailand. Joseph Bowman will host. More informa- live on the Indiana University campus, and will study in pri-
tion is available in the January and March 2005 ITG Journal, vate lessons and master classes with professors on winds and
or by contacting: Joseph Bowman, 2005 ITG Conference, percussion instruments. For more information or to apply,
College of Music, Mahidol University, 25/25 Phuttamonthon contact: Judy Anderson, Office of Business Affairs, College
Sai 4, Salaya, Nakhonpathom, 73170, Thailand; Phone: +662- Audition Preparation, IU School of Music, Merrill Hall Room
800-2525 ext. 414 (from the US dial 011 first, then the rest of OO3, Bloomington, IN 47405; Phone: 812-856-6064 (con-
the number); EMail: [email protected] nects to Office of Special Programs, ask for Helena Walsh);
EMail: [email protected]
June 25 – July 9, 2005 Web site: http://www. indiana.edu/som/special_programs
Skidmore Jazz Ins titute, to be held on the campus of Skid-
more College, Saratoga Springs, NY (USA). For full details on July 25 – 29, 2005
the events and the faculty, contact: Gerald Zaffuts—Director, Ma u ri ce A n dr é Ma s t e r C l a s s f or Tr u m p e t to be held in
Skidmore Jazz Institute, Skidmore College, 815 North Zürich, Switzerland. For complete details contact: Internation-
Broadway, Saratoga Springs, NY 12866 USA; Phone: 518- ale Meisterkurse für Musik Zürich, Postfach 308, CH-8044
580-5590; Web site: http://www.skidmore.edu/summer Zurich; Phone: 0041-1-361-57-57; Fax: 0041-1-362-94-61;
EMail: [email protected]
June 26 – July 2, 2005 Web site: http://www.musicmasterclass.ch
5th Annual Bar Harbor Brass Week, to be held on the cam-
© 2005 International Trumpet Guild
Continued on Page 28
June 2005 / ITG Journal 5
Remembering Timofei Alexandrovich Dokshizer
1921 – 2005
COMPILED BY GARY MORTENSON
Forew ord wife, Mona Rachgus, and also because of difficulties stem-
By Edward H. Tarr ming from increased political and religious persecution.
Dokshizer’s first instruments were trumpets with rotary
O n the afternoon of March 16, 2005, the great Rus-

sian trumpet soloist, Timofei Alexandrovich Dok-
shizer, passed away. Dokshizer’s ancestors original-
ly came from Dokshizi (White Rus-
valves
gave to
and a rotary-valved cornet by Alexander, which he
the Bad Säckingen Trumpet Museum in 1990. His
first LP recording, with virtuoso
pieces for cornet and piano, was
sia), settling in Nezhin (Ukraine) in
the late 18th or early 19th century. made on that cor net. He later
Timofei was born there on Decem- played on B-flat trumpets by
ber 13, 1921. His family moved to Selmer and Benge (the latter a gift
Moscow in 1932. There he attend- f ro m Ru s s ian-born Vladimir
ed the military band school of the Druck er, first trumpeter of the Los
62nd cavalry regiment and the Gla- Angeles Philharmonic) and occa-
zunov Music College (1932 – 35), sionally a Schil ke C trumpet.
where his teacher was Ivan Vasilev- As a soloist and orchestra mem-
sky, as well as the preparatory inst- ber, master teacher, and juror in
itutions for the Moscow Conserv- international competitions, Dok-
atory (1935 – 39) and the Gnesin shi zer was in demand all over the
In st itute (1939 – 41), where his world, with many visits to the USA,
teacher was Mikhail Tabakov. After Western Eur ope, and Japan. His
wartime military service he studied dis tinctive rep ertoire of more than
under Tabakov at the Moscow Con- 100 pieces consisted in later years
servatory and the Gnesin Institute, entirely of his own transcriptions,
becoming Tabakov’s assistant dur- including significant pieces such as
Timofei Dokshizer Gershwin’s Rhapsody in Blue and
ing 1950 – 54. From 1951 to 1957
he also studied conducting under L. Ginsburg at the Mos- Shostakovich’s Concerto for Trumpet
cow Conservatory. and Piano. Among his many publications, his trumpet
From 1945 to 1984, Timofei Dokshizer was cornet soloist meth od (published in 1990 by Le duc) and his Memoirs
(mostly on trumpet) in the Bolshoi Theater Orchestra. (published in 1997 by the ITG) deserve special mention.
When he received independent status in 1954, he enjoyed a It is amazing enough that Timofei Dokshi zer always per-
prestigious status on formed in an impas-
the same level as David sioned way, with a large
Oistrakh and Mstislav dynamic range, but it is
Rostropovich. It was even more amazing
dur ing this period that he continued to
that he was designated perform and record
“The People’s Artist of even after quad ruple
Russia” by the Soviet bypass heart surgery in
government. Be sides April of 1989. He had
his activities as a solo- an un can ny abil ity to
ist, Dokshizer conduc- regain top form within
ted opera performan- days after a long pause
ces at the Bolshoi for a of weeks or even
number of years. As a months. His entire life
teacher he was active at was devoted to music.
the Gnes in In st itute, On a personal level, he
beginning in 1954 and viv idly ex emplified
ending when he moved old-fashion ed values
to Vilnius (Lithuania) such as courtesy and
in 1990. He chose Vil- modesty. Tim ofei Alex -
nius because it was the With his son, Sergei, in 1958. Sergei later became a bassoonist with the and ro vich Dokshizer
home of his second Moscow Philharmonic will be sorely missed.

Expres sed to those in attendance
at the memorial s ervice
Mos cow, March 22, 2005
The International Trumpet Guild, through the under-

signed members of the Executive Committee and Board of
Directors, send our deepest sympathies to the family of
Timofei Alexandrovich Dokshizer.
The Officers, Board of Directors, the Guild’s membership,

and the music world as a whole are saddened at the loss of
Timofei. However, his teaching, his artistry, spirit, and the
miracle of his musical gift remain with all of us as his hon-
ored legacy. We have all been touched by Timofei Dokshi-
zer’s glorious trumpet. He will be missed, but Mr. Dokshi-
zer will be carried in our hearts forever.
With our best and sincere regards,

The International Trumpet Guild
Five members of the Dokshizer family at the remembrance dinner on

March 22, 2005. L – R: Irina Kuzina (niece), Tatiana Dokshizer (Vladimir
Dokshizer’s wife), Vladimir Dokshizer (brother), Anna Dokshizer
(granddaughter), and Mona Rachgus (widow)
L – R: Anatoly Selianin, Vyacheslav Prokopov, and

Vyacheslav Traibman talk at the memorial service
Ministry of Defense Band members playing the

Russian Anthem at the service
Grave of Dokshizer's first wife and son,

and location of the memorial service honoring Timofei Dokshizer
Moscow, March 22, 2005
A large number of mourners gathered at the The gravestone, depicting a grieving female figure looking downward,
memorial service was sculpted by Dokshizer’s second wife, Mona

The trumpet players of the world loved Timofei Dokshizer… we admired his
charm and his music. When I was at the Paris Conservatoire I listened, with plea-
sure, to his recordings. Because they came from Russia, it was hard to get them.
He would send them to me, and even brought some when he came to visit at my
house. He worked and created under difficult circumstances and under a difficult
system of government. Considering the state of the world during the peak of his
career, it is remarkable that he became so well known. His work gave us a lot of
inspiration. When I heard him play the Arutunian, I learned about musical free-
dom and expression. Naturally we come from different musical schools of
thought. For example, he played with a lot of vibrato, a little like R. Sabbarich,
my teacher in Paris. Timofei and I had great admiration for each other. His tech-
nique, his distinctive sound, his musical signature, these were all his own. Nobody
played like him. There are not too many human beings who inhabit this earth
who have the opportunity to leave such profound memories. As artists, we have
that chance, and I find it wonderful that Timofei Dokshizer had such a unique
With Maurice André
and individual quality about him.
Here is a special memory that I have. It occurred when the Bolshoi Orchestra came to Paris. At that time, a Communist
party agent (chaperon) had to be with them all the time. They had a free day, and my wife prepared lunch for the band. They
were all supposed to come to my house on the outskirts of Paris, but the agent refused to give his permission for them to come
the short distance to my home. My wife called the agent and told him she had made lunch for the band, but not the politi-
cians (laughing), and if they did not come, the radio and television would know that the Bolshoi Orchestra refused the invi-
tation of Maurice André. A short time later, the agent called back, somewhat flustered, and said yes, they can come! I was
happy to see the musicians and especially to see my friend Timofei.
I was sad to hear the news of his death. It is a big loss, but what can we say, we are not immortal. If I could say goodbye to
him, I would tell him the same thing that I inscribed on the sculpture that I made for my dear friend Jean-Pierre Rampal after
his death. “Thank you—even though you are absent from us, you are immortal through your art, and therefore always with
us.”
Maurice André
Recording Artist
Paris Conservatoire
On March 16, 2005, the world of trumpeters became infi-

nitely smaller with the passing from this life of Timofei Dok-
shizer. I grieve for my lost friend and dear colleague. Our per-
sonal association lasted more than twenty-five years and, over
the years, it continued to grow in its depth on many levels.
While many will say that he was one of a few true artists to have
ever played the trumpet, I would contend that he was more than
that. He was a great man who exuded the very best qualities of
the human spirit in all aspects of his life and his art. To be in his
presence was at once humbling and uplifting. My last time with
him was in October of 2002 during the Timofei Dokshizer
International Trumpet Competition and Festival in Vilnius,
Lithuania, for which I was honored to be a member of the com-
petition jury and a guest artist by personal invitation of Maestro
Dokshizer. At the conclusion of the competition, Mr. Dokshizer
invited me to his home. Upon my arrival, he and Mona wel-
With Leonard Candelaria in Vilnius, Lithuania comed me with a degree of grace and generosity that was over-
whelming. I was deeply humbled by their hospitality. I found myself in the presence of one of the greatest icons in the histo-
ry of our instrument. One can imagine my stunned state when Mr. D. said to me with all sincerity, “Candelaria, I never imag-
ined that you would someday visit me in my home.” He then proceeded to take me by the arm and escort me from room to
room showing me his most treasured possessions and sharing with me many personal remembrances of his life. His kind and
gracious treatment during those few hours will remain in my memory as one of the peak experiences of my life.
Apart from his personal qualities, I remain deeply influenced by Maestro Dokshizer’s musical thinking—a product of a men-
tality that was motivated by both artistic idealism and intelligent practicality. In a master class he was once asked what solo
materials he practiced. He replied, “I practice all pieces, but I only perform a few.” When asked why this was so, he replied
with all candor, “Because some pieces don’t like me.” He often admonished young players to strive to develop their own per-
sonal and distinctive musical voice, but he always cautioned them not to try to copy anyone in particular, especially him. He

told me on several occasions that there were aspects of his own playing which displeased him and that he was constantly seek-
ing ways of overcoming his own self-perceived shortcomings. In another master class Mr. D commented on the lack of ener-
gy and vitality of one young performer’s playing by saying, “I am old but when I play I sound young—you are young but when
you play you sound old.” I doubt that anyone in the room, least of all that young player, will ever forget that admonishment.
I also doubt that any of us who witnessed Tima in a live performance can ever forget his commanding stage presence and noble
physical carriage, qualities of presentation that were every bit as mesmerizing as was the impassioned beauty of the sounds he
produced. Music was his life and his life was his music. The world is a richer place for his musical life but it is a far emptier
place for his passing. Dasveedáneeya, Maestro.
Leonard Candelaria
Professor of Trumpet
University of Alabama – Birmingham
One of the greatest trumpeters of all time has left us. As a musician
and a person, Timofei Dokshizer inspired generations of trumpeters,
and through his recordings and writing he has left a valuable legacy for
future generations. He was a wonderful friend to the International
Trumpet Guild. A lifetime member of the Board of Directors, he gener-
ously gave ITG the rights to the English translation of his autobiogra-
phy, Trumpeter on a Horse, as well as permission to use some of his
recorded performances and his arrangements of music by Scriabin.
Those of us fortunate enough to have heard him play in person have
memories to treasure. The first time for me was at the 1977 ITG
Conference at the University of Illinois, when he played Hummel and
Arutunian with the University of Wisconsin Wind Ensemble. I was
impressed by his astounding virtuosity and consummate musicianship,
but also by his dignity as a performer, a dignity totally without preten-
tiousness. He showed respect for the music, for the audience, and for his
role as performer.
Stephen Chenette
Stephen Chenette and Timofei Dokshizer in Kiev President, International Trumpet Guild
Professor Emeritus, University of Toronto
Former Principal Trumpet, Minnesota Orchestra
In the mid 1950s I became interested in the Russian school of trumpet playing and began collecting recordings of promi-
nent orchestras of the Soviet Union. Among my early acquisitions was a wonderful recording of the Bolshoi Theater Orchestra
playing the Swan Lake ballet music of Tchaikovsky. It was conducted by Yuri Feyer and featured Timofei Dokshizer’s elegant
performance of the “Neopolitan Dance.” In 1967, the USSR State Symphony Orchestra came to Chicago and with them
brought a guest solo trumpeter named Timofei Dokshizer. After their performance, a reception was given by the Chicago
Symphony Orchestra, and that is where I first met Timofei.
In 1977, David Hickman called me to inquire if we might present Timofei in a concert at Northwestern University as part
of a tour package being organized by ITG in order for him to be given permission by the Soviet government to participate in
the ITG event. We spent a marvelous three days in which he did a master class, rehearsed with the Symphonic Band, and
appeared in concert on the final day as soloist and conductor of his arrangement of the Manfredini two trumpet concerto with
24 trumpets and piano. It was enthusiastically received and remains a most memorable occasion.
I would like to recount an anecdote which attests to his principles of integrity. On a visit to the Schilke factory, Mr. Schilke
asked Timofei to play on a Schilke gold-plated trumpet. After which he praised its excellent qualities. Mr. Schilke offered him
the trumpet as a gift. Timofei declined even after subsequent urgings to accept the trumpet. I asked him afterward why he was
so adamant in his refusal. He replied, “I would feel compelled to play on this instrument in my public performances and I
really prefer my Benge.”
His integrity, honesty, and dedication are a legacy to his artistry and humanity. He will be remembered as a consummate
artist and one of the most important performers of our generation.
Vincent Cichowicz
Professor Emeritus, Northwestern University
Former Member, Chicago Symphony Orchestra

The first time I met Timofei Dokshizer I was working in New York City. Tony Rulli, who at that time was the Bach repre-
sentative in New York, asked me to come down to Madison Square Garden to hear a trumpet player performing with a visit-
ing orchestra from Russia. He promised it would be something special. I did, and had an opportunity to talk with Timofei
after the performance. In the course of our conversation I was stunned to learn that this great artist did not know of, or own,
the Charlier Études Transcendantes. I was so sur-
prised by this that I ran across the street to Manny’s
Music, bought a copy, and presented it to him.
Years later my wife and I spent an afternoon talking
to Timofei at Milton Davidson’s (brother of Louis
Davidson) house. Timofei was the type of person
who immediately changed the atmosphere of any
room he entered. He was a person of noble charac-
ter and uncommon grace.
I can remember listening to many recordings of
Dokshizer’s playing over the years. His range of
musical expression was so complete that the techni-
cal demands of what he was doing were never
apparent. He was without peer, a unique musician
and a unique human being.
Raymond Crisara
Professor Emeritus,
University of Texas at Austin
Former Member, NBC Symphony
Dokshizer in recital
It is always a sad time when a great musician pas-

ses from our midst. However, great musicians leave
a legacy of their music and their teachings. Timofei
Dokshizer has been one of the most influential
teachers and performers of the century. His record-
ings and teachings are at the heart of the musician-
ship we hope to share with our colleagues and stu-
dents.
A great lesson was learned by all in a master class
he gave in Kiev a few years back. He had asked a
few of us to perform etudes from a new publication
in this class. He had asked a few of us to perform
for him! We each played parts from his new book.
He said, “You can never play music without prac-
ticing technique and you can never practice tech-
Dokshizer in a lesson with his teacher M. Tabakov ca. 1948 nique without practicing music…”
On the same trip, I was fortunate enough to have
him help me play with an entertaining violinist and pianist
at one of the many dinners we had in Kiev. When I could
not remember the fingerings to a particular piece (nor could
I play them!), he was nice enough to place his hand on my
valves and do it for me as I played the trumpet!
We have lost the man but not his legacy of bringing
trumpet performance and its music to a higher level. Hear-
ing him perform was hearing only music—the trumpet dis-
appeared.
Vincent DiMartino
Recording Artist
Professor of Trumpet, Centre College
L - R: Olga Braslavsky, Timofei Dokshizer, and
Joyce Davis at the presentation of his book The Memoirs
of Timofei Dokshizer in English translation
at the 1997 ITG Conference, Göteborg, Sweden

On March 16, the world lost one of the finest trumpeters in his-
tory with the passing of Russian virtuoso Timofei Dokshizer. His
performances and recordings have influenced generations of trum-
peters in Russia and former Soviet Bloc countries as well as players
throughout the world.
During his career, Mr. D. raised the bar for trumpet performance
technique. He refused to be fettered by what many considered the
physical limits of the trumpet and didn’t hesitate to play transcrip-
tions of pieces originally for other instruments, including violin,
oboe, piano, and voice. He also had many pieces written for him
by contemporary composers, and those works are now in the trum-
pet repertoire because of his efforts.
Mr. Dokshizer was a very special man, not just a special trum-
peter. As a performer and teacher he had extremely high musical
standards, but also exhibited great patience when appropriate. He
possessed great inner confidence evident even in his body language.
Without “cockiness,” he carried himself with a quiet air of compe-
tence. I have more than once heard remarks such as, “When Mr.
Dokshizer entered a room, you just knew he was someone impor-
tant, even if you didn’t know who he was.”
In his later years, especially after his retirement, he became con-
cerned with passing his knowledge and expertise to those coming
after him. Though he already had a very impressive list of record-
ings, he became a prolific writer of both methods and books on
style. He made certain his memoirs were translated and published
in English and the ITG is currently working on a translation of his
book on trumpet artistry. He made a number of transcriptions
Soloing with conductor Kurt Mazur in Leipzig, 1963
(Shostakovich, Gershwin, Scriabin, etc.) available, often offering
them free to the ITG in order that players around the world could use them.
Timofei Dokshizer was a superb musician, a spectacular trumpet player and a wonderful person. I am honored to have
known him and it was my privilege to have worked with him on several projects. My sympathy goes out to his family, friends,
and colleagues all over the world.
Just as we must genuinely mourn the passing of this great man, we must also celebrate his legacy to the trumpet, its musi-
cianship, pedagogy, and literature.
Kim Dunnick
Ithaca College
I had the pleasure and the distinct honor of accompanying Timofei Dok-
shizer on numerous occasions. In addition to performing as his accompanist
in several recitals, I also was privileged to share in over 25 hours of master
classes with him. Although many pianists view accompanying as bother-
some time taken away from “real” playing, I feel that my experiences with
Mr. Dokshizer were some of the most valuable lessons I ever had. While he
often addressed trumpet-specific issues (such as, “No kwaa”—in discussing
initial attacks), I more often heard him discuss music. Anyone who ever
heard Mr. Dokshizer play knows that he had a uniquely special sound in his
playing. I believe that it had less to do with his knowledge of the trumpet
Kathryn Fouse and Timofei Dokshizer in recital and more to do with his knowledge of music.
Of the many insightful things that I heard Mr. Dokshizer say about
music, there is one particular comment that has always stood out in my memory. He once said, “Playing music is like paint-
ing on water; as soon as you have put down the color, it is gone and you have to make the color again.” We have all heard the
old saying that “You are only as good as your last performance.” Well, for Mr. Dokshizer, you are only as good as your last
note. I now share with my own students the importance of intense and focused listening to ourselves as we play, so that we are
continuously creating for our audience beautiful colors in the water. Then, as each color fades away we must always replace it
with another. We all know what an extraordinary trumpet player Timofei Dokshizer was; I have always regarded “Tima” as a
magnificent artist, who just happened to play the trumpet.
Kathryn Fouse
Assistant Professor of Piano
Samford University
With prima ballerina Nina Semizorova at the Bolshoi, 1981 With son Sergei in the foyer of the Bolshoi Theater, 1981
Timofei Dokshizer will always be a legend in the trumpet world. I am pleased to have booked his first U.S. solo tour in con-
junction with his appearance at the ITG Conference in Urbana, Illinois I hosted in 1977. Tima and I became good friends
and often exchanged packages of music and recordings generally not available outside our respective countries during Soviet
rule.
Interestingly, Dokshizer did not wish to take home much cash from his U.S. tour (except for a private “donation” to his con-
tact in the Soviet Ministry of Culture who had allowed him to leave the USSR), so he asked that I take him shopping on his
last day in America. He purchased an inexpensive digital watch (they were quite new back then), a nice watch for his wife, a
pair of cowboy boots, a small mini-cassette recorder, several books on fireplace building (his government had given him a small
and very “rustic” cottage in the country which he wanted to fix up), and numerous dresses for his wife, Mona. Because Soviet
dress sizes used a different system as that in the U.S., Dokshizer looked for a saleslady of the approximate size as his wife. When
she directed him to a rack of dresses of the appro-
priate size, Tima simply threw both arms around
the group of dresses and purchased all of them
without even looking at them individually.
The following year, 1978, the Benge Company
arranged a tour and Dokshizer returned for
another appearance at the University of Illinois.
My wife and I enjoyed having him as a dinner
guest in our home. He was always a perfect gen-
tleman and was kind to everyone.
Although Tima and I communicated regularly
until his passing, the last time I saw him was dur-
ing the 1995 International Brassfest in Bloom-
ington, Indiana, co-hosted by Summit Brass and
the ITG. Fortunately, my dealings in arranging
for Timofei’s appearance were relatively simple
due to the fall of the Soviet Union.
I will always admire Timofei Dokshizer’s
artistry. Without question, he was one of the
most influential trumpeters the world has ever
known. His unselfish nature and wonderful abil-
ities as a teacher will always be remembered.
David Hickman
Arizona State University
Mona Rachgus with her husband, Amsterdam, ca. 1990

I feel very sorry to hear of the death of my wonderful friend Timofei Dokshizer. I have wonderful memories of him and his
dear wife Mona. Everybody knows he was a unique musician, but I feel privileged because I also got to know him as a
charming, kind, and warm person.
In 1985 I left my teacher Jimmy Stamp in Los Angeles, promising him I would pay a visit to Timofei in Moscow, during
the first concert there of the Rotterdam Philharmonic Orchestra a few months later. After calling him in Moscow he waited
for our trumpet section at the bus stop in front of the Tchaikovsky Conservatory, where we were going to play that afternoon.
After the concert, we got together and he gave each of us one of his records—records we couldn’t obtain here in Western
Europe. During our very nice meeting I invited him to give a master class at the Utrecht Conservatory where I teach. To my
surprise he immediately said, “Yes, of course I’ll come.” but he warned me that it could be difficult for him to get out of the
Soviet Union, due to visa restrictions.
It took almost two years before he finally made his first visit to us, which was at the end of 1988. During the visit he told
me he wouldn’t play at the master class due to his health. Later on I remember, that while leaving the class, it was very difficult
for him to walk at a reasonable speed. I asked him, “What’s the matter?” He said, “It’s my arteries, they are blocked.” I told
him to get an operation. He said, “They can’t do bypass surgery in the Soviet Union.” This was in 1988!
Before I realised what I was saying, I told him that we were going to help him. I spoke to my father’s cardiologist, who said
he would examine him free-of-charge in his hospital. In the meantime we raised money for the operation to be done here at
the University Clinic in Rotterdam. Money was raised by donations received from trumpet players here in Europe and in the
United States… however, the biggest sum was raised after a major article detailing Timofei’s illness was published in a widely
circulated Dutch newspaper. Contributions poured in from ordinary Dutch citizens, who each donated relatively small
amounts. I also received a lot of help from Timofei’s dear friend Louis Davidson. Bob Findley also helped raise donations from
American trumpet players. A few weeks after the money was raised, Timofei and his wife Mona came to the Netherlands where
he was successfully operated on in April of 1989.
It was very special to me and to my wife that a couple of months after the operation, Timofei came to the Netherlands to
attend our wedding. A few years later in 1992, recovered and well, Timofei appeared at the concluding concert of the ITG
conference here in Rotterdam. He performed his arrangement of Shostakovich’s piano concerto displaying his stunning
musicality. He managed this in the presence of a full hall of trumpet players from all over the world, including Maurice André,
many people who donated money for the operation, and his doctors. It was, for all of us, a very special event never to be
forgotten.
Arto Hoornweg
Rotterdam Philharmonic
Utrecht Conservatory of Music
L – R: Kiril Dimitriev, Mona Rachgus, Arto Hoornweg, Timofei Dokshizer

In January 1960, the Moscow State
Symphony Orchestra came to Chicago.
It was the first Soviet Symphony to tour
the U.S. As a member of the Chicago
Symphony Committee, I was involved
in arranging a post-concert party for
both orchestras. That is when I first met
Timofei Dokshizer. His beautiful play-
ing left me speechless. You must
remember, that that was the height of
the Cold War, so he was very guarded
with me, and was constantly extolling
the virtues of the Communist system.
Over the years we became very close
friends, especially when I would see him
in Prague at the Trumpet Competitions.
I would send him music, methods,
solos… all the things he couldn’t get
and he in turn would send me his
records and solos by Russian composers.
In 1987, when were both in Prague, I
hired an interpreter, and my wife and I
took Timofei out to dinner. We had a Frank Kaderabek, Timofei Dokshizer, and Charles Colin
glorious evening. He trusted me enough
that evening to say, “The Communist system is one thing in theory and in reality it is something else.”
He was the greatest trumpeter I ever heard. He had the beautiful sound of Glantz, the technique of Méndez, and the artistry
of Heifetz. I shall remain in awe of him for the rest of my life.
Frank Kaderabek
Principal Trumpet
Philadelphia Orchestra, Retired
I can remember so vividly the phone call which came to me

during the 1965 – 66 season of the Dallas Symphony. My
uncle Louis Davidson, who had a brilliant career as principal
trumpet in the Cleveland Orchestra 1935 – 1958, called and
in an almost unbelieving voice said, “Ronnie, last night I
heard God play the trumpet.” That night in 1965 my uncle,
who was then professor of trumpet at Indiana University, had
gone to hear a concert by a touring Russian orchestra. Tim-
ofei was on that tour only because the regular principal had
become ill.
After the concert the two met backstage, and though Tima
spoke no English and Louis spoke no Russian, Yiddish
became the common denominator. Timofei came to my
uncle’s house for food and drink, and at 2:00 A.M. took out
his instrument and played like Heifetz on the trumpet. They
instantly became like brothers, and with financial help from
the then-principal French horn of the Boston Symphony,
James Stagliano, they produced a record album from tapes
Tima sent to them secretly from Russia. That album was
never intended to make money, but rather to introduce this
genius to the people of the United States. Every major classi-
cal radio station received a copy, and upon putting it on the
air, had their switchboards light up like a Christmas tree,
with the same question, “Who is that playing the trumpet?”
Timofei for 38 years was the principal trumpet at the
With Louis Davidson ca. 1965

Bolshoi Theatre in Moscow. He was the premier teacher in all of Russia. His technical
ability on the trumpet allowed him to do anything he wanted musically. His greatest
gift was being able to find things in the music no others had. Joan Schilke, daughter of
the great brass maker Renold, described him best when she said, “Even if you didn’t
know who he was, once he entered the room you knew he was someone very impor-
tant.”
For the past 40 years I have kept up a steady correspondence with Timofei via phone,
EMail, and many personal letters. The last letter I had from him was sent January 13,
2005, and in it he said, “I have had a great career and done much, but still I feel there
was a lot left undone, but it is my nature to feel that way.” He has left a legacy of great
recordings, and so his music will live on, I hope, forever.
L – R: On the beach in Florida with Ron Modell
Ron Modell, Timofei Dokshizer, and Professor Emeritus
Emil Davidson (son of Northern Illinois University
Louis Davidson)
In Moscow with his students in the 1980s
We have lost the most amazing trumpet virtuoso the

world has ever seen. He had the ability to make his
trumpet sing like no one could. I had the privilege to
take lessons with Timofei Dokshizer, first in Russia, and
later in the United States. We have all learned from this
great Master and future generations will continue to do
so. He had the unique ability to touch your heart and
make you cry with the sound of his trumpet. We will
miss him.
Arturo Sandoval
Recording Artist & Professor of Trumpet
Florida International University
With Arturo Sandoval at the 1995 International Brassfest

in Bloomington, Indiana
Like many people, I first became
aware of Timofei Dokshizer’s
artistry through that LP that was
issued on the Boston label in the
mid 1960s. Then and there our
two positions were staked out:
with my main interest in Baroque
music and historical performance
practice, I was a kind of uncom-
fortable non-conformist, whereas
he with his very special virtuosity
and impassioned style represented
a window on the past. Russia in
general, and Timofei in particular,
represented a true Romantic tradi-
tion that we in the west had left
behind us. Mind you, I was en-
thralled by his playing… it was as
if someone like Herbert L. Clarke
had come to life again.
Later I became acutely aware
that he represented something
unique and precious. No trum-
peter in Russia or anywhere else
played like him. We had many
opportunities to meet, in many
countries. Our meetings always
left me moved, for one reason or
Edward Tarr and Timofei Dokshizer surrounded by student participants at another, and were tinged with
the Kiev Competition in October of 1998
both dignity and a sadness, proba-
bly derived from the realization
that we belonged to two different generations and were transients in this world.
Our first meeting was in June 1976 on the first day of the International Brass Congress in Montreux, Switzerland. He very
formally pinned a medal on my lapel. I was not able to hear him perform, since I had to leave on tour the next day. My friends
who remained told me that he had greatly impressed them not only by the quality of his playing, but also by his stage pres-
ence: whenever he let the water out of his trumpet, he made a very slow turn so that this indecent gesture was made away from
his audience!
Our next meeting was on my first visit to Russia with Helmuth Rilling and the International Bach Academy in 1988. Here
I was working for a week with students of the Moscow Conservatory, helping them to narrow the east-west information gap
and culminating in a memorable performance of Parts I – III of Bach’s Christmas Oratorio. Timofei invited me to supper in
his apartment. His wife Mona, an artist (her works lining the walls), was also present, as was a former student of his, Ilya
Shkolnik, who drove me afterwards to my hotel. Ilya had become Timofei’s successor as Bolshoi soloist four years earlier. Little
did I know that Ilya was soon to defect; not a syllable was uttered in this respect: he is now established in Lausanne and has
exchanged his trumpet for a composer’s pen. During that evening meeting, I presented Timofei with an LP recording I had
made of his transcription of Gershwin’s Rhapsody in Blue. When shortly after the beginning I went for a high F (a note that
Timofei had suppressed by transposing the entire phrase down a fifth), he raised his eyebrows, and I realized I had gained his
respect. He then told me that on his next visit to Germany he would like to give his Alexander cornet to the Trumpet Museum
as a present, so as to return it to its country of origin. I was moved, and also humbled, to realize that the tiny apartment of
this leading Artist of the Soviet Union was not much bigger than the garage of my private home.
When I invited him to be a judge at the Ellsworth Smith Competition in Bad Säckingen in 1990, he made good his promise.
Before we announced the competition winners, we had a small onstage presentation ceremony. Here again I was moved to see
that the protective blue cloth cover of Dokshizer’s personal trumpet case was clean but threadbare. We rich Westerners would
have replaced it long ago. That it survived meant that it could tell its story of long use.
Then came the Rotterdam ITG Conference in June 1992. Nearly a year earlier, the organizer, Koos van der Hout, had
requested me to contact both Timofei and Maurice André, since I knew them both, in the hopes that they would consent to
perform as soloists with the Rotterdam Philharmonic—both of them in the same concert! When I called Maurice on the phone
one evening at 10:00 P.M., his wife told me that he had gone to bed. When I reached him the next morning at 8:00, he cheer-
ily told me that he had already practised for several hours and that this was his normal daily routine! In any case he readily
agreed. To ask Timofei, I waited until he was visiting friends in eastern Switzerland and then went there to spend a day with
him. He had been ill for a longish period without touching the trumpet and now had about a week’s time to get back in shape

for an impending master class. (A student of mine
who attended that master class later told me that
Timofei was in first-class shape, with a very power-
ful dynamic range.) He also readily agreed to per-
form on the same stage as Maurice. During our
meeting, Timofei played several sections of his new
transcription of the Shostakovich Concerto Op. 35,
which was to transfer many passages from the piano
and string parts to the trumpet, making of it a true
trumpet concerto. I was again moved, for I then
realized that until that moment, I had never heard
him perform live and here he was, performing for
me alone. Later, in Rotterdam on June 26, it was
one of the most moving musical experiences of my
life to hear his complete rendition of this piece.
Although he was 71 years old, twelve years older
than Maurice, a comparison of the two perfor-
mances would probably be in Timofei’s favor. Timofei Dokshizer, 1962
Maurice performed on smaller instruments: the Hummel concerto on an E-flat trumpet and the Marcello concerto on a pic-
colo trumpet, using music by the way, while Timofei played the Shostakovich concerto from memory on a B-flat trumpet with
an extremely wide dynamic range and expanded
tessitura. Fred Mills, who was present, reported in
Brass Bulletin, “this was the premiere of this
arrangement of great virtuosity, performed with a
dramatic and deeply moving power.”
Our later meetings were in Saratov, Porcia,
Gothenburg, and Lieksa. Our common language
was always German, which Timofei spoke rather
brokenly. Whenever a translator was present, he
was much more eloquent in Russian, his mother
tongue. In Lieksa, where I performed the Haydn
concerto, he apparently did not like my anti-
Romantic style. He raised his eyebrows, but this
time not in approval, and asked, “Is this the way
you think the concerto should be performed?” Such
was our “generation gap!” At the ITG conference in
Gothenburg he gave a fiery performance of his own
transcription of Rodion Shchedin’s Un poco
Albéniz. I still remember his admonition on how to
perform Romantic music: fast passages should be
rendered so clearly that they sound slow, and slow
passages should always be moving forward. Fast
passages will also be more impressive if detached
notes are rendered with an exaggerated staccato.
Good advice!
He was a true child of his area. When it was
revealed some ten or so years ago that arrangements
had been made for him and Mona to emigrate to
California, I knew that he would never consent to
be uprooted in this way, cut off from his origins, no
matter how comfortable life in that warm climate
could be. He once told me that he loved the winter
and could not imagine a winter without snow and
ice. It was thus completely logical that when he left
Moscow, he moved to Vilnius, in the Baltic area.
Edward H. Tarr
Musikhochshulen, Karlsruhe
Former Director, Bad Säckingen
Trumpetenmuseum
With the violin ensemble of the Bolshoi Theater, 1981
About ten years ago I was lucky enough to
meet and work with the legendary Timofei
Dokshizer in Germany where we were guest
artists at the International Trumpet Days in
Bremen. My wife Laura ended up accompanying
him in his master class which was a fascinating
demonstration of pure musicality. Both Laura
and I subsequently toured with Timofei over the
next many years in Europe and Japan with an
international trumpet group. Having only
German as a mutual language (even claiming to
speak German is a stretch for me), the three of us
had some interesting if simple dinner conversa-
tions. I was continually taken with his elegance
with or without the trumpet in his hands. We
could often be seen boarding a train or tour bus,
me in my blue jeans and a T-shirt, Timofei in a
grey suit and tie.
L – R: The late Pierre Thibaud, Allen Vizzutti, and Timofei Dokshizer And his music! Rich sound, constant flow, ele-
in Germany, 1993 gant phrasing, and blistering technique, all sea-
soned by nationalistic flavors of his homeland. I learned many great lessons sitting next to Timofei in concert. To have known
and worked with him was an honor.
One of my favorite quotes from Timofei to a frenetic accompanying ensemble while rehearsing his solo version of Flight of
the Bumble Bee, “Play fast… but calm.”
Allen Vizzutti
Recording Artist
Professor of Trumpet, University of Washington
At a recording session in Vilnius with longtime accompanist Sergei With Dizzy Gillespie in France, 1970
Solodovrik, 1994
Special thanks to the following people w ho helped in as se mbling this article:

Is kander Akhmadullin for providing pictures and captions of the memorial service, and for carrying ITG’s statement to
Moscow.
Stephe n Chene tte in helping to contact Maurice André during his visit in Paris.
Joyce Davis, the author of ITG’s statement to the family of Timofei Dokshizer presented at the funeral on March 22, 2005,
and for her help with the captions in this article.
Anna Dokshizer for her assistance in acquiring photographs from the memorial service on March 22nd in Moscow.
Ibrahim Maalouf for his call to Maurice André and his transcription of that conversation.
Huguette Pettig re w for her assistance in translating Maurice André’s remembrance.

What a Wonderful World!
Reflections of Ron Modell
BY AL HOOD
R on Modell, whom students and close associates the full spectrum of the music world. Imagine playing prin-
affectionately call “Mode,” is one in a million. If you cipal trumpet for the Dallas Symphony, lead for Tony Ben-
nett, performing opera with Joan Sutherland, touring with
were in his presence right now, he would most like-
Phil Collins, playing for Machito, and having a distin-
ly be doing one of three things—playing you music, teach- guished university teaching record, all in the course of a sin-
ing you music, or telling you one of his side-splitting jokes! gle career! The “Mode” has done it all, played with the best,
His fifty-plus year career journey has taken him through and rubbed elbows with the finest artists in music.
Hood: Tell us a little bit about your early experiences on the also included Harry Glantz, Max Schlossberg, and Frank
trumpet. Venezia.
Modell: The two biggest influences in my life were my two My next teacher, Joe Rescigno, who had been at the Met-
uncles, Milton and Louis Davidson. They were both products ropolitan Opera as third/assistant first from 1919 – 1949, kept
of Max Schlossberg, and had the most beautiful sound. Louis me on the book Rhythmical Articulation by Pasquale Bona and
was principal trumpet in the Cleveland Orchestra from 1935 was teaching me transposition and solfeggio. Ironically, once
to 1958 and “Milty” was principal in Dallas under Antal in a while his son Nicola, the personal conductor of Maria
Dorati for three years. As a young child, when they were in Callas for years, came to visit when he was in town. I met him
town and I heard trumpet, it was this gorgeous, beautiful when I was twelve. Later in my career I played nine years under
sound. Everything they played from a note, to a scale, to a con- his leadership with the Dallas Civic Opera.
certo, was always musical, and I always felt as though music The teacher that really got me playing was Murray Karpil-
had to be played that way. ovsky. For years he was
There was no sterility, no an- “The Tulsa principal trumpet audition first trumpet in the Pitts-
tiseptic kind of playing. Ev- burgh Symphony under
erything was musical. was really something… When I got to Fritz Reiner. He came to
My grandfather, David the hotel, the conductor, H. Arthur New York as solo cornetist
Davidson, having sat through in a wonderful group cal-
all their lessons with Schloss- Brown, looked at me and said, ‘I’m so led the Band of America,
berg, was the real taskmaster sorry that you made the trip, because conducted by Paul Lavalle,
when I started playing trum-
pet. In fact, there was a two-
the audition music didn’t show up.’ I with a section of Murray,
Ray Crisara, Carl Poole,
year period when I was not replied… ‘What would you like to and Jimmy Burke. It was
practicing enough for him…
he absolutely did not talk to
hear?’ …He proceeded to ask me about an all-star section of the
greatest players in New
me. I didn’t understand it at ten or twelve of the solos that would be York. Every Wednesday
the time. I certainly do now. expected… I knew every one of them night they broadcast and I
That was the old European would listen to every con-
thing. from memory, so he offered me the job.” cert. Murray was the one
In 1941, at seven years old, that really laid it to me.
my mother took my older brother Sandy and me, with the spe- He had me working out of some of the most difficult books:
cific goal of having Sandy start to play trumpet, to one of the the tremendously challenging Aaron Harris book and Sachse
foremost trumpet teachers in New York, Bert Pennino. The for transposition. He was a very hard-nosed teacher and it’s
whole time we were there, Sandy couldn’t make a sound on the what I needed as a young, cocky kid.
horn and I, being a seven-year-old pain-in-the-neck, kept ask- Hood: Tell us about your first experience with orchestral music
ing to try. In order to quiet me down, Pennino finally said, and your audition process for Tulsa and Dallas.
“Let him try,” and I played immediately. Bert looked at my Modell: The Tulsa principal trumpet audition was really
mother and said, “Don’t teach him, teach him (pointing at something. It was so different from today. When I got to the
me).” hotel, the conductor, H. Arthur Brown, looked at me and said,
I began serious study of the trumpet at about eleven when I “I’m so sorry that you made the trip, because the audition
was put with a wonderful man named Jimmy Smith, who was music didn’t show up.” I replied, “That’s quite all right. What
the third/assistant first trumpet in the New York Philhar- would you like to hear?” and he said, “You mean anything?”
monic. And after I studied with Jimmy, using the Edwin and I said, “Well, if it’s standard repertoire.” He proceeded to
Franko Goldman book, (I don’t know whether that’s in exis- ask me about ten or twelve of the solos that would be expect-
tence anymore) I was then sent to Sol Lubalin. He was the ed. I had them all down; I knew every one of them from mem-
fourth trumpeter in the New York Philharmonic section that ory, so he offered me the job. It was a wonderful opportunity.
I wish it existed today where you had There’s a tremendous feeling in both. When
a chance to, at night, rehearse with a I perform Spanish music in the Symphony,
wonderful, semi-professional orchestra, if it was de Falla or something like that, I
and during the day, get your degree. In just feel so great! My first Latin band was
four years I earned my Bachelor of with a Puerto Rican guitarist named Carlos
Music Education, and gained four Segui. When I got to the Pines Hotel in the
years of repertoire. I left in 1957 for Catskills, I was playing lead trumpet in a
New York. That year I played with show band. The Latin band was a great sex-
Machito, Joe Cuba, and the rest of the tet called Joe Cuba, who was becoming very
Latin bands. popular. After I sat in with him a couple of
In April of 1960, the Dallas Sym- times, he engaged a wonderful writer named
phony came through Tulsa with con- Hector Rivera to write a trumpet book,
ductor Paul Kletzki. I auditioned for adding me to the group.
Kletzki when he took over the Dallas About a year later, while I was playing at
Symphony in 1957 and felt I had the the Concord Hotel, Doc Cheatham was
job. I was never in my life more disap- L – Milton, R – Louis, and playing with Machito, the Latin house band
pointed when I didn’t get it. I found David Davidson (Below) for the summer. He became very ill and
out later a very powerful critic on the couldn’t play for a week. Mario Bauza asked,
Dallas Morning News talked the assistant conductor into hir- “I know you’ve played with Joe Cuba, would you consider
ing a young man that was extremely gifted, yet didn’t really playing a week for Doc Cheatham while he recovers?” So I’d
have the experience or repertoire. take off my show band jacket and put on my Latin jacket. It
Kletzki remembered me and asked me to audition in 1960. was the greatest week of playing with that band. When Doc
Again, the audition was so different than today. I was standing left the band, Mario Bauza invited me to join Machito.
in the ballet room of State Fair Music Hall in Dallas, and in We would play a lot of the churches in Brooklyn and Long
front of me were ten of the principal players of the Dallas Island, some nights opposite Count Basie or Duke Ellington.
Symphony! Again, I was permitted to play anything, so I ran It was a great period of time, and standing next to Mario
the gamut. In fact, Kletzke kind Bauza, who was playing lead
of shrugged his shoulders when trumpet, and who I knew had
he asked everyone, “Is there been a conservatory trained saxo-
anything else that you would phone/clarinetist, was something
like to hear?” Willard Elliott, to behold. To my left was Renauld
who later became the first bas- Jones, Jr. His dad had been the
soonist in the Chicago Sym - lead trumpet for Basie for years
phony said, “Do you remember and did the Shiny Stockings and
the duet between the trumpet April in Paris recordings. On his
and the bassoon in Rhapsodie left was a wonderful Latino player
Espagnole, the little muted named Pucci, (I don’t remember
thing?” Just checking my reper- his last name.) who was later with
toire, because nobody ever Tito Puente. This was the most
asked for this on an audition. I spectacular Latin band.
said, “Yeah” and I played it. Hood: Given your training and
Then, my friend Artie Lewis, your influences, how do you feel
who was first trombone, asked those met up to the requirements to
for the middle section of Pic- L – R: Ron Modell, Mario Bauza, Renauld Jones Jr., Pucci. play with Machito? Did you feel
tures at an Exhibition. What’s The Machito trumpet section at the Palladium, NY in 1958 you were prepared as a trumpeter to
really interesting is Kletzki put do anything asked for in that group?
some music on the stand for me to read. First was the Firebird. Modell: The only frustration in my whole life is I never
I ripped that off and something else, then he put up the Bruck- learned to improvise. I would love to have been able to play a
ner Seventh Symphony, third movement, Scherzo. It was in, I Spanish montuno like Mario Bauza, Doc Cheatham, or Pucci
don’t know how many flats, but it was in F trumpet, and I played them. As for the music itself, if you’ve ever been in an
stepped all over this thing. I really couldn’t sight read that fast, authentic Latin band, you have to read music differently. Not
especially transposing with that many accidentals at that all of it is printed the way we learn our regular American
tempo. He looked at me and said, “How long would it take music. You have to learn the routines. You learn there is a thing
you to learn this?” and I answered, “Probably a couple of days called “Clave,” and if it’s not present in your head at all times
of woodshedding and I’ll have it down.” That was it. The next when you’re playing this music, you’re going to be in big trou-
day I was offered a contract. It was a wonderful career in ble. You have to look at the music it and feel it. That was a
Dallas. great time for me.
Hood: Can you tell us a little bit about your experiences with Hood: You had a long career as principal trumpet of the Dallas
Machito and Joe Cuba in New York? Symphony. Tell us about some highlights of that period and some
Modell: That was the most fun any musician could ever of the great conductors you worked with.
have. Jewish music and Spanish music are very much alike. Modell: In my second year in Dallas, the Symphony was

lucky enough to engage Sir Georg Solti to conduct. The first get discouraged when they know in their heart and soul they
five weeks that he was there, we were doing two concerts a played a really good audition and may not even have made the
week. I was lucky enough to have him give me six solo bows in finals. They don’t realize, and I didn’t either until my own per-
the first ten concerts, simply because every concert had a major sonal experience, that it’s not that you played poorly; it just
trumpet work on it. It was just a wonderful love affair between was not the sound the conductor had in mind. You can be a
the two of us. I had such great respect for him and he brought first class player, and still not have that sound that the con-
such dynamic qualities ductor wants.
to the podium; he was “Paul Kletzki, my first conductor in Having total command of
like a human dynamo! your instrument to the point
Every single rehearsal Dallas… was my all time favorite… He where, whatever you have to
you were so shocked made me play up to my capabilities. He play you can play it fifteen to
when he said “See you
tomorrow” because the
would not accept less. If he thought I twenty times in a row, perfectly,
is absolutely one of the prereq-
two and a half hours could play something more pianissimo uisites. That was advice from
had passed so quickly. than I was playing it, he’d just keep Adolph Herseth when I met
He was not the kind of him for the first time in 1954.
conductor who stopped doing it until I got what he wanted.” The first question I ever asked
and started. He would Bud in my life was, “Do you
have you play a whole movement of the symphony, then have ever get nervous before a big solo?” He said, “Yeah! I get as ner-
you put your instrument in your lap and he would explain vous as the next guy, but it never gets above my neck. It never
what he wanted. Then we’d do it again. So that made rehearsals gets in my head.” I said, “Well, how do you reach that point?”
just delightful. He was a great man and a great conductor. and he answered, “It’s simple. If I can sit in my basement in
Paul Kletzki, my first conductor in Dallas, who unfortu- Oak Park and play whatever it is I have to play in Orchestra
nately I only got to play with for one season, was my all-time Hall fifteen to twenty times in a row perfectly, I can’t wait to
favorite. For years I would say something incorrectly because get away from the four walls to play for people.” Having that
people would ask me why he was my favorite conductor, and as the confidence builder, walking on the stage like Bud Her-
I’d say, “Because he makes me play better than I could play.” seth did all his life; he was champing at the bit to play! He
That’s impossible. What I should have said and what I now say couldn’t wait to show the audience, himself, and the conduc-
is, “He made me play up to my capabilities.” He would not tor what he had been able to accomplish with his practicing.
accept less. If he thought I could play something more pianis- You also need to have knowledge of the repertoire. You have
simo than I was playing it, he’d just keep doing it until I got to be able to be a chameleon with different sounds that fit the
what he wanted. He was such a delight. period of music and not employ the same sound playing
Pierre Monteux was a fantastic man. As you know, he did a Mozart as when you’re performing Mahler. As the concertmas-
lot of the world premieres of Stravinsky ballets. Having a ter of the brass section, you have to be the one that shows a cer-
chance to play for him was a great honor, as well as playing for tain kind of confidence and personality that the other players
Charles Munch, who had been with the Boston Symphony for respect and go along with, yet never to the point where you’re
so many years. These were just wonderful, wonderful experi- not open to suggestions from your colleagues. We are the lead-
ences. Those four conductors were ers; the personality of the
my favorites. brass section comes right
If I had to give you the greatest “If I can sit in my basement in from the first trumpet just
experience I ever had in Dallas, it Oak Park and play whatever it is like it does from the lead
would be the Dallas Civic Opera. trumpet in Maynard’s band
Nine years playing principal trum- I have to play in Orchestra Hall or Basie’s band. There’s a
pet and doing over forty operas fifteen to twenty times in a row tremendous responsibility to
with Maestro Rescigno was the
biggest thrill to me. Opera is my perfectly, I can’t wait to get away be well versed in the reper-
toire, and knowing exactly
favorite type of music. It’s the kind from the four walls to play for peo- how to approach it. Bud once
that I love the most and I feel I’ve
learned the most from due to lis-
ple.”—Adolph Herseth’s observa- said to me, “I don’t care what
mouthpiece you use, I don’t
tening so intently while sitting in tion to Ron Modell in 1954 care what horn you use, just
the pit. get the job done.” That’s your
I performed at the debuts of peo- responsibility.
ple like Joan Sutherland, Jon Vickers, Montserrat Caballé, just Hood: During your tenure with Dallas and beyond, you had a
star after star that made their American debuts in Dallas. To sit very distinguished teaching career. Can you tell us how you took
there and listen to a voice like Carlo Bergonzi or Giuseppe di that direction in your career and then talk a little bit about your
Stefano was a lesson in music, beauty, and phrasing! Playing teaching?
grand opera was the most glorious time in my life. Modell: I started teaching when I went back to Tulsa. I was
Hood: In your opinion, what are the necessary requirements for called by a wonderful school in Pittsburg, Kansas. At that time
establishing oneself as a good principal trumpet player? it was called Kansas State Teachers College. I was to teach all
Modell: First of all, sound. When I did the clinic at your the brass instruments one day a week. It was a 134-mile trip
university, one of the things that I explained was that players one-way and it was a very grueling day!

While I was playing principal trumpet in the Tulsa Sym- The whole purpose of having a lesson with me once a week
phony, Tulsa University asked me to be an adjunct, so I taught was… let’s make music. Even if we’re playing a scale, let’s make
a few students there. When I left Tulsa and went to Dallas, I it sound musical. Let’s not just rip up and down and call it one.
wasn’t really doing any teaching until 1964, when the chair- Let’s make a musical experience out of it. I believe that you’re
man of the music department of Southern Methodist Univer- a good example of that. Of course, I got you after Vinnie had
sity, Lloyd Pfautsch, who was Bud Herseth’s brother-in-law, you so you were already made, but I think we polished you a
approached me and said, “We would like to have you join our little bit.
faculty on a part-time basis.” Well, it turned out to be a full- Hood: I spent two wonderful years in your NIU Jazz Ensem-
time load, because in addition to teaching all the trumpets, I ble. The personal experience I got out of that was one of a strong
initiated a faculty brass quintet, a brass ensemble for the stu- family-like atmosphere. You took eighteen, nineteen, and twenty
dents, and started the first jazz band they ever had. In addition year-olds and made them musically into a group that played like
to that, and this may come as a shock to many people, I was a professional band; we had lots of touring experience. How did
associate marching band director for five years. Those were you get that rolling and keep the band motivated to that level over
some of my happiest moments. so many years?
In 1967, I got my first call from Northern Illinois Univer- Mo de ll : In my experiences in my twenty-eight years at
sity. It was an unusual job description: somebody with a clas- Northern Illinois University, I would usually get this question
sical background who could initiate a jazz program. It took in a student’s junior year, “I’m trying to decide, should I try for
them two years to talk me into retiring from active playing in a career of professional playing, or should I go into music edu-
the Dallas Symphony. In 1969, when I accepted the offer to cation?” Because I’d been on the road, I thought the greatest
join the faculty at Northern, I immediately called John Haynie way that a decision could be made would be to take them on
at North Texas State, which was forty miles away. John said, the road and let them see what it was like. At that time, in early
“Why do you want to come study with me?” I replied, “This ’71, ’72, ’73, there were about thirty bands out on the road.
is my last year in Dallas, I’m going to Northern and I don’t Woody, Buddy, Stan, and all the big bands, and a whole bunch
know of any other teacher that can bring me up to date on of other bands were out touring; you could make a living. It
repertoire, teaching methods, and things that you’ve been wasn’t a great living, but you could make a living going on the
doing all these years at North Texas.” He said, “Right answer.” road, unlike today.
For a year John showed me the ropes and put me through Our first tour was in 1973. It was extremely difficult; there
some difficult material. He even had me sight read Caffarelli was never any money. To enable us to tour, a high school
on my jury. I’ll never forget that. would pay the expenses of our bus, food, hotel, and a guest
In preparing for a full time teaching career, I had to ponder artist. We certainly never tried to make money on any of the
the distinction between students coming in as performance tours. It was an opportunity for twenty people to find out what
majors, as opposed to those coming in as music education it’s like to be a professional musician. The plus was all the peo-
majors. I was always of the mind that when you had more than ple that I brought to solo with the band. What an experience!
one trumpet teacher, you should study two years with one I must pay tribute to the very first artist who came on tour
teacher and two years with the other. I immediately instituted with us: a wonderful person, clinician, and trumpet player
that when our first younger trumpet faculty arrived at NIU. I named Mike Vax. He was then playing lead with Stan Kenton.
felt that was fair because I had the experience in repertoire and We did a week tour, culminating at the famous Oak Lawn Jazz
in having a symphonic career. If a student said, “I really want Festival. Mike was a tremendous person to have on the bus.
a career as a symphonic trumpeter,” then I would say, “Okay, The kids could pick his brain and actually talk to him about
you can study all four years with me because the other teacher what it was like to be on the road with Stan Kenton, the long
might not have played in an orchestra. I can give you what you bus rides, not too many good meals, and things like that.
need for those four years.” There started a succession of twenty-five years of touring,
It didn’t matter if you were in performance or music educa- not once a year, but three to four times year, always making
tion. What was most important was that you were a wonder- sure that when we toured the students did not miss class. We
ful musician when you left my studio. I did nothing different- were very lucky to have a one-month semester break between
ly with a performance major than I did with a music education December and January when we did the two-week, major tour.
major. Performance majors had to play a full recital, music We were fortunate to have such people as Dizzy Gillespie,
education majors could play a half recital, both the junior and Randy Brecker, and Marvin Stamm and Clark Terry, who were
senior year. The only de-emphasis was on the recital. both great favorites of mine, and that toured many times with
As for teaching and preparing them for a career, it was us. Can you imagine a student sitting on the bus for eleven
always with the thought, “If you’re not going to be a profes- consecutive days next to Dizzy Gillespie, having the chance to
sional trumpet player, I want you to be as good a conductor in pick his brain and to talk to him about music and life itself? I
a high school, junior high, or elementary school as you would don’t think any band ever had more fun on tour than we did.
be a good trumpet player in an orchestra or whatever your cho- I can’t remember any soloist I ever had that wasn’t delighted
sen field is.” I mainly concentrated on making music. If I felt to have the company of these young enthusiastic, talented
a student needed technical help, there were always certainly the musicians. Whenever I’m feeling down for any reason, I take
wonderful books that we have: the Arban, the Clarke, and my out the record jackets and look at the liner notes to see what
favorite book, which unfortunately is out of print, the Gatti people like Jim Pugh, Bob Mintzer, and some of the great
Complete Method, which for me was the greatest because it musicians who traveled with us said. Gary Foster said, “This is
had wonderful studies, and beautiful musical duets. I also used a professional band; this is not a college band.” Clark Terry
Saint-Jacome and all the standards. said in his liner notes, “I feel like I’m standing in front of my

band in New York City.” James Moody recalled, “I can’t re- the main function of our jazz ensemble was, “Music first, ego
member playing with any group in my life in which the love second.” Our goal was to make the best performance we could
flowed for the entire time I was with the band, between the out of the music.
players and the soloists.” It’s a great bit of pride for me to look Hood: You’ve encountered some of the world’s finest musicians.
back on that and think how many kids had that opportunity. Please recall some of your experiences with a few of the great artists
Hood: There’s a wonderful mix of this family orientation and you’ve become close to.
camaraderie in the group, but also the integrity of the music. You Modell:
inspired the band to play a Basie chart just like the Basie Band, Maynard Fergus on—Maynard and I first met in the mid-
with the same type of inflections… kids without much experience fifties when he was traveling with a big jazz show featuring
would try their best and accomplish that. Can you comment on Lambert, Hendricks & Ross, and Dave Brubeck. Maynard’s
that? band recorded what I feel is one of the great albums, A Message
Mode ll: Our breakthrough concert, when we were finally From Newport, including my favorite big band chart of all
introduced to the country, was time, Slide Hampton’s Framework
the 1978 convention of the then for the Blues. We have now been
National Association of Jazz Ed- friends over 50 years. Bud Herseth
ucators, which was held in Dallas has written that he considers
and hosted by Don Jacoby. We Maynard Ferguson the greatest
were the highlight band on Sat- brass player he ever heard in his
urday night with Dizzy Gillespie. life, and conversely, Maynard con-
Our set consisted of all the old siders Herseth the same. Who
Dizzy tunes from the 1940s. would dispute either one of them?
When we played our last note, Maynard is the most happy-go-
the first one on-stage to come lucky person, loves music more
hug me was Bud Brisbois. Bud than anybody can, and loves his
said, “I’m taking your trumpet band.
section out to lunch tomorrow. Probably the funniest experi-
They were great!” The second ence I’ve had in my life was when
was Art Hoyle, a great Chicago he was sitting next to me in a fac-
trumpet player. Art, who’s a big ulty brass quintet rehearsal. We
man, gave me a big bear hug and L – R: Bud Brisbois, Ron Modell, Bill Chase; were doing a piece by Ingolf Dahl,
said, “How did you get those Ron gets a lesson on high notes playing at an ITG and I had to play a very soft
kids to sound like Dizzy’s old conference! fourth space E-natural (for the B-
band? They even played out of flat trumpet) and I played a triple
tune where Dizzy’s band played out of tune.” I said, “Well, it piano. I had good chops that day and it was just a beautiful
took a great deal of listening.” We did a lot of listening and we note resonating all over the room. He leaned over and said to
tried to assimilate all of Dizzy’s band’s habits: what they did me, “Why don’t you go f*** yourself?” It was so beautiful
and how they played it. I was very strict about getting the cor- because he had never heard anybody play that soft! He is a
rect style when playing a chart. wonderful player who’s brought an excitement to that instru-
Hood: It seems like your expectations themselves, so high as they ment that no other player has ever brought in my lifetime.
were, were motivational to the band. Were there any other tech- When Maynard plays in that upper stratosphere, he is not
niques that you would use to motivate the band or your students? whistling; he is not screaming. He plays a high F, G, and A the
Modell: There were students that really needed for you to way I play a middle C, D and E. You can actually hear the
put your arm around their shoulder. attack of each note. He always
Many times after a concert, I would “We did a lot of listening and we used his high notes as some-
go up to the third or fourth trumpet thing to really enhance the
player or the fourth tenor and put tried to assimilate all of Dizzy’s chart, not to show off. A lot of
my arm around that kid and say, band’s habits: what they did people are not aware of this,
“Boy, you played great tonight! but Maynard is a very fine jazz
Without you we don’t get the sound and how they played it. I was player. If you listen to his early
we’re getting.” They never had the very strict about getting the cor- recordings, you’ll hear great
chance to be out front to play a solo jazz, even when he is not in the
or play lead trumpet or a drum solo. rect style when playing a chart.” upper register.
They really needed to know how Timofei Dokshize r—Timo-
important and how integral they were to the whole picture. At fei has been family to me since my uncle, Louie Davidson, dis-
the same time, there were certain players, and thank God we covered him in 1965. He brought Dokshizer and his record-
didn’t have a lot of them, that needed a good swift kick in the ings to this country when nobody knew who he was. Timofei
ass. After standing up and playing a solo they thought was real- is by far the greatest musician I have ever heard in my lifetime.
ly great, I might turn around and say, “Let’s run this chart His ability to find and demonstrate things in the music would
again and see if the guitarist can play a good solo this time.” be the dream of any instrumentalist in the world. I describe
There were certain ways I had to get into somebody’s head. If him as a person who can do anything he wants on the trum-
I thought they needed that, then I went right after it, because pet: technically, dynamically, and musically. Playing the

Vocalise of Rachmaninoff, he goes up to a concert high D Of course, I stayed. Rafael asked, “What would you like me
above high C with the most gorgeous pianissimo and holds it, to show you?” “Well,” I said, “you have to be the greatest pro-
shaping the most magnificent phrase I’ve ever heard in music. ponent of double and triple tonguing of our time. Teach me
After hearing Timofei play Concert Etude by Goedicke, Frank how to double and triple tongue.” I thought surely he had
Kaderabek said, “I played that piece all my life. I never knew some secret method, something he had learned. Was I shocked
it went that way!” Timofei is the when he walked over to his books
absolute apex, the epitome. He is and took out the Arban, turned to
everything that I’ve ever thought a page 155 and said, “You do this
musician should be: having such slowly, tu-tu-Ku! tu-tu-Ku! Just get it
dynamic control! His technique faster each week.” I was blown away,
starts where Méndez left off, doing thinking, “My God! Everyone teach-
things technically I never heard es Arban!” We also studied La Virgen
Méndez do. It’s just unbelievable to de la Macarena, his signature solo
hear him play and he’s a wonderful from the movie The Brave Bulls. I
human being. His new book, Daily still perform it today. I feel I capture
Drills and Studies, just came out, the same flavor he played with. He
and I was very honored when he was a great man.
sent it to me over a year ago to edit. Do n Ja co by—If you never met
Un f o r t u n a t e l y, i t w a s a l l i n him, you missed something great.
Russian! I sent it to his grand- Don Jacoby was one of the greatest
daughter, Anna, for translation. all-around trumpet players in the
Being a non-musician, she could L – R: Don Jacoby and Ron Modell before the NIU world. He was a great teacher and a
not translate a lot of the musical Jazz Ensemble’s performance at Lincoln Center great human being. When you went
terms. She made her own meaning. with “Jake,” in 1980 to his home to study, you felt like he
With the help of Vince Cichowicz and Dr. Richard Cox, the was your father! I was so proud of you the year I flew “Jake”
three of us figured out the proper meanings. It’s a wonderful into DeKalb to go on tour with us. I had told him how won-
book available through Robert King. A portion of the proceeds derfully you played, and had you perform that beautiful ballad
goes to the Legacy Fund of the ITG in the name of Timofei Bobby Shew wrote for his dear friend Blue Mitchell, Can’t Stop
Dokshizer. the Crying. When you finished, I walked back to Don to see his
Rafae l Méndez—I met Rafael in December of 1952 when I reaction and there were huge tears streaming down his face. He
was traveling with that show right out of high school. My con- was so moved, and so touched by your playing he said to me,
ductor, Nat Shilkret, had been his boss at MGM and promised “That’s the real thing.” Coming from Don, I don’t know how
me when we got to Los many more compliments
Angeles, he would take me you could have as a play-
to meet Rafael. The day we er. Don was the sweetest
arrived, he took me direct- man, so full of the devil
ly to NBC studios. Rafael and so much fun to be
was in a studio orchestra with. He wrote a book
doing a children’s show that both of us believe to
called Pinky Lee, for those be a great guide for learn-
old enough to remember. ing the trumpet, the Don
Nat Shilkret said to Rafael, Jacoby Method.
“This is the trumpet player I was having a problem
with my show. I’m going with the famous high
to leave him with you. note at the end of the
Take good care of him.” Rosen kavalier Suite of
Well, can you imagine an Richard Strauss, and Don
eighteen-year-old boy Jacoby worked with me
being left with Rafael Members of the Chicago Symphony including Bud Herseth, Ron, for an hour and a half one
Méndez? Arnold Jacobs, and Dale Clevenger react to one of Ron’s best jokes day, and I still couldn’t
He had me take the bus at Northern Illinois University in 1972 get it. I was playing a B-
to his home the next mor- flat trumpet, which is
ning to start lessons. Of course, what can you say? Rafael silly, but I didn’t have a C trumpet. After working with me,
Méndez was the greatest of his time. He came to the door in trying to get me to play it consistently, I put my horn away. He
his pajamas, let me in, then took out his horn and went said, “Come back tomorrow and we’ll do it again.” As I start-
through the Maggio warm up; he went all over the horn. I had ed to leave, Don said, “Wait. When you get up to the B-flat,
taken my horn out of my gig bag and as soon as he finished his are you changing your embouchure before you go to the E-
warm-up, I put it back and said, “I’m going now.” He started flat? When you go to high C, and press the valve for B-flat,
to laugh and said, “Is that the kind of inspiration I give you?” don’t change your embouchure. Stay on high C, then you’re
I replied, “How do you expect me to play after what you just only a minor third away rather than a perfect fourth.” I never
did?” missed it again in my life. This is the kind of teacher he was.

An hour and a half, couldn’t figure it out, then at the last sec- charts better than my band.” I said, “Wait a minute, Louie.
ond something clicked in. That was Don Jacoby. You’ve got guys on the Tonight Show in your band.” He said,
Bud Herse th—Who can say anything that hasn’t been said “No, it’s not the technical thing, those guys are professionals.
about the world’s greatest symphonic trumpeter of his time? They come in every day and do the job, but with your band,
He was the role model. If I were to tell you one thing about every night there’s an excitement about playing. Your guys are
Bud Herseth that totally blew me away, and would blow any- so excited to play my music that I can’t wait to get to the gig.”
body away, is when he had his quadruple bypass ten or so years I believe that was the case with Clark Terry and James
ago. Every couple of weeks, I would call him at home and ask Moody. Both Bob Mintzer and John Fedchock, composers/ar-
how he was doing. The doctor had told him not to play, so he rangers that played with the band said, “I’m so thrilled to have
was playing only his mouthpiece. I asked him this question your band play my music.” It was a wonderful feeling to hear
and his reply totally blew me away. that from such distin-
“Bud,” I asked, “when will you guished artists.
know you’re at full strength “One night in Paris, Phil Collins Hood: Six years ago
again?” He replied, “Do you know knocked on our dressing room door and I had the great honor
that book by Walter Smith called
Top Tones?” I said, “Yeah, I’m very said, ‘Guys, some of the Rolling Stones to tour with you in the
Phil Collins Big Band.
familiar with that.” He said, are here to meet you.’ In Denmark, at How was that experi-
“When I can play that book cover
to cover, taking thirty seconds be-
the Tivoli Gardens, I was sitting on the ence? Mod e l l : Phil Col-
tween each etude, then I’ll know end of the section. Ten minutes before lins’ people treated us
I’m ready again.” I can’t get the end of the show, I looked over and absolutely first class. I
through three of them! hadn’t played in a big
This man has a reputation sec- Tony Bennett was sketching me. That band in 30 years so
ond to none. There are great was a tour never to be forgotten.” playing fifth trumpet
trumpet players I would be remiss was absolutely the
not to mention: Bernie Adelstein most wonderful chair
is one of the greats of our time, James Thompson, and all the for me to be on. I was assured of swollen chops every night!
recordings he did with Montreal, Manny Laureano in Min- The lead trumpet, Dan Fornero, and split-lead trumpet,
nesota, Bill Vachianno. They are among the greatest trumpet- Harry Kim, are two of the most phenomenal players you
ers of our time and we are so lucky to have lived at this time. could ever put on any piece of music. To have Tito Carillo and
They had something special, an intangible that made them so yourself on the jazz chairs, between the four of you, I would
great. Then, there was Bud Herseth. sit every single night with my mouth open, listening to you
Bill Chas e—Bill Chase was kind of a funny guy. He was guys play.
playing lead trumpet with Woody Herman when we met, and The night we played the North Sea Jazz Festival, we were
forming his own group, Chase. standing back stage and had
The whole week he toured with about an hour and a half to
my jazz ensemble, he had a pri- wait until show time. You were
vate plane ready to take him back the first to say, “Mode, look
to Chicago as soon as we finished who came to see us play.” I
a concert. Chase was recording looked over and said, “Who is
their first album, the one with the that?” You answered, “Earth,
song Get it On. Bill was a fantas- Wind & Fire.” Then five min-
tic player with “Maynard Fergu- utes later, someone else said,
son”-type excitement when he “Look over there, that’s Tower
played in the upper register. On A of Power!” Somebody else
Message From Newport, Maynard’s point ed out Cubanissimo.
lead trumpet player is a wonder- These three groups were stand-
ful guy named Chet Ferretti. ing back stage and had come
Chet became terribly ill, a brain L – R: Dan Fornero, Harry Kim, Phil Collins, and Ron Modell specifically to hear us play.
tumor or something, so very few on the World Tour with Phil Collins in 1998 One night in Paris, Phil Col-
people know that Bill Chase is lins knocked on our dressing
playing lead on the entire album with practically no rehearsal! room door and said, “Guys, some of the Rolling Stones are
Maynard told me that and was so proud. Bill Chase was a phe- here to meet you.” In Denmark, at the Tivoli Gardens, I was
nomenal player, a tremendous personality, and what a tragedy sitting on the end of the section. Ten minutes before the end
to have his life ended in a plane crash that didn’t need to hap- of the show, I looked over and Tony Bennett was sketching me.
pen. That was a tour never to be forgotten.
L ou i e B e l l s o n, Cl a rk Te rr y, Ja m e s Mo od y—These guys Hood: What advice do you have for young musicians of today
were so thrilled to have the chance to play with the band. One regarding their careers, practicing, or anything that can help them
afternoon Louie Bellson and I were walking into a high school shape what they do?
in Harlan, Iowa. As we walked into the school, Louie Bellson Modell: In 1971, Lew Soloff, one of the greatest players I’ve
turned to me and said, “You know what, your band plays my ever heard, was touring with Blood, Sweat & Tears. He gave

my students a lecture one afternoon and told them there are ed, you have to be able to play anything they put in front of
three things that you need to make it in our business; first, you you, no matter what horn you use, no matter what mouth-
need the talent, second, you need piece, you’ve got to play it,
the dedication and devotion to the and you’ve got to play it
practicing needed to get yourself “I can’t encourage people to think well.
there, but third, and equally that there is a chance to make a liv- I would not want to dis-
important, you need patience. You courage any young players
have to wait for your time. It ing in music as a full-time profession who have the desire in
could take years! In New York, as unless they’re in music education in their heart to become
well as Los Angeles, there’s a long symphonic players. Please
waiting line to get into the studios
some way… However, you don’t don’t give up! Practice as
and shows. have to give up your playing; you hard as you can, learn the
I don’t mean to discourage any repertoire, study with
young musician in any way, but
can play for the rest of your life.” teachers who have been in
recently, in a column I wrote for the orchestras and know
the Instrumentalist magazine, I talked about a young man what the routine is, and go for it!! If you don’t make it, just
whose parents would not permit him to major in music be- know that you’ve at least tried.
cause they felt he would not have a career. He ended up with Hood: We’ve talked about a lot of the trumpeters of past and
a very good job as a junior executive at a big company in present; how about some of the non-trumpeters that have influ-
Chicago, but had given up his sax playing. That was a mistake. enced your life and music?
If you’ve gone through high school and college and become Modell: The three biggest influences on my life are Giu-
a good player, you should never give up your music. There are seppe di Stefano, the great tenor who, during the forties, fif-
many different facets open to you. You can go into music edu- ties, and sixties, did all those recordings with Maria Callas, ab-
cation, play with a community band, a community orchestra, solutely Mel Torme, and the Count Basie Orchestra. They gave
play at your church, or play with rehearsal bands. There’s me whatever it is that I gave you and every other student that
always going to be a place for you to play your instrument. played in the NIU Jazz Ensemble. I got it from hundreds of
Never give up your ability to make music, because the world hours of listening to Basie and Mel Torme, in addition to lis-
needs it. We need music because our society and the world we tening to Kenton, Woody, Ella Fitzgerald, and Sarah Vaughn.
live in today is a very dangerous, hot place to be right now. I listened to them a hundred times more than anybody else. To
Music is still the one thing that soothes the savage beast. me, Mel was the ultimate musician/vocalist. He sang more like
Yet, you must understand that the opportunities present an instrument than a singer.
today to become a professional musician and make a living Count Basie’s band was the greatest I had ever heard in my
making music are so completely limited. If you are going for life. It just struck me. Things that Woody Herman and Stan
third trumpet in an orchestra in North Carolina, South Car- Kenton did, and certainly Maynard could thrill me, but Count
olina, or someplace, you might have one hundred and ten ap- Basie had something that got to my very core. In twenty-eight
plicants today. In my time, there were two to six applicants, so years, I never did a concert, and I counted over six hundred,
the competition is tremendously keen now. There are only where I didn’t do at least one Basie chart.
three road bands that I know make enough money and still it’s Those artists absolutely taught me music. They taught me to
not that much. Glenn Miller’s band travels fifty weeks a year; teach trumpet players how to phrase and how to think about
it’s not a great paying job, Count Basie’s band, which I hope making music rather than just playing the notes and the
never stops touring, and Maynard’s band which is an eight- rhythm, which is only half the battle, the easy half. It’s that sec-
piece band. Nowadays, you can’t make a living with music. ond fifty percent where you make those notes come alive. As a
I can’t encourage people to think that there is a chance to performer, every time you step on stage, you have a responsi-
make a living in music as a full-time profession unless they’re bility to the audience to give them something to take with
in music education in some way: high school, college, elemen-
tary, middle, junior. However, you don’t have to give up your Guest Trumpeters with the Northern
playing, you can play for the rest of your life. You must have
music in your life. That’s what they need to know. Illinois University Jazz Ensemble
Hood: How do you feel about the audition process to acquire between 1969 and 1997
an orchestral position today, given the tremendous amount of com-
petition? Dizzy Gillespie Bobby Shew
Modell: Looking at the list that they send out now, I would Marvin Stamm Lew Soloff
be willing to bet anybody that eighty percent of the orchestra Allen Vizzutti Clark Terry
personnel currently holding a position could not make it Red Rodney Jimmy Owens
through the audition. That’s how difficult it’s become. How Conte Candoli Mike Vax
many auditions has the Chicago Symphony held now since Jon Faddis Vincent DiMartino
Bud retired, and is there a principal trumpet in the Chicago Maynard Ferguson Randy Brecker
Symphony? You’re not going to find another Bud Herseth, but Claudio Roditi Bill Chase
there are great players out there who deserve the chance. Don Ellis Byron Stripling
The audition should be something that is certainly chal- James Morrison
lenging. You have to know the repertoire. As Bud Herseth stat-

them that they did not tremendous world tour. If
have when they came in. you can, imagine my feel-
You hope that it’s some- ing of sitting on that top
thing good, but some- layer of five trumpets and
times not so good, as long looking down, seeing ten
as they feel something. of my ex-students playing
Ho od : Of today’s per- in one of the great est
formers, trumpet and oth- big bands that was ever
erwise, who shows great formed.
promise or is inspiring to It was the only band I
you? ever played in where ev-
Modell: I was knocked erybody couldn’t wait to
out the first time I heard get to work that night.
the young Russian trum- Ev eryone was so excited
peter, Sergei Nakariakov. I about playing in that
understand he’s a wonder- band. It featured one of
ful young man. My old the greatest soloists, Ger-
student, John Carroll, ald Albright. In fact, I
who plays first trumpet in nick named him “ The
the San Antonio Symph- Rev erend Albright” be -
ony, told me of the time L – R: Bob Giardinelli, Ron Modell, Cat Anderson, Charles Schleuter at a cause he gave a sermon ev-
post-ITG party at Charles Gorham’s home laughing at yet another
he spent with Nakariakov ery night when he played
and said he is the most punch line! Georgia on My Mind.
delightful young man and can play like you’ve never heard any- Towards the end of my career, I saw a trend among musi-
body play the trumpet. cians at the university level of trying to play higher, louder, and
I recently heard a recording of an incredible trumpet player faster than anybody else, and forgetting about making music,
from Los Angeles named Wayne Bergeron. His newest CD so I devised a lecture and entitled it Making Music. I have given
blew me away. it all over the world the last seven years and it’s been very suc-
By far, my all time favorite jazz trumpet player was a guy cessful. I take my horn with me and demonstrate the different
named Don Fagerquist, who played with the old Les Brown styles, and then have students come up and teach them how to
Band and the Dave Pell Octet. I always thought if a symphon- create right on the spot. I try to leave them with the idea that
ic trumpet player could play jazz, this is the way he’d play it. musicians should never be satisfied with just playing the right
He had such a beautiful sound, such lyricism, and marvelous notes and the right rhythm… the ultimate goal is making
musicality. music.
Nicholas Payton is an incredible young player. There are so Hood: How does it feel to look back on your students and see
many good players coming out now. Gosh, I just hope there’s what you’ve created?
room for them. The talent is out there. Modell: I can’t think of all the wonderful students I had who
Hood: You’ve been blessed with a wonderful family and a won- have made me so proud through their careers in music educa-
derful wife and your career since retirement has been non-stop; can tion, or in their professional endeavors. Guys of mine went out
you tell me what’s in store for you, and what you have been doing? with Woody Herman, Maynard, Kenton, and Styx. I’m really
Modell: I left Northern in May humbled thinking about all the kids
of 1997, and was very fortunate to that came through the program, and
have Quincy Jones ask me to do a “…musicians should never had this wonderful opportunity after
project in Europe. My wife, Kathy, be satisfied with just play- leaving me.
and I were flown to London so I One of the proudest moments just
could rehearse that great orchestra
ing the right notes and the before I retired a few years ago, was
called the London Metropolitan right rhythm… the ultimate when one of the biggest bandleaders in
Orchestra for Quincy and then goal is making music.” Chicago, Dick Judson, was heard say-
flew to Switzerland for a tribute to ing, “I never failed to hire somebody
three of the greatest names in who has gone through Ron Modell’s
music and show business. Henry Mancini, Vincent Minnelli, program, because they’re always on time, they’re always dressed
and Quincy Jones were being honored by their daughters. properly, and they don’t use alcohol or drugs.” That really
When I got home from that tour, there was a wonderful mes- made me feel good.
sage from Quincy Jones on my answering machine. “Ronnie, Jack Brickhouse, the great Chicago broadcaster, came to the
call me! I need you!” I called him back and he said, “Phil Jazz Showcase one night when Louie Bellson was appearing,
Collins wants you to put a big band together for a world tour, and told me, “Look, I heard about your band and I wanted to
and all he wants to do is play drums!” I went back over twen- hear it first hand. Your band plays great, but what’s even
ty-eight years of people that had come through the jazz ensem- greater is, I understand after 23 years there’s never been one kid
ble. After talking to Harry Kim, Phil’s musical director, and in any of your bands busted for alcohol or drugs.” That was my
asking him exactly what kind of players he needed, I selected first realization, I never even thought about that, but he was
ten of the best that ever came through our program for a right. I’m very proud of that record.

Hood: Let’s wrap up with your thoughts on the International Ca l enda r continued fr om pa ge 5
Trumpet Guild.
Modell: The International Trumpet Guild has been one of Aug ust 1 – 12, 2005
the most important organizations in my lifetime. It brings Trumpet Master Clas s with Jens Lindemann, as part of the
together the people who we love and cherish most. It’s like our summer music programs for brass at the Banff Centre, Banff,
family. Even though we might only get to see these people Alberta, Canada. Additional programs are also being offered,
once a year, it’s something we have to look forward to. At your and details for this and other programs can be found on the
conference this past June, I didn’t hear of any person who was- web site. For more information, contact: The Banff Centre,
n’t absolutely enthralled by what they saw and heard and expe- 107 Tunnel Mountain Drive, Box 1020, Banff, Alberta, Can-
rienced. The fact that you could walk right up to Doc ada T1L 1H5; EMail: [email protected]
Severinsen and say “Hey Doc, how are you doing?” try his Web site http://www.banffcentre.ca
horn or go downstairs to the exhibits and meet the exhibitors
and try their instruments was thrilling. We learned so much, Aug ust 15 – 20, 2005
we had the opportunity to sit elbow to elbow with the greats T he Second Annual Toronto Trumpet Sympos ium featuring
of this instrument and pick their brain. I don’t know of any James Thompson and Jens Lindemann, to be held at the Univ-
artist that wouldn’t sit and talk with you if they had the time. ersity of Toronto in Toronto, Ontario, Canada. A 6-day event
Sitting and listening to Ray Crisara, one of the greats of all composed of a series of master classes, group lessons, trumpet
time, talk about his career, what an incredible experience that en semble rehearsals, technique/warm-up sessions, and an
was! His brainpower is just like it was when he was twenty-one. orchestral section workshop. Included in this year’s program
are a clinic with Baroque trumpet specialist, Norman Engel,
“The International Trumpet Guild and a jazz improvisation workshop with Chase Sanborn. The
event will conclude with a final gala concert on Friday, August
has been one of the most important 19th, featuring Jens Lindemann and James Thompson. The
organizations in my lifetime. It number of master class participants is limited. For more infor-
mation please contact Jeff Reynolds. Phone: 416-946-3477;
brings together the people who we EMail: [email protected]
love and cherish most. It’s like our Web site: http://individual.utoronto.ca/trptsymposium
family.” September 5 – 11, 2005
International Philip Jones Competition 2005 for trumpet and
To me, Vincent DiMartino is the greatest all-around trum- brass quintet. Guests of Honor include Pierre Dutot (trumpet),
pet player that this country has ever developed. I’ve never with Reinhold Friedrich serving as president of the trumpet
heard anybody do things that Allen Vizzutti can do on the competition and Franck Pulcini serving as president of the brass
trumpet. When I heard Charlie Geyer and Barbara Butler quintet competition. Ensembles appearing in performance in-
doing Carmen at your conference this year it had to be the clude the Mnozil Brass, the BBC Brass Ensemble, and the
most exciting thing for me in the entire conference. There were Ensemble Hexagone. To see the trumpet program, check:
so many great things: the clinic and playing of Michael Sachs http://www.cdmc68.com/concours_ins/concours_ins_a.htm
of the Cleveland Orchestra, when you put Ronnie Romm To see the brass quintet program, check:
together with Fred Mills. Wow! One of the most wonderful http://www.cdmc68.com/concours_ens/concours_ens_a.htm
surprises was the great playing of your boss, Joe Docksey. He For more information, contact: C.D.M.C. (Conseil Depart-
was absolutely brilliant and thrilling to hear. mental pour la Musique et la Culture de Haute-Alsace), 34,
The International Trumpet Guild, hopefully with new peo- rue des Dominicains, BP 95, FR - 68502 GUEBWILLER
ple coming on the board or getting top positions, will get new CEDEX; Phone: 00 33 (0) 3 89 74 94 62; Fax: 00 33 (0) 3 89
ideas. Everything changes, but the basic premise of the ITG 74 94 69; EMail: [email protected]
has never changed. Thirty years ago, when I attended the
International Trumpet Symposium, hosted by Legh Burns in September 15, 2005
Denver, it was great then and it’s just gotten better each year! Deadline for Submiss ion of Letters of Re commendation for
(Transcribed by Jennifer R. Jones) the Inte rnational Trumpet Guild Young Artist Aw ard for the
inclusion in the January and March 2006 issues of the ITG
About the author: Al Hood is assistant professor of trumpet Journal. The ITG Young Artist Award is established to provide
at the University of Denver’s Lamont School of Music. He recognition for developing young trumpeters. Music teachers
plays actively with the Denver Brass, Aries Brass Quintet, the and private instructors are invited to nominate high school
Climb, Kenny Walker Sextet and the Hot Tomatoes Swing students (age 18 or younger at the date of nomination) by
Orchestra. He had the privilege of studying with Ron Modell sending a letter of recommendation for the nominee. The let-
at Northern Illinois University as well as with Howard Rowe, ter must include mailing addresses, phone/fax numbers, and
Vince DiMartino, Raymond Crisara and Gil Johnson. He has EMail addresses of the teacher and nominee. Winners will
performed alongside such greats as Clark Terry, Jon Faddis, receive a one-year membership in ITG and will be featured in
Wynton Marsalis, Doc Severinsen, Conte Candoli and has the ITG Journal. Please submit nominations to: Del Lyren,
toured and recorded with the Phil Collins Big Band. Alan Department of Music, Bemidji State University, 1500
recently hosted the highly acclaimed 2004 ITG Conference in Birchmont Drive NE, Bemidji, MN 56601 USA; EMail:
Denver. [email protected]

The Trumpet Section of the
London Philharmonic Orchestra
BY GARY MORTENSON
S ince its founding in 1932 by Sir Thomas Beecham, the winner Howard Shore.
London Philharmonic Orchestra (LPO) has established Perhaps the most famous alumnus of the trumpet section is
a tradition of high artistic standards in the concert hall, Sir Malcolm Arnold, who served as principal trumpet of the
opera house, recording studio, on tour, and in its commitment LPO from 1942 – 48. After winning the Mendelssohn
to educate future generations of concert goers. Since Sir Scholarship to study composition in Italy in 1948, Arnold
Thomas, the orchestra has been led by a succession of out- decided to concentrate his efforts on composition. He went on
standing music directors including Sir Adrian Boult, Sir John to write nine symphonies, five ballets, two operas, twenty con-
Pritchard, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt, certos, overtures and orchestral dances, two string quartets and
and Franz Welser-Möst. The current music director of the other chamber music, choral music, song cycles, and works for
orchestra is Kurt Masur with
Vladimir Jurowski serving as the
orchestra’s principal guest conduc-
tor.
Since 1992, the LPO has pre-
sented its concert season in the
Royal Festival Hall situated on the
South Bank of the River Thames.
Programming includes world
renowned soloists, festivals featur-
ing one particular composer or
theme, silent films presented with
live orchestral accompaniment,
educational programs for schools
and families, and an ongoing
commitment to new music that
features new commissions and
spotlights one contemporary com-
poser whose body of work is pre-
sented throughout the season.
Featured composers have included
Henri Dutilleux, Thomas Adés,
Kaija Saariaho, and Julian Ander-
son. Members of the LPO Trumpet and Low Brass Section with Sir Adrian Boult (late 1970s)
Every summer the London L-R: Colin Busby, 2nd trombone; Lawrence Evans, principal trumpet; Michael Clothier, 2nd
Philharmonic serves as the resi- trumpet; Stanley Woods, co-principal trumpet; Sir Adrian Boult, music director; Derek James,
dent summer opera orchestra at principal trombone; Noel Abel, bass trombone; Paul Lawrence, tuba
the Glyndebourne Festival Opera (See note on page 36 for an explanation of this photograph)
in Sussex. This tradition has con-
tinued for more than 40 years. In addition to extensive tour- wind and brass band. In the midst of all of this work, Arnold
ing all over Europe, the orchestra has visited America, Japan, found the time to score over 80 films, among them the
India, Hong Kong, Australia, and South Africa. Its Russian Academy Award-winning soundtrack for Bridge on the River
tour in 1956 was the first ever by a British orchestra, and in Kwai, written in just ten days! Malcolm Arnold was knighted
1973, the LPO made the first visit by a Western orchestra to in 1993.
China. Recent tours have taken Kurt Masur and the LPO to T h e s e ct io n
Germany, Holland, Spain, Greece, North America, and Singa-
pore, and the orchestra returned to China for three concerts Paul B enis ton (principal) was born in 1966 in Chatham,
over the 2004 New Year period. Kent, where he still lives. He started on cornet at eight years of
The London Philharmonic Orchestra has won numerous age in the Gillingham Salvation Army Brass Band. Paul took
awards for its recordings with Bernard Haitink, Sir Simon up the trumpet at age ten. At fourteen he received the diplo-
Rattle, Wolfgang Sawallisch, Klaus Tennstedt, and Franz ma of Associate of the Royal College of Music, and that of
Welser-Möst. The LPO is also active in the movie industry Fellow of Trinity College, London, at sixteen. His early orches-
with soundtrack credits that include Lawrence of Arabia, The tra experience includes membership of the Kent County Youth
Mission, Philadelphia, In the Name of the Father, East is East, Orchestra and the European Community Youth Orchestra. He
and the Lord of the Rings trilogy composed by Academy Award studied music at Bristol University from 1984 to 1987, and

and trumpet in local orchestras. From 1979 to 1982 she
studied at Goldsmiths College, London, where she grad-
uated with a bachelor’s degree in music. She did post-
graduate work with Maurice Murphy and Ray Sim-
monds at the Guildhall School of Music and Drama
where she was awarded the Principal’s Prize. Following
her education she made her living as a freelance artist in
London. In 1985, Anne was appointed principal trum-
pet in the Royal Ballet Orchestra, giving her the distinc-
tion as the first woman to hold a principal trumpet chair
in the UK. In 1986, she was invited to join London
Brass, the successor to the Philip Jones Brass Ensemble,
where she replaced Jones as the specialist flugelhorn
player. In 1989, she left the Royal Ballet and spent the
next ten years as a busy freelance performer working with
all the major orchestras, chamber music groups, and as a
soloist in the London area. In 1994, she completed a
master’s degree in performance at Reading University.
Malcolm Arnold (left) and Denis Egan playing slide trumpets (1946) Since January of 1995, she has taught trumpet at the
Guildhall School of Music and Drama. McAneney has
later received a master’s degree from the Royal College of served as a director of London Brass, has taught the regular
Music (1987 – 88), where he researched the history of the big London Brass course for amateur brass players for the Benslow
F-trumpet and performed on F-trumpet and modern instru- Music Trust, and has acted as trumpet tutor for the National
ments. He served as joint principal trumpet of the English Youth Orchestra of Great Britain. In 2000, she was appointed
National Opera for four years (1989 – 93). In 1994, Paul sub-principal trumpet with the London Philharmonic
Beniston joined the LPO as principal trumpet. He was a mem- Orchestra.
ber of London Brass from 1996 until 2002. As a teacher, In the 2003/04 LPO Yearbook, McAneney’s unfailing dedi-
Beniston teaches at the Royal College of Music (since 1995), cation to the orchestra was highlighted in an article titled A
and at the Guildhall School of Music and Drama (since 1999). midwinter nightmare. The article revealed how she had left a
Beniston’s solo engagements have included performances of rehearsal on January 30th to drive home and became hope-
the Haydn Concerto (with the LPO), Copland’s Quiet City, the lessly stuck in a severe blizzard… after being rescued by her
Arutunian Concerto, and the Malcolm Arnold Concerto. husband (a trombonist with the BBC Symphony Orchestra),
During 2004/05 he performed the Shostakovich Concerto for she arrived home at 4:00 A.M. the following morning. A few
Trumpet and Piano (with the LPO) and the Hummel Concerto. hours later she hiked three miles to the main highway, hitched
In recent years he has frequently performed the Vivaldi a ride to a train station, and arrived just in time for the after-
Concerto for Two Trumpets with Crispian Steele-Perkins (his noon rehearsal. That night, not wanting to risk a return home,
former teacher) in 18th-century costume including wigs and she stayed in London. The following day, she purchased con-
tights! cert attire for that day’s concert, found out that there was no
Paul Beniston enjoys fishing, a passion that got him into power at home, stayed another night in London, performed a
trouble in the early afternoon of August 14, 2003, when his family concert in Brighton the following day, and then finally
boat “High Seas” was struck by a fishing trawler more than made it back home to Essex on February 2nd. The LPO
twenty miles off Newhaven, East Sussex (about eight miles Yearbook summed it up best: “a fine example of those who
from the opera house at Glyndebourne). Beniston’s boat sunk refuse to let the British weather stand in the way of their devo-
in five minutes. Duncan Riddell, LPO’s Co-leader (concert- tion to duty.”
master) at the time, was with him along with fellow trumpeter Nicholas Betts (co-principal) was awarded a scholarship to
Lawrence Evans, his daughter Auriol, and his son Nathan. attend the junior department of the Guildhall School of Music
Beniston described the aftermath of the sinking: “From the and Drama, where at age seventeen, he won a place to study
moment we were transferred onto the trawler, the priority was full time. In 1989, he won the Barry Kerry and Leonard Rice
to make ‘curtain up’ at Glyndebourne for a performance of Memorial Prize for Trumpet and the Philip Jones Prize for
Mozart’s Marriage of Figaro with a start time of 5:15 P.M.… Brass. After graduating, Nicholas began a diverse career play-
This wasn’t helped by the fact that our cars were in Newhaven, ing for the London orchestras as well as working for West End
but the rescue boat dropped us off in Eastbourne. Duncan musicals. He also did extensive freelance work in television and
Riddell’s wife, after a lot of mobile phone navigating, eventu- film. In 1995, he left London to become principal trumpet
ally found the Eastbourne Marina and got the musicians to the with the Bergen Philharmonic Orchestra in Norway. Betts
Glyndebourne stage door at exactly 5:15 P.M. The performance returned to London in 1997 to become principal trumpet with
was held back for five minutes, we staggered in, and, as they the City of London Sinfonia, and in 2002 joined the London
say, the show went on!” The story of the sinking was reported Philharmonic Orchestra as co-principal. He now divides his
by the Reuters News Agency worldwide and was covered on time between the LPO and the CLS and pursues an increasing
the front page of The London Times! list of solo engagements. In the last few years he has recorded
Anne McAne ney (s ub-principal) was born and grew up in the Haydn Trumpet Concerto and the Vivaldi Concerto for Two
Belfast. She played the cornet in the Agnes Street Brass Band, Trumpets with the City of London Sinfonia. He is often asked

to do work in commercial music and with other orchestras, Church Square, where the London Philharmonic Orchestra
but admits, “Sometimes it’s nice to just stay at home and play rehearses. Situated south of London Bridge in The Borough,
with my young son!” Henry Wood Hall is a large, box-like building, converted from
Law rence (Laurie ) Evans was born in 1936, in South Wales. the redundant and burned-out Holy Trinity Church, that has
He started on cornet in a local brass band at nine years of age. been configured to accommodate a symphony orchestra on its
By 1948, he was principal trumpet in his school orchestra, and main floor with risers, and has a balcony that runs around
by 1950 was principal trumpet in the regional youth orchestra. three sides of the top. It was from the balcony that I had a per-
In 1951, he won the principal trumpet chair with the National fect vantage point to watch the rehearsal. There I was able to
Youth Orchestra of Wales and two years later received a schol- observe about ninety minutes of rehearsal as the orchestra was
arship to study at the Royal College of Music. In 1954, he did preparing Deryck Cooke’s performance version of Gustav
his national service as principal cornet and trumpet with the Mahler’s sketches of Symphony #10 in F sharp. Maestro Daniel
Royal Engineers Band. In 1957, Evans joined the Royal Phil- Harding worked two of the five movements from this massive
harmonic Orchestra while still a student at the Royal College symphony. Harding was an efficient conductor in guiding the
of Music. Three years later, Evans joined the BBC Welsh orchestra through the intricacies of a realized score by one of
Orchestra as principal trumpet, a position he held for eight the great, late symphonists. Each section of the orchestra
years. In 1968, Evans joined the New Philharmonia Orchestra played with sensitivity, awareness, and impeccable intonation.
in London as co-principal trumpet. During this time he did a It was the perfect prelude to my meeting with the trumpet sec-
lot of film work and performed regularly with the Philip Jones tion.
Brass Ensemble, English Chamber Orchestra, and the Welsh Following the rehearsal I spent two memorable hours with
Opera Orchestra. In 1974, he was appointed principal trum- all four trumpets of the London Philharmonic Orchestra. It
pet with the London Philharmonic Orchestra, a position he was most enlightening to hear their collective knowledge and
held for two decades. Since that time he has continued to per- wisdom concerning the Philharmonic and their thoughts on
form in the section and around London as time and interest the current orchestral scene in and around London. What fol-
permits. lows, is a synopsis of the thoughts expressed over the course of
The rehearsal/inter vie w our afternoon together.
On auditioning
On Tuesday, March 30, 2004, I took the tube a short dis-
tance from central London to Henry Wood Hall, Trinity The LPO’s selection process for new players is not as simple
The trumpet section of the LPO in rehearsal, L – R: Anne McAneney, Paul Beniston, Nicholas Betts, Lawrence Evans
Photo credit: Susanna Riddell

as showing up for an audition. Applications are received (often almost as if I had made a discovery that the rest of the world
hundreds for each vacancy), and the appropriate section sifts did not know about!”
through these to separate qualified from unqualified interest. Anne McAneney came relatively late to trumpet, and having
People who don’t have much professional orchestral experience grown up in Belfast, she really hadn’t heard any big orchestras.
don’t get a serious look, as the LPO is not the place for some- Once she arrived in London she quickly made up for lost time.
one to learn the repertoire. It’s a challenging life… this is not “I was influenced a great deal by Laurie (Lawrence Evans) and
a “first job.” Paul Beniston recalled, “A few years ago two by Maurice Murphy as well. I remember coming in to play
vacancies came up at the same Poem of Ecstasy with Laurie
time from a retirement and “It is very unusual to have a proba- playing principal. He was
from a player moving to performing that night after
another orchestra. After pre- tion period that is not successful, two month’s vacation, and
liminary auditions quite a lot because the trial system is quite stren- it was mind-blowing. His
of people were invited to do sound was truly magnifi-
trials. A trial is where you are uous, and if a player is not compatible cent!” McAneney went on
invited to come and play on with the orchestra or the section, it to describe some of the
an entire concert block, so you challenges of educating the
do rehearsals and a concert, usually shows up during the trial.” next generation. “Teaching
and you are evaluated on how can be quite difficult if you
that goes.” Beniston’s “trial” period went on for about two- are thinking a great deal about the problems that your students
and-a-half years before he was finally appointed principal are having with their own playing. There is always the possi-
trumpet! Normally the probation period once you advance bility that some of their difficulty can leak over into your own
beyond a successful trial is one year. Beniston went on saying, playing. It does make you think a great deal more about what
“It is very unusual to have a probation period that is not suc- it is that you are doing when you are playing.”
cessful, because the trial system is quite strenuous, and if a Insights were shared on various approaches and philosophies
player is not compatible with the orchestra or the section, it to sharing ideas and teaching. Evans’ approach was to provide
usually shows up during the trial.” Lawrence Evans went on to a model for the student. “I can’t tell you how to play the trum-
say, “Once you are in the orchestra you either give three pet. I can play for you and demonstrate what I think a trum-
months notice when you intend to leave, or the orchestra gives pet should sound like, but I can’t tell you how to play the
you three months notice when they want you to leave. We are instrument. You just put the instrument on your lips and you
self-employed. We are all share-holders and have a vested blow it… it’s only a bit of brass tubing after all!” McAneney, as
financial interest in the success and proper management of the a student, saw several different approaches to teaching. “I had
orchestra.” one teacher who was extremely effective because he was some-
Mentors and teaching one who had to overcome a lot of adversity in his own physi-
cal approach to the instrument. Even in his forties, he still had
When asked about various players throughout their lives his baby teeth, and when they would finally give up, and peri-
who had provided inspiration, the section had a number of odically fall out, he would have to teach himself to overcome a
interesting responses. For Law- new set of limiting factors in
rence Evans the list was short.
“There was only one trumpet “You are learning all of the time. order to continue to play at a
high level. Because of his person-
player for me when I first start- You never stop learning as a trum- al experience with these prob-
ed to play the trumpet, and
that was Ernest Hall. Sound- pet player or as a musician… you lems, he was brilliant at dealing
with the mechanics of playing
wise, nobody came up to the are never complete. There is al - and overcoming the physicality
level of Ernest Hall during that
time.” Nicholas Betts recalled
ways something else to learn or to of playing the instrument. Dur-
ing this time I was also fortunate
how important his time study- gain from other players.” to study with Maurice Murphy,
ing at the Guildhall School of and with him, I would just ask
Music and Drama was to his development. “I was lucky him to play for me, because there was so much to learn just
enough to study with some of the most prominent players in from hearing him play and sitting so close to that sound. Of
London at that time. These included Ray Simmonds, Rod course, once you get into an orchestra you are continuously
Franks, and James Watson. You draw from everyone that you learning just by keeping your ears open to the sounds coming
hear and are privileged to be around. Beyond that you draw from all around you.” Nicholas Betts summed it up by saying,
from recordings and concerts you get to over the years.” “You are learning all of the time. You never stop learning as a
Paul Beniston cites the influence of Laurie Evans as going trumpet player or as a musician… you are never complete.
well beyond music, almost akin to a father figure in his life. He There is always something else to learn or to gain from other
also mentioned Maurice André as being a major model in the players.”
solo realm, and Evans and Maurice Murphy in the orchestral
Life in an orches tra
area. He went on to mention that he went to see some of the
“Promenade Concerts” at the Royal Albert Hall and that he Living and working as part of a professional orchestra has its
heard Adolph Herseth play Don Juan and Pictures at an unique challenges. The section had a number of perceptions
Exhibition with the Chicago Symphony Orchestra. “I was on living such a life. Lawrence Evans noted the need to learn

young enough to not know that Herseth was famous. It was the repertoire very quickly and efficiently, because there is not
32 ITG Journal / June 2005
much rehearsal time. “You learn to give the conductor what he orchestra. He spent the rest of the tour fishing, “I didn’t catch
wants very quickly, and if you don’t you drop out. You have to any fish, just a pair of knickers, but I didn’t play a note on the
do that or you don’t make it. In that respect this business is whole tour!”
about ‘survival of the fittest.’ You either do it or you don’t.” The section felt that the transition from the concert venue at
The entire section agreed with this sentiment. Anne Mc- the Royal Festival Hall to the summer opera at Glyndebourne
Aneney added that the repertoire is established, so it’s not a in Sussex is relatively easy. Beniston observed, “Glyndebourne,
question of learning new repertoire all the time. “We don’t play from a chop standpoint, is not as challenging as the regular
a huge amount of contemporary music, although we do pre- season and that is quite nice really. There is a new opera house
miere new music from time to time. You get the music in there, and the gardens and scenery are exceptional.” Mc-
advance, and you check out as best you can what is required of Aneney continued, “The pressure of the regular season is taken
you.” Paul Beniston confessed that he looked too far in ad- away… you can just go out and relax during the interval (over
vance when he first joined the orchestra. “I would take all of an hour) between acts. We enjoy some lovely summer evenings
those pieces onto my shoulders at the same time, of course, there.” Sometimes opera can be quite interesting. In 2003,
after a while you learn that you don’t have to do that. Now I while doing La Boehme at Glyndebourne, the stage band had
try to take it with an attitude of each day at a time and let to dress up in Santa costumes. McAneney went on to say,
things unfold as they come up. For me, this is a healthier way “Instead of being a sober band of soldiers, we were required to
to go about it.” Nicholas Betts added that it’s best not to think be very drunk Santas—it’s actually quite difficult to stagger
too far ahead. “It’s very tempting to walk through the door and about in a drunken manner and still play with the military
address a big pile of music that you have to get through. But if strictness the music (not to mention the conductor, Mark
you do too much of that you’ll just drive yourself crazy. You Wigglesworth) requires.” It is the transition back to the con-
might not have a job next year anyway! (laughing) You have to cert setting on stage that sometimes proves to be problematic.
stay mentally fresh. Keeping the chops in shape and keeping Evans felt that, “After the summer is over, going back onto the
the brain healthy is important. It’s a balancing act.” stage is difficult… that was my experience. My first summer at
The LPO is gone from London a lot, and this has its own Glyndebourne we did all Mozart. I was told, ‘You can’t possi-
unique set of challenges. They all agreed that touring is great bly get sacked doing Mozart.’ I almost did three times! (laugh-
fun. Evans felt that the orchestra becomes one big family on ing)… but I remember coming back from the summer and the
tour. “We eat and socialize together, and this helps us really get first program was Mahler’s Fifth, and I’ll tell you, that was ter-
to know one another. You’re stuck on buses, planes, and in rifying.”
hotels for three weeks or more, and this can be quite intense.” There are times when the life of the orchestral musician can
McAneney added, “We have a lot of common interests. As a be interesting indeed. Many orchestras in the UK are self-run
section we are all very close anyway, so it’s natural for us to and largely self-governing—so the musicians have more con-
socialize together. On tour you have even more opportunity to trol over many aspects of the day-to-day operations than is
do that.” Touring does occasionally have its mishaps and common in other parts of the world. This can present difficul-
adventures. Evans recalled how on one tour he got on the ties when conductors, used to having their own way, come to
wrong side of Solti and was banned from playing with the conduct in London. Laurie Evans related a story concerning
The stage band for La Boehme at Glyndebourne (2003) in Santa costume

Photo credit: Susanna Riddell

George Szell who came over from Cleveland and in the course recording on the big F-trumpets. Shore was looking for dark-
of rehearsing a concert went after a member of the orchestra. er brass sounds for much of the trilogy. He loved the sounds
When the player didn’t respond to his dictatorial approach, that we were able to make on the big F-trumpets.” Beniston
Szell let it be known that this musician should not be allowed quipped, “If not the intonation and the accuracy!”
to play the concert. “After a break, the chair of the musicians Living and w orking in the “real” world
committee took his seat in the orchestra and told Szell ‘if any-
body is going, Mr. Szell… it is you.’ After that concert took A lot of what the section had to say dealt with the reality of
place, indeed it was Szell who was not invited back to conduct, the music scene on the professional level. Nicholas Betts felt
and that is one of my favorite orchestra stories.” Paul Beniston that, “You have to be in control of your own game. You have
went on to tell his favorite “Evans” story. “There is a lovely to find out as much as you possibly can about every aspect of
story about Laurie playing a Schumann symphony several what it is you want to do. Otherwise you are going to be found
years ago under Kurt Masur, our current music director. Masur out and caught out, and people around the corner will do it
said, ‘Friends, we start at trio one.’ Laurie’s response to this better than you can and for less money, and you’ll be out.”
was, ‘Maestro, we don’t have bar numbers!’” Anne felt that it was important to listen to many orchestras.
“Students these days are very reticent to go to concerts, but
T he B -flat trumpet as the ins trument of choice
you have to go to as many as you possibly can. You can’t learn
With regard to instrument choice, the LPO is quite partial the excerpts to any degree of satisfaction if you don’t know the
to the use of B-flat trumpets. Paul pieces. If you don’t go
Beniston remarked, “It is great to “If you don’t go to the concerts and t o t h e c o ncer ts and
have different sounds from differ- learn how the various
ent parts of the world. The Amer- learn how the various parts fit into parts fit into the whole,
ican sound with the C trumpet is the whole, then you are just learning then you are just learn-
very exciting, I like the fact that in ing notes and this has
Russia they play on B-flat trumpets notes and this has little relevance to little relevance to the
with a heavy vibrato by our stan- the larger scheme, the bigger picture.” larger scheme, the big-
dards, in France they have a sound ger picture.”
and instrument preference that is light and precise, and in the The reality theme continued with Evans’ views on the
UK the tradition has been largely on the B-flat instrument. changing face of the music business. “It used to be, several
The difference in sound and concept among various parts of decades ago, that players would leave the orchestra because
the world is great, and should be preserved and enjoyed. We there was more work, and more money to be made gigging
should resist the temptation for everything to come into a type outside the orchestra. This is no longer true. Now, players stay
of sameness. I personally will hold on to the B-flat tradition we with the orchestra because a great deal of the ‘extra’ work that
have here for as long as I can.” McAneney went on to com- used to be out there has gone away and isn’t coming back.
ment, “We are very rarely asked to play C trumpet. We all Things are constantly changing. My teacher, Ernest Hall,
learned to play B-flat instruments in the brass band tradition found a great deal of work playing in orchestras for silent films.
so that is our background and musical upbringing.” All four Of course that went by the wayside when the technology
members of the section acknowledged their debt to the brass changed. Things are always changing in the business of mak-
band tradition, and the role that this background played in ing music. To be successful you have to recognize when things
their development as brass players and musicians. In the area change and come up with strategies to deal with it.” Paul
of historic instruments, the section enjoys employing natural Beniston agreed and continued. “This is compounded by the
trumpets, where appropriate, especially on Mozart during the fact that, not only are there fewer playing opportunities, but
summer season at Glyndebourne. there are also many more players around to compete for less
On the specific occasion of the author’s visit to see the LPO, work. You have to be as versatile as possible so that you can
Beniston commented, “After talking about the importance of pursue as many opportunities as you can. I would have to agree
the B-flat trumpet in our section, it is ironic that the week we with Anne that one of the main reasons that I am here playing
should meet you comes during a time when we are using a in an orchestra today is because when I was young, my dad
number of different horns (piccolo and E-flat instruments, in took me around to concerts, and I got hooked. Students
addition to the B-flat) to get through the Mahler.” To his should be listening to the different styles and sounds of the
Evans added, “I’m sorry, but I can’t really go along with that
version of Mahler #10. That’s not Mahler… he would not have Principal trumpet players of the
written in that register.” Anne continued, “It was quite a shock
to my system after going along for several weeks playing a lot London Philharmonic Orchestra
of bottom A’s and then having to find an F above high C!”
(This was referring to the second part!) John Couzens 1932 – 34 & 1941 – 42
The London Philharmonic has done a tremendous amount Richard Walton 1935 – 41
of work recording sound tracks to major motion pictures in Malcolm Arnold 1942 – 48
recent years. No project has been more involved than record- Eric Bravington 1948 – 59
ing all the music for the Lord of the Rings trilogy. The sound- Ralph Izen 1959 – 64
track, composed by Howard Shore, won an Academy Award. Gordon Webb 1964 – 73
When asked about the equipment employed for this massive Lawrence Evans 1974 – 94
project, Anne McAneney responded, “Apart from the B-flat Paul Beniston 1994 –
trumpets, we used rotary-valve instruments, and did a lot of
various professional orchestras from around the world. Young vast majority of the time I don’t have to say anything. That is
players should be devouring excerpt books for breakfast.” why it is so important to pick people to play in the orchestra
Beniston was clear on what is required to make it to the who have the sensitivity to respond to where the music needs
highest levels of the profession. “So many young players try to to go, and to what is coming down to the section from the
figure out the minimum principal chair.”
amount of work that is re- On the subject of endurance
quired to succeed; instead,
“If the principal has to do too much Nicholas Betts said, “During
they should be finding talking to the section on what is need- the brass band days, you were
ways to give their maxi- ed and what has to happen, then playing all the time. You never
mum effort to the job, be- put the instrument down, and
cause that is what it will there is a problem. Most of the time that experience helped to build
take to make it in this pro- these things are conveyed simply up the endurance required of
fession.” McAneney con- the tough blows in the orches-
tinued, “I don’t think a lot through the playing and not verbally.” tra. You just have to pace your-
of students are aware of self.” Beniston continued,
how difficult it is to be a jobbing musician on today’s music “What I find difficult is when we’re very busy attending
scene. In the studio you have to walk in, never having seen the rehearsals, but not playing very much… that happens when
music before, and you have to record it on the spot. It could you’re playing the lighter literature. It’s difficult when you have
be in any style, on any instrument, at any transposition, and to go from that into the big blows that require a completely
you have to get on with it.” Beniston wrapped up this train of different approach. Going from Haydn or Mozart to Mahler
thought. “In some respects I’m almost envious of Ernest or Strauss is always tough. ‘Beware of the day off!’” Finally,
Hall… people in the profession fifty years ago, because they after having played principal trumpet for two decades, Laurie
didn’t have to play some of the off-the-wall stuff we have to Evans quipped, “My problem now is playing low notes… I
today. I mean, it’s playable and all, but the things you have to can’t do it.” To which Paul Beniston replied, “Well, you’ve got
do to get it to work can sometimes put your playing, within thirty or forty years catching up to do in that regard, now
the orchestra, at serious risk. Doing too
much extra work can take you ‘out of
the groove’ you need to be in to perform
in the orchestra. You have to be careful
in what you take on and how you go
about it, or there could be a heavy price
to pay, and that can be disastrous.”
Section playing
On working together as a section,
McAneney quipped, “We all just do
what Benny (Paul Beniston) says!”
(laughing) She continued in a more
serious vein, “The section has a great
deal of respect for whoever is in the
principal chair and we all just try to do
what it is that is coming down from that
chair to us… to support and to fit into
that.” Evans went on, “Whoever is play-
ing principal, whether it is Paul or Nick,
we fall into place with what they say.
The same thing happened when I was
playing principal. If Paul says, ‘Can we
do this or can we do that… ‘ there are
no questions asked, you just do it. If
anything goes wrong in the section, the
principal catches it in the neck. So sec-
tion support is there for the principal
from the bottom up. You listen, and you
do what needs to be done. If the princi-
pal has to do too much talking to the
section on what is needed and what has
to happen, then there is a problem.
Most of the time these things are con-
veyed simply through the playing and L-R: Pieter Schoeman (co-leader of the LPO), Anne McAneney, and Paul Beniston outside
not verbally.” Beniston agreed. “The of the Royal Festival Hall. Photo credit: Joe Dilworth

haven’t you!” (laughing) It was obvious that not only does this solo passages, and each entrance was executed with tremen-
group play incredibly well together, but that they have a gen- dous musicality and control. At one poignant moment in the
uine affection and respect for one another. final movement there is a section that is almost peaceful (per-
T he concert haps Mahler’s acceptance of the inevitable nature of what was
and what would be), but this is followed by foreboding and a
On Wednesday, March 31, 2004, my wife and I took the climax where a dissonant chord returns from the first move-
tube to Westminster and enjoyed the short walk across the ment. It is at this point that the sustained a'' in the trumpets
Golden Jubilee Footbridge over the River Thames to the Royal returns. As this sense of emotional duress diminishes, the
Festival Hall. Only two pieces were on the program that even- horns present the opening theme of the symphony. Returning
ing, Serenade for Tenor, Horn, and Strings, Opus 31 by Ben- to the original key of F-sharp, the symphony ends by quite
jamin Britten, and Deryck Cooke’s performing version of Gus- simply dying away. Mahler left no doubt as to the subject of
tav Mahler’s draft for Symphony #10 in F-sharp. Before com- this work. He included his “pet name” for his wife above the
menting on the Mahler, it should be said that tenor soloist Ian final notes: “To live for you! To die for you! Almschi!”
Bostridge and horn soloist Richard Bissill were brilliant in the There was a long pause as everyone sat suspended in the
performance of the Britten Serenade, and that the string sec- moment. Finally, with a slow crescendo of applause, the audi-
tion of the LPO should also be commended for their sensitive ence showed its appreciation. Maestro Harding returned sever-
performance of this contemporary masterpiece. al times to the stage and recognized many outstanding soloists.
Symphony #10 was unfinished when Mahler died of heart It was entirely appropriate that one of the musicians given a
disease in 1911. Mahler’s last complete scores were Das Lied bow was principal trumpet Paul Beniston, whose solo bow was
von der Erde and Symphony #9. Both are seen as the composer’s followed by an acknowledgement of the entire trumpet sec-
farewells, as Mahler knew he was dying from a failing heart. tion.
His Symphony #10 was begun under severe emotional duress. After the performance, (a mid-week date with no empty
Not only did Mahler know he was not long for this world, but seats) I was struck by how many animated conversations were
just as he started sketching the work he became aware of the going on among the audience members walking back to catch
fact that infidelity had invaded his marriage. Mahler’s much the London underground home. This was an enlightened
younger wife would eventually marry this person, the famous audience actively and intelligently discussing what they had
architect Walter Gropius. So this symphony was intended as an heard and what they had felt. My most sincere appreciation
autobiographical testament to Mahler’s despair at the end of goes out to the trumpet section of the London Philharmonic
his extraordinary life. Orchestra for taking time out of their busy schedules to meet
In 1924, Alma asked Ernst Krenek to judge whether the with me during my stay in London.
existing sketches could be completed. Assisted by Alban Berg,
Sources
Krenek produced performing versions of the first and third
movements of this five-movement work, and these realizations London Philharmonic Newsletter January 2004
were performed the following year in Vienna and Prague. As London Philharmonic Yearbook 2003/04
part of the BBC’s celebrations of Mahler’s centenary in 1960, London Philharmonic International Series Programme Wednes-
Deryck Cooke began work on a complete performing version day 31 March 2004
with assistance from Berthold Goldschmidt. Over the next Additional information is available from the LPO’s web site
four years Cooke completed a performing score and was fur- (http://www.lpo.co.uk).
ther aided in this effort by 44 manuscript pages found in
Note
Alma’s papers shortly before her death in 1964. The first per-
formance of Cooke’s realization took place in the Royal Albert Anne McAneny related the story behind this photo to the
Hall in London on August 13, 1964. After several perfor- author. Sir Adrian Boult usually showed up to rehearsal wear-
mances Cooke spent an additional five years refining and ing a red polo neck shirt. The brass section decided to dress in
improving his work. Cooke’s definitive realization was pub- the same way as a joke, but on the agreed upon day when they
lished in 1976, and dedicated to the memory of Alma Mahler. proudly sported their red polo necks Boult appeared minus
This was the version performed by the LPO on the evening of his, thwarting the section’s efforts. Boult referred to them
March 31, 2004. throughout the length of the rehearsal as “The Red Brigade.”
The mood was established from the symphony’s first sounds
in the fifteen-measure theme presented by the violas. This is a About the author: Gary Mortenson is Publications Editor for
dark and powerful work. There is much to do throughout the the International Trumpet Guild. He is professor of trumpet
score for the entire brass section and more specifically for the and directs the brass chamber music program at Kansas State
trumpets. At several memorable points in the score (first and University where he serves as Chair of Graduate Studies for the
last movements) there is a high concert A (a'' ) that is passed Department of Music. In late March and early April of 2004,
among all the members of the trumpet section. The intent at he traveled with his family to London at the gracious invita-
this point in the symphony is to pierce the orchestral texture tion of Neville Young to house-sit while the Youngs traveled to
much like a ray of light breaks through a cloud formation. The New Zealand. While in London, Mortenson interviewed and
pitch is sustained for what seems to be an incredible length of performed for the Irish Guards Band, and gave a master class
time. Intonation and tone quality must match as the high a'' is for Brass Day at the Music and Performing Arts Centre in the
passed uninterrupted among the members of the trumpet sec- borough of Haringey as the guest of Head of Music and Per-
tion. This was accomplished flawlessly, effortlessly, and to great forming Arts (and trumpet player) Peter Desmond.
effect. Each member of the trumpet section had significant

Baroque Trumpet Study in the United States
BY LEIGH ANNE HUNSAKER
This article was reviewed and approved for publication by the ITG Editorial Committee.
I n the 1960s, the valveless natural trumpet was re-intro- hired to coach the trumpets for a week; after this concert,
duced by Walter Holy of Cologne, Germany. Holy, along Holmgren continued on his own.
with other pioneers such as Michael Laird in England and Although no longer at the NEC, Holmgren is active as a
Americans Edward Tarr and Don Smithers, helped to establish teacher at many of the Historical Brass Conferences. At these
the natural trumpet as a viable instrument in the 20th centu- events, he spends three days coaching a large ensemble with
ry historical performance movement. With the large number players at all levels and forms smaller groups for more experi-
of period ensembles and recording opportunities in Europe, enced people.
familiarity with early instruments became widespread. Today, Holmgren has performed with the American Bach Soloists,
many European conservatories offer the baroque trumpet as a Tafelmusik, English Concert, Smithsonian Chamber Orchest-
part of the undergraduate curriculum. ra, Handel and Haydn Society, Boston Early Music Festival
In North America, historic instruments have been treated Orchestra, Philharmonia Baroque, the Arcadia Players, Port-
more as a curiosity than as an essential part of a musician’s land Baroque Orchestra, and Seattle Baroque Orchestra.
training. In the last twenty years, however, there has been a Yale University
marked increase in the use of period instruments and interest Allan Dean began playing natural trumpet and cornetto on
in “historically-informed performance.” A number of profes- his own in the late 1960s when there was little activity in New
sional Early Music ensembles have been established, requiring York City and no opportunity to study. He is a founding mem-
musicians with skill on period instruments and knowledge of ber of Calliope: A Renaissance Band, as well as the New York
authentic performance styles. Reflecting this development, Cornet and Sackbut Ensemble.
American conservatories and universities have increased offer- Humboldt State Univers ity (California)
ings of academic courses and period instrumental ensembles Gilbert Cline teaches baroque trumpet and organizes a
devoted to music of the Renaissance trumpet ensemble for specific occa-
and Baroque eras. “In North America, historic sions. His experience includes per-
Opportunities to receive compre- formances with San Francisco’s
hensive training on baroque trumpet, i n s t r u m e n t s h a v e b e e n Magnificat Baroque Orchestra, In-
however, are much more limited in the treated more as a curiosity dianapolis Baroque Orchestra, Mus-
U.S. than in Europe. Although many ica Angelica Baroque (Los Angeles),
North American institutions have an
than as an essential part of Seattle Baroque, Portland Baroque,
Early Music Ensemble using baroque a musician’s training.” Trinity Consort (Portland, OR),
trumpets, relatively few offer an estab- and the American Bach Soloists.
lished course of study or regular coaching by trumpet faculty Con ference appearances include the 1999 Historic Brass
who play period instruments. This article grew out of my own Society Conference and the 1996 International Brassfest.
research in preparation for a recent leave to study natural Florida State University
trumpet. A great deal of information on performance work- Bryan Goff teaches baroque trumpet ensemble and lessons.
shops and Early Music courses in Europe was available, but He was granted a faculty development leave of absence in 1988
similar opportunities in North America were fewer and harder to study baroque trumpet with Edward Tarr in Germany.
to find. Catholic Unive rs ity of America
A number of U.S. college faculty members who play Stanley Curtis teaches part-time at both Catholic University
baroque trumpet were asked to comment on its use in their of America and George Mason University. He studied baroque
teaching. Several reported using the baroque trumpet occa- trumpet at Indiana University and at the Sweelinck Conser-
sionally for demonstrations or to give students a chance to vatorium under Friedemann Immer on a Fulbright Scholar-
experiment with the instrument. For this article, those who ship. Curtis won third prize at the first Altenburg Baroque
teach baroque trumpet in private applied study or in an Trumpet Competition in Germany, has performed with
ensemble setting were sent a set of questions and invited to ensembles in Europe and America, and has recorded many
share their views on teaching the instrument. Several of these pieces.
programs are described below in order to provide a “snapshot” Unive rs ity of North Texas
of the state of baroque trumpet instruction in this country. A Instruction in Baroque trumpet is given during the long
list of these institutions follows, along with a brief description semesters by one of the doctoral teaching fellows, Kathryn
of the training and experience of the instructor on baroque James, and during the summer by Keith Johnson when his
trumpet. schedule allows. Kathryn James has received instruction on the
New England Conser vator y baroque trumpet from teachers in Europe, Australia, and the
Fred Holmgren began playing baroque trumpet in the mid- U.S. She has performed professionally on the baroque trumpet
1970s when a New England music festival programmed in Australia, the U.S. and Canada, with groups including
Fireworks to be performed on period instruments. At the time, Tafelmusik, the Portland Baroque Orchestra, Atlanta Baroque
few players had experience on historic instruments, so special- Orchestra, the Jubilate Baroque Orchestra (San Francisco), the
ists were engaged to work with the musicians. Edward Tarr was Orchestra of New Spain, and at the Berkeley and Boston

Early Music Festivals. Keith Johnson is largely self-taught but ersity from 1982 – 89, and have continued to work a bit on
waas on sabbatical in the fall of 2004 to study baroque trum- natural trumpet with my own students at Yale since 1988.
pet. He is a member of the Dallas Bach Society and Fort Hu m b o l d t St a t e Un i ve r s i t y Cline: We started in 1984
Worth Early Music and has performed with the San Francisco when a competitive campus grant was awarded to me for the
Bach Choir and the Orchestra of New Spain. purchase of two baroque trumpets. The overall goal is to ex-
Texas State University plore the larger world of the trumpet, to gain insight into its
The baroque trumpet classes are taught by Jack C. Laumer. past, and to challenge oneself.
He spent a semester on leave to study baroque trumpet and Florida State Unive rs ity Goff: I formed a baroque trumpet
participated in a masterclass with Crispian Steel-Perkins at the ensemble during the fall of 1990 using my personal instru-
1999 Historic Brass Conference in Paris. Laumer also has stud- ments and those purchased by the FSU School of Music. The
ied privately with Edward Tarr, Niklas Eklund, and Leonard School of Music has an endowed professorship, and Edward
Candelaria. Tarr was engaged to come to our campus to teach for five
State University of New York – Purchase weeks during the spring of 1991. The FSU Baroque Trumpet
Baroque trumpet is taught by Graham Ashton, who studied Ensemble performed at the 1991 ITG Conference at Louis-
at the Royal Academy of Music in London. iana State University. We then accepted an invitation to per-
Unive rs ity of Southern Miss is sippi form at the 1992 ITG Conference in Rotterdam, Holland. On
Joel Treybig is the first person at USM to teach baroque that tour we also performed concerts in Cologne, Germany
trumpet. He is primarily self-taught on the instrument, but and Antwerp, Belgium. We traveled to Europe again in 1997
received input from Murray Greig and Edward Tarr. to perform in London, followed by a full concert at the ITG
Western Carolina Unive rs ity Conference at Gothenberg, Sweden.
Bradley Ulrich took a sabbatical in 2001 to focus on the The reason for offering baroque trumpet study here at FSU
baroque trumpet, taking lessons from Bryan Goff at FSU and is to give the students a better concept of “historically-
Crispian Steele-Perkins. informed” performance practice, with the goal that the stylis-
Bos ton Univers ity tic techniques they learn on the natural trumpet will affect the
Robinson Pyle began studying baroque trumpet with Fred way they perform early music when they play it on a modern
Holmgren after finishing his undergraduate degree. He was instrument.
invited to the First Altenburg Competition for Baroque trum- Catholic University Curtis: Baroque trumpet study was im-
pet held in Bad Säckingen, Germany, in 1995. He is now prin- plemented when I started teaching at Catholic University in
cipal with Boston Baroque and has performed with other en- spring 1993 (it is also available at George Mason University).
sembles including Apollo’s Fire, Lyra Concert, Studio de mus- The students include military band trumpet players, who are
ique ancienne de Montreal, Handel and Haydn Society, Ar- studying at the doctoral level and would like to explore some-
cadia Players, and Boston Cecilia. thing a little different from what they have been studying.
Obe rlin Baroque Performance Institute/ International Bar- Unive rs ity of North Texas Johnson: The baroque trumpet
oque Ins titute at Long y program was started at UNT by Leonard Candelaria, approx-
John Thiessen has taught baroque trumpet lessons at the imately 10 years ago. Currently, there is a very active Early
University of Montreal, and now teaches baroque trumpet Music program here with many course offerings, applied inst-
classes and coaches chamber music in the summer institutes at ruction, and the UNT Baroque Orchestra under the direction
Oberlin and Longy. of Lyle Nordstrom.
Thiessen began playing baroque trumpet seriously during Players are stimulated to look at and understand the perfor-
his senior year at Eastman. He next studied in London with mance practice of the period. I find that it affects the students’
Michael Laird and Crispian Steele-Perkins. His early perfor- playing in a very positive way, particularly in their approach to
mance experiences were with Steele-Perkins in Germany and piccolo trumpet. Those who study baroque trumpet acquire a
the U.S. and with Stephen Keavy during a tour of Beethoven much more vocal approach on the modern instruments. Re-
Symphonies. He now lives in New York City, performing on cently, the baroque trumpet program here has really taken off;
baroque trumpet as soloist or first trumpet with early music there is a remarkable level of enthusiasm.
groups, and sometimes with modern orchestras, throughout James: The main goal of baroque trumpet study at UNT is
North America. to familiarize the students with the different ways of playing
1. When was baroque trumpet study implemented at your the baroque trumpet (i.e., vented or unvented; baroque or
school and what were the reasons for adding it to the program? modern mouthpiece), and to give them a strong historical
New England Cons er vatory Holmgren: I began teaching background on playing the baroque trumpet, preparing them
baroque trumpet at the NEC around 1980. After giving a lec- to perform with any group under any reasonable demand
ture/demonstration on the instrument, I began teaching three made of them.
students. Over the next 15 years, I continued teaching indi- Texas State University Laumer: I started teaching a class of
vidual students who elected to study baroque trumpet in addi- three or four students each semester in the fall of 1999. The
tion to the modern trumpet. Some took up the instrument out purpose is to promote study of historic performance practices,
of curiosity after hearing me play the Brandenburg on it. One and to perform on period instruments in order to motivate
of my students wasn’t interested in playing natural trumpet at students to study the baroque period.
all, but heard me perform on piccolo trumpet, and wanted to SUNY Purchas e Ashton: Baroque trumpet study was begun
learn about my approach to baroque music. in 2000 in order to provide diversity and to develop an under-
Yale University Dean: I taught a few natural trumpet and standing of authentic performance practices.
cornetto students at the Early Music Institute at Indiana Univ- Unive rs ity of Southern Miss iss ippi Treybig: We started with

baroque trumpet in 2001, when I asked the early music direc- 4. obtaining and listening, repeatedly, to recordings of orch-
tor to order one. Once I got a grasp of it, we ordered another, estral works by Bach, Handel, Mozart, and others.
so we have a pair for teaching/playing. I wanted the students 5. obtaining and listening, repeatedly, to recordings of small-
to have an informed reference point for the performance of er force works recorded by Eklund, Plunkett, Tarr, Con-
early music, and I also feel that playing well on the baroque forzi, Keavy, and Steele-Perkins.
trumpet only improves a player’s valved trumpet playing due Juries are required for those studying natural trumpet.
to the focus on fundamentals that is needed. FS U Goff: Most students study baroque trumpet as a part of
We s te r n Ca rol ina Unive r s it y Ulrich: I started the WCU the Baroque Trumpet Ensemble. There have been a few inst-
Baroque Trumpet Ensemble in the fall of 2001 after my sab- ances where a student has signed up, for credit, for baroque
batical. It is interesting to me and I believe it helps our mod- trumpet as a secondary instrument. Juries are not required.
ern trumpet playing in many ways. Being an orchestral trum- The teaching method I use is modeled after the instruction
peter, I was also very interested in how the sound and style of that my students and I received from Edward Tarr.
the baroque trumpet relates to what we as modern players try The exercises that we use come from the Dauverne method
to do in the orchestra. book. Additionally, for my students who are somewhat serious
B os ton Univers ity Pyle: Boston Baroque was appointed as about pursuing their study of natural trumpet, I encourage
an Ensemble-in-Residence at BU in the Fall of 2002. The His- them to buy Ed Tarr’s The Art of Baroque Trumpet Playing,
torical Performance program at is still in the early stages of Volume I.
development; when someone requests to study baroque trum- CUA Curtis: I teach private lessons. No juries have been
pet, it will commence at that time. required yet, since this is just an elective type of study. I use the
2. Describe the lessons—are they given separately, or as a part of Dauverne and Fantini methods to start out beginners. So far, I
modern trumpet lessons? What type of curriculum is used? Are haven’t used modern methods for the Baroque trumpet, al-
juries on natural trumpet required, optional, or not used? though I’ve seen quite a few really good ones. Beginning music
NEC Holmgren: I taught private lessons using some exer- that I recommend would be pieces by Fantini, Torelli, Purcell,
cises from Dauverne along with the literature. The modern some Handel, Viviani, Corelli, etc.
methods for baroque trumpet weren’t available then. I try to UNT Johnson: Baroque trumpet study consists of private
get across the fact that it’s a different instrument, to get stu- applied study, the Baroque trumpet ensemble rehearsing once
dents divorced from the modern instrument. I think you get a week, and participation by audition in the period orchestra.
more success thinking of it this way, rather than treating it as Students register for baroque trumpet lessons in addition to
another form of the same thing. Most people use too much air, modern trumpet lessons. They may take either an hour or a
play too loudly, and try to impose their will on the instru- half hour lesson per week. Graduate performance majors are
ment—all are real mistakes. expected to participate for at least two semesters. Other inter-
Yale Dean: At least once a year I do a class on natural trum- ested graduate and undergraduate students are also welcome.
pet and various instruments I own. I try to get students inter- I start students on the works of Paul Plunkett and Ed Tarr,
ested in spending some time on baroque trumpet individually, supplemented by a beginning book that I have written. Em-
and work with them on it when they request it. There is cer- phasis is placed on listening skills and good use of the breath.
tainly a practical aspect to spending some time on the natural I also employ some duet playing, particularly the Modena Du-
trumpet as there is some work in the real world on the instru- ets and Ed Tarr’s editions of the Moravian Duets. Both are
ment. really excellent. These books are not only pedagogically sound,
I play duets with students and some excerpts (Purcell and but also musically satisfying.
Handel usually). As for material for them to practice, I use James: Students initially study using Edward Tarr’s The Art
Altenburg exercises and Volume 1 of Edward Tarr’s book that of Baroque Trumpet Playing vol. 1, supplemented by Michael
has some good explanations and exercises. I keep an instru- Laird’s and Paul Plunkett’s baroque trumpet workbooks and
ment available to my students all the time for them to practice Keith Johnson’s yet-to-be-published baroque trumpet book.
and familiarize themselves a bit. Focus is given to the fundamentals of playing the baroque
HSU Cline: Any enrolled student, music majors preferred, trumpet—air, flexibility, sound and articulation. A jury on the
may study baroque trumpet. This can be one on one, or (in the baroque trumpet is required at the end of each semester. The
case of those new to baroque trumpet) two students and my- first semester jury consists of repertoire in the principale and
self. Doing so allows me to play along with either part if play- middle registers of the instrument primarily. Consequent sem-
ing duos, or lets us play Bach and Handel works for three ester juries focus more on the clarino register.
trumpets. TSU Laumer: All students are eligible to study natural trum-
The curriculum is not formally defined yet; however, there pet. Lessons are taught as a class with a maximum of four stu-
is a sequence of study I present: dents. I use the Tarr method books as texts and do a lot of du-
1. belonging to the only scholarly group for early brass; The et, trio and quartet playing.
Historic Brass Society; S UNY Purch as e Ashton: Instruction on baroque trumpet
2. having and reading the following books; Barclay, Brown- may be given separately or as part of the modern trumpet les-
low, Smithers, Tarr, Baines, Bate; son. No curriculum is used; it is a practicum-based private
3. obtaining and playing these excerpt and method books; study program. No juries are required on baroque trumpet.
Fantini, Pietzsch, Musica Rara volumes of Bach and Han- USM Treybig: I work with the students in their regular les-
del, Tarr’s three volume Art of Baroque Trumpet Playing, sons one-on-one. Any interested students may work with me
and books of Laird, Plunkett, Dauverne, and Gäbler (nat- on baroque trumpet, although I usually encourage them to
ural horn). wait until their modern trumpet playing is in good shape. If

they are playing with the university’s Early Music Ensemble, some adjustment is in order.
the director, Dr. Ragsdale coaches them. It would be helpful if the following provisions were made:
I use the Michael Laird book of studies for natural trumpet. either allow the student to perform two 30-minute recitals,
Works performed have primarily been by English composers perhaps paired with another student; or, if there absolutely had
(Clarke, Shore, Purcell, Finger, etc.), but Fantini is also used. to be 60 minutes’ worth of repertoire in one recital, the stu-
At this point, a student has not played a jury on baroque trum- dent should be allowed to extend the total time of the program
pet, but since they play a jury or recital every semester, it is by interspersing works without trumpet.
possible that one will. This would not be a separate jury, but 3. Equipment: What instruments are recommended: Vented or
the same one all other performers play at the end of the semes- natural; long or short models? Baroque or modern mouthpieces?
ter. NEC Holmgren: I play some without holes every day, but
WCU Ulrich: I give an hour group lesson using a combina- perform on a four-hole Egger. I own a number of other trum-
tion of the Dauverne book, the Tarr Method books and etudes pets including a short (three-hole) Egger and a Tomes. I use a
I put together. During my sabbatical, I found that there isn’t a baroque mouthpiece and will switch mouthpieces for the dif-
single good method book or practical approach to the instru- ferent horns. I believe that using baroque mouthpieces helps
ment, so I came up with my own method of teaching. We do with your mental approach as you are using different equip-
not have juries on natural trumpet as we only meet as an en- ment. Also, they make trilling easier; the bowl-shaped mouth-
semble. pieces help you click back and forth between the harmonics
BU Pyle: What I will teach, once we get the program up and instead of pushing through them.
running, will be very similar to what I teach in my private stu- Yale Dean: I use an Egger from Basle. I think that the Tomes
dio. Baroque trumpet lessons will be taught separately from is popular now, although I’m not on top of the scene. I use
modern trumpet. The curriculum will be drawn from various holes and have great admiration for anyone trying without! I
historical methods, including, but not limited to, Fantini, am doing some demo recordings, 17th to 19th century pieces
Altenburg, and Dauverne, although some of the physical con- on original instruments, at the Metropolitan Museum in New
cepts of Stamp, Caruso, Thibaud, and other modern methods York City now. I am using a Haas for the demo… great fun,
will be incorporated. A majority of instruction and practice but pretty treacherous for me without any holes.
will be on the unvented trumpet (or a vented instrument with HSU Cline: We favor the trumpets by David Edwards; his
the holes covered), but use of vents will be covered in depth. copies of the 1715 Harris trumpet, and of the 1667 Beale
Instruction on tromba da tirarsi will be included, along with a trumpet. We start by playing all natural. Our two older trum-
brief introduction to the cornetto. Extensive familiarity with pets have one vent hole and we do use that one vent fairly
performance literature, both solo and orchestral, will also be often. For these trumpets we also have cork plugs, which let us
emphasized. Lastly, research in trumpet-specific topics will be get a useful one-handed playing stance. We then progress to
required. the four-vent system, on the trumpets by David Edwards. At
Obe rlin/Long y Thiessen: In general, my students tend to be present we have three of the 1667 Beale trumpets; the gradu-
post-graduate level players who are either incorporating the ate area has three of the 1715 Harris trumpets.
baroque trumpet into a degree program or just adding the inst- Our two H.S.U. trumpets accept modern shank mouth-
rument in order to pursue expanded performance opportuni- pieces, and we generally start with the student’s regular mouth-
ties. In this case, lessons are part flexibility and scales, part solo piece—although nothing too shallow. It has been noted by
repertoire and then duets. My experience is that all three are some that several of the world’s leading players use something
equally important. like Bach 1C mouthpieces, but we avoid that trend, first tak-
In the case of University of Montreal, I worked with my stu- ing one of the student’s spare mouthpieces and drilling out the
dent exclusively on the baroque trumpet. While specific tech- throat from 5 to 10 numbers. I also enlarge the backbore with
nical issues were constantly being addressed, it was in the con- reamers of my own; once we obtain a good player, I then turn
text of learning repertoire right from the start, because of the the outside on a metal lathe to remove modern markings!
time constraints in preparing for a jury almost immediately. Finally, we send them off for re-plating.
Having worked with a number of students from across the A side issue is that of the larger shank sizes found on repro-
country, I think it is important that there should be realistic duction German and English trumpets. I’ve found these shank
expectations regarding juries and recitals. Students performing sizes to be “historically accurate” based on the trumpets in
a degree recital on the baroque trumpet are set up for inevit- museums I have had the opportunity to examine and play. So,
able conflict given the requirement of programming at least 60 the larger shank mouthpieces, and the receivers/bores into
minutes of music. Faculty members and department heads which they lead, are recommended. A further issue is that of
should recognize the special issues of endurance on the bar- mouthpiece bits and shanks. It is my hypothesis that beyond
oque trumpet and realize that even the most accomplished stu- the mouthpieces, the various bits used by the old trumpeters
dents would be unable to perform several difficult clarino are the real missing link (or links).
works consecutively. FS U Goff: I always have my students use baroque mouth-
From a survey of all known baroque trumpet repertoire dur- pieces. We have a wide variety of instruments. I own a beauti-
ing the 17th and 18th centuries, it seems that the limit of time ful copy of a 1667 Simon Beal trumpet, made for me by
expected from the top players of this period was about 30 min- David Edwards. The original is in the Bate collection in Ox-
utes total within an evening’s performance of two or three ford (I’ve played the original on a recent visit there). This is my
hours. (There are some notable exceptions, such as the late only non-vented instrument other than a copy of an English
works of Handel). Given the fact that there is no historic slide trumpet that David Edwards made for me, and a Meinl
precedent for baroque trumpeters to play for an hour at a time, zugtrompette. FSU owns a pair of Egger, short model (vented)

trumpets and I own one (this is the instrument that I usually rim. A full discussion of the advantages and disadvantages of
play). I also own a Meinl short model and two Meinl long vented and unvented trumpets, as well as the various venting
models (one early bell, one later bell). Finally, FSU owns one systems, precedes any recommendation for equipment pur-
Meinl short model and one Meinl long model. chases. The correct instrument or mouthpiece is the one that
CUA Curtis: I recommend studying on natural instruments makes it easiest to achieve the desired goal.
to begin with. Later, I encourage my students to try out vari- Obe rlin/Long y Thiessen: I leave the issues involved with
ous models (mostly long) such as Egger, Tomes, and Nau- instruments and mouthpieces to the players and work with
mann. I recommend mouthpieces made by Egger, Graham whatever they bring me. Much ink has been spilt over issues of
Nicholson, and Naumann. I don’t encourage the use of a mod- authenticity, and the equipment I use is historically compro-
ern mouthpiece. mised. That being said, some students are experimenting with
UNT Johnson: The University currently owns approximate- non-vented instruments, which is wonderful. Within the next
ly twelve baroque trumpets made by Egger, Naumann, and ten years, that’s likely where we’ll all be headed.
Keavy-Vanryne. Several of the students also own their own 4. If available, describe student participation in baroque trum-
instruments. We also have a number of mouthpieces that are pet ensembles. Is participation required or optional? Is it slanted
Baroque copies. towards reading and study, or performance?
My personal approach is to encourage players to begin on NEC Holmgren: There were not enough baroque trumpet
their regular mouthpieces to minimize the possibility of prob- students at one time to form an ensemble. Most of the stu-
lems arising from changing mouthpieces. All of the top pro- dents there were training to be orchestral trumpet players, and
fessionals I know in this country play on modern mouthpieces, their interests did not extend to historical instruments.
and I frankly do not see any personal or musical advantage in Yale Dean: We had the New York Cornet and Sackbut En-
playing on baroque copies when playing both modern and semble for many years in New York City, but it is now pretty
baroque trumpets regularly. inactive. I have a cornetto and sackbut group going all the time
James: The instruments owned by UNT are all vented, at Yale, so I suppose most of our emphasis is in that direction.
though they can be played as natural instruments. All students We have lots of fun and don’t take it overly seriously. I want to
start out playing without vents exclusively for the first half of get the instruments into their hands and do some playing, so
their first semester. While I play mainly on the English four- someday if they are in a situation—freelance or academic—
hole system, I teach the three-hole system also and inform the they might not hesitate to pick up the instrument again as a
students on the advantages of each and allow them to make performing outlet.
their own informed decision when deciding to purchase an HSU Cline: We form a baroque trumpet ensemble for spe-
instrument. cific events, such as concert tours, recitals, campus events, and
All of my students start out using baroque mouthpieces, so recording projects. Participation is optional and involves read-
that they become accustomed to using them and can appreci- ing, study and performance. The balance of all three is crucial
ate their advantages. At a later stage, students can decide to use for true understanding.
a modern trumpet mouthpiece if they prefer. FS U Goff: Participation in the Baroque Trumpet Ensemble
TSU Laumer: I recommend the Egger or Naumann short is voluntary. Graduate students are strongly urged to partici-
model with vents (short Ehe model). I own approximately 10 pate. Occasionally a student will perform a solo with the Bar-
baroque mouthpieces. Four of these have modern rims and oque Ensemble, and the Baroque Trumpet Ensemble has join-
cups, so students have a choice of mouthpieces to try. I also ed the Early Music Ensemble on various occasions.
have some adapters so they can start by using their modern CUA Curtis: My baroque trumpet ensemble usually per-
mouthpiece, and gradually try the period mouthpieces of Eg- forms with about seven players plus timpani. Participation is
ger or Naumann. not required. It is slanted to performance.
SUNY Purchas e Ashton: We use Keavy or Webb trumpets UNT James: Participation in the UNT Baroque Trumpet
and both modern and baroque mouthpieces: 1C or Warburton Ensemble is required for those studying the instrument. The
3MD. ensemble is slanted towards reading and study, with perfor-
USM Treybig: Both of our trumpets were made by Matthew mance also being an important component. Rehearsals most
Parker and are long (English) models, based on those of J.L. often focus on style and intonation. The ensemble gives at least
Ehe II of Nürnberg ca. 1700. They come with receivers for a dozen public performances a year.
both authentic and modern mouthpieces, as well as exchange- T S U Laumer: The Baroque trumpet class is listed as
able yards for natural or vented performance. We use baroque “Section 2” of the trumpet ensemble class. Students must
mouthpieces, made by Egger (Egger 7). clear registration with the professor, and registration is op-
WCU Ulrich: I have only vented models in my studio. tional for all trumpet majors. The class is slanted towards
Money is limited, so I have purchased a Meinl & Lauber short performance.
model. Instruments available for student use include a long SUNY Purchase Ashton: Participation is required for those
model Meinl & Lauber, and two Naumann short models. We enrolled.
use only Naumann baroque style mouthpieces. USM Treybig: We own a pair of natural trumpets right now,
BU Pyle: Any equipment that the student has already can so no baroque trumpet ensemble exists.
serve as a starting point, whether it is long or short, vented or WCU Ulrich: My group is a volunteer organization. It is
unvented. I believe that baroque-style mouthpieces are essen- geared toward study and performance.
tial to achieving the proper tone, but I do not insist on the use BU Pyle: What I would prefer is to require student partici-
of a flat rim, as some players find them extremely uncomfort- pation in baroque trumpet ensemble. Balancing between per-
able. The interior contour is much more important than the formance pieces for trumpets only and class study of orchestral

repertoire, and examining the similarities and differences be- programs, a few generalizations can be observed. Of the 13 in-
tween them would be ideal. structors responding, four attended school overseas, studying
Obe rlin/Long y Thiessen: The only experience I have had as baroque trumpet with teachers who specialize on the instru-
an instructor with trumpet ensembles is with the two summer ment. Another began private lessons and self-directed academ-
courses I have taught at Oberlin College and Longy School of ic studies in this country upon graduation from college. Five
Music. In both instances, we had three or four players and so have taken sabbatical leaves to study baroque trumpet, while
were somewhat restricted. In these instances, the music was for three describe themselves as primarily self-taught on the inst-
reading as well as study. rument. Although a few of the trumpet players participating in
5. What additional studies in Early Music are available at your the survey perform substantially on baroque trumpet, it is pri-
institution? marily taught as a supplement to the modern instruments.
NEC Holmgren: There is an Early Music program offering One trend among American students is that they tend to
ensemble opportunities as well as instruction in harpsichord, start later than their counterparts elsewhere; most begin their
recorder, and baroque flute. study of baroque trumpet after finishing their undergraduate
Yale Dean: The other situations at Yale would be academic degrees. As far as equipment is concerned, no consensus has
only, not performance-oriented. emerged among students or teachers regarding fingerholes and
FS U Goff: We offer a Certificate in Early Music as well as a
mouthpiece design. The balance between authenticity and
Baroque Ensemble coached by our harpsichord professor, and
practicality is as much an individual matter in the U.S. as it is
an Early Music Ensemble coached by one of our musicology
professors. elsewhere.
UNT Johnson: Graduate students may pursue a Master of Along with historic texts and period literature, a number of
Music degree in Early Music; performance majors may select a modern methods for baroque trumpet are in use. These
second field in Early Music on the M.M. or D.M.A. degree. include Edward Tarr’s The Art of Baroque Trumpet Playing,
There are numerous graduate level courses available in the per- Michael Laird’s Brass Work Book for Natural Trumpet, Keith
formance practices of different periods, an Early Music hour Johnson’s Method for Baroque Trumpet (in progress), and Paul
each week for student performances, and opportunities to play Plunkett’s Technical and Musical Studies for the Baroque
in the UNT Baroque Orchestra and smaller chamber ensem- Trumpet.
bles. In addition to providing the player with a wider variety of
SUNY Purchas e Ashton: The Early Music Program, direct- musical experiences, the benefits of studying the baroque
ed by Bradley Brookshire, is offered in the curriculum. trumpet include an increased awareness of, and improvement
USM Treybig: Students may play with Pro Musica, our uni- in, the fundamentals of brass playing. Better use of the air, in-
versity early music ensemble, which includes a complete set of creased accuracy in pitch placement, and improved flexibility
sackbuts, cornetti, recorders, etc. It is optional, and those who can result from working on the instrument. Several of the
are interested are usually expected to perform something as a teachers also noted that even limited exposure to the natural
result. trumpet can lead students to a better understanding of perfor-
BU The Historical Performance Department offers both a mance style on modern instruments.
Master of Music degree and a Doctor of Musical Arts degree in The growing number of serious students can now pursue
historical performance. The programs include applied study, this interest within their degree work in a few North American
performance practice seminar, baroque orchestra and chamber schools, or through intensive summer programs such as those
ensembles, and related coursework. described here. As performance opportunities on period inst-
Obe rlin/Long y Thiessen: Both of these summer institutes ruments have increased, there is a corresponding expectation
include trumpet technique and literature classes based on the that college teachers will need this background. It is to be
theme of the season. Students also play in coached chamber hoped that the wider availability of performers active in the
music groups, and have a variety of performance opportunities Early Music scene may lead more schools to provide the nec-
with baroque instrumentalists and singers. essary applied instruction and expanded curricular offerings.
Conclus ion In time, baroque trumpet instruction in the United States may
The availability of baroque trumpet instruction in North evolve from a curiosity to an integral part of performance
American schools is a relatively recent development; most of study.
the programs listed above were established within the last 15
years. While a few large schools offer applied study within an About the author: Leigh Anne Hunsaker is associate professor
Early Music program, only one institution requires all gradu- of trumpet at Hardin-Simmons University in Abilene, Texas.
ate trumpet majors to study the historic instrument. In sever- On baroque trumpet, she has performed with the Dallas Bach
al other schools, isolated ensemble and studio electives have Society, the Southwest Baroque Ensemble, and the Orchestra
grown out of an individual’s interest and involvement in play- of New Spain.
ing period instruments. Gilbert Cline, who began teaching
baroque trumpet in 1984, describes the dilemma of those The author thanks all of the people who were interviewed
whose interest was ahead of the curve: “I’ve never taken a les- here as well as Elisa Koehler and Dave Baum for their com-
son with anyone, attended a masterclass, had the chance to ments. Thanks also to Adam Gordon and John Thiessen for
study overseas, or so forth. Our region here is a remote one, their suggestions on the article.
and so the music alone has been my guide. It has all been a
very real challenge and quest.” Information on other baroque trumpet programs is welcome

While this is not an exhaustive list of U.S. baroque trumpet at [email protected]
Works Cite d Additional Res ource s
Historic Me thods Recent Publications
Altenburg, Johann Ernst. Essay on an Introduction to the Heroic Bach, J. S. Bach for Brass. Four Volumes. Edited by Edward H.
and Musical Trumpeters’ and Kettledrummers’ Art [1795]. Tarr and Uwe Wolf, Stuttgart: Carus-Verlag, 2000 – 2004.
Translated by Edward H. Tarr, Nashville: This collection of Bach’s trumpet parts is the first to be
The Brass Press, 1974. based on primary sources—original parts and scores used by
Dauverne, Francois Georges Auguste. Methode pour la trom- Bach’s musicians. The editors have included vocal text with
pette [1857]. Paris: Editions I.M.D. Diffusion, 1991. corresponding themes in the trumpet parts as a guide for
determining articulations. Although the background infor-
Fantini, Girolamo. Modo per Imparare a sonore di tromba
mation provided on individual works is in German without
[1638]. Translation and critical commentary by Edward H. translation, features such as the inclusion of timpani parts,
Tarr, Nashville: The Brass Press, 1978. measure numbers, cues, and convenient page turns make
Modern Me thods for Natural Brass this a practical performance edition for players of modern or
Gäbler, Friedrich. 140 Naturhorn-Etüden für Anfänger. Wien: period instruments.
Verlag Doblinger, 1968. Koehler, Elisa. “A Beginner’s Guide to the Baroque Natural
Johnson, Keith. Method for Natural Trumpet. (In progress). Trumpet” International Trumpet Guild Journal, vol. 26, no.
Laird, Michael. BrassWorkBook for Natural Trumpet. Essex: 3; March 2002, 16 – 22.
Brass Works, 1999. This is the perfect starting place for anyone interested in
Plunkett, Paul. Technical and Musical Studies for the Baroque playing the natural trumpet or simply learning more about it.
Trumpet. Herrenberg-Kuppingen: Musikverlag Spaeth/ Plunkett, Paul. Beyond Brass Basics: A Guide to Common Sense
Schmid, 1995. Trumpet Playing. Nagold (Germany): Musikverlag Spaeth/
Tarr, Edward H. The Art of Baroque Trumpet Playing, Vol. I: Schmid, 1999.
Basic Exercises. Mainz: Schott, 1999. This book covers a very wide range of topics for players of
Tarr, Edward H. The Art of Baroque Trumpet Playing, Vol. II: both modern and historic instruments. Baroque topics in-
Method of Ensemble Playing. Mainz: Schott, 1999. clude history of the instrument, nationalistic styles, historic
articulations, interpretation, and ornamentation. It covers
Tarr, Edward H. The Art of Baroque Trumpet Playing, Vol. III:
virtually every aspect of Baroque performance practice in a
A Beautiful Bouquet of the Finest Fanfares. Mainz: Schott,
clear and practical manner and includes many useful exam-
1999. ples. There are a number of repertoire lists including natur-
Duet Collections al trumpet solos, natural trumpet with organ; with strings;
Modena Duets for Two Trumpets. Two Volumes. Edited by with voice; and natural trumpet in other chamber settings.
Michael Ewald. New York: This will be an equally valuable resource for those who per-
Peer International Corp.,1980. form Baroque music on modern instruments, and will be a
The Moravian Brass Duet Book. Two Volumes. Edited by Ed- worthwhile addition to any trumpet player’s library.
ward H. Tarr and Stephen L. Glover. Nashville: The Brass Steele-Perkins, Crispian. The Trumpet. London: Kahn & Aver-
Press, 1976. ill, 2001.
Orches tral Colle ctions An active performer on many historic instruments, the
Bach, J. S. Complete Trumpet Repertoire. Three Volumes. Edit- author gives detailed information on the natural trumpet,
ed by Ludwig Güttler, Monteaux: Musica Rara, 1971. vented “Baroque-style” trumpet, slide trumpet, cornetto,
Handel, G. F. Complete Trumpet Repertoire. Four Volumes. Ed- keyed bugle, etc. along with photographs and musical exam-
ited by Robert Minter, Monteaux: Musica Rara, 1974 ples. In addition, Steele-Perkins shares some of his own ex-
Pietzsch, H. Die Trompete [1900]. Revised Edition. Ann Ar- periences in dealing with the challenges of recording music
bor: University of Michigan Press, [1960]. on period instruments in order to encourage others who
may be considering similar “uncharted waters.”
Purcell, H. Complete Trumpet Repertoire. Edited by John King,
Related Websites
Monteaux: Musica Rara, 1975. The Historic Brass Society (http://www.historicbrass.org)
Books Natural Trumpet Website
Baines, Anthony. Brass Instruments: Their History and Develop- (http://www.goucher.edu/physics/baum/nattrump.htm)
ment. London: Faber, 1980. PIPE List: P eriod I nstrument P erformance Ensembles
Barclay, Robert. The Art of the Trumpet Maker. Oxford: Oxford (http://gfhandel.org/bleissa/pipe)
University Press, 1992.
Bate, Philip. The Trumpet and Trombone: An Outline of their
History, Development, and Construction. 2nd ed. New York:
W.W. Norton, 1978. For information on
Brownlow, Art. The Last Trumpet: A History of the English Slide
Trumpet. Stuyvesant (NY): Pendragon Press, 1996.
the newly-created
Smithers, Don L. The Music and History of the Baroque Trum-
pet before 1721. 2nd Edition, Carbondale and Edwardsville:
ITG Legacy Fund,
Southern Illinois University Press, 1988.
Tarr, Edward H. The Trumpet. Translated by Steven Plank and
see page 127
Edward Tarr, Portland: Amadeus Press, 1988.
Marvin Stamm on Expectations and
Responsibility
BY DAVID CHAMPOUILLON
T his author has had the pleasure of having Marvin ents as a jazz educator, helping young musicians find their
Stamm and his quartet (pianist Bill Mays, drummer own voices in this music (from the 2004 UNT Alumni
Ed Soph, bassist Rufus Reid) perform as featured Awards Program Booklet—for a complete biography, please
artists and clinicians at the Tri-Cities Jazz Festival in April visit Stamm’s website (http://www.marvinstamm.com).
2004. This article and interview is a compilation of discussions Stamm’s acceptance remarks were also published in the
over the last four months and considerable time at the 2004 program booklet as follows: “After recovering from the sur-
ITG conference in Denver. Always gracious and positive, Mr. prise of this honor, I reflected upon what was most signifi-
Stamm reflected on education, health, dedication to his art, his cant to my success, and the word ‘expectations’ kept coming
career, and the state of the jazz recording industry. to mind. Expectations engender responsibilities, and it be-
came so apparent that these were major ingredients in my
Marvin Stamm returned to the University of North Texas life: the expectations of my parents that I do well in school
campus on April 16, 2004, in conjunction with Alumni and at home; expectations of teachers that I learn in my
Appreciation Day, to receive the University’s Distinguished classes; and expectations of those whom I worked for that I
Alumnus Award. The award, which is regarded as UNT’s perform at a very high level. But most important were my
most prestigious honor, is used to recognize individuals expectations of myself, formed from those of my parents and
who have achieved prominence in their chosen profession. teachers that caused me to set my own personal goals so
Marvin Stamm, jazz performer and jazz educator, is a native high. All my education came from public schooling, which
of Memphis and a graduate of the University of North I value highly and credit with much of my success. I feel that
Texas music program (BM, 1961). Stamm began his career expectations from family and teachers were responsible for
as trumpet soloist with the Stan Kenton Orchestra (1961 – making my public schooling so successful. My professors at
62) and with the Woody Herman Orchestra (1965 – 66). the University of North Texas also had great expectations of
Between these two engagements, he spent two years gaining their students, constituting the heart of what made so many
valuable experience in the show orchestras in Reno, Nev- of us strive to be our best. At the top of my list is Professor
ada. Upon moving to NYC in late 1966, he received con- Emeritus John Haynie, my great teacher, one of my strong-
siderable recognition for his playing with the Thad Jones/ est mentors and dearest friends. I can never thank him
Mel Lewis Jazz Orchestra (1966 – 1972) and the Duke enough for his interest and confidence in me. I owe much to
Pearson Big Band (1967 – 1970). He also toured with Frank the late M.E. “Gene” Hall and to Mr. Leon Breeden, direc-
Sinatra (1973 – 74) and the Benny Goodman Sextet tors of the famous North Texas Lab Band. There are others
(1974 – 75). Between 1966 and 1989, Stamm advanced a too numerous to mention, but I thank them all for their per-
career in the NYC recording studios, performing with some sonal interest and high expectations of us all. I thank Dr.
of the most notable jazz musicians of the period as well as Robert Morgan, who thought so much of me to nominate
many of the famous “pop” artists. In the late 1980s, Stamm for this award, and to the committee that granted me this
returned to his first love, jazz, to which he has since con- great honor. Finally, I thank my wonderful family for stand-
centrated all his efforts. Currently, Stamm’s activities in- ing with me throughout my career, sacrificing so much to
clude performing as a soloist, in duo with pianist Bill Mays the driving force of my life since age fourteen—Music. No
and with his jazz quartet. He has also appeared as soloist one does it alone, and without all of these people, none of
with various symphony orchestras all over the United this might have come to be.”
States. In addition to his performances and recordings, he The following interview expands on Marvin Stamm’s
has, for many years, invested a good deal of time touring thoughts about education, health, dedication, and perfor-
colleges and universities here and abroad, offering his tal- mance.
Champouillon: The University of North Texas (UNT) has just told me that, out of over 175,000 living alumni, only 135 have
named you one of the 2004 Distinguished Alumni. Did this come ever received this award, among them journalist Bill Moyers
as a surprise? and golfer Don January. Very few people with the stature of
Stamm: Absolutely! I have never received an award before, just being musicians ever receive this award. I believe the only
never really thought along the lines of receiving something other musician who has been chosen is Bob Dorough, the
such as this. My friend Bob Morgan, who I have known since wonderful pianist, singer, and composer who once worked
my student days at North Texas State (now the University of with Miles Davis. What made this even more significant is that
North Texas), told me he had nominated me for this award, this award wasn’t from the School of Music, but from the en-
but he also said there was little chance I would be chosen. It is tire university.
usually given to alumni who are either big contributors already Champouillon: Frequently, it is also someone who has made a
having a history of donating to the school, or alums that the significant contribution to education.
university is hoping will give donations in the future. He also Stamm: When Bob wrote the nomination, he based it not
and other great musicians—never thought
along those lines. This is more in the world of
academia and business than in the field of
music.
Champouill on: It is nice to realize that they
recognize other contributions than strictly finan-
cial ones. Most things, education included, are
really about personal interaction between profes-
sionals and students.
Stamm: Yes, they are, and about people of
great achievement like Bill Moyers, one of this
nation’s best journalists and essayists. It is an
honor to be put in company with someone like
him. I wish I knew Moyers; he is great, and he
is not about “money.” I love watching his pro-
grams and reading his essays. Everything he
does, whether writing or speaking, has so
much passion and such a clear sense of duty to
humanity and people—this is what I value and
admire.
Ch am po uil l on : Were some of your former
teachers, friends, and family—those who you felt
have made significant contributions to your car-
eer and life able to attend the event?
Sta mm: Yes. A number were able to attend,
though there were some I would have wished
to be there who were not. My high school band
director, A. E. McClain, and junior high band
director, Jack Foster, were very significant in
my early training and development as a musi-
cian. They have both passed away. My trumpet
teacher from Memphis, Perry Wilson, was not
able to come—he is in his early 70s. But John
Haynie was there. He also wrote the seconding
letter for my nomination. Good friends and
former classmates like Dale and Diane Olson,
Bob and Helen Morgan, and Pat Deemer Kim-
ble who was Haynie’s teaching assistant and
solo cornet with the concert band and orches-
tra were there. Pat is someone I admired great-
ly when I was in school. During my first sem-
ester, I took lessons with her before I started
taking from Mr. Haynie. She was a terrific
musician! Melvin Gordy and his family were
Marvin Stamm also there—a fine architect, he is among the
only on my performance career, but also on my work with stu- early Haynie students from the early 1950s
dents over the years. Though my professional recognition is who were there before I arrived in 1957. Melvin is the self-
appointed pied piper of the Haynie alumni. He keeps us all
mostly as a performer, Bob felt my work in the field of jazz and
connected. He organizes reunions and makes sure we know
music education warranted the award.
what is going on with each other. A very special guy! And most
I grew up in an era when people had the opportunity of
important, my entire family was there, my wife Nancy, my
playing with their heroes. Our dream was to always to play and daughters Robyn and Teal, and my daughter Marisa who flew
make music with the musicians we looked up to and admired in from England where she lives with my British son-in-law,
most. The fantasy, the whole thing, was just to be a musician Ian. This was the most important thing to me. It was very
and make music. Public acclaim, being a star, and receiving touching.
awards like this were not things we gave much thought. Truly, Champouillon: As many of us do, I feel most trumpeters crave
when Bob told me he was nominating me, the thought that I acceptance from their teachers. Was it special that Mr. Haynie was
might ever receive an award such as this from my university or able to be there and write the seconding letter?
any other had not occurred to me. Most of the players that Stamm : Absolutely! John and I have maintained a close
came out of my era and the ones who came before me—guys friendship over the years. I am in Denton, for one reason or
like Bernie Glow or Ernie Royal, Thad Jones, Mel Lewis, or another once or twice a year. While there, we usually visit

Snooky Young… people with whom I worked in the studios, together several times, sharing at least one meal. Last year, I
was playing there and kind of cajoled him to come out of re- passion for music. Today, when talking to students, or teachers
tirement and give me a lesson. This year, around the time of like you about their students, and particularly when perform-
the award, I was in Texas for two weeks, and I talked him into ing with students groups, I see very few that show that drive,
giving me two lessons; maybe next year I can get three! His in- that hunger, that we had. Students just don’t seem to possess
sight as a teacher today, what he is able to see and hear when the same passion for music as we did. I know that when you
taking a lesson with him, is even more valuable than when I studied with Gil Johnson, he never had to tell you to practice
was a student. He still has a lot to give to me, and I find it an your scales, excerpts, or anything like that.
inspiration having him work with me. As he said to me, “I had Champouillon: His teaching was really the same as Mr. Hay-
you in my first decade of teaching when I was learning from nie’s. He would fix something that was wrong by giving an exer-
all of you. I wish I had had you as a student in my fourth cise or assignment that would correct the problem. As with all of
decade because I feel like I could have given you even more.” my teachers, he wasn’t there to “baby-sit” me while I learned my
Well, I am getting the benefit of those years now. And, of scales or Clarke studies. I would have been embarrassed to go to the
course, I feel that he contributed a great deal to me during my lesson unprepared and sound bad.
student years. Stamm: Of course! You were driven by your love of playing,
I agree that as a young student studying with a fine teacher, and he worked with that.
we all want their approval. If a teacher is demanding in the Champouillon: As you are still driven to reach the next goal.
right way you seldom walk out of a lesson feeling like you ac- We have talked many times about how students are different than
complished all that you your generation. What differ-
had hoped for. But their ences do you notice in students
encouragement is most
“If a teacher is demanding in the right today?
important because they way you seldom walk out of a lesson S t a m m : The difference
can be an immense feeling like you accomplished all that was that when I went to public school
source of inspiration. As then, the teachers
a musician, you never you had hoped for… As a musician, you were in charge. They had
really reach your goals. never really reach your goals. Every time control of the curriculum
Every time you approach and your day-to-day sched-
that point, you find that you approach that point, you find that ule. You were expected (“ex-
your goals have changed, your goals have changed, moved farther pect” is a tremendous word)
moved farther out, and to rise to their expectations.
expanded to something out, and expanded to something else.” In other words, if you didn’t
else. A musician should make the grade, you didn’t
always feel the need to strive to achieve something more. pass. The person being penalized was you because you were
Champouillon: What aspects of Mr. Haynie as a performer not learning. They expected you to learn what they had to give
and teacher do you find you directly picked up from him in your to you.
teaching and performing? Like today, some teachers were better than others, but
Stamm: His chief influence was to my playing, as a teacher regardless, the teachers were in control.
guiding me by what he saw and felt I needed to develop as a Things are certainly different today. Students feel entitle-
trumpet player and musician. But very special was the influ- ment, teachers have no disciplinary power, the administration
ence his musicality had on all of us, playing in lessons, per- doesn’t support the teacher, and parents think their children
forming on recitals, and as cornet soloist with the concert band can do no wrong and should be held responsible for nothing.
on tour. He was an inspirational musician and teacher, de- It was totally opposite when I was in school, and the last thing
manding in a good way—he had high expectations of his stu- a student wanted was for the school to send a note home to his
dents. These are things that have stuck with me. parents saying he misbehaved. The punishment at home
In my Memphis upbringing, my trumpet teacher (Wilson) would be much worse than any received at school!
and my high school band director (McClain) were also very Champouillon: It is important to realize that there is always
demanding musicians. Coming to North Texas, I already knew someone in charge—whether it be the parent, teacher, bandleader,
from age fourteen that music was going to be my life. My etc. “Concerns” can be brought up in the right way. I think the key
Memphis teachers always stressed that, if this was going to be is to voice your concern without stepping over the boundaries. I
the dream I would follow, then the dedication and the expec- will admit it was and is hard, growing up as a student who was
tation of working hard life-long had to be a “given.” When I expected to do what the teacher said, to adjust to the students of
came to North Texas, it wasn’t that I liked to play trumpet. I today who have been taught to question more. The best teachers of
was driven to it; it was my passion. So when Mr. Haynie got today can balance these two styles of teaching. Eventually, someone
me, he had someone who wanted what he had to give. He did- has to be in control.
n’t have to tell me to practice my scales or Herbert L. Clarke or Stamm: Of course… when I grew up, parents were always
Schlossberg. When I went into a lesson, he saw things that I presumed to be right. Obviously, parents are not always right.
needed to work on, and he would tell me to work on this in I fought with my parents as most young people do. For-
order to correct that. Or—We’ve reached this level, now let’s tunately, my folks, particularly my mother, were open enough
take it to the next level and proceed from there. Then I would to know when I was saying something that was right for me.
immediately head to the practice room. She would see that and would many times be an interlocutor
I don’t teach very much other than occasional students who between my dad and myself. My dad and I have very similar
come to my home and are interested in my approach to music. personalities, very stubborn, so there were times when we but-

I have no interest in teaching anyone who doesn’t have that ted heads on issues. She would help him come around to see
things, though it wasn’t always easy to do. My parents were technique, the coordination of fingers, embouchure, and wind
born in the early 1900s and were products of the generation are the purpose. Yes, long tones are utilized to improve your
that experienced the Depression, so their parenting was in line sound—but how? What does it mean? Practicing something
with what was prevalent at that time. like long tones with no thought as to what you are trying to
No one wants to go back to that kind or parenting, least of achieve may not lead to much improvement. You need to have
all me. My wife Nancy and I didn’t raise our children that way. in your mind and ear what you are striving to accomplish.
But, there must be expectations, guidelines, and parameters. Champouill on: Yes, I have always stressed the importance to
Parameters need to be set and my students of the difference
young people need to adhere “Parameters need to be set and between practicing and play-
to them; they cry out for that ing. They want to play, not
even though they may be re- young people need to adhere to them; correct what may be wrong.
belling against them. they cry out for that even though Laurie McGaw, one of my
It is sad that teachers are not teachers and now retired asso-
allowed to lay down rules to- they may be rebelling against them.” ciate principal trumpet with
day. I think this is one of the the San Francisco Symphony,
really definitive things that differentiate my growing up and used to say “Practiced slop produces perfect slop.”
what is going on today. Today, teachers do not get the support Academia, at times, doesn’t let the teacher push the students in
of the administration when, or even if, they are allowed to set the right way… toward achieving their best. Restrictions like
the rules. Principals don’t want to look bad to the superinten- tenure and promotion are in the mix. The concept of student eval-
dents or board members, so they don’t want a lot of students uations can be good or not. These processes are not necessarily bad,
failing. So, a lot of students are being shuffled out of school unless students uses it as way to complain or not accept responsi-
not really knowing anything. In many cases, parents come run- bility for their actions or lack of actions in terms of practicing.
ning, screaming at the administration if you have too many When you were at NT were the students expected or allowed to
expectations of the students, “My evaluate the teacher?
child this and my child that…” S t a m m : There was no
As for discipline, no teacher such thing as teacher eval-
wants to discipline a student, but uations by the students
the teacher must have some auth- then. When you really
ority if a student is disruptive and think about it, student
doesn’t want to do the work. How evaluations of the teachers
can anyone teach if discipline and and how much value the
rules don’t exist? Should we penal- administration puts on
ize those students who want to them brings up the point,
learn by “kowtowing” to the few “Are the inmates are run-
who don’t want to learn? In any ning the asylum?” Who
working society there must be needs this? The evaluation
rules and enforcement of those of any teacher is seen in
rules. Human nature demands it Marvin Stamm soloing with the BBC Big Band the success of his or her
to be that way. Someone once students. If you have an
said, “Freedom with no boundaries is anarchy.” obviously fine teacher, any student who has ability and is real-
Champouillon: Those students who do what their teachers re- ly paying attention should do well, whether in music or any
quire, without the arguing and/or complaining—being willing to other subject. The student who doesn’t show up to class, study
defer to authority—are typically the most successful. When they ask the material, or in our case, practice… is the one who will not
a question, it is based on a thirst for knowledge rather than argu- improve no matter what the teacher does.
ing or standing up to authority. Students who argue just to rebel On what basis or experiences do most students possess the
are typically the students who fail or take longer to reach their knowledge and capacity to evaluate their teacher—other than
goals. Of course, there are those students in-between. I do like the their subjective viewpoints based on the amount of effort they
student who asks “why are we doing this, what does it accomplish” put forth? Maybe in some rare cases, but these are certainly the
as a learning tool. After all, they are to become the next generation exception. And some teachers tell me that students have used
of teacher. the evaluations to coerce teachers into giving them better or
Stamm: And they have the right to know the passing grades. The adminis-
purpose for doing something. It gives them tration has to look at the en-
motivation and a stronger incentive to reach “You need to have in your tire record of the student
their goal, as well as the knowledge to pass this mind and ear what you are evaluating the teacher. I am
on to others. How many years have we heard sure this record is probably
that we must practice “long tones” as part of striving to accomplish.” on file, and they should be
the curriculum? Yet, many times, students have able to tell from that whether
no idea why they should practice long tones. Their teachers the student is giving a true evaluation. But passing students
don’t explain why they need this or what they should be lis- just to pass them on is certainly no help to them, and no
tening for… or what they should be trying to accomplish. But answer to the problem.
it is very important that they know. It is more obvious when Champouillon: Teachers, at times, can’t afford turning away

you start practicing the Clarke studies that improvement of or losing students because we are held accountable for recruitment
and retention. Many students arrive at college not ready for a future educators who think like this going to accomplish any-
teacher who expects their best! They are not used to criticism, even thing worthwhile, much less put a music program together?
when it is done the correct way. Comments concerning the selec- Are they going to teach the kids by rote? What will they learn
tion of literature come up a lot. from that? Where is the responsibility?
Stamm: Well, how many students really know enough liter- This is like the “no child left behind” concept, teaching stu-
ature to pick the right material? A teacher’s job is to be a guide dents by rote. This is the way a number of band directors
for the student, teaching them through the years how to do approach their bands, teaching the students three or four
these things by exposing them to a variety of music. As for crit- pieces by rote all year long in order to go to a competition and
icism, many teachers have expressed to me that they are dis- bring home some plastic trophy. I was recently involved in a
couraged in dealing with students. They are not allowed to discussion where it was argued that this was the only way to
have strong expectations or high standards. Some students take hold teachers accountable. Amazing! You can teach a piece of
a teacher’s critique as “putting them down.” How does one music note for note, but are the students learning anything? I
teach if he can’t point out what is not correct in the student’s think not.
playing? The process of
Regarding teachers being learning, in music or
held accountable for recruit- any other subject, is
ment and retention, many by learning to do it
teachers tell me they feel that on your own. In this
universities are playing a way you learn how to
“numbers game,”—bodies in/ solve a problem by
bodies out! They say that, to- mastering the proc-
day, it is as much about busi- ess. Learning how to
ness as it is about education. play that passage by
If this is truly what it is all practicing… break-
about, we are in deep trouble. ing it down, then
Young people, our students, putting it all together
are the future of this country, again to be able to
and if we sell them short, we play that difficult
are not only cheating them, sec tion. This most
we are demeaning our most important lesson in
important resource and des- education is learning
troying our future. to do it yourself! We
Champouillon: As teachers, Demonstrating in a master class setting probably retain only
we try to instill superior work 10% of what we
ethic into each student, including responsibility and reliability so learn in school, the rest goes by the wayside because we don’t
when the students are in the work force they are successful. But use it. But the most important thing we learn is the process by
those who won’t practice or do the assigned work don’t learn any- which we find our own solutions to problems, in life or in
thing. This isn’t the teacher’s fault, but the student’s. music. If all you know is what somebody else drills into you,
Stamm: Of course, it is their responsibility, and, unfortu- ad nauseum, you will function as a robot that must be pro-
nately, responsibility is something that most people shy away grammed in order to work.
from. It seems that people today don’t want to take responsi- Champouillon: I am always amazed when great players like
bility for their lives. In many students’ opinions, it is always you tell me what they are working on lately. For example, you still
someone else’s fault when they fail. People must realize that work on things like the Charlier book. Your dedication to being
self-motivation and responsibility are very important to all of the best musician you can be seems to only become greater, includ-
us. If the only stimuli one experi- ing taking periodic checkup lessons with
ences comes from outside influences “The process of learning, in Mr.StHaynie, for example.
rather than from within, then that a mm: Yes, I am still working on
person doesn’t have much character. music or any other subject, things like Charlier, Bozza, Clarke,
I ask music education classes and is by learning to do it on Caruso, and the methods of Mr. Hay-
student groups, “How many of you nie and Tony Plog. I had some time
continue to practice, taking your your own. In this way you off this summer so I went back into
music to a higher level?” Many res- learn how to solve a problem the Bodet book. All this serves to in-
pond that they don’t need to prac- spire me. I am 65 years old and still
tice anymore because they are plan- by mastering the process.” see room to improve because I want
ning to become band directors. to play better. Every good musician I
How do they expect to stand in front of 60 middle school stu- know wakes up hoping he will play better this day than the day
dents or 100 high school students and inspire them to play before—and goes to bed each night hoping he will play better
concert music that bears no relationship to any of the outside tomorrow than today. Music and the ability to play an instru-
musical influences the students hear? How can you inspire oth- ment is a never-ending journey… it goes on and on. You never
ers when you are not inspired yourself? A great deal of being a reach the pinnacle. Yes, you reach peaks, but you must contin-
band director is being an inspiration to the students! How are ually try to make the next peak be even higher. It all depends

how interested you are in continuing to work on your instru- freedom. Marvin gives each member in the group lots of solo space
ment, music, and learning. I find music to be fascinating, as well as a platform in which to present original compositions! Ed
always inspiring, particularly in playing with the great musi- Soph said, “Marvin lets the music happen. It’s that simple. He’s
cians with whom I perform. Sometimes people ask when I open for anything. He listens. He cares.” Rufus Reid said, “It pleas-
might want to retire. Why would I retire from something I es me that you, Marvin, are being honored the outstanding alum-
love to do? My love is playing music… more today than ever nus of the University of North Texas. It is a special occasion to be
before! And as long as I keep growing and playing, why should singled out by such a prestigious institution. You exemplify what
I stop! world-class really means and what all schools wish of their stu-
Champouillon: It is obvious to any- dents. You bring honesty,
one who hears you play that you main- integrity, and passion
tain your dedication to the trumpet. for music wherever you
How is this dedication otherwise affect- go. I am proud to be
ed by the demands of your career? your friend and always
S t a m m : Many things, including look forward to making
family and health affect it to be sure. music with you . Con-
I am fortunate that my family has grat ulations.” As it is
always been supportive of me. In the great to get the accep-
early years of my studio work I was tance of your teachers,
home and had the opportunity to be even better when it
there for them. The girls were fairly come from your peers!
grown and becoming pretty indepen- Do you have any new
dent when I started backing out of the CDs coming out soon?
studios. Nancy has always been an S t a m m : Ye s , b u t
independent spirit, so this allowed me first, let me say some-
to tour without feeling that I was thing about these three
abandoning them. Now the girls are marvelous musicians.
grown and following their own paths, These people are extra-
and Nancy pursues her own interests, Marvin Stamm ordinary players, and
but we get to spend a lot of time together when I’m off the every moment on the stage with them is the fulfillment of my
road. musical fantasy! I may be the leader in an organizational sense,
Health is a big issue to me and to anyone who tours. I have but when it comes to the music, we share the musical leader-
been a runner/jogger since 1970. Recently, I joined a gym near ship in that everyone is an equal partner. The music is “of the
my home where I work out every other day in addition to my moment,” and the respect and love we all feel for one another
daily running. I love to eat well and after work or on a night allows each of us to speak what we want as we feel it. The same
off, I enjoy a good glass of wine. But I believe in the old adage, holds true of our personal relationship. Excuse me for saying
“Everything in moderation, nothing in excess.” Taking care of this, and I mean it in the most humble way, if you have not
your health, getting exercise and heard this group, you have
being reasonably aware of the “A CD is, or should be, the musical missed something special.
food you eat can only help you These musicians are truly
to maintain your strength, keep documentation of where an artist is inspirational.
your body in good shape, and at a certain point in his or her musi- About our new CD—
make you feel good. I believe The quartet was recorded
this carries over in a positive cal growth. Many artists lose sight of live at our NYC appearance
way to trumpet playing. this and view a CD as their path to at Birdland last September.
Champouillon: It was a thrill Guitarist John Abercrom-
to feature your quartet at the Tri- stardom. Not only is this an erro- bie guested with us and
Cities Jazz Festival in April of neous concept, it will also lead to performed on four of the
2004. I see that you have released
two new CDs recently? great disappointment in most cases.” eight tracks. The CD has
been mastered and is being
Sta mm: I released two CDs presented to several labels.
on my own Marstam label in partnership with two of the If no one takes it, Ed Soph and I will release it as we did its
members of my quartet in 2001—By Ourselves, a duo CD with predecessors on my Marstam label. We are all really happy
pianist Bill Mays and The Stamm/Soph Project with drummer with this recording, especially hearing how close-knit the
Ed Soph, featuring Bill Mays, piano; Rufus Reid, bass; and on group has become over the past few years, and how much chal-
three tracks, Dave Liebman on saxophones. lenging music this group produces.
Champouillon: I had the opportunity to ask some of the mem- A CD is, or should be, the musical documentation of where
bers of your quartet to speak about playing with you as you were an artist is at a certain point in his or her musical growth.
getting the award. Bill Mays said, “I’ve been involved in duo and Many artists lose sight of this and view a CD as their path to
quartet music making with Marvin Stamm over the past 10 years. stardom. Not only is this an erroneous concept, it will also lead
Each time I’m on the bandstand, I know I can look forward to to great disappointment in most cases. The recording business
“agenda-free” music-making, spontaneity of the first order, and is, and has been, in great disarray for a number of years, espe-

cially regarding the jazz idiom. For example, earlier this year, comes first.
Warner Bros. dropped its complete jazz department. Compan- Champouillon: On behalf of the ITG, trumpeters, jazz lovers
ies for years have been trying to sell their jazz artists and CDs and musicians all over the world… congratulations. And thanks
as they do “pop” artists rather than trying to develop their art- for the wonderful example you continue to be, both musically and
ist catalogues to sell well over a num- personally. In closing, what “expecta-
ber of years as they did in the 1940s, tions” do you have for yourself in the
50s, 60s, and part of the 70s. Fusion
“I intend to maintain my future?
jazz was the beginning of trying to honesty in the face of a world Stamm: My expectations for my-
market jazz as they do “pop” music; that seldom appreciates hon- self are to continue to pursue the
this was followed by the era of the musical path I have taken, continu-
“young lions.” While this marketing esty, and to encourage oth- ally striving to play better and more
strategy might have worked to some ers through my music and creatively. I intend to maintain my
extent in the short term, it has been honesty in the face of a world that
a disastrous failure long-term, for my writings to do the same.” seldom appreciates honesty, and to
both the artists and the companies. encourage others through my music
But imagine which was hurt most? So the point is this, be true and my writings to do the same. I want to celebrate the many
to your music and let that lead you where it will. Don’t ever wonderful people I have come to know in and out of music
sacrifice the integrity of your music. and keep them in my life. As long as this is what my life is all
Champouillon: Advice for up and coming trumpeters? about, it will have deep meaning and much joy for me.
Stamm: Of course, the basic advice is to realize that becom-
ing a musician requires one to dedicate him or herself to the This interview closes with the following acceptance remarks
life-long task of mastering one’s instrument and to the study of of Mr. Stamm from the formal banquet held in Denton, Texas
all kinds of music, regardless of the area one might wish to the evening of April 16 , 2004, with UNT President Norval
F. Pohl presiding: “Expectations and
responsibilities—two very important
words in my life—are words you don’t
hear much today—in society, in families,
or in school. But for me, they were a
source from which so much emanated. If
these words were again invoked into fam-
ily life and into the schools of our great
country—in fact all of society today—
what could we not accomplish? And
maybe solutions to so much that we find
of great concern to all of us might
appear.”
About the author: David Champouillon

is a performing artist for Bach trumpets,
associate professor of trumpet, brass, and
jazz studies at East Tennessee State Univ-
ersity, executive director of the Tri-Cities
Jazz Fest, principal trumpet of the John-
son City Symphony and Veteran Brass,
and reviewer for Oxford University Press,
Prentice Hall, and McGraw-Hill. He has
presented and performed at several ITG
Marvin Stamm and David Champouillon conferences and contributed articles to
the ITG Journal.
focus one’s career upon. Versatility is the key to employment,
and a jazz or classical trumpeter hoping to focus on an artistic
career might have to work in other fields of music until the
opportunity to focus on their artistic path presents itself. And ITG’s Legacy
one of the keys to this, after achieving a certain level of mas-
tery, is focusing more on the making of music rather than that Endowment is a
of focusing on just the trumpet. We have an enormous num-
ber of “super technical” players today, but a smaller number of reality!
true musicians. Maybe this is because the stress in so many
areas is for one to become a “trumpet jock.” We all know of
what I am speaking. Maybe it is now considered an outdated For details, see page 127.
concept, but the lesson as I learned it was—always—the music

Andrew Balio’s Journey to Baltimore
BY LUIS ENGELKE
A ndrew Balio joined the Baltimore Symphony Orch- sonality carries through in both his orchestral and solo play-
estra in September of 2001 after previously holding ing.
positions with Orquesta Sinfonica del Estado de Balio’s master classes offer insight into his approach of
Mexico and the Israel Philharmonic. Balio attended Boston’s preparing to play the instrument both physically and men-
New England Conservatory of Music with Charles Schlue- tally. Physically, keeping the body elastic and relaxed
ter serving as his mentor. It has been said that at times some through stretching is important, and Balio’s interests in Yoga
of the individuality in the art of orchestral trumpet playing are a strong influence on his methodology. His breathing
exercises include some common ones and others that depart
has been sacrificed in favor of a more homogenous approach
from the norm but are extremely effective. Mentally, when
set by the high standards of the Chicago Symphony during
he picks up the horn to play, there is no doubt with regard
the 1970s. Conductors and committees expect only one to his focus and confidence. He expects good things to hap-
type of tone, articulation, and interpretation. Balio has pen when he plays, and good things undoubtedly do occur.
proven this mindset wrong; in fact, in speaking with BSO In this interview, Balio’s comments reveal an interesting
members on the principal trumpet audition committee, path to the principal trumpet position of the BSO.
Balio’s playing was outstanding… in fact, uniquely so. After Additionally, he discloses some candid moments in his early
hearing hundreds of auditions, his facility was not only life, insight into his selection of equipment, and his
refreshing, but he offered something different: “Finally strengths and weaknesses as a player. I highly encourage you
someone who doesn’t fight the instrument.” Indeed, hearing to hear this remarkable musician if you ever have the oppor-
his wonderful playing and getting to know him has proven tunity. He is currently recording his first solo CD set for a
to me that he is a unique individual, and this distinctive per- 2005 release.
Eng elke: Where did you grow up, and how did you begin play- which I most certainly took him up on. He left me with a sense
ing the trumpet? of just how simple our process should be and that loving what
Balio: I grew up in Madison, Wisconsin. I picked up trum- we do is the best motivator.
pet simply because in middle school they handed instruments Eng elke: Who were your most significant mentors and teachers?
out to anyone who wanted to play in the band. The ones who How did each influence you as a trumpet player, musician, and
didn’t would sing in the choir. Naturally, there were a lot of individual?
takers to be in the band, given the alternative. Things have Balio: Strangely enough, there weren’t any prominent trum-
sadly changed for most young- pet teachers in Madison
sters in public schools these days for a period. I had a lead
with the drastic cuts to the arts on one man, a conductor
in schools. I was very fortunate who was a former trumpet
to have had a very inspiring professor at Oberlin. Gene
band director, John Rafoth, an Young had put trumpet
Eastman grad who was deter- well behind him, and it
mined to teach everyone real took quite some prodding
musicianship and a work ethic. to get my first lesson out of
He made sure to impress upon him. I’ll never forget my
us how lucky we were to have first lesson when he pon-
the Chicago Symphony only a dered for five minutes in
few hours away. I even used a silence whether to agree to
Monke B-flat German rotary give me more trumpet
trumpet at fifteen years of age lessons. The look on his
that the university had on hand. face spoke volumes on
I would often take the bus down what a hard time he was
to Chicago to hear the sympho- having in making up his
ny. I also played in a local band mind! Poor guy. He was an
in Oconomowac, Wisconsin incredibly patient and
made up of area band directors. inspiring teacher. He was
Bud Herseth came to one of our all about concept of sound
concerts (he had been at the lake from the beginning… we
fishing), and I met him after- as instrumentalists have to
wards at the local bar. I nearly be singing in whatever we
passed out and not because it play, a tough concept if
was my first whole beer! He in- you think about it. We
vited me to take some lessons, Andrew Balio used Schlossberg, Sachse,
and Arban. Lessons lasted at least four hours and seemed like to the larger world of classical music, I enjoyed the voice of
45 minutes. That’s generosity. He sent me off to Tanglewood Fritz Wunderlich and the legends of the string world. Gene
in the summers to study with his Young got me listening to
buddies Charles Schlueter and “Later in life I came to appreciate Vacchiano and Ghitalla rec-
Roger Voisin, who had sent his
own son to Gene. Schlueter that playing an instrument and ords, not to mention George
Mager and Harry Glantz.
favored Smith’s Top Tones, Char- reading music were two totally dif- Fritz Wesenik (BPO) gave
lier, and the Harris etudes, not me some great listens. Har-
that I could play any of them.
fer ent skills. Often, our klutzy old Jackson played a dyna-
Voisin later helped me a lot with moments are simply a matter of not mite Brandenburg on a Bes-
solfege, something we underesti- being clear about what is on the pret son F in the 1950s. I was
mate in America. Later in life I ty old school in my
came to appreciate that playing page or how we want to sound.” tastes and thinking. You
an instrument and reading music don’t want to know what I
were two totally different skills. Often, our klutzy moments are listen to now!
simply a matter of not being clear about what is on the page or Eng elke: Your career as a principal trumpet player began in the
how we want to sound. Boston Philhar-
These can be addressed sep- monic. Then, for
arately without pounding several years you
up the chops. We are not held a principal
pianists, after all! In the trumpet position
end, it was Schlueter who in Mexico. What
saw me through my spo- are some of your
radic years of learning. He recollections play-
was both a friend and an ing in this Cent-
inspiring model as the con- ral American or-
summate, dedicated musi- chestra?
cian. B al io : My
Eng elke: Were any mem- first real shot at
bers of your family involved sitting in the
with music? chair was in the
Balio: My grandfather, a Orquesta Sin -
railroad man for many of fonica del Esta-
his years, was a devoted op- do de Mexico in
era listener. He had been lis- r a i n y To l u c a ,
tening since the very first Mex ico, under
broadcasts of Enrico Car - the infamous
uso. He took trips to Chica- With Gene Young and diabolical
go to hear Rodzinsky and En rique Bátiz.
Reiner CSO concerts. So he had a great background, and he He was so awful to everyone… he really thickened my skin to
gave me a sense of much of our world. My mother played some abuse from the podium. The experience also taught me how to
piano and accompanied me play under the worst con-
for my little band camp ditions. (Hey, it’s easy to
auditions. I eventually fired play with the great orches-
her once I was sufficiently tras). Rehearsals were just
full of myself and wanted screaming sessions. Being
professional backup. She i n Me x i c o , n a t u r a l l y
was a real fan and never a trumpet was expected to
stage mother, thank God. be as loud as humanly
That would have killed it! possible as to attest to the
E n g e l k e : What kind of ensemble’s virility. I also
music did you listen to grow- taught at the conservatorio
ing up? What trumpet play- where the trumpet and
ers did you like to listen to, guitar sat on top of the
and who do you like to listen food chain while violin
to now? and piano were minor
Balio: Well, there was of- players. Altogether, it was
ten Italian opera playing in an extremely valuable ex-
the house, but I swear I had perience, one that gave
no musical inclinations un- me the opportunity to
til high school. As I got in- With Roger Voisin learn from doing… at a

very high altitude! I wish that all my students could find such tors influence your approach to playing the trumpet or how you
a job, in a far off corner of the musical world, to “figure it out.” interpret any of the specific standard orchestral excerpts?
Eng elke: At one point in your career, you left music for a while Balio: I came to understand quickly that the trumpet has an
and even took some time off of the horn. Why did you decide to do unusually large role in determining the character of a given
this? How did you get back into the profession? work and the overall profile of an orchestra. Principal oboe and
Balio: It wasn’t time off. I quit. I moved the way a concertmaster works
on to my next interest when I was 19. For with the strings are parallels.
four years I turned to Yoga, the medita- “I haven’t really won an au- The great conductors focus on
tion system of India. It is such a vast sub- dition yet. In Israel, I was the trumpet to deliver the goods
ject, one that to this day draws me in. You
see, initially it was the whole learning
just thrown in. I lasted eight in much of the repertoire at
many critical junctures. They
process of music study that held my fasci- years, which was the length put their personal stamp on the
nation. I had learned so much about my of my audition. Mexico was music through us at times. Meh-
own psychology and that in time took me ta had a very distinct quality
to Yoga as my focus, so I had to immerse the same way; I was simply that he wanted from the brass:
myself into that mindset. Once it had put in to see if I could do it.” warmth, richness, and weight.
taken firm root in me, I needed a voca- In his words, dark, the meaning
tion. Before that, I had only hoped that I of which is a term few of us can
could be a proficient amateur musician if I were to play regu- agree on. Masur insists on a tremendous sostenuto line as well
larly again. It then occurred to me; music might be worth pur- as a burning intensity… a reflection of his own personality.
suing, even if it was a “long shot.” Maazel always brings out architecture and clarity for all to
hear. No hiding!
Eng elke: You lived in Tel Aviv for several years
during a dangerous time. Do you have any memo-
rable stories from working in Israel? How were the
living conditions, transportation, etc.?
Balio: You’re asking about Tel Aviv? Mexico
was way more dangerous. Looking back, I am
surprised that I lived to tell about it. Anarchy!
Many people simply disappear there. Yes, I was
quite close to many of the terrible bombings in
Tel Aviv, but it was otherwise tranquil and
crime-free. The news is very misleading. My life
was a great balance of rehearsals, concerts, and
time at the beach with friends. Bottom line,
Classical music is extremely important to the
Israeli culture. It is wonderful to be so highly
valued.
Eng elke: Two of the most distinguishing quali-
ties of your fine playing are your beautiful sound
With Charles Schlueter and your wide dynamic range. How did you devel-
op these aspects of your sound production, and how
Eng elke: What was it like auditioning for the Israel Philhar- does your choice of equipment influence your approach?
monic and the Baltimore Symphony Orchestra? How did you pre- Balio: The first step is to decide that sound is of prime im-
pare for these auditions? portance, that no other element can make up for the role of the
Balio: I didn’t prepare, to be honest. I haven’t really won an sound. It is after all the medium that we are working in. All
audition yet. In Israel, I was just thrown in. I lasted eight years, other aspects are simply its dimensions. Trumpet has an occu-
which was the length of my audition. pational hazard in that it
Mexico was the same way; I was simply easily becomes rough sound-
put in to see if I could do it. In both orch- ing. All the approaches that
estras, there had been a very fast turnover are relaxed, flowing, and
of principal trumpet players. I was just one emphasize deep breathing
of many. That I was still there was enough! take us in the right direc-
In the case of Baltimore, I was given a lot tion. I like equipment that
of credit for the amount of experience that doesn’t require forcing and
I had by then, so it too wasn’t a normal big mouthpieces that yield
audition story. I really admire the players resonance.
who simply got in line and nailed it E n g e l ke : You have been
through the finals. play ing Monette trumpets
Eng elke: Did performing under Zubin and mouthpieces for many
Mehta and other world-renowned conduc- With BSO conductor Yuri Temirkanov years? How did you get start-

ed playing this equipment, and do you use other horns or mouth- Festspielhaus, which is dedicated to the performance of Wag-
pieces regularly? Did you use any different equipment for your ner’s operas each year. Bayreuth is a dry hall with the orchestra
BSO audition? placed under the stage. The sound comes through the floor
Balio: Dave Monette was a factor in my return to music. He itself, allowing the singers to sing comfortably without forcing.
visited my Yoga Ashram out of his own curiosity, and we got In other words, the trumpets can blow their brains out and still
to know one another. He of- get asked for more. The color of
fered to build me an instru- “It is important for our readers out- this instrument can be brassier,
ment that I would enjoy and generating much intensity with-
would make it possible for me side of Europe to note that there out necessarily more volume.
to take a relaxed physical ap- are two main styles of rotary-valve Good examples of how wonder-
proach. Before, I had always ful both these can sound can be
been at odds with many of the trumpets, Prussian and Viennese.” heard in older recordings. Still,
normal horns. His larger inst- Siegfried Goethel (a.k.a. “Big
ruments happened to reflect perfectly the tastes of Zubin Meh- Sig”), the solo trumpet at Bayreuth for many years, got great
ta as well as fitting in to the ISO’s heavy, espressivo approach. results from his old B-flat Heckel. It is also useful to note the
With this same ensemble, Charles Dutoit would complain that way a natural trumpet sounds in a period instrument orches-
he felt as if there was molasses dripping off his baton! So we tra: brilliant yet deep, one might say. Each composer had a dif-
adjusted accordingly. Baltim- ferent regard for the role of
ore is another sound com- the trumpet. Mozart wrote
pletely. The hall is bright and to his father Leopold,
they favor transparency, “The only thing worse
light ness, and understate- than a flute is two flutes!” I
ment. So, my Yamaha was wonder what he thought
my initial choice to fit in, of trumpet?
which is the name of the Fritz Wesenik played on
game. Monette responded to Monke trumpets during
this need by developing trum- his days in the Berlin Phil-
pets of conventional weight, harmonic from around
his LT and Prana series, 1949 to 1973 when he re-
which work beautifully with- tired. Helmut Wobich also
in this norm. We also use retired around then from
Monke rotary trumpets with the Vienna Philharmonic,
success, so equipment is often and his many recordings il-
The trumpet sections of the Israel Philharmonic and Teatro alla Scala
changing to meet the needs. lustrate the roundness of
Orchestras after a joint concert at the famous opera house with
It is important for our his sound on a Heckel. His
Riccardo Muti and Lorin Maazel conducting
readers outside of Europe to teacher was Avraham Hon-
note that there are two main L – R: Giuseppe Bodanza, Yigel Melzer, Andrew Balio, igsberg who left Vienna for
styles of rotary-valve trum- Sandro Malatesta, Ram Oren Palestine and became the
pets, Prussian and Viennese. The Viennese is based on a design first trumpet of the Palestine Symphony, what is now the Israel
by the Heckel family and has a smaller bell often with a wide Philharmonic Orchestra. He and I lived on the same street in
band around it. The Ganter (Munich) is a modern example of Tel Aviv!
this style. This type of rotary has a very rich, warm and inti- After the Chicago Symphony’s brass sound had penetrated
mate characteristic, and is ideal for the Musikverein type hall the ears of players in Germany in the 1970s, the makers start-
(responsive, shoebox shaped). I like it for Mozart and Brahms, ed making thinner, lighter trumpets that sounded more like
where my intention is to blend American piston trumpets
into the orchestration, particular- “I like orchestral playing because it a n d were e a s i er to play.
ly with the French horns. Trouble is, the whole value
The Prussian model, shown is all about long-range preparation. of the older ones was their
clearly in Josef Monke’s instru- It suits me because I am not a good distinctive sound quality,
ments, is heavier and has a much
wider bell flare. Though manu- sight-reader… Higher, faster, and which was lacking in the
new ones. Ironically, at that
factured in Köln, these instru- louder doesn’t get you very far in same time, the trend-setting
ments were made from the de-
signs of Schmidt, his teacher in
the Classical world. It is all about CSO started using the origi-
nal heavy Monke German
Berlin. Potentially, it has a much developing control and quality… “ trumpets, creating yet an -
bigger and more brilliant sound, oth er sound tradition in
particularly in his all-nickel instruments. These were devel- keeping with its own Germanic past. So, the often talked
oped around a different repertoire… that of Wagner, R. about German brass sound, despite today’s extremely high
Strauss, and Bruckner to name a few. These composers wrote playing standards, is somewhat of a “lost art” due to the
for the trumpet in a very extroverted way. The hall that cap- changes in instrument tastes over there. The other factor in
tures this instruments utility would be the Bayreuther this is the fact that traditionally B-flat trumpets are used,

advance. Higher, faster, and louder doesn’t get you very
far in the Classical world. It is all about developing con-
trol and quality, so one must practice slowly and with a
cool head. Trumpet technique-wise, I have found that
pedal tones have been great for my chops. I will add that
the key to loud playing is being able to play very softly.
Students should ponder that and realize that bashing
their chops, while heroic, doesn’t accomplish much ex-
cept to make us tighter.
Eng elke: What are some of your hobbies, and how do you
keep yourself busy when you are away from the orchestra?
Balio: I eat way too much.
Eng elke: You have had the opportunity to influence young
players through your performances and master classes in Am-
erica, Europe, Japan, and South America. Do you have any
advice for young musicians wanting to enter the field?
Balio: Due to cuts in arts funding in schools and the
With Dave Monette
dying out of devoted orchestra patrons, there are far few-
er second and third tier jobs than a generation ago. These
which naturally yield a more resonant sound. So what do I use? were part of a musical ecosystem that supported the whole cul-
Monke and Heckel-style trumpets in C! But players new to ture. Students should have backup career plans that ironically
using these instruments should use a deeper, possibly V-shaped can insure their continuation in music. The musician of
mouthpiece that takes us in the sonic direction of the horns. I tomorrow will have to be a strong advocate for the importance
often poll my American colleagues as to why they use German of all arts in our communities and a positive force for others.
trumpets. Usually they say that the conductor asks for them We will have to justify
and that they struggle to
get the horns to sound like “The musician of tomorrow will have to be our place in a high-tech
society, and music will be
their pistons! My point is a strong advocate for the importance of supported as an educa-
that we need to ask our-
selves just what we are try- all arts in our communities and a positive tional resource rather
than cultural treasures.
ing to do musically by us- force for others. We will have to justify our Things may be looking
ing these instruments.
Eng elke: Being a princi- place in a high-tech society, and music up; there is a backlash to
t h e s e m o d e r n t re n d s
pal trumpet player requires will be supported as an educational recom ing with a height-
chops, technique, finesse, ened interest in all things
and endurance? How do source rather than cultural treasures.”
deemed “authentic.” Let’s
you prepare for each season? hope that it will be strong enough to take us through the next
Do you have any “tricks of the trade” to pass on to our readership? millennium.
Balio: I like orchestral playing because it is all about long-
range preparation. It suits me because I am not a good sight- About the author: Luis Engelke is professor of trumpet at
reader, and I like to know what I will have to play far in Towson University. He serves as Music Reviews Editor for the
International Trumpet Guild Journal, and
is a Yamaha Performing Artist and a mem-
ber of Bay Street Brassworks. He has per-
formed in numerous orchestras, including
the Orquestra Sinfônica Brasileira, Balti-
more Chamber Orchestra, Phoenix Sym-
phony, Kennett Symphony, Annapolis
Opera, Lancaster Symphony, Maryland
Symphony, Delaware Symphony, Harris-
burg Symphony, Mesa Symphony, Har-
risburg Opera, San Diego Symphony,
Springfield Symphony, Ohio Valley Sym-
phony, Orquestra Pro-Música (Rio de
Janeiro), Music at Penn’s Woods Festival
Or ch estra, Rome Festival Orchestra
(Italy), and Pro-Music Chamber Orchest-
ra of Columbus. Engelke’s scholarly work
has appeared in the ITG Journal, Euro-
ITG Newsletter, Jazz Educators Journal,
Andrew Balio gets to know street musicians while on a trek in Nepal and Triad.

John Swana: Learning and Relating
Through Jazz
BY JOHN ALMEIDA
B orn in Norristown, Pennsylvania, a suburb of Phil- Tom Harrell.

adelphia, John Swana took up the trumpet at age 11. Swana has performed with a veritable who’s who of the
most well known names in jazz. These artists include Shirley
He was drawn to jazz at the age of 17 after hearing
Scott, Tom Harrell, Brad Mehldau, Chris Potter, Ralph
Dizzy Gillespie, and the interest developed into a passion Bowen, Eric Alexander, Robin Eubanks, Terrell Stafford, J.J.
while he was in college. There he began transcribing the Johnson, Bob Mintzer, Slide Hampton, Jon Faddis, Bob
solos of Freddie Hubbard, Clifford Brown, Miles Davis, and Mintzer, Freddie Hubbard, and Phil Woods.
Almeida: What led you to choose the trumpet? sic on the trumpet, but I wasn’t really motivated to practice
Sw ana: I went to a Mummer’s Day parade and they were what someone told me to do. The teacher I was studying with
playing those horns you could play into and really play loud. I in high school suggested that I really consider practicing for
got one and went home playing it as loud as I could. My par- my audition at Westchester College. I remarked, “It’s West-
ents also had some records of trumpet players. One was of chester,” in sort of a joking manner, as if to imply that it would
Timofei Dokshizer playing the Haydn and Hummel trumpet be easy to get in there. I did pass the audition and got into
concertos, as well as some records of Al Hirt. My parents most- Westchester. It wasn’t until I got into college that I really got
ly listened to classical music, but not much to jazz, so trumpet into playing the trumpet and into practicing.
playing was always in my ears at home. Almeida: When did you become interested in jazz?
Almeida: Were your parents musicians? Sw ana: We didn’t have jazz band in junior high, we just had
Sw ana: My mom was a trained musician. She got her early concert band. I remember hearing the high school jazz band
education in Illinois and then went to Juilliard to study voice. while I was in junior high, and that got me really interested in
She also played clarinet and piano. Eventually, in the 1970s, jazz. They were playing Stan Kenton charts, one featured a
she received her master’s degree in conducting at Temple Univ- trumpet player who walked out in front of the band and
ersity. My sister also played flute. My parents didn’t push either soloed. The way that band was playing behind his solo really
of us towards instruments. In fifth grade I told them I wanted made me want to be a part of that type of music making.
to play the trumpet and they were very supportive. I remem- Almeida: Were the junior and senior high school band directors
ber when I got my first trumpet my mom could play it because supportive of your interest in jazz?
she had taken brass methods classes in college while working Sw ana: My first band director was really good in a lot of
on her music education degree. ways. In junior high I was playing “G’s” above high “C,” but
Almeida: Did you study any other instruments? probably not the correct way. The band director liked that
S w a n a : Well, my sister took
piano lessons and hated them. I
remember being weirded out by
the thought of studying piano.
When I was really young I used to
sit at the piano, but when I saw
how miserable my sister was, I
knew that the piano was not for
me. Today I just kind of hack on
the piano in order to get through
stuff and really regret not taking it
up because it’s such a great instru-
ment.
A l m e i d a : When did you start
playing in school?
Sw ana: I started playing in mid-
dle school band in sixth grade and
began taking private lessons in the
seventh grade. Mom would send
me to private teachers, but I was
the kind of student you’d dread
because I didn’t really practice.
Don’t misunderstand me, I really
loved playing. I wanted to play mu- John Almeida and John Swana

kind of thing, but he wasn’t really concerned with whether I in jazz performance. My teacher at Temple, Mike Natale, had
was doing things correctly. By my junior year in high school played on the Mike Douglas television show. He was a great all
my chops were all messed up. One of my other band directors around trumpet player who could play some lead, jazz, and
actually used to come to my house to give me trumpet lessons. legit styles.
He would bring records by artists, like The Brecker Brothers, Almeida: Who has influenced your playing?
for me to listen to. He was a very good teacher and he really Sw ana: Woody Shaw, Freddie Hubbard, Tom Harrell, Ken-
motivated us in school. ny Durham, Dizzy Gillespie, Clifford Brown, Miles Davis, and
Almeida: Once you really became interested in jazz, what mus- Wynton Marsalis. Once when I was in high school I saw Tom
icians did you listen to? Harrell with the Gerry Mulligan Big Band. As soon as he start-
Sw ana: Maynard Ferguson, Stan Kenton, and Buddy Rich. ed playing a light bulb lit up in my head, something really
In high school I got a double CD set called Dizzy and Roy with clicked within me. I knew I wanted to play like that. I thought,
Dizzy Gillespie and Roy Eldridge. It also had cuts with Harry “That guy is really happening!” I heard him again a year later
“Sweets” Edison. Diz- with the Mel Lewis Big
zy’s playing with cup Band and he played a great
mute was amazing and blues solo!
that really influenced Almeida: What other inst-
me. I was also influ- rumentalists have influenced
enced by Clifford you?
Brown’s music. On S w a n a : Sonny Rollins,
some of his recordings, John Coltrane, Charlie Par-
I wasn’t even aware he ker, McCoy Tyner, Herbie
was soloing. It sound- Hancock, Keith Jarrett, Nat
ed like he was playing Adderley, and Donald Byrd.
the harp—it was so A l m e i d a : When did you
perfect! I also liked to decide you wanted to pursue
listen to Stevie Won- playing the trumpet as your
der and Earth, Wind, career?
and Fire. Sw ana: I think, subcon-
A l m e i d a : Did you sciously, I always wanted to
take any music theory do it. I didn’t think about it
classes in high school? outwardly because playing
Sw ana: We had the- Judges for the 2003 Carmine Caruso International Jazz the trumpet wasn’t easy. In
ory and aural skills Trumpet Competition the beginning it was a
classes, but I don’t L – R: John Swana, Tiger Okoshi, Clay Jenkins struggle for me to get the air
think I got much out moving. A good teacher can
of it. Aural skills was always easy for me. make a big difference in a person’s playing when they start the
Almeida: Did you begin to improvise during high school? trumpet. By the time I went to Temple University I was really
Sw ana: I basically played mostly blues in high school, but I getting serious, really getting intense.
also played a lot of classical music. I think that my heart was Almeida: When and where did your first professional playing
more into jazz. When I got through my first year of college, I experiences take place?
knew that playing jazz was what I wanted to do. Sw ana: Well, at Westchester College, we had a student jazz
Almeida: I notice that your articulation is so clear and precise, group that played in a bar near campus. However, my first pro-
in the manner that’s quite often referred to as “instant sound.” fessional jazz work began when I moved to Philly and started
Your technique is also flawless. Do you attribute any of this to playing weekends. I only knew three tunes at that time!
studying classical trumpet? Almeida: Criss Cross is a great jazz music label, how did you
Sw ana: When I was at Westchester State College, I studied begin recording for them?
with Ken Laudermilk who plays in the Delaware Symphony. Sw ana: I met Don Patterson, who’s a great jazz organist, and
He helped me to move my mouthpiece higher on my upper I started playing gigs with him in Trenton, NJ. He also used a
lip, because it was down too low. He was trying to groom me guitar player named Peter Leitch who was recording for Criss
for Eastman or Juilliard. In my first year of college, we went Cross. Peter called me to let me know that some guy was look-
through the Arban Characteristic Studies, Clarke Technical ing for a trumpet player and that Leitch had mentioned me to
Studies, and the Charlier Études Transcendantes. I always pre- him. Peter said that I should call him. Well, I never called him.
ferred to play cleanly because I grew up listening to classical Several days later, I got a call from Gerry Teekens, who hap-
trumpet. When Wynton Marsalis first came out with Art Blak- pens to be the owner of Criss Cross. He wanted to hear me, so
ey he played really clean, and I was attracted to that. I taped the gig that I was on with Shirley Scott, Mickey Roker,
Almeida: What led you to transfer from Westchester State Col- and Philly Joe Jones. I also had an old radio broadcast that I
lege to Temple University in Philadelphia? had done. I sent these to him and he really liked my playing.
Sw ana: I spent three years at Westchester pursuing a music Teekens wanted to record me for Criss Cross, but he said
education degree. I realized I didn’t want to teach music in the nobody knew me. Teekens said, “I want you to be on some-
public schools. I happened to play a gig with some guys from one’s record; maybe we’ll do something in the future.” A cou-
Temple University, so I wound up going there to get a degree ple of days later he called back and asked if I could do a record

Selected John Swana Discography
As Leader With Lou Lanza

On Target (Criss Cross, 2003) Corner Pocket (1997)
Philly Gumbo (Criss Cross, 2001)
Tug of War (Criss Cross, 1999) With Peter Leitch
Philly-New York Junction (Criss Cross, 1998) Trio/Quartet ’91 (1991)
In The Moment (Criss Cross, 1996)
Feeling’s Mutual (Criss Cross, 1993) With Lisa Mason
John Swana and Friends (Criss Cross, 1991) Christmas of Your Life (2000)
With Others With Minas

With Eric Alexander Blue Azul (2000)
Full Range (1994)
New York Calling (1992) With Barbara Montgomery
Little Sunflower (2002)
With Pablo Batista
Ancestral Call (1999) With Clarence Penn
Penn’s Landing (1997)
With Mike Boone
Old Head (2000) With Clarence Penn Quintet
Better Late Than Never (2000) Play-Penn (2001)
With Ralph Bowen With Philadelphia Experiment

Soul Proprieter (2002) Philadelphia Experiment (2001)
With Demetrios With Chris Potter

Mis Jazz (1996) Presenting Chris Potter (1992)
With Orrin Evans Ortet With Siora

Justin Time (1997) Vis-à-vis (2004)
With Charles Fambrough With Peter Smyser

Upright Citizen (2002) Scene is Clean (1999)
Keeper of the Spirit (1995)
City Tribes (1995) With Vic Stevens and Mistaken
Where to Now (1996)
With Benny Golson
Remembering Clifford (1998) With Brian Trainor
Monk and Me (1997)
With Jimmy Greene Sextet
Introducing Jimmy Greene (2000) With Gerald Veasley
On The Fast Track (2001)
With Peter Herborn
Large One (1999) With J.D. Walter
Sirens in the C-House (2000)
With Huffamoose
We’ve Been Had Again (1997) With Joel Weiskopf
New Beginning (2001)
With K-Jazz All Stars
Straight Ahead (1997) With Bobby Zankel
Prayer and Action (1996)
in two weeks. I said, “A record?!” I had never recorded with

anyone; all I wanted to be was a sideman. I asked if he could John Swana’s Equipment
give me a month and he said ok. My blood pressure must have
gone off the charts. So now I had to figure out how I was going
to do a record. So that’s how it all started. I was 28-years old at Conn Constellation B-flat trumpet
that time. The year after that I recorded with Tom Harrell… I Yamaha Flugelhorn
played to my highest potential on that recording with Tom. Mouthpiece: Bach 3C
Almeida: How did your numerous recordings with other Criss City. They should try to find jam sessions where they can learn
Cross artists come about? by participating. When I was going to Temple University there
Sw ana: Sometimes the person doing the CD would call me was a Monday night jam session with organ. A lot of older
to play on the recording or Gerry Teekens would suggest they players like Philly Joe Jones, Hank Mobley, and Don Peterson
use me. were still around. I would sit in every Monday night. Joe
Almeida: What are your practice habits or routines like? Suder, who has a big band, heard me and started to hire me. I
S w a n a : When I was in my also suggest that young jazz
twenties, I wasn’t consistent in “It seems it’s becoming more diffi- musicians listen to people
my practice. Consequently, I that are playing in town. Go
developed some playing prob- cult for any musical art form that check them out and try ask-
lems. I didn’t get better as a trum- requires a little more concentration, ing them questions about
pet player until I became com- playing and improvising.
mitted to playing exercises. Now education, or aesthetics to survive.” Younger players need to lis-
I’m committed to doing routines ten to all of the great jazz
that Lew Soloff had gotten from Jon Faddis. You start on a artists—past and present. They need to imitate what those
third space “C” and put the metronome on sixty beats per artists are doing. I also recommend transcribing solos, not
minute. I then play quarter notes up to high “C.” I hold the writing them out, but learning to play them on an instrument.
high “C” for thirty seconds, playing very soft. After that, I rest I always got more out of the solos by learning to play them by
awhile and then be- ear. Young jazz students
gin again on third should seek out their fav-
space “C#” and re- orite musicians and talk to
peat the pattern, them. Ask them what they
con tinuing up to like to listen to. Most im-
double high “C”— portantly, these young
all done very soft. I players should play! Play
don’t use those high with other musicians and
notes, but the exer- play in sessions. College is
cise helps make my a controlled environment,
chops feel better. it does a certain amount,
Sometimes I just but it doesn’t really get you
work on attacks by ready for the professional
playing scales. I also world.
learn a great deal Almeida: John, what dir-
from my students ection do you see jazz going
because they are of- in the U.S.?
ten more consistent Sw ana: For jazz, I’m un-
in their practi c e certain. It seems that it’s
habits from the very Swana demonstrates at the 2003 Caruso Competition getting worse on a general
beginning. I still scale. Jazz wasn’t men-
have to work hard at it. I studied a little with Vince Penzarella, tioned at all on the American Music Awards. When I’ve played
who plays in the New York Philharmonic. He got me started the big jazz festivals with the Charles Mingus Big Band, there
using a breathing bag with tube attachments, and that helps were more pop groups performing than jazz groups. We played
me a lot. I use this to work on my articulation while playing a jazz festival in Nice, France and the only jazz act besides us
etudes or jazz licks. I try to think of the articulation sounding was Kenny Garrett. On a certain level, the music industry is
like drum sticks striking a snare drum. I also hear a trumpet flooded with tons of crap, and the general audience’s attention
sound that’s very free span is all over the place. I was so
and open. I try to put bummed when the Philadelphia clas-
that sound through “Younger players need to listen to all sical music radio station was sold.
the trumpet when of the great jazz artists—past and Then, Temple University’s 24-hour
I p l a y. Pe n z a r e l l a jazz station was converted to half clas-
taught me to trust present. They need to imitate what sical and half jazz. It seems it’s be-
myself when I play, to those artists are doing… College is a coming more difficult for any musi-
trust my ability to
play and sound the
controlled environment, it does a cer- cal art form that requires a little more
concentration, education, or aesthet-
way I want to. tain amount, but it doesn’t really get ics to survive. In Philly, the local jazz
Almeida: What ad-
vice would you give to
you ready for the professional world.” itscene isn’t bad, but it’s not as good as
used to be. Some of the places that
young jazz musicians feature jazz, like “Chris’ in Philly,”
just starting out, concerning where to locate and get started in the can be packed with a large audience. Not that all of the people
jazz business? are there to listen, but many young kids come out to listen to
Sw ana: Personally, I’d recommend moving to New York the music. So, I feel good about the local jazz scene because I

think the people appreciate the music when they hear it. As far what I like to do. Maybe something will work out. I can’t
as the bigger scene in Philadelphia is concerned, when the jazz worry about things… I know that I love jazz and that I can’t
radio station was running, more people of all ages were listen- expect everyone else to feel the same. People should listen to
ing to it and getting connected to this form of music. any kind of music they love. Music can really pick you up and
Almeida: Do you think that the interest in jazz isn’t there be- make you feel energized.
cause it can be so esoteric?
Sw ana: I don’t think that it’s always esoteric. A lot of classic John Swana can be contacted through his EMail address
jazz “grooving” records like those with Dexter Gordon and ([email protected]).
Freddy Hubbard have a great beat. They just feel good to lis-
ten to. You don’t have to concentrate while listening to them. About the author: John Almeida is associate professor of
You can be doing something else while they’re playing. To me, trumpet at the University of Central Florida. He is principal
that’s the core of jazz, it can relate to many people. Other than trumpet of the Brevard Symphony Orchestra and the Bach
that, I can’t tell where jazz is going. I guess I just go from day Festival Orchestra. Almeida was in charge of the Festival of
to day playing music. Personally, my real focus is jazz, but now Trumpets program for the 2001 ITG Conference and hosted
I’m kind of interested in playing the EVI (electronic valve the 2003 Carmine Caruso International Jazz Trumpet Solo
instrument) and synthesizers. It’s fascinating playing with Competition. He appears regularly as a clinician and soloist,
other musicians who play electronic instruments. Maybe I’m and is a Yamaha Performing Artist.
just going around in ignorance, like I always have, just doing
Historical Instrument Window
Edward H. Tarr, Editor
If you would like to submit a photo and historical data, please contact the Historic Instrument Window editor for the Volume
30 publication season: Sabine K. Klaus, P.O. Box 190, Landrum, SC 29356, USA; EMail: [email protected]
Trumpet in B-flat (a' = 468 Hz) by Andreas Barth, Munich, ca. 1837.
Engraved on garland to be read from the rim: A. Barth in München. In addi-
tion there is a crown stamped on the receiver ferrule. Brass body; two double-
piston valves with long handles, which lower the pitch a semitone (first valve)
and a whole tone (second valve). Probably original deep cup-shaped brass
mouthpiece.
This trumpet possesses the typical Bavarian version of double-piston valves
with long handles or levers, a precursor of what is called “Vienna valve” today.
Operating the handles causes two pistons to move simultaneously engaging
additional tubing. Early Bavarian trumpets usually have the semitone valve
first, followed by the whole tone valve rather than the other way around as is
common on modern instruments. They are also characterized by having the
tubing above the bell, not below as seen on modern trumpets. Andreas Barth
was one of the foremost representatives of this type of early valve trumpet in
Bavaria. He received his license as a brass instrument maker in Munich in
1835. The crown stamped on the receiver ferrule of this trumpet might be an
indication that it formerly belonged to the Royal Bavarian Court Orchestra in
Munich.
Joe and Joella Utley Collection, America’s National Music Museum, Vermil-
lion, South Dakota, cat. no. 7058. Submitted by Sabine K. Klaus (Photo: Mark
Olencki, Spartanburg, SC).

Health and Awareness
Kris Chesky, Editor
Trumpet Playing and Dentistry:

An Historical Perspective
BY PETER ROSENSTEIN
R esponding to several inquires from trumpeters look- materials as we seek to communicate information directly to
ing for information, I asked in the October 2004 ITG members. After some discussion, we decided to devel-
ITG Journal for readers to contact me if they had op a series of articles related to trumpet playing and den-
experience with dental implants. About two dozen trum- tistry, including one that will focus exclusively on dental
peters responded. Thank you very much for sharing your implants. The first column in this series serves as a point of
experiences and offering your support. departure in supplying us with some past history concerning
A small group of ITG members who work in dentistry or the trumpet and the teeth.
periodontics also contacted me and offered to help develop K. Chesky
The practice of dentistry dates back to ancient India and the point where it fractures when mouthpiece force is applied.
Egypt. Ever since early man first placed a crude mouthpiece Events such as caries or trauma, which change the structure of
against or between his lips for the purpose of blowing air the tooth, may not prevent playing but could affect the sound
through it for the purpose of making sound, oral health has produced.
played a vital role. Whether the instrument is a crude ram’s The jazz trumpeter John Faddis, who sports chipped front
horn (i.e., shofar) or today’s modern brass or woodwind instru- teeth, is renowned for his ability to play in the extreme upper
ments, the health of the dentition has a direct effect on the register. However, when he decided one day to have the spaces
ability to play. in his teeth closed for cosmetic reasons, he encountered diffi-
Conserving and restoring the teeth has become the treat- culty reaching the high notes. He decided to have the cosmet-
ment of choice instead of simple extractions. In the beginning ic work undone and the high notes once again returned. In
of the 20th century when jazz was in its infancy, bad teeth were contrast, Joe “King” Oliver’s gum disease, as with most, was a
merely extracted. Joe “King” Oliver, the king of the cornet, was long chronic process leading over time to a loosening of the
one of the early pioneers of jazz and was the one who brought teeth to the point where they either fell out or required extrac-
Louis Armstrong to Chicago in 1922 to fill the second cornet tion. Gum disease is caused by plaque buildup due to poor oral
chair in the Creole Jazz Band. By 1937 Oliver was no longer hygiene and other contributing factors (smoking, diabetes,
playing music. Dental problems and high blood pressure etc.). Unnatural forces from a mouthpiece will exacerbate and
ended his career. He ended up speed up the process. Tooth loss is
as the janitor in a poolroom disastrous to a brass player player’s
and died in poverty. Joe Oliver “A brass player with dental embouchure. While dentures may
could not afford the dental problems would be like a violinist allow for some recovery, they do
treatment that would have not always work in returning play-
allowed him to continue his
or pianist with hand problems.” ers to their previous level of ability.
career. According to Hoagy Today’s implants are a better alter-
Carmichael, “He had no money to take care of himself and his nate but are expensive and are subject to the same periodontal
teeth came out. A horn man with no teeth, he ain’t no horn problems as teeth if not given proper care.
man at all.” The great trumpeter Harry James began suffering from peri-
A brass player with dental problems would be like a violin- odontal problems in his late 20s. By the time he was in his
ist or pianist with hand problems. The teeth are needed to early 40s, he had lost all his teeth. He had a terrible time
form the embouchure, a French word meaning “to put in or to adjusting to dentures and was terrified that he wouldn’t be able
the mouth.” The embouchure is the disposition of the lips to to play anymore. Fortunately he found an effective adhesive
produce sound. The teeth are needed to create an embouchure that was new at the time… he was so elated that he called his
and any change to the teeth will affect the embouchure. Dental friend Red Kelly at home and played a solo over the phone.
caries or decay affects the teeth and periodontal disease affects James eventually had dental implants in the early 1960s.
the supporting apparatus of the teeth, which in the early 20th Implants then were a new procedure (and very different from
century was known as Pyorrhea. Most teeth are lost due to the implants of today). The early implants popularized by Dr.
periodontal disease and therefore this will have the most effect Linkow were painful and had a low success rate. Playing the
on a brass player. Tooth decay will not affect the stability of the trumpet under these circumstances was unbearable. A bass
teeth as long as it doesn’t progress to weakening the tooth to player and member of the James’s band named Ira Westley

used to give aloe vera juice to Harry James to temporarily alle- in street parades. A man who’s been playing his horn that
viate the discomfort from Harry’s gum problems. Bunk John- long—not like some of those young trumpets today, they blow
son, a trumpeter from the 1920s to for two years and they’re through—
the 1940s, lacked his two front
teeth. Fellow trumpeter Henry Pot-
“Louis Armstrong was one figures to have some good advice to
offer on the care of the lips and
ier said that Bunk “would take a of the few musicians who mouth. Look at Bunk—always had
piece of string and tie it real good to recognized the importance of year’s those teeth protruding, but just a
fill the gap. Tie it to his teeth, you dental work would have fixed
know…then he would blow his maintaining his teeth and him for life. But he never paid it any
horn like no other trumpet player was meticulous about it.” attention, and there were a whole lot
ever heard.” Once while Bunk was others like him. I watched all that and
playing, a jealous husband stabbed profit by those peoples mistakes.
the bandleader and in the confusion, Bunk’s trumpet and teeth Every time I have two weeks off, the dentist is doing some-
were damaged. Unable to play, he quit jazz. Eventually, a jazz thing to my chops. I’ve got a good dentist and by now the dan-
researcher named Bill Russell tracked him down and sent him ger’s gone; no more chance of Pyorrhea or anything.”
to a New Orleans dentist, Dr. Leonard Bechet who was the In summary, oral health has played a big role in the history
brother of Sidney Bechet. Russell paid for Bunk’s treatment, of the lives of musicians in the past. Fortunately with greater
and bought him a new horn. Bunk then returned to playing, public awareness, improved technology, and access to dental
joining Sidney Bechet’s band. care, today’s artists can avoid the problems of their predeces-
Bix Beiderbecke broke one of his front teeth as a boy while sors and enjoy playing for the rest of their lives.
wrestling with a friend. A dentist from his hometown of Dav- Source materials
enport, Iowa, constructed a removable false tooth, slotted at
the sides so that it fit into place. The crude prosthesis func- Levinson, Peter. (1999). Trumpet Blues—The Life of Harry
tioned well except that Bix kept playing with it, removing and James. Oxford University Press.
inserting it until it became loose and kept falling out of his Szwed, John. (2002). So What—The Life of Miles Davis. Simon
mouth. He called it his “pivot tooth” and when it fell out he and Shuster.
was unable to play at all. Once it fell out of his mouth as he Spencer, Frederick. (2002). Jazz and Death—Medical Profiles
leaned out the window of his hotel and he had to cancel that of Jazz Greats. University Press of Mississippi.
night’s engagement. Buck Clayton had a poorly made bridge Boujut, Michael. (1998). Louis Armstrong. Rizzoli Internat-
that cut his lips to the point where he could not play his horn. ional Publications.
He went to Boston to a dentist and would sit in the dentist’s
chair with his trumpet attempting to play in order to get the About the author: Dr. Peter Rosenstein is a periodontist prac-
new bridge just right. Unfortunately this was still unsuccessful ticing in New York City and Suffern, NY for the past 20 years.
and Clayton was forced to quit playing, causing him to con- He began playing trumpet five years ago and has extensive
centrate on arranging and composing. Chet Baker’s career was experience treating musicians, especially trumpet players. He
twice interrupted by dental problems. In 1954, dental neglect can be reached by phone at 212-753-4744 or by writing to 30
resulting in advanced periodontal disease, led to tooth loss and East 60th Street, Suite #501, New York NY 10022
a new embouchure. “I play the horn as if I was pulling it away
instead of pressing it.” Drug addiction, which Baker had, cer- Make Plans Now to Attend
tainly is a contributing factor in destruction of the dentition.
In 1968, Baker lost most of his teeth following a severe beat-
ing. It is said that when the assault began his girlfriend begged
the attackers not to hit him in the mouth because he was a
2006
trumpeter. Of course this caused the opposite affect. Several
years later Baker made another short-lived comeback that
ITG Conference
ended after he fell or was thrown out his hotel window.
Miles Davis suffered from many ailments including drug June 6 – 10, 2006
addiction and diabetes. His father was a prosperous dentist and
may have helped Miles out early in life but couldn’t save his
son’s teeth later on. Miles’ habit of binging on sweets, smok-
Rowan University
ing, drugs, and diabetes eventually took its toll on his teeth.
Another trumpeter who lost his teeth and was forced to quit Glassboro, New Jersey
due to periodontal problems was Blue Mitchell. There is also a Bryan Appleby-Wineberg, Host
theory that the real reason clarinetist Artie Shaw quit playing
was because he had lost so many teeth that he could never play
again to his satisfaction. Embarrassed he instead blamed the Details available soon
pressures of stardom and commercialism for his desire to quit.
Louis Armstrong was one of the few musicians who recog-
on the ITG Web Site!
nized the importance of maintaining his teeth and was metic-
ulous about it. Armstrong said: “I’ve been playing 37 years. www.trumpetguild.org
When I was 13 years old I was developing my lip and playing

ITG Profile: Leanne Sullivan
Laurie Frink, Editor
This column is dedicated to profiling interesting people within the ITG membership who bring something special to the
trumpet world. If you have suggestions for this column, please contact: Laurie Frink, ITG Profile Editor, 240 West 98th #7G,
New York, NY 10025 USA; [email protected]
Leanne has appeared as soloist with this group on a number of

occasions. In October of 2004, she soloed with the Branden-
burg Ensemble, playing Corelli’s Sonata for trumpet in D
major. In November of 2004 she appeared with the orchestra,
performing Vivaldi Concerto for two trumpets. Sullivan has
performed with the Australian Bach Ensemble, Pinchgut
Opera, and many of Australia’s leading orchestras including
the West Australian Symphony Orchestra, Sydney Symphony
Orchestra, and the Australian Opera and Ballet Orchestra.
Leanne Sullivan has performed on many recordings for the
Australian Broadcast Company (ABC) classics with Symphony
Australis under the baton of Antony Walker. In 2002, she
appeared as a soloist in Australia’s first recording of Handel’s
Messiah for the ABC made especially for television, DVD, and
CD, with Cantillation and the Orchestra of the Antipodies. In
2002, Leanne was awarded the Dame Roma Mitchell Church-
ill Fellowship and traveled to Europe to further her studies on
the baroque trumpet. She is currently on staff at the Sydney
Conservatorium of Music.
Leanne Sullivan was born in Casino, NSW (Australia) and

began playing the trumpet in the local brass band at age eleven,
after the Mercy nuns at her school borrowed some cornets
from the band and recruited students to establish a school
band. She started formal lessons with a teacher when she was
sixteen. Regular regional visits from Ken Smith, at that time
the Head of Brass at the Sydney Conservatorium, were a great
inspiration to her. Two years later, Leanne was accepted into
the Bachelor of Music curriculum at the Sydney Conserva-
torium of Music where she successfully graduated with merit,
achieving a distinction in Trumpet Performance.
Sullivan then commenced her studies in London with soloist
Graham Ashton. During this period she worked with many
orchestras including Northern Sinfonia, the Irish Chamber
Orchestra, and Ensemble Modern in Frankfurt. It was in Lon-
don that Leanne was introduced to, and studied, the baroque
trumpet.
Since returning to Australia, Sullivan has resumed her in-
volvement in the freelance music scene. She lives in Sydney
where she is in constant demand as both a modern and bar-
oque trumpeter. Since 1993, she has played principal trumpet
with the Australian Chamber Orchestra. Leanne plays princi-
pal trumpet with the Australian Brandenburg Orchestra, Aus-
tralia’s finest period instrument orchestra, made up of leading
specialists in the performance of baroque and classical music.
ITG Young Artist Award
Del Lyren, Chair
Nominations for the Young Artist Award are accepted throughout the year. For more details, please visit the ITG Web Site at
http://www.trumpetguild.org/resources/yaa.htm
Traci Nelson
ITG is proud to announce that
Traci Nelson of Fergus Falls High
School in Fergus, Minnesota, is
the June 2005 recipient of the
Young Artist Award. Traci is a
2005 graduate of Fergus Falls
High School. She began playing
trumpet in fifth grade. Currently,
she studies with Neil Mueller of
North Dakota State University.
She plans to major in music per-
formance this fall as she begins
her post-secondary education.
Traci has been actively involv-
ed in many school and commu-
nity ensembles, including wind
ensemble, orchestra, jazz band,
marching band, brass ensembles,
and a community civic orchestra.
She volunteers her time perform-
ing on trumpet at local nursing
homes and churches by soloing
or leading groups. Traci has been
a member of several Minnesota
All-State ensembles. Highlights
her include her role as principal
trumpet of the grade 9 – 10 All-
State Honor Band in 2003,
member of the 2003 – 2004 All-
State Concert Band, and princi-
pal trumpet of the 2004 – 2005
All-State Orchestra. She has re-
ceived over ten superior ratings at
solo/ensemble competitions and
various other music awards.
Memorable solo performances
for Traci include performances of
Arban’s Carnival of Venice with
her high school band and
Haydn’s Trumpet Concerto with
the school’s orchestra in May
2005.
In recognition of her outstand-
ing talent, ITG will provide Traci
Nelson with a complimentary
one-year membership.

Clinic
Frank G. Campos, Editor
The Smartest Player Wins!

BY CHASE SANBORN
“The average player will resort to mechanical practice in order Efficie ncy: Air/ Embouchure
to avoid the discomfort and irksomeness of mental effort.” Jean- In sports, it isn’t just brute strength that wins the game. A
Louis Matthey combination of strength and efficiency is the recipe for success.
The above quote is actually from a pianist, but it applies to It is no different for the brass player. Each note requires a del-
all musicians who practice mindlessly, day after day, in the icate balance of air and embouchure compression. Utilize just
hopes of getting better. I know brass players who turn the TV the right proportions of each and you achieve maximum
on when they practice to take their mind off what they are results with a high degree
doing! These players do not of efficiency. Playing be-
know that one hour of practice “…an accomplished brass player looks comes easier.
with concentration is worth
ten without. When I ask an fairly relaxed most of the time, despite Posture is the biggest
factor in the efficient use
audience which parts of our playing an instrument that requires a of air. Take long slow in-
bodies we use to play the in-
strument, I hear “lips, tongue,
high degree of physical exertion.” halations whenever possi-
ble to encourage relax-
fingers, and lungs,” but I rarely ation. Keep the air passages wide by opening up the chest and
hear “brain,” which is the most important part of the body for holding up your horn. Picture an air column from the base of
any activity! If you are not harnessing the power of the brain, your lungs to your lips and shorten the column for high notes
you are not accomplishing all you could. (raise the floor) and lengthen it for low notes (lower the floor).
Practice Slow ly And Carefully Project your sound as if it is a laser beam that you can see; keep
The beautiful sound you are searching for resides within your eyes on where the sound is going, just as the baseball play-
you; all you have to do is learn to release it. As you practice, er looks where he wants the ball to go. Use the tongue and the
use your brain and analyze the way every lip aperture like the nozzle on the end of a hose to shape and
note feels and sounds. (The two are con- control the air column. Make sure
nected—it never feels terrible and sounds “If your embouchur e you use your air to full advantage—
great, or vice versa.) Practice slowly and isn’t functioning effi- the the
more work the air does, the less
lips have to do.
carefully, and make every note sound as
good as possible. Practice short phrases ciently, no amount of If your embouchure isn’t function-
many times at various tempos, striving for air will fix the problem.” fix the problem.noStart
ing efficiently, amount of air will
without a pre-
improvement with each repetition. Devote
short stretches of time to specific tasks, to encourage focused conceived notion of how you should
concentration. Listen critically, and ask more of yourself. Don’t form your embouchure. (We must relearn to play every day).
just clock hours, work towards a goal! Place the mouthpiece on very relaxed lips and let the air flow
freely. Slowly bring the lips together on the air stream until
Eliminate Tens ion they start to vibrate; establish the minimum embouchure ten-
Observe the beginning brass player: the body is rigid and the sion for each note. Adjust your embouchure, both with the
embouchure is compressed so tightly that air can barely pass muscles of the face and by adjusting the placement and angle
through the lips. The horn is pointed at the floor, the elbows of the mouthpiece. Picture a sailor trimming the sails to catch
are tucked into the ribs, the neck is scrunched up, and the eyes each bit of wind, and then do the same thing with your lips.
are squeezed shut. There is nothing but tension! The beginner Find the most efficient position for your lips by listening to the
has to strain to overcome all that tension… the sound is forced sound. Search for an easier way to play the horn.
and tight. P lay Like Gumby
By contrast, an accomplished brass player looks fairly relaxed
most of the time, despite playing an instrument that requires a Each day is a new adventure for the brass player. You are
high degree of physical exertion. In this kind of focused mus- engaged in a partnership with the horn instrument… a rela-
cular activity, only the muscles that are needed are in use; the tively unforgiving mate. If you try to force the horn, as Dizzy
others are relaxed. As unnecessary tension is reduced or elimi- said, it will always win. If you are flexible in your approach,
nated, the sound becomes large and vibrant. Range and en- like the toy character Gumby, your body and the horn can
durance cease to be limiting factors. To the listener, it seems work together in harmony. While your horn remains relative-
like it is easy to play a brass instrument (contrary to many ly the same from day to day, your body changes based on what
players’ personal experience.) Continued on Page 73

Jazz Corner
Chuck Tumlinson, Editor
The Lead Trumpet Player

BY JOHN THOMAS
Woody Herman was once heard saying, “Give me a great endurance one does not possess the tools necessary to make
lead trumpet player and a great drummer and I’ll give you a music. When I perform, I try to make the notes on the page
great band.” But what are the qualities that make up a great come to life and have an emotional meaning. If I can cause the
lead player? That answer is dependent on the ear of the behold- hair to stand up on the listener’s arm or see toes tapping
er, as it is with any art form. We might all agree on the quali- through my playing, I feel that I have accomplished my goal.
ties needed for a great lead player but By focusing on the musical
disagree on their order of impor- “When one is tense, the airflow is statement and using chops
tance. and endurance as a tool, the
Two qualities that we can all agree constricted and the lips are inhib- lead player can create a
on are range and endurance. At some ited from vibrating… Relaxed air- spark for the entire band.
point in our careers, we as trumpet In order to make a musi-
players have all struggled with this. flow and embouchure are what cal statement, a lead player
While experiencing one of these per- create a vibrant sound and maxi- must have an intimate un-
iods myself, I stumbled onto an arti- derstanding of historically
cle by the late Bud Brisbois, a Los mize range and endurance.” significant styles. Some of
Angeles studio player from the six- these include but are not
ties. After reading his article, I was able to recall the impor- limited to: early traditional jazz of Louis Armstrong, early
tance of relaxation and air compression. When one is tense, the swing such as the Casa Loma band, Fletcher Henderson and
airflow is constricted and the lips are inhibited from vibrating. Benny Goodman, different periods of Basie, Ellington, Thad
Contrary to the natural instinct, lip tension is not the key to Jones, Woody Herman, Stan Kenton, Terry Gibbs Dream
the higher register. Instead, a higher note requires more air Band through to the present day bands of Maria Schneider,
compression, not more lip tension. The center of the lips must Bob Mintzer, Bob Florence, Bill Holman, etc. In other words,
remain supple while only the corners are flexed. Relaxed air- a good lead player should have a wide and studied big band
flow and embouchure are what create a vibrant sound and collection.
maximize range and endurance. These points are discussed in Before I had developed my own style and musical voice, I
the following excerpt from one of Brisbois’ clinics: would look at a phrase and hear my father, Don Thomas, play-
“The main two things that I stress and firmly being in my mind and would simply follow his interpretation of
lieve in are one: breathing—knowing how to breathe the music. If you are not as fortunate as I to have a great lead
and knowing how to set the air, and two: building the trumpet player as a father, then you must listen to other great
proper muscles here (points to lead trumpet players.
chops) as opposed to destroying “When I perform, I try to make the Some of the lead players
everything here (points to chops). who have been very in-
There are so many fine trumpet notes on the page come to life and fluential in my playing
players around the country and the have an emotional meaning… By are: Snooky Young with
world these days, I’ve found by t h e Ba s i e a n d T h a d
watching them play that there are focusing on the musical statement Jones/Mel Lewis bands,
two things that they all do exactly and using chops and endurance as A l Porcino with the
alike. They have a strong anchor or
corners, they all take similar types
a tool, the lead player can create a Te r r y Gi b b s Dre a m
band, the late Bill Chase
of breath, and they support their spark for the entire band.” with the Woody Her-
sound with their air almost identi- man band, Maynard
cally no matter who the player is.” and his band during the Roulette years especially with the late
After reading the transcription of this clinic, I felt that Bud Chet Ferretti playing lead, and Bobby Shew with the Buddy
had described the way that I approach the trumpet. Playing in Rich and Toshiko Akiyoshi/Lew Tabackin band. Other great
this manner has enabled me to vastly re-extend my range and lead players you should become familiar with are: Conrad
endurance. (The full transcription of the Brisbois clinic is Gozzo, Bobby Pratt, Bobby Bryant, Pete Candoli, Jimmy
available at http://www.seeleymusic.com/brisbois/brisart.htm) Maxwell, Johnny Frosk, Frank Beach, Ed Leddy, Bernie Glow,
While chops and endurance are tools one uses to make a Buddy Childers, Charlie Turner, and Paul Cohen. These are
musical statement, it is the musical statement itself that is the some of the lead players who have influenced me as I have
ultimate goal of the lead player. The saying, “high notes aren’t developed my own style over the years, and who are, in my
everything” is a popular quote (although it is usually made by
people who have no chops). But without good range and
Editor’s Corner
Gary Mortenson, Editor
My Treble Clef Friends

BY DENIS WICK
I f you don’t know the name Denis Wick apart from the International Trombone Association. We are indeed fortu-
exceptional mutes and mouthpieces that carry his nate that he has taken the time to share with us, in fascinat-
ing detail, some of his memories of so many prominent
name, this column will help you get to know this
trumpet personalities in his artistic life. I hope that you
prominent figure in the world of brass. Mr. Wick is one of enjoy his candor in his descriptions of the “treble clef ” col-
the most respected orchestral trombone players of the last leagues he has encountered over the course of his long and
half-century and is currently serving as President of the productive career. GM
As a member of an orchestral brass section, one is very much this was in 1950.
part of a closely-knit team, working literally in harmony, main- The second trumpet player in the BMO was Arthur Lock-
ly with the other brass players, but also with the woodwinds, wood. Then at least 70 years old, Arthur had been first in the
helping to give a unanimous result, always making the whole Manchester-based Halle Orchestra. He had begun his time
much greater than the sum of the parts. As first trombone, there when, like so many British orchestras, the Halle was a
there was naturally a responsibility that the trombone section winter season job. Its members all took off to the seaside—
functioned as a unit, but cohesion of style and musical results Scarborough, Blackpool, Eastbourne, Southport, and so on,
with the trumpet group were always of maximum importance. where small but excellent orchestras functioned for their sum-
Thus the relationship and interdependence of trumpets and mer seasons. Arthur was short but distinguished, with a small
trombones were paramount. moustache, and spoke with a mar-
My first professional job was with velously slow Yorkshire accent. He
the Bournemouth Municipal Orch- talked about his early life at the
estra1 (BMO). As a 19-year-old sec- beginning of the 20th century.
ond trombonist, I was rather in awe “Ah coom from Slowitt (Slaith -
of the BMO’s very distinguished waite)—ah started on the oopright
trumpet section. The principal was grund” (the tenor horn) and his
Walter Tiller, who happened to be a later career—“Ah wuz at Booxton,
brilliant pianist and apparently a re- tha knaws.” Buxton Spa Orchestra
luctant trumpeter. Although a was one of the finest. He told me
Hamp shire man born-and-bred how his children annually changed
and, I suspect, a possessor of the de- schools from Manchester to (usu-
lightfully broad vowels of the local ally) Scarborough when he worked
accent, he affected a kind of slightly there from May to September. Ar-
malformed “Oxford English” which thur had been a great player in his
al ways sounded a bit odd. “Mey day and the occasions when he (re-
velves are rarthar stickay” was a typi- Denis Wick luctantly) played first were memo-
cal example. He was certainly an ex- rable. A Sibelius 2nd symphony
cellent pianist, but once I had overcome my initial feeling of when he “stepped up” made me realize how the trumpet
being an overawed new boy with all these seasoned “pros,” I should really sound. Arthur’s wife Bet was always with him.
realized that his trumpet playing could be variable, to say the They were a devoted couple. I heard that a few years later they
least. I have never heard another trumpet player split all the had died within a few days of each other. The third trumpeter,
first five notes in the “Promenade” of Pictures at an Exhibition Bram Allington, was much younger. He was rather large and
but Wally managed it spectacularly. On the other hand, pro- very jolly. He and his wife, of similar size, had one of the small-
viding the part was not too high or exposed he could play mid- est cars I have ever seen, an Austin 7 of about 1930 vintage.
dle register solos well, although in a fairly “straight” way. Hav- “We have a horse each,” he said when they somehow squashed
ing come from the British brass band environment, where my into this tiny machine with their 5 children! Bram was a very
relatively brief career had culminated in the then well-known good player and reminded me of the cornetists that I had
and highly respected Luton Band—we even had the brilliant known from my brass band days. The fourth member of the
young solo cornet of Foden’s Motor Works Band, Bram Gay, team was Philip Ledington, who had been first in the pre-
playing with us sometimes—this style of trumpet playing was WWI BMO. I should add that the orchestra was Britain’s old-
something rather new for me. Being a bit of a musical snob, I est full-time symphony orchestra, having been founded in
thought that vibrato was “taboo” in the symphony orchestra… 1893. Old Phil must have been about 75 then. He had the
most telling trumpet tone quality, perfectly centered, enor- peters—names now long forgotten—impressed me by their
mously rich, and solid. range and style. Their jazz soloing, which so much impressed
In the summer of 1952 I moved to Birmingham, where I me on first hearing, turned out to be exactly the same every
had been appointed first in the City of Birmingham Sym- time, so I was somewhat disillusioned on that score!
phony Orchestra (CBSO). At 21 years of age, I was one of the The LSO section when I joined consisted of Dennis Clift,
youngest players in the orchestra. Rudolf Schwarz, who had Bram Wiggins, and George Eskdale. The thrill of working in
been at Bournemouth and was largely responsible for the high London with a much better orchestra was somewhat dulled by
quality of the BMO, was now in charge of the CBSO. At that the brass section which was in some ways less satisfactory than
time it was much inferior to the BMO, but now I was the prin- what I had left. The players were individually much better, but
cipal and had to learn fast! My trumpet colleagues were an odd they were all individuals and sounded like it! Dennis Clift had
bunch. The first was Arthur Matthews. He had originally been been first in the BBC Concert Orchestra—a very demanding
a Salvation Army bandmaster and had eventually found his job, and before that, second with Harold Jackson in the Phil-
way into the profession. He had been playing in a Birmingham harmonia. He had an enormous, solid sound quality. Bram
theatre when the CBSO was made a full time job (around Wiggins was, I thought, an excellent musician. He soon left
1943) and became the first trumpet simply because he was the the LSO to work in Canada, where he remained for a few
best player around at the time. Arthur had some extraordinary years, eventually returning to work with other orchestras in
playing methods. The usual problems of the double-tongued London. George Eskdale, third trumpet, had played first in the
passages in Scheherazade, for instance, were easily solved. He pre-war LSO since 1930. George was at his best in the high
simply waggled the valves—pronounced in his Somerset register and probably not happy on third. He died in 1960. By
accent “vorlves”—and smiled. This was also a bit odd—he al- this time, the LSO was getting more recording work and the
ways played with a large piece of gutta-percha2 jammed across record companies were having their say about the all-impor-
his front teeth. The highlight of Arthur’s year was the pre- tant first trumpet chair. So in 1960, Alan Stringer, then first
Christmas ceremony of the arrival of Santa Claus at Lewis’s, trumpet in the Liverpool Philharmonic, was persuaded to join
Birmingham’s premier department store. He, with his confrere the orchestra. Quiet and unassuming, Alan set high standards
Bill Whittaker, would ride with the red-clad bearded Santa for first trumpet playing which were, from every musical
Claus on an old-fashioned stagecoach, playing their long mod- standpoint, the best I had ever experienced. Sidney Ellison,
el D trumpets. Unfortunately for the CBSO, they also used who had joined after Bram Wiggins had left in 1957, and
these instruments in the orchestra for anything in the reper- Howard Snell made up the rest of the trumpet team. The LSO
toire that could possibly be played on D or E-flat trumpets. recordings of the period bear testimony to Alan’s work. I
These long model trumpets, known amongst the other brass thought his decision to return to Liverpool in 1961 (he found
players as the “ten-bob” trumpets3, were held so that their bells the LSO life too stressful) was akin to heresy. I simply could
were under the chairs of the luckless bassoonists playing in not understand how anyone would want to leave our exciting
front. It more or less sounded the way it looked! Bill Whittaker although slightly crazy life.
played rather better than Arthur Matthews, but had the The LSO had to search for an established first trumpet play-
mouthpiece literally as far as it would go on the side of his face. er who could cope with the stresses of what was probably the
The third trumpet player was Bill Relton, later to achieve great hardest orchestral trumpet job in the country. So in late 1961
success as the manager of the BBC Symphony Orchestra, and Willie Lang joined us. He had been solo cornet in Black Dyke
as a brass band competition adjudicator. Mills band before WWII, and had subsequently made a career
In 1953, Arthur Matthews moved to third, Bill Relton havin the Manchester-based Halle and BBC Northern Orchestras.
ing left to study at the Royal College of Music (RCM) with Willie was and is an extraordinary character. At its best, his
Ernest Hall, and Bram Gay, after national service in the Scots playing was absolutely thrilling, if not always conventional: he
Guards band, joined as first trumpet. Here was a brilliant cor- played his own way whether you liked it or did not. Inter-
netist (he had been solo cornet at Foden’s at the age of 14!) national conductors generally did, because he combined innate
with a brilliant brain, inserted into a fast-improving profes- musicianship with the kind of technical fluency that the typi-
sional orchestra where he had to learn the intricacies of trans- cal best brass band cornetist had in abundance. For the LSO
position, range, and style “on the job.” He had no profession- world tour in 1964, the New Zealander, Gordon Webb, was
al training at a music college. Experience, native wit, and nat- hired to play co-principal. Although I later thought his playing
ural ability made him a better first trumpet than the CBSO was some of the best I had ever heard, he was not taken on as
could have imagined. Bram later became first in the well-re- a regular player, joining the London Philharmonic Orchestra
spected Halle orchestra. He then joined the orchestra at the instead. After this three-month tour (which I did not do in
Royal Opera House, Covent Garden, where he eventually be- favor of staying home with my three children!), Howard Snell
came orchestral director, serving in that capacity for more than had become co-principal and by the 1970s he and Willie Lang
twenty years. had changed places. Howard, a fine musician, also became the
The year 1957 saw my move to the London Symphony Or- LSO board’s chairman, but left the orchestra in 1977 after a
chestra (LSO). I was by now 25 years old, had premiered the near-fatal car accident the previous year. George Reynolds, a
Gordon Jacob Trombone Concerto, and had played five years of Scottish former cornetist, had joined the section in the early
orchestral first trombone, as well as long stints in various Birm- 1960s and was without doubt the finest second trumpet we
ingham big bands. The original seasonal nature of the CBSO ever had. He matched both Howard and Bill perfectly, despite
meant that there were long fallow periods in the summer when their obviously different playing styles. After his car accident,
the orchestra played mainly daytime educational work, leaving Howard Snell put away his trumpet completely following a
the evenings free for dance band gigs. The various lead trum- year or so in the studios and became an extremely successful

brass band conductor and arranger, setting new standards in Even after the tremendous work schedule of the LSO, there
what had been the nursery for most, if not all, of us in the had always been freelance work where one would meet pretty
LSO. He has also become one of the most successful trumpet well all the other London brass players over the years. In gen-
teachers ever, benefiting from his deep insight into his own eral, the “fixers” (orchestral contractors) tended not to mix
playing. “straight” players and the big band specialists. I very rarely
In 1977, Maurice Murphy joined the LSO. His first date worked with Derek Watkins, Tony Fisher, Derek Healy… such
with us was a tour to Mexico City, but his moment came when brilliant but different trumpeters with amazing high registers!
we made the first recordings of music for the Star Wars films, They seemed to inhabit a completely different world and had
with John Williams, in September 1977. Maurice set his seal a degree of freedom that their orchestral counterparts, who
on that recording and were, perforce, tied to a more
on all the subsequent exact interpretation, could only
work that he did with “In 1977, Maurice Murphy joined the imagine. The “straight” free-
the LSO. It seemed to LSO… his moment came when we made lancers, Cliff Haines, John
me to combine all the
best aspects of orches-
the first recordings of music for the Star “Jumbo” Wilbraham, Crispian
Steele-Perkins, were all marvel-
tral subtlety, brass band Wars films, with John Williams, in Sep- ous players in their time and
technical facility and tember 1977. Maurice set his seal on their specific fields of activity.
musicianship, and big Both “Jumbo” and Crispian
band bravura: the kind that recording and on all the subse- were (are) fine soloists. In my
of playing that lifts not quent work that he did with the LSO.” earliest London days, I had the
only the brass section, privilege to work with the vet-
but also the entire or- eran Jack Mackintosh on a few
chestra. With the enormous volume of work that constantly radio dates, playing old-time dance music. Jack used to impro-
occupied the LSO, Malcolm Smith came in 1980 as co-prin- vise the most dazzling embellishments, flying all over the in-
cipal, Willie having moved to third, and was a splendid asset strument, with the conductor not minding a bit—just smiling
to the brass team. The present-day LSO trumpet section that benevolently.
includes Maurice Murphy, Rod Franks, Gerry Ruddock, and The rising generations of young players have always fasci-
Nigel Gomm stands as the best ever in my memory. nated me. It seemed to me that there were two basic schools of
In 1981, to my great surprise, I was invited to join the Philip playing: the old brass band style, with barely suppressed vibra-
Jones Brass Ensemble (PJBE) to be the first trombone player. to but tremendous virtuosity, and what the late John Fletcher
This involved playing first in the ten-piece group which Philip used to call the Prince Consort Road whiter-than-white school—
had founded many years before and also in his brass quintet. referring, of course to Ernest Hall (1891 – 1982), the biggest
The other members of the quintet were John Fletcher on tuba, single influence on British orchestral trumpet playing, who
John Pigneguy on French horn, and James Watson as the other was professor at the Royal College of Music from 1924 until
trumpeter. Jim, at 6 feet 6 inches tall, was a big player in every his retirement. We agreed that this polarized trumpet players;
sense of the word. Having begun as a brilliant brass band they were locked into what had been the best imaginable orch-
prodigy, he had the kind of technical brilliance and power of estral style and technique before WWII. When I was 16 years
expression in his playing that the brass band background gives; old, in 1947, I had the privilege of hearing Malcolm Arnold
his experience on the London orchestral scene and as a cham- playing first with the London Philharmonic Orchestra (LPO)
ber music player made him the perfect quintet member. The at a concert in Vauxhall Motors Canteen, Luton. It so impres-
PJBE had been in existence for almost 30 years when I became sed me that I decided, there and then, to become an orchestral
a member. Philip and I had worked together on many occa- trombonist, spurning suggestions from my schoolmasters that
sions as freelancers and had good mutual respect. His work in I should read for a degree at Cambridge. Malcolm was the per-
forming and running the ensemble made him a legendary fig- fect latter-day manifestation of the Ernest Hall sound and
ure in the world of brass music. Philip’s wife, Ursula, had style. Arnold soon gave up the trumpet to be a full time com-
worked untiringly as business manager and guiding spirit. El- poser. In his film music, 25 years later, he always wrote a spe-
gar Howarth, probably the most sensitive and deep thinking cial third trumpet part for his former teacher, Ernest Hall, who
trumpeter I have ever met, helped Philip immeasurably in the must have been close to 80 years old by then.
early days of the group. The group also included, at various Now all the UK orchestras boast a level of trumpet playing
times, Ray Premru, the bass trombonist (perhaps the best on that was but rarely heard when I was young. Many of the
the planet) and Michael Laird, possibly the best high trumpet prominent trumpeters of today are people I knew as teenagers
ever, as well as top-ranking players such as Paul Archibald and in the 1960s. This includes John Miller (currently director of
Graham Ashton. Although working with Philip meant a per- brass studies at the Royal Northern College of Music), who
petual juggling act to be able to cope with LSO and other worked for many years in the Philharmonia Orchestra with his
work, I managed to stay for almost two years. Finally, pressures fellow Scot, John Wallace. (They came from the same village!)
on my time from my ever-growing mouthpiece and mute busi- Wallace had played with the LSO as co-principal for about a
ness, and the reluctance of the LSO to allow two brass princi- year in 1975 – 76 before his ten years as principal of the Phil-
pals time off, forced me to part company. Some years later, harmonia, then progressed into solo playing and teaching at
Philip decided to stop playing, and the successor group Lon- the Royal Academy of Music in London, eventually finding his
don Brass was formed. I treasure the time that I spent playing niche as principal4 of one of our great institutions, the Royal
brass music with such fine players. Scottish Academy in Glasgow.

The unique British brass band heritage has, over the refine- consistent. Your upbeats and downbeats must be in the same
ment of many generations, combined with a distinct awareness place on every note every time and all short notes should be
of the old orchestral tradition, spawned something very special the same length. Playing with consistency gives you predict-
ability, which the rest of the band will follow with pleasure and
“The unique British brass band her- confidence.
itage has, over the refinement of
“Playing with consistency gives you
many generations, combined with a
predictability, which the rest of the
distinct awareness of the old orch-
band will follow with pleasure and
estral tradition, spawned some-
confidence.”
thing very special in orchestral
trumpet playing.” There are so many areas to master in order to become a good
lead player (such as sound, accuracy, intonation, improvisa-
in orchestral trumpet playing. From my perspective of the last tion, mutes and plunger technique, technical control {shakes,
half-century, the standard of UK trumpet playing has im- glissando, doits, half valve, bends, vibrato, growls, flutter
proved more than I could have believed possible. Long may it tongue, legato, tongue stop}, equipment, concentration, psy-
continue! chology, and business skills). Although I have only touched on
Endnotes : a few of these, they are vital in order to excel in the musical
arena. Remember that relaxation is the key. It is only through
1 The Bournemouth Municipal Orchestra was the precur- relaxation that one is able to concentrate on the music and not
sor of the present-day Bournemouth Symphony Orchest- on the physical aspects of playing the trumpet. The musician
ra. then becomes the medium for the music.
2 A resin from the Isonandra Gutta tree.
3 “Ten bob” is ten old UK shillings, currently worth less About the author: John Thomas has toured and or recorded
than one US dollar! as first trumpet for many bands including Count Basie, Chick
4 The UK equivalent of a provost or dean in the US. Corea and Woody Herman. You can hear John on many tele-
vision series and motion pictures including the current movie,
Ray. Thomas has recently been awarded a Fulbright Senior
Ja z z Cor ner continued from pa ge 69 Specialist Grant, enabling him to travel abroad to ten univer-
sities for the next five years. John is an associate professor at the
estimation, historically significant. Of course there are a num- University of Southern California and a Calicchio trumpet
ber of great lead players on the scene today that will ultimate- artist. You can visit John’s web site (http://leadtrumpet.org) for
ly define the style of the lead players of tomorrow, but I can more on his thoughts and experiences.
only speak from my personal experience.
After a thorough study of style, the listener will see that one Clini c continued from pa ge 68
of the main differences between bands is the time feel, or the
placement of the upbeat eighth note. This is probably the most you eat, how you sleep, the temperature, the humidity, emo-
misunderstood area of lead playing. Many musicians think tional upsets, etc. Good days and bad days are a fact of life for
that playing behind the beat is the hippest thing to do, espe- the brass player.
cially during the most exciting part of the shout chorus. This
action from my musical viewpoint is called dragging and is “Good days and bad days are a
naïve. Maybe the idea comes from a misinterpretation of the
Basie band’s back phrasing. The Basie band sometimes draws fact of life for the brass player.”
out of time the last three eighth notes of a measure, leaving the
impression of a quarter note triplet with the upbeat of beat
four coming right before the downbeat of one of the next bar. Change is inevitable in the long run, too. A violin player
But most of the time, the Basie band puts the downbeat right would not play on the same set of strings for an entire career,
on the beat, not after. yet brass players get one set of lips to last a lifetime. Over time,
The time feel can be obtained by listening to the drummer’s your waistline and hairline may change noticeably, and your
ride cymbal pattern. Every name band has a different time feel, lips change as well. You must accept the changes, and under-
and this is what makes their style unique. The Ellington and stand that your approach to the instrument will need to evolve
Basie band have a tighter pattern with the upbeat eighth note in response to your changing body. Fortunately, the one part
coming closer to the downbeat, almost a dotted eighth feel, of our bodies that seems to improve with age is the brain.
while a band like Kenton or Woody Herman would have a Don’t forget to use it!
more relaxed and smoother upbeat eighth note, being closer to
a more relaxed triplet feel A good lead trumpet player should About the author: Chase Sanborn is a session player in Tor-
be able to play some drums, at least enough to acknowledge onto, a member of the University of Toronto Jazz Faculty, and
the subtle differences between cymbal patterns and to play a the author of Brass Tactics and Jazz Tactics. For more infor-
simple fill either to an upbeat or downbeat phrase. Above all, mation visit his web site (http://chasesanborn.com).
if you want people to follow you as a lead player, you must be
Pedagogical Topics
Jon Burgess, Editor
Trumpet Ensembles Can (Now) Play

More Than Fanfares
BY JON BURGESS
Trumpet ensembles have seen a significant increase in both ensemble music for my doctoral dissertation in 1988. At that
the literature and number of performing ensembles in this time I was able to catalogue a total of 148 pieces for trumpet
medium in the last thirty years. Repertoire for trumpet ensem- ensemble (124 of them had been written or arranged since
bles can be both challenging and enjoyable as chamber music 1974). Today, just a cursory investigation on my part revealed
for all levels of trumpet players. Today there is a sizable body over 800 titles for trumpet ensemble. The main reason for this
of original compositions, arrangements, and early music edi- increase of writing for trumpet ensembles, not surprisingly, has
tions for trumpet ensemble. This hasn’t always been the case. been the International Trumpet Guild. Their annual confer-
Those of us who were trumpet students in the 1960s and early ences have offered a performance outlet for trumpet ensembles
’70s most likely had relatively little exposure to trumpet and now the National Trumpet Competition held annually in
ensembles. As a college student in the early ’70s we would Washington, D.C., holds a trumpet ensemble competition.
occasionally get together to perform the Altenburg Trumpet One of the major obstacles that exist in developing a trum-
Concerto for Seven Trumpets, pet ensemble library is the
Verne Reynolds’ Suite for fact that many composers
Five Trumpets, or Ronald Lo- “It has really only been in the past thir- don’t feel there is a big
Presti’s Suite for Five Trum- ty years that we have seen an increased enough market to publish
pets; these and a few early their work in this genre.
music editions were the effort to compose and arrange for the For tunately there are sever-
extent of repertoire we had trumpet ensemble… The main reason al small publishing compa-
to perform literature of any
significance. There wasn’t
for this increase of writing for trumpet nies (many run by trumpet
players) that provide a
enough music to ever con- ensembles, not surprisingly, has been good starting place to de-
ceive of having a trumpet the International Trumpet Guild.” velop a trumpet ensemble
ensemble that rehearsed library. The following web-
throughout the school year. sites can be seen as a start-
Today most university music departments or schools of music ing place for finding trumpet ensemble music. The sites I
have trumpet ensembles as part of their curriculums. Trumpet selected provide a graded list of trumpet ensemble pieces to aid
ensembles can offer playing demands for trumpet students that in finding works for various levels of ability:
they may not experience playing in other ensembles. Balquhidder Music: http://www.balquhiddermusic.com
Unfortunately we have a limited inheritance of trumpet en-
semble music from the past. The beginning of the trumpet en- Brassworks: http://www.brassworks-music.com
semble can actually be traced back to the 16th century when Brixton Publications: http://www.brixtonpublications.com
the main duty of trumpeters was to add splendor to the courts Eighth Note Publications: http://www.enpmusic.com
they served. It was not unusual for a great court to employ as
many as twenty trumpeters. The trumpets performed courier Hidalgo Music: http://www.hidalgomusic.com
functions in wartime, and at all times heralded the arrival and Manduca Sheet Music: http://www.manducamusic.com
exit of their sovereigns with lavish processional marches and Solid Brass Music Company: http://www.sldbrass.com
fanfares. Early music editions of pieces by Bendinelli, Biber,
Triplo Music: http://www.triplo.com
and the collection of Sonatas of the Charamela Real provide us
examples of these early trumpet ensemble pieces. As changes in Another good source for music is Elan Brass Impressions, a
social structure and musical style took place in the second half source that has no website address. Elan’s catalog contains
of the 18th century, trumpet ensembles faded. There are a few works by Dennis Horton, who has arranged and composed
pieces written for trumpet ensemble after the 1750s; Mozart many excellent pieces for trumpet ensemble for all levels. Elan’s
wrote his Divertimento No. 5 and No.6 for five trumpets and mailing address is 236 E. Deerfield, MT. Pleasant, MI 48848
two flutes, and a few functional pieces by Carl Maria von USA, phone: 517-773-9615.
Weber and Dvorak have survived, but very little was written There are many other excellent sources available for finding
until the second half of the 20th century. trumpet ensemble music, but this provides a good starting
It has really only been in the past thirty years that we have point. There are still many excellent original compositions and
seen an increased effort to compose and arrange for the trum- Continued on Page 75
pet ensemble. I wrote an annotated bibliography of trumpet
Inside the Orchestra Section
James West, Editor
More “Inside the Trumpeter’s Studio” with

Gary Peterson
BY JAMES WEST
Starting with the October 2005 ITG Journal, we’ll ask dif- Solo playing: Timofei Dokshizer (for the simple beauty in
ferent orchestral trumpeters from different parts of the world his music making) and Maurice André (for his golden sound
how they prepare and play certain standard excerpts. I hope to and phrasing)
uncover some differences of opinion! I also plan to continue
the Trumpeter’s Studio questions. This issue’s respondent is What would you like to hear God say when you enter the Pearly
Gary Peterson, principal trumpet with the Bergen Philhar- Gates?
monic Orchestra in Norway. You can read more about the “Good job, you’re in!”
Bergen Philharmonic Orchestra’s trumpet section in the Orch-
estra Section Profile Column in the October, 2004, ITG Journal About the respondent: In 1999, Gary Peterson joined the Ber-
(page 68). JW gen Philharmonic Orchestra as principal trumpet after leaving
the same position in the Singapore Symphony Orchestra.
Who was/is your favorite conductor? Why? Since 2000, he has been trumpet teacher at the Grieg Academy
My choice for standard orchestral works would be Andrew (University of Bergen). Peterson studied with James West at
Litton… he is very easy to play for, has very high standards for Louisiana State University and with Roger Voisin at Boston
both himself and the orchestra, and is a dedicated thinking and University, where he became the first brass player in the
feeling musician. school’s history to be awarded an Artist Diploma.
For contemporary music I am partial to Reinbert De Leeuw.
It’s rare and beautiful to see a musician take every note so per-
sonally! Peda gogi ca l Topi cs continued from pa ge 74
What do you want from a conductor? arrangements that have been premiered at ITG Conferences
Clarity, musical integrity, respect. over the past thirty years that unfortunately have not received
repeated performances. As mentioned before, composers
What word do you want to hear the least from a conductor? and/or publishers do not feel there is a large enough market to
To shout, “Trumpet!!!” in an angry fashion. publish these works, so many good trumpet ensembles remain
unpublished. Past ITG Conference programs provide a valu-
What do you consider to be your most stellar performance? able source of trumpet ensemble literature. If the trumpet
Probably Sibelius Symphony #2, on tour in France, with the ensembles are unpublished I have found most composers,
Bergen Philharmonic Orchestra… or possibly Stravinsky’s Pet- when contacted, are eager to share their compositions. With
rushka, also on tour (in the Arctic), with the same orchestra. the continued popularity of university trumpet ensembles and
annual ITG Conferences, the future looks bright for the devel-
What do you consider to be your least stellar performance? opment of the trumpet ensemble as a medium for art and edu-
Perhaps a “nervous” Petrushka, in Bergen, the night before cation.
the tour.
About the author: Jon Burgess is associate professor of trum-
What orchestral piece do you feel you bring something special to? pet at Texas Christian University in Fort Worth, Texas. He has
Why? earned degrees from Arizona State University (DMA), Univ-
Sibelius Symphony #2. I feel very emotionally connected to ersity of Kansas (MM), and the University of Illinois (BM).
it. Burgess and TCU hosted the 2003 ITG Conference.
What orchestral piece is your least favorite to play? Why?

There are so many!
Make Plans Now to Attend
Who is your favorite all-time trumpeter? You may pick one or
divide your answer into categories.
Symphonic playing: Roger Voisin (for the sheer joy inherent
2006 ITG Conference
in his playing),
Adolph Herseth (for creating the standard), and Philip
June 6 – 10, 2006
Smith (for his elegance and grace).
Orchestra Section Profile
Murray Greig, Editor
The BBC Scottish Symphony Orchestra

Trumpet Section
H i s to r y Symphony Orchestra. He has appeared as soloist with the
The BBC Scottish Symphony Orchestra (BBC SSO) was orchestra on a number of occasions, most notably per-
formed in 1935 and is one of Britain’s busiest orchestras forming the premiere of Judith Bingham’s trumpet con-
(http://www.bbc.co.uk/scotland/musicscotland/bbcsso). It certo Shooting Star at the Royal Scottish Academy of
performs a huge repertoire, ranging Music and Drama and Mark Anthony Turnage’s Dispelling
from the most complex modern scores
to the great classics, from music for
film and TV to new music by con -
temporary composers. The BBC SSO
performs all over Scotland and the UK,
and appears at Europe’s most presti-
gious events including the BBC Proms
and the Edinburgh In ter nat ional
Festival. It performs in the great cul-
tural centres of Europe, and in recent
years has toured in China and in the
USA. All of its performances are
broadcast on BBC Radio and Televis-
ion, and its innovative concert pro-
grams and acclaimed recordings have
made it the recipient of numerous
awards, including two Gramophone
Awards and a Grammy nomination.
The British Royal Philharmonic Socie-
ty presented the BBC SSO with its
award for Best Orchestra in 2002, and The section of the BBC Scottish Symphony Orchestra
its Chief Conductor, Ilan Volkov, with L – R: Mark O’Keeffe, Eric Dunlea, Mark Allen
the prize for Best Young Artist in 2004. The BBC SSO will
move into its new recording and performing home at Glas- the Fears with John Wallace. Mark has recently visited
gow’s fully restored City Hall in September 2005. Peru where he was soloist with the Lima Symphony
Orchestra, a project sponsored by the British Council. He
T he Section has also toured the east coast of Australia with “The
Mark O’Ke effe, principal Wallace Collection.” In addition to his career with the
Ins tr u me nt s . E-flat trumpet: Schilke E3L-4 (this is BBC SSO, Mark is a committed chamber musician, play-
O’Keeffe’s “instrument of choice” on the majority of the ing in various ensembles and sharing his passion for new
piston repertoire); B-flat trumpet: Schilke B1; C trumpet: music. He is also highly regarded as a teacher, most
Taylor “Chicago” model; B-flat/A piccolo trumpet: notably at the Royal Scottish Academy of Music and
Schilke P5-4, B-flat cornet Schilke; Rotary C trumpet: Drama (RSAMD).
Schagerl “Vienna” model Eric Dunlea, s ub-principal
Mouth pie ce s . B-flat, C, E-flat trumpets: Stork 2D+, In s t r u m e nt s . B-flat trumpet: Smith-Watkins; E-flat
Stork 3CR-A mouthpiece, trumpet: Schilke E3L-4; Bb/A piccolo trumpet: Schilke
Piccolo trumpet: Stork 3P, Rotary trumpet: Schagerl G3 P5-4; Rotary C trumpet: Schagerl “Europa” model
Mark O’Keeffe is a native of County Cork, Ireland. He M o u t h p i e c e s . B-flat, E-flat trumpets: Stork custom
studied at Cork’s School of Music before entering the (Bach 1+1/4C equivalent); Piccolo trumpet: Stork 3P;
Royal Northern College of Music, Manchester where he Rotary trumpet: Schagerl G1
studied with Murray Greig. During this time, Mark was Eric Dunlea was born in Cork City in The Republic of
chosen as the winner of the Radio Telefis Eireann’s (RTE) Ireland. He studied at the local school of music with
“Musician of the Future.” Mark returned to Ireland when Frank Lacey and later at University College Cork, before
he was appointed associate principal trumpet of the taking a post-graduate course at The Royal Academy of
National Symphony Orchestra of Ireland for four years Music in London with Sidney Ellison. Eric worked with

prior to being appointed principal trumpet of the BBC Continued on Page 79
Science Desk
Thomas Moore, Editor
Some Final Thoughts on Bell Vibrations

BY THOMAS MOORE
In the previous edition of this column I discussed some ex- mouthpiece with the measuring device. Therefore, it is impos-
periments that my students and I performed to determine the sible to measure the input impedance while the trumpet is
effects of bell vibrations on the sound of the trumpet. I point- being played. So we had to turn to computer modeling to find
ed out that I firmly believed that the bell vibrations did not out what may be happening.
actually have an effect on the sound, and was then subse- We first built a program that could predict the impedance of
quently proved wrong by an extensive set of experiments. a complicated structure such as a trumpet. We then validated
These results may come as no surprise to many trumpet play- this model by measuring the input impedance of a structure
ers, but they are surprising to a large number of scientists. containing a mouthpiece, leadpipe, and tubing. Gary Radtke,
This surprise comes from the fact that there is no obvious of GR Mouthpieces, machined the parts. Radtke used a series
reason why the bell vibrations should affect the sound proof known equations to produce them. We then inserted these
duced by the trumpet. The most common explanation given equations into our computer model and compared the pre-
by artists is that light bells ring more easily than heavy bells, dicted impedance with the measured impedance. The almost
and therefore lighter bells produce a brighter sound than heav- perfect match gave us confidence that our computer model
ier bells do. Unfortunately, the trumpet is not a percussion actually can predict input impedances of trumpets. We then
instrument. The sound is produced by vibrations of the air began to search for something that could be related to the
inside the trumpet, not vibra- vibrating bell that would some-
tions of the metal. There is lit- “…recently published work shows that how affect the input imped-
tle doubt that the metal vib- ance. We quickly discovered the
rates, and that these vibrations the sound attributable to the vibra- importance of the viscous
produce some sound; however, tions of the air in a trombone is appro- boundary layer.
recently published work shows The viscous boundary layer is
that the sound attributable to ximately ten-thousand times more in- the layer of air between the wall
the vibrations of the air in a tense than the sound produced by the of the trumpet, which is a point
trombone is approximately where the air does not move at
ten-thousand times more in- vibrations of the bell vibrations.” all, and the point where the air
tense than the sound produced is flowing at a speed close to the
by the vibrations of the bell vibrations. Since the bell of a maximum. This distance is typically a few thousandths of an
trombone is significantly larger than that of a trumpet one inch, but if the thickness is increased by the movement of the
may assume that the trumpet bell produces even less sound trumpet bell, the impedance of the trumpet changes dramati-
than a trombone. cally. We measured the distance that the bell actually moves as
Since my students have shown unequivocally that the bell it vibrates and then put this value in as the boundary layer for
vibrations can significantly affect the sound produced by a the last few inches of the bell and were surprised to find that
trumpet, and others have shown that the sound produced by the impedance changed in such a way as to increase the inten-
the bell vibrations almost certainly cannot produce these sity of the higher harmonics. That is, our computer model pre-
changes, we are left wondering just what causes the change in dicted that bell vibrations would produce a “brighter” sound.
the sound. After some thought we surmised that the bell vibra- I won’t bore you with the details of the year-long set of
tions were affecting the movement of the lips, leading us to the experiments that showed we were wrong. Suffice it to say that
conclusion that the bell vibrations somehow change the re- the results were disappointing and we discovered that we need-
sponse of the trumpet. ed to come up with a better theory. We were sure that the
The term response is rather vague, but it is generally accept- sound of the vibrating bell was not producing a noticeable
ed that the response of a trumpet can be traced to its input sound, but we became just as convinced that the bell vibrations
impedance. The impedance of a trumpet is a measure of the were not producing a significant change in the boundary layer.
resistance to air flow, and contrary to our intuition, the larger At this point we realized that some of our experiments had
the impedance at a certain pitch, the easier it is to play it. (See shown that most of the vibrations of the bell are not produced
page 70 of the October 2002 edition of the ITG Journal for a by the sound of the trumpet, but rather by the movement of
more detailed explanation of impedance.) Thus we concluded the lips. Large vibrations are transmitted from the mouthpiece
that the bell vibrations somehow change the input impedance through the metal tubing and bracing to the bell, but the
of the trumpet. amount of bell vibration caused by the actual sound inside the
It is not difficult to measure the input impedance of a trum- trumpet are much smaller. We then hypothesized that that the
pet. It is a quite common measurement that can be made in bell vibrations may be significantly affecting the movement of
many laboratories throughout the world, including ours. the lips by transmitting the vibrations through the metal back
However, to make the measurement it is necessary to cover the
Web Site Reviews
Michael Anderson
The Internet, with its vast resources, offers an unprecedented volume of information to trumpet players. ITG offers this column as an
introduction to this exponentially expanding resource. ITG cannot guarantee that these locations are completely accurate, and that all
copyright laws have been observed. For suggestions and/or comments, contact Michael Anderson, [email protected]
Online Radio Stations

This column marks the conclusion of the third season of Internet congestion.
Web Site Reviews in the ITG Journal. The World Wide Web is Most professional orchestra concerts in the U.S. and Britain
proving to be a powerful resource for those who practice our are broadcast on a classical radio station in their area. The con-
“loud and lofty art.” As I look back through the Web Site certs are usually recorded live and then played at a later date on
Reviews archives on the ITG Web a local station, usually on the
Site, I realize that not only are most “…you can easily hear live con- FM band. Many of these radio
of the sites reviewed still operating,
many of them have gone through
certs of orchestras in New York, stations have web sites with a
schedule of these programs
significant improvements. These St. Louis, Detroit, Minneapolis, and a live stream of their sig-
sites are worth visiting periodically Atlanta, Los Angeles, most BBC concerts nal. So, you can easily hear live
to check for new material and new of the orchestras in
innovations. An excellent example Orchestras, Amsterdam’s Con- New York, St. Louis, Detroit,
of this is the new site for Bal - cert ge bouw Orch es t ra, Ber lin Minneapolis, Atlanta, Los An-
quhidder Music, L.A. Philharmonic geles, most of the BBC Orch-
trumpeter Rob Roy Mc Gregor’s Philharmonic, and many more.” estras, Amsterdam’s Concert-
publishing company. This site was ge bouw Orch est ra, Ber lin
significantly upgraded in January of 2005 and now includes Philharmonic, and many, many more. Even my local orchestra
excellent graphics and navigation elements. You can also concerts are regularly available online. Unfortunately, as I was
download all sorts of free samples of everything he has in his researching this column I found that a few of the major orches-
catalog. Check it out (http://www.balquhiddermusic.com). tras do not allow partner radio stations to stream their concerts
You don’t have to get your old journals off the shelf to go online. I’m not entirely sure why some orchestras do not allow
back through the Web Reviews archive. You can find every col- this, but I am pleased to find many more who do, than don’t.
umn in the ITG Journal section of the ITG Web Site. Web Site I could provide a list here of web addresses to these types of
Reviews is the only ITG Journal item that we publish online radio stations, but its very easy to locate them yourself. Simply
immediately. In fact, because of its time-sensitive content, it is fire up your browser and go to the most popular search engine
usually online months before appearing in the print Journal. on earth (http://www.google.com). Search around using key
To read archive and current columns, point your browser to words such as “classical music radio” adding the city whose
the Web Site Reviews page (http://www.trumpetguild.org/ orchestra you wish to find. It’s not foolproof, but usually you
journal/webreviews/webrev_index.htm). Another advantage of can find the web site of the right radio station on the first page
viewing this column online is that all the web sites reviewed are of results. At times I had to use the “advanced search” feature
hot-linked so that you can simply click on them to visit. to zero in on my goal, but I eventually found the stations I
Continuing the tradition of dedicating the June Web Site desired. Also, if you know the call letters of the station, their
Reviews column to Internet resources that are not specifically web site is usually the call letters followed by the .org suffix.
trumpet related, online radio stations provide our topic for this Here are a few to get you started:
column. I believe the live streaming of a radio broadcasts on Altanta Symphony Orchestra
the Internet to be one of the least-known technologies among (http://www.wabe.org/radio/shows/aso.html)
musicians. Somewhat like satellite radio, live radio webcasting Los Angeles Philharmonic
eliminates the geographical restrictions of traditional terrestri- (http://www.kusc.org/LA_Philharmonic.shtml)
al AM/FM radio. Many (if not most) major AM/FM radio sta- Minnesota Orchestra
tions in the world are now offering live webcast streams of (http://minnesota.publicradio.org/radio/services/live1)
their daily content. Also, there are many “Internet-only” sta- Dallas, Fort Worth and Detroit Symphonies
tions cropping up on the net. Although a few online radio sta- (http://www.wrr101.com)
tions are offering online content for a modest subscription fee, One of the finest online radio stations is BBC Radio 3
most are free to any user who has a good broadband (high (http://www.bbc.co.uk/radio3). This web site not only offers a
speed) internet connection, a compatible media player instal- live stream, it makes available an enormous amount of content
led on their computer, and the web address of the radio station in its easily explored archives. Much of what has been broad-
you wish to monitor. Be aware that the fidelity of this kind of cast in the last week or so is readily available in the archive. All
delivery is not always the best. Most of the time it sounds as their professional orchestras and performing groups are repre-
good to my ears as any FM station, but sometimes there is a sented here. You could spend all your time on this site and not
loss of fidelity due to the compression of the audio signal and want for more.
Apple’s free iTunes player makes available a wide variety of Science Desk continued from pa ge 77
online radio stations that are categorized by genre. You can
find stations that specialize in all kinds of music by browsing to the lips.
through the radio area of iTunes available for both PC and The experiments to show that this is a feasible explanation
Mac computers (http://www.apple.com/itunes). took another year, and involved measuring the vibrations of
For jazz lovers I can recommend three excellent online jazz the mouthpiece while the artificial mouth that I described in
stations. First, the internet-only station Jazz Player Radio the March 2005 column (page 66) played the trumpet. We
(http://www.jazzplayerradio.com). This station began as an found a large difference in the vibrations of the mouthpiece,
“All-Maynard-All-The-Time” station, but quickly expanded to and subsequently undertook an effort to prove mathematical-
include all sorts of great jazz trumpet players. It is one of thou- ly that vibrations of the mouthpiece can indeed add power to
sands of online radio stations available through Live365.com; the higher harmonics. We eventually showed that if the vibra-
this is an enormous clearinghouse of commercial-free radio tions of the bell cause the mouthpiece to vibrate, then the
stations that you can access via the Internet. It requires a pro- sound will be “brighter” if the bell vibrates than if the bell is
prietary player that won’t work with Macs, but I was able to not allowed to vibrate.
easily get mine to play through iTunes. Check it out I will not claim unequivocally that indeed the difference in
(http://www.live365.com) for just about any radio content the sound of a trumpet with a light bell and one with a heavy
you can imagine. It’s easy to search and browse by genre. Next, bell is due to vibrations of the mouthpiece. In an article recent-
I highly recommend the web version of a great FM Jazz station ly accepted for publication in the journal of the European
(http://www.jazzfm.com) out of London. They have a free ver- Acoustical Society, Acta Acustica, my students and I merely
sion and a subscription service making available a great deal claim that this explanation is the most likely. But one thing is
more content. Finally, check out wwoz (http://www.wwoz.org) certain: the most common reason given by musicians for this
out of New Orleans, Louisiana, which bills itself as “New effect, that the brighter sound created by a lighter bell is due
Orleans Roots Radio.” to it audibly ringing, is not realistic.
The information in this column barely scratches the surface Although the details outlined above may be a little tedious
of what is available online, but if you aren’t already experienced to some readers, I have explained our investigative process to
with online radio, it will get you started. demonstrate that answers to questions such as why trumpets
with light bells sound different than ones with heavy bells are
About the author: Michael Anderson is assistant professor of not trivial. Indeed, it is not even obvious that this effect is
music at the Blair School of Music at Oklahoma City Univer- found in any other instrument. I know one very reputable sci-
sity and is a member of the Oklahoma City Philharmonic. He entist, musician, and instrument designer who does not believe
is the Executive Director of the ITG Web Site, a member of the that the bell metal and bracing have any effect at all on the
ITG Board of Directors, the ITG Journal Editorial Commit- sound of trombones, and he has data to prove it. I believe him.
tee, and Chair of the Technology Committee.
Orchestr a Secti on P rofile continued from pa ge 76 “As musicians we often ascribe a

the RTESO in Dublin and the BBC Northern Orchestra
cause to an effect without any proof.
before coming to Glasgow in 1979. He studied conduct- Usually, the explanation makes some
ing at the RSAMD with Martyn Brabbins and now con- intuitive sense, but it is often wrong.”
ducts the Stirling City Choir and St James Orchestra in
Paisley. Eric enjoys a game of golf at Lochwinnoch where As I noted in the previous column, I was wrong when I
he lives with his wife Louise. assumed that bell vibrations do not really affect the sound of a
Mark Allen, principal third trumpet simply because the explanation for the effect tendered
Instruments . B-flat trumpet: Bach ML 37; C trumpet: by musicians is not plausible. I have learned my lesson. How-
B&S; E-flat/D trumpet: Yamaha 6610S; B-flat/A piccolo ever, I hope that these investigations have taught us all anoth-
trumpet: Schilke P5-4; B-flat cornet: Smith-Watkins; er lesson. As musicians we often ascribe a cause to an effect
Rotary B-flat trumpet: Schagerl “Europa” model; Natural without any proof. Usually, the explanation makes some intu-
trumpet: Keavy-Van Ryne itive sense, but it is often wrong. Unfortunately, we then pro-
Mouth pie ce s . B-flat, C, E-flat/D trumpets: Bach 3C; ceed to modify our instruments based on these fantasies, some-
Piccolo trumpet: Stork LTS6; B-flat cornet: Warburton times to the detriment of our instrument and always to the
3D cup / 12 backbore detriment of our wallet. I am not against modifying an instru-
Mark Allen studied with Murray Greig and John Mac- ment, but before we do, let’s make sure we know that what we
Murray at the Royal Northern College of Music in Man- are changing on our horn actually has something to do with
chester, graduating in 2001. He has worked with many of what we want changed in our sound.
Britain’s top orchestras including the London Symphony
Orchestra, Royal Philharmonic Orchestra, Covent Gar- About the author: Thomas Moore is a professor of physics at
den, BBC Welsh, BBC Philharmonic, Halle, Royal Liver- Rollins College in Winter Park, Florida, where he is teaching
pool Philharmonic Orchestra (RLPO), and The Orchestra and doing research on the physics of musical instruments.
of Opera North. Allen performed the Arutunian Trumpet Prior to coming to Rollins College he was a research scientist
Concerto with the Halle Orchestra in 2002. Mark took up at the Lawrence Livermore National Laboratory and spent sev-
the third trumpet post with the BBC SSO in September eral years on the faculty at West Point.
of 2004.
Recording Reviews
Elisa Koehler, Editor
Recording Reviews appear regularly in each issue of the ITG there are wonderful singing moments, passages played with a
Journal. Recently released solo trumpet, trumpet ensemble, or delicate touch, movements that dance and bounce. This is not
brass ensemble recordings may be submitted by the artist, a typical trumpet and organ recording. Organist Wayne Mar-
agent, recording company, or distributor. Items for review and shall breathes new life into this instrumental combination with
reviewers are selected by the editor. Journal publication dead- his outstanding and creative choice of stops so that nothing
lines require that reviews of selected items will appear approx- sounds cliché. Marshall is able to find color combinations that
imately six months after they are received. Qualified ITG enhance the music, that either cooperate with or dramatically
members are invited to review works submitted based on their oppose Antonsen’s trumpet playing. Marshall is also very sen-
area of expertise (e.g., solo trumpet, brass quintet, jazz). sitive to the length of notes and clarity of articulations. This is
Review copies of the discs will be forwarded to selected review- perhaps why the music can dance and become light—because
ers. Reviews reflect the opinions of individual reviewers and the organist does not sit with full weight on every note. In
not those of the International Trumpet Guild. The editor addition to the standard repertoire Antonsen performs several
strives to present unbiased reviews written by musicians unaf- Scandinavian selections with irresistible sincerity and heartfelt
filiated with the recording artists. This column marks Elisa musicianship. The regal and poetic artistry of this recording
Koehler’s final effort as Recording Reviews Editor. To submit are touching and inspiring. (John Falskow, assistant professor
an album for review consideration or to request to join the of music, Lander University)
review staff, please contact the new editor, Peter Wood, at the
following address: Peter Wood, Dept. of Music, Laidlaw Per- Bos ton Brass —Within Earshot
forming Arts Center, University of South Alabama, Mobile, AL Rich Kelley, trumpet; Jeff Connor, trumpet; J.D. Shaw, horn;
53688 USA ([email protected]; 712-276-0122). Ed Clough, trombone; Andrew Hitz, tuba
DCD 384 (CD); Summit Records; P.O. Box 26850 Tempe,
Ol e Ed va rd An to n s e n —Pop u l ar P i e ce s fo r Tr u m p e t a nd AZ 85285-6850; http://www.summitrecords.com
Organ All arrangements by J.D. Shaw: Shostakovich: “Galop” from
Ole Edvard Antonsen, trumpet; Wayne Marshall, organ Moscow Cheryomushki (Shaw); Ginastera: “Danza
EMI Classics 7243 5 55048 2 1 (CD); Angel/EMI Classics, Final” from Estancia; Anon: Svatba; Dvorak: “Largo”
304 Park Avenue S, 4th Fl., New York City, New York from Symphony No. 9; Khatchaturian: Gayaneh Ballet
10010, http://www.emiclassics.com; 212-253-3000; Suite; Liszt: Hungarian Rhapsody No. 2; Anon: Danny
fax 212-253-3099 Boy; Aguirre: La Huella; Gottschalk: Tournament Gal-
Martini: Toccata; Charpentier: op; Grieg: Peer Gynt Suite.
Prelude to Te Deum; Bach: Je- This is the fifth recording for
su, Joy of Man’s Desiring; the Boston Brass, featuring a
Bach: Badinerie from Suite No. nice variety of skillfully arrang-
2; Bach: Wachet auf; Tel e - ed pieces by J. D. Shaw, the
mann: Musique héroïque ou group’s horn player. The liner
X I I m a r c h e s ; Ba c h : Nu n notes contain some interesting
komm, der Heiden Heiland; information on where the re-
Bach: Air from Suite No. 3; cording took place, a little his-
Clarke: Trumpet Voluntary; tory of the brass quintet, and a
Rachmaninov: Vocalise; Grieg: modest amount of information
Last Spring, Op. 34 No. 2; Grieg: So lokka me over den about the recorded selections.
myra; Norwegian Traditional: Bryllupsmarsj fra Nord- This CD was recorded in a church in Massachusetts, giving the
møre; Olsen: Canto Amoroso; Lindberg: Gammal fäb- listener a sense of how the group would sound in concert. The
odpsalm från Dalarna. track numbers follow the movements of the two suites, so they
International trumpet soloist Ole Edvard Antonsen teams do not line up with what is listed on the jacket. On this CD,
up with world-class organist Wayne Marshall on this superb Boston Brass continues to push the boundaries of superbly
recording featuring many standard trumpet and organ works. performed original arrangements while preserving the great
This instrumental combination is easy to love. These instru- tradition of the brass quintet. Their versatility and musician-
ments are both powerful and colorful; destined to be paired ship are immediately apparent on the opening track,
together in performance. What is so refreshing about this Shostakovich’s Galop. From the start, the crystal-clear articula-
recording is that Antonsen and Marshall do not entirely dwell tions and beautiful dynamic contrasts really engage the listen-
on the powerful nature of their instruments; they explore more er. The group’s ability to blend with one another is splendid.
soft and intimate colors as well. The CD opens with a brilliant In both the “Largo” from Symphony No. 9 and in Danny Boy,
and sparkling performance of the Martini Toccata, played at a the intonation and the precision of attacks and releases greatly
thrilling tempo that shows off Antonsen’s absolute technical enhance their expressiveness. The quintet really gets to open
control. But one only needs to listen further and find that up on Liszt’s Hungarian Rhapsody #2, but their brisk and
strong bravura on La Huella is a true testament to this group’s impressionistic and even atmo-
power and virtuosity. This recording is wonderfully performed spheric moods.” The result is a
and will inspire a wider audience than just brass quintet fans. wonderful collection of new
(Kurt Zemaitaitis, trumpet section leader, Fort Gordon Army works for trumpet ensemble
Band, Augusta, GA). and consistently excellent per-
formances from the Freiburg
Mike Cow ie—Lucid Blue Trum pet Ensemble. In addi-
Mike Cowie, composer, arranger, trumpet; John Hollis, flute; tion to directing the group,
Mitch LeBlanc, tenor saxophone; Gerry Carruthers, Plog’s compositional talents are
piano; Shan Arsenault, Georges Herbert, and Chris Ian- on display in his work, The
netti, guitar; Danny Sutherland, bass Bells. Originally scored for sop-
Mike Cowie Music Productions 0205410 (CD); Mike Cowie rano and piano, Plog re-orchestrated it for eight trumpets and
Music Productions, 6051 Charles Street, Halifax, Nova four trombones divided into two choirs of four trumpets and
Scotia B3K1K9, Canada; http://www.cowie.ca two trombones, percussion, and soprano. The text uses the
Cowie: Afterglow; Lucid Blue; City Light; Jeanie; Paris; Hip poem of the same name by Edgar Allen Poe and is dedicated
Bop; Funky Poppins; Blow!; Later; Things Ain’t What to Maria Celia Bengtsson, whose strong vocal artistry is fea-
They Used To Be. tured on this piece and the composition by Doug Lowry, Blue
When the cosmic waves of Mazda. Henry Wolking, professor of music at the University
the intro of this CD break into of Utah, wrote Jazz Scenes (mislabeled Jazz Suite on the record-
a relaxed back-beat and moody ing) for trumpet octet. This four-movement work quotes sev-
melodic lines, the listener eral classic jazz standards including Clifford Brown’s Joy Spring
knows that he has arrived in a and Miles Davis’ improvisation on the tune So What. In addi-
chill-out zone. Canadian musi- tion to the four primary compositions written for this CD,
cian Mike Cowie wrote, ar - each composer was asked to write a short prelude for trumpet
ranged, recorded, mixed, and quartet. Each of the quartets is approximately one minute in
produced Lucid Blue, ten length and each quartet was written for a different mute to fur-
tracks of jazz funk. Although ther demonstrate the tonal possibilities of the trumpet ensem-
the computer-generated back- ble. The recording quality and performances are excellent
ing track plays a major role in producing the variety and inter- throughout the CD. The Freiburg Trumpet Ensemble achieves
est in this recording, the trumpet features prominently a wonderful ensemble balance and unified concept of sound,
throughout, as Cowie’s tunes groove within the constantly making these difficult works sound effortless. This CD is
morphing electronic rhythms. In the liner notes he shares that important for two primary reasons. First, it provides new, qual-
“most of the performances you hear on Lucid Blue were ity compositions for trumpet ensemble. Second, it spotlights
recorded in the first or second take.” The musicians certainly some exceptional trumpet ensemble performances by the Frei-
must have had a great time playing with sounds that could burg Trumpet Ensemble. Hopefully this CD will accomplish
have come from a 1970s science fiction movie, and with funky its goal of encouraging composers to consider the trumpet en-
sampled vocals mixed as if on a turntable. The flute playing of semble as a viable venue “for their expressive and creative out-
John Hollis in Paris, and the tenor sax of Gerry Carruthers in put,” and to encourage other trumpet ensemble recordings of
the title track, Lucid Blue wake the senses with a welcome vari- this caliber. (Jon Burgess, associate professor of trumpet, Texas
ety of tone colors. Cowie teases the listener with trumpet-on- Christian University, Fort Worth, TX)
trumpet banter in the especially notable City Light and Blow!
This recording will definitely fill the bill as a soundtrack for a John Holt—Facets
relaxing evening unwinding at home. (Heidi Schiller, musical John Holt, Rick Bogard, Keith Johnson, Adam Gordon, Bert
director, Akademische Bläserphilharmonie Wien, Vienna, Truax, Jimmy Tullos, trumpets; Natalia Bolshakova,
Austria) piano; Ricky Duhaime, conductor
Crystal Records 762 (CD): Crystal Records Inc, 28818 NE
Fre iburg Trumpet Ensemble—New Dimens ions Hancock Road, Camas, WA 98607;
Freiburg Trumpet Ensemble; Anthony Plog, Director; Maria http://www.crystalrecords.com
Cecilia Bengtsson, soprano Wintle: Ballade for Trumpet in C and Piano; Mozart (Riedo):
Summit DCD 366; Summit Records, Inc., Box 26850, Tem- Kyrie for Five Sopranos, K.89; Luening: Introduction
pe, AZ 85285; http://www.summitrecords.com and Allegro; Clarke: From the Shores of the Mighty Pa-
Campo: Preludio No. II, Reflections I and II; Plog: Hurry Up, cific; Lo Presti: Suite for Five Trumpets; Peeters: Sonata
The Bells; Lowry: Piece a Brevis, Blue Mazda; Wolking: for Trumpet and Piano; Ellington (Mandernach): I’m
Wisp, Jazz Scenes. Beginning To See The Light; Ellington (Mandernach):
New Dimensions features the Freiburg Trumpet Ensemble Sophisticated Lady; Clarke: The Southern Cross; Tull:
under the direction of Anthony Plog. The group is composed Canonical Trilogy for four trumpets; Wintle: Three
of current and former students from the trumpet class at the Studies for Trumpet Ensemble.
Stattliche Hochschule für Musik Freiburg im Breisgau. The John Holt offers an appealing mix of repertoire on his latest
goal of the CD, according to the liner notes, is to demonstrate release entitled Facets. Holt’s full, warm sound, mastery of
that the trumpet ensemble is capable of “many different forms technique, and commanding presence on the trumpet are cer-
of expression, ranging from typical fanfare-like postures to tainly apparent on this recording. He is able to communicate

tone qualities that range from jazz today, it is a real pleasure to hear something that doesn’t
brilliant and playful to pure compromise the integrity of the art form. Jenkins and his side-
and hauntingly dark. Of par- men are a delight for the purist who is looking for something
ticular note is his performance contemporary yet still anchored in tradition. This is not just
of Herbert L. Clarke’s compo- another blowing session, however. All the tunes in this collec-
sition, The Southern Cross. The tion are beautifully presented in unique arrangements, includ-
varied musical dialogue be - ing the two standards that feature vocalist Karrin Allyson.
tween the piano and trumpet Everyone has plenty of solo space to develop his ideas within
makes this performance stand the group setting and communication among the players is
out from other available recor- consistently tight and exciting. I did not find a single flat spot
d ings of the same title. The in any of the performances. The clarity and balance of the
technique is well polished and his flexibility from the bottom recording are excellent. The clean, unprocessed sound quality
to top range of the instrument is astounding. The two tasteful lends a very intimate flavor to the proceedings. Jenkins and
jazz arrangements by Chuck Mandernach (written specifically Perry are both exceptional improvisers and masters of their
for Holt) clearly demonstrate Holt’s ability to play fluidly in respective instruments and never confuse technical display
multiple styles. His solo flugelhorn performance in the ar- with musical statement. Pianist Danko and the rest of the
rangement of Sophisticated Lady deserves additional merit. The rhythm section support admirably throughout and make their
disc concludes with one of two works on the CD that Holt own strong contributions. This CD will stay in my CD player
commissioned by composer James Wintle, entitled Three for quite a while. (David A. Johnson, professor of harmony,
Studies for Trumpet Ensemble. This piece is scored for five trum- Berklee College of Music, Boston, MA)
pets in various combinations including five trumpets in C in
the first study, solo flugelhorn and four muted B-flat trumpets John La Barbera Big Band—On The Wild Side
in the second study, and piccolo trumpet in A and four C Wayne Bergeron, Dennis Farias, Bob O’Donnell, and Clay
trumpets in the third study. The ensemble performs with ener- Jen kins, trumpet; Bud Shank, Brian Scanlon, Kim
gy and technical ease as they tackle an incredibly technical and Richmond, Bob Shepard, Pat La Barbera, Tom Peter-
tonally interesting composition. The recording quality of the son, and Bob Carr, sax; Bruce Paulson, Alex Iles, Andy
CD is excellent and the mix and balance of musicians through- Martin, Bill Reichenbach, and Ken Kugler, trombone;
out is first-rate. This CD would be an excellent addition to any Bill Cunliffe and Tom Ranier, keyboards; Tom Warring-
library not only for the musical quality found, but also for the ton, bass; Joe La Barbera, drums; Scott Breedman, per-
incorporation of some less familiar compositions that are cussion
worth special attention. (Janel M. Reed, Band Director Eagle Jazz Compass JC1007, Jazz Compass, 2708 Foothill Blvd.
Point High School and Freelance trumpeter; Eagle Point, #285, La Crescenta, CA 91214;
Oregon) http://www.jazzcompass.com
All arrangements by John La Barbera. Mayreh: Silver; So
Clay Jenkins—Matters of Time What: Davis; Tiger of San Pedro: J. La Barbera; Message
Clay Jenkins, trumpet; Rich Perry, tenor saxophone; Harold from Art: Joe La Barbera; Walk On The Wild Side
Danko, piano; Bob Bowman, bass; Steve Houghton, Suite: E. Bernstein; Cachaca Gotcha: J. La Barbera;
drums; Karrin Allyson; special guest vocalist Eleanor Rigby: Lennon/McCartney; Cloth of Silver-
JazzCompass JC1008; Jazz Compass, 2708 Foothill Blvd Threads of Gold: J. La Barbera; Highland Crossing: J.
#285, La Crescenta, CA 91214; La Barbera.
[email protected]; http://www.jazzcompass.com This is one monster band
Jenkins: Two-Below; Jenkins: Rail Trails; Monk: Trinkle Tink- featuring the brothers La Bar-
le; Jenkins: Matters of Time; Kern / Harbach (Rich- bera; John, Joe, and Pat, “per-
mond): Yesterdays; Kern / Robin: In Love In Vain; Dan- forming with a bunch of
ko: Chet’s Maze; Jones: Kids Are Pretty People. friends who just happen to be
Jazz trumpeter Clay Jenkins among the finest jazz musi-
has covered a lot of ground in cians on the West Coast.” The
his career, holding down chairs creative energy comes from the
in the big bands of Stan Ken- inventive writing of leader/ar-
ton, Count Basie, Buddy Rich, ranger John La Barbera, the so-
and Harry James as well as per- lo trumpet of Clay Jenkins and
forming and recording in num- the tenor saxophone of Pat La Barbera. The trumpet fire is
erous small group formats. Al- ignited by the lead playing of the Incredible(s) Wayne Berger-
so well known as a jazz educa- on, Bob O’Donnell, and Dennis Farias. As the session begins
tor, Jenkins has served on the with Horace Silver’s Mayreh, the scoring is vaguely reminiscent
faculties of the California Insti- of Gil Evans and Clay Jenkins’ solo is reminiscent of no one
tute of the Arts, California State University Northridge, and but Clay Jenkins. Miles’ So What is a showcase for Clay Jenkins
the University of Southern California. He is currently associ- with a chorale-like intro before breaking into a 6/8 feel, kick-
ate professor of jazz studies and contemporary media and ing off another inventive journey by Jenkins—a really amazing
ECMS collegiate instructor in trumpet at the Eastman School solo. He is one of those creative geniuses who improvise with-
of Music. With so many kinds of pop music masquerading as out using cliché licks. Wayne Bergeron is featured as John La

Barbera rearranges his own classic Tiger of San Pedro and Ber- flight new music for a too often-overlooked genre. Well done!
geron sets the tiger on fire. Message from Art is a romping shuf- (Douglas Wilson, Moderator—Ask the Teacher, ITG Youth
fle salute to Art Blakey by drummer Joe La Barbera with a bril- Site, Leesburg, VA)
liant solo by trombonist Bruce Paulson and some sizzling Ber-
geron lead. John La Barbera was the principal arranger for the Pitts burgh Symphony Bras s—T he Spirit Of Chris tmas
Buddy Rich Band for fifteen years and he revisits the Walk On George Vosburgh, Neal Bersten, trumpet, piccolo trumpet, &
The Wild Side Suite, one of his hits with that band. Trumpeter flugelhorn; William Caballero, horn; Peter Sullivan,
Clay Jenkins, as he explores Eleanor Rigby, is so inventive and tenor trombone, euphonium; Murray Crewe, bass
so dramatically expressive that this cut alone is worth acquir- trombone; Eric Bubacz, tuba; Timothy Adams, percus-
ing the collection. The recording quality is very fine and the sion; Tami Fire, mezzo-soprano; Richard Webster, organ
liner notes are informative. This is a recording that all big band FW 3022 (CD); Palatine, IL; Four Winds Entertainment.
and trumpet junkies must own. (Ron Lipka, retired professor (arr. Vosburgh): Golden Bells; Traditional: The First Noel; (arr.
of music, William Penn Univ er sity; freelance trumpeter, George Vosburgh): What Child Is This?; Hamlisch/
Albuquerque, NM) Carnelia (arr. George Vosburgh): Take Me To Christmas
Past-featuring Tami Fire; (Brass,Bells/arr. George Vos-
Grant Peters —Friendly Amendments burgh): O Come, O Come, Emanuel; (Brass, Tympani,
Grant Peters, trumpet; Charles W. Ore, organ; Rick Bogard, Organ/arr. Richard Webster): Hark! The Herald Angels
trumpet Sing; Traditional: Wassail Song; Traditional: O Little
(CD); Grant Peters, associate professor of trumpet, Southwest Town of Bethlehem; (arr. George Vosburgh): Bring a
Missouri State University, 901 South National Avenue, Torch, Jeannette Isabella; J.S. Bach (Brass, Tympani,
Springfield, Missouri 65804 Organ/arr. Bernsten): Christmas Oratorio, Jauchzet,
Frank: Liturgical Impressions; Ore, The Seventh Trumpet; Frohlocket; Traditional: Conventry Carol, Lully-Lullay,
Murry: What is it For?; Prescott: Toccata and Fugues; featuring Tami Fire; Benjamin Britten (arr. N. Bern-
Ore: What a Friend We Have in Jesus. sten): Corpus Christi Carol; J.S. Bach (Trumpets, Tym-
Grant Peters has distinguish- pani, Organ—arr. Richard Webster/trans. George Vos-
ed himself as a member of the burgh): Christmas Oratorio, Finale; Traditional: Away
Dallas Brass and as co-princi- In a Manger; It Came Upon a Midnight Clear; O Tan-
pal trumpet of the Orquesta nenbaum; Angels We Have Heard on High; (Brass,
del Principado de Asturias, Organ, Tympani/arr. Richard Webster): O Come All Ye
Spain. Now he has teamed Faithful; Tchaikovsky (arr. Steve Sutter): “Chocolate”:
with organist and composer The Nutcracker; Handel (Brass, Organ/trans. George
Charles Ore, associate Organist Vosburgh): The Messiah—Hallelujah Chorus; H. Mar-
at Plymouth Congregational tin and R. Blane/arr. Bobby Lewis): Have Yourself a
Church in Lincoln, Nebraska, Merry Little Christmas.
to present four new works for The Pittsburg Brass is a six-
Trumpet and Organ. Liturgical Impressions is a three-move- member brass ensemble that
ment work, Introit, Sanctus, and Gloria. The opening move- was organized by George Vos-
ment is majestic in nature and based on a 12-tone row intro- burgh, principal trumpet with
duced by the trumpet. The Sanctus is “quiet but powerful” and the Pittsburgh Symphony Or-
evokes “images of holy flames.” The work concludes with “ges- chestra, in 1994 with the in-
ture of unbridled praise” and a reworking of all three melodies tention of showcasing some of
in the Gloria. The Seventh Trumpet takes its grounding from the finest orchestral brass musi-
references in Revelations 11:15 – 19. Originally for solo organ, cians playing chamber music.
the composition has been reworked to include trumpet. What The brass ensemble features
is it for? was conceived in “reaction to a specific event.” We are mem bers of the Pittsburgh
told nothing more, but the works aptly displays its three move- Symphony Orchestra and arrangements by several members of
ment titles of Prelude, Elegy, and Chaos, giving the listener the ensemble. This festive holiday recording also features spe-
ample opportunity to consider the origins for the composition. cial guests Timothy Adams (tympani & bells), Tami Fire (mez-
The last work is a duet, entitled Toccata and Fugues. For this zo-soprano), and Richard Webster (organist). The brass en-
work, Rick Bogard, trumpet professor at the University of semble is, to say the least, brilliant. The sound of the ensemble
Texas Arlington, joins Peters. As the names imply, it is a series is clear and tight throughout the recording. The warm and
of brass flourishes and fugues displaying the technical aspects inviting timbres really put you in the holiday spirit. George
of all the instruments. The performance by Peters and Bogard Vosburgh’s arrangements are wonderful and show the artistry
is excellent. In fact, the performance by everyone throughout of the ensemble. It was a special treat to have the golden voice
is very good, including the quality of the recording. Continued of Tami Fire (mezzo-soprano) singing on the Coventry Carol
listening is rewarded with new insights as each work has its and the special arrangement of Hamlisch’s Take Me To Christ-
own appeal and uniqueness. While it might be difficult to pro- mas Past. The ensemble showed their ability to be incredibly
gram any of these pieces for a typical church service, readers lyrical and complemented rather than hindered the vocal am-
should take note. These compositions are serious and worth bience. Neal Bersten’s arrangement of Corpus Christi Carol was
further reflection by those who enjoy trumpet and organ liter- stunningly beautiful. The interwoven colors and textures were
ature. Peters is to be congratulated on this collection of top- exceptional. The last song on the CD was an arrangement by

George Vosburgh/Bobby Lewis of Have Yourself a Merry Little Jazz trumpeter Carl Saun-
Christmas. This is an unaccompanied flugelhorn solo for Vos- ders is a veteran of the big
burgh that brings to a graceful conclusion this musical sleigh bands of Stan Kenton, Buddy
ride. I highly recommend this CD for your holiday and gener- Rich, Harry James, and May-
al brass ensemble collection. (James R. Martincic, professor of nard Ferguson, among others.
trumpet, Benet Academy, freelance educator and performer, For many years he was also a
Chicago, Illinois.) mainstay in the show bands of
several Las Vegas hotels and
Edward Sandor—Trumpet and Stops casinos. He currently resides in
Edward Sandor, trumpet; Andre Lash, organ California and continues to
MS 1093, Musicians Showcase Recordings, 2 Westchester record and perform with the
Plaza, Elmsford, NY 10523; http://www.msrcd.com bands of Bill Holman, Bob
Nagel: Trumpet Processional; Rivier: Aria; Pinkham: Volun- Florence, and Gerald Wilson,
tary; Wuensch: Suite for Trumpet and Organ; Sowerby: as well as his own groups. This
Fantasy; Defaye: Huit Preludes; Mailman: Concertino; videotape captures a perfor-
Eben: Okna (Windows) podle Marc Chagalla; Johns: mance of Saunders’ quartet at the Spazio Restaurant in Sher-
Prelude, Aria and Finale. man Oaks, California, in 2002. The individual tunes alternate
Trumpet and Stops is the most with parts of an interview in which Saunders discusses his his-
recent release of music for tory as a musician, tells a few road stories and expresses his
trumpet by Edward Sandor, philosophies of the jazz life. Musically, Saunders is a wonder-
pro f essor of trumpet at the fully inventive improviser with a complete command of his
University of Georgia – Athens. horn from top to bottom. He has surrounded himself here
Sandor is well known to ITG with players who can sustain and enhance the high level of
audiences from his many per- musicianship he puts forth. The music is consistently excellent
formances and clinics. This and it is nice to be able to watch these artists interact with one
new release of familiar and less- another as well as hear them. However, my overall reaction to
er-known contemporary works this videotape is one of disappointment. The camera work is at
is a welcome addition to the times amateurish and distracting. The editing, especially dur-
catalog of trumpet and organ recordings. Most of the works ing the interview segments, is annoyingly sloppy, with the
recorded on this disk are available commercially for the first sound track not always matching up with the video. The
time. From Robert Nagel’s familiar Trumpet Processional to biggest disappointment for me, however, was the sound quali-
Donald Johns’ Prelude, Aria and Finale, this is an album of ty of the musical performances. The drums were generally
interesting and accessible compositions. One of the musical mixed too much into the foreground. I found myself often
highlights of the CD is the performance of Petr Eben’s Okna straining to hear the trumpet solos. The bass player was at
(Windows) podle Marc Chagalla. Eben, a professor of music at times inaudible. The piano solos were loud enough, but with
the Prague Academy of Music, is one of the foremost compos- little definition. Live recording is always an adventure, but
ers coming out of the Czech Republic. The Okna (Windows) with today’s recording technology there is no excuse for not
honors the Marc Chagall stained glass windows commissioned getting acceptable balance and clarity, even in a situation like
in 1962 by the Synagogue of the Hadassah-Hebrew University this. (David Johnson, professor of harmony, Berklee College of
Medical Center. The windows depict Jacob’s blessings to his Music, Boston, MA)
sons, the twelve tribes of Israel. The work is in four movements
and uses “aleatoric techniques, polytonality, and contrapuntal Carl Saunders —Going Solo
layers” of sound. Especially interesting is the fourth movement, Carl Saunders, cornet; The Household Troops Band
based on a Russian Orthodox hymn, in which the trumpet pro- SPS 192 CD
vides descant-like material over the hymn. With the exception Graham: The Amazing Mr. Leidzèn; Bowes: Rhapsody for
of a few tuning and balance problems, the CD displays the fine Cornet and Band; Camsey: Questions; Camsey: Won-
playing we have come to expect of Sandor. The organ accom- derful Day; Himes: Caprice for Cornet; Smith: Brit-
paniments provided by Andre Lash on the 2003 Schantz organ annia; Delibes: The Flower Duet; Bosanko: Heavenly
at the First Presbyterian Church in Athens, Georgia are superb, Light; Gullidge: Jubilate; Davis: Knowing You; Camsey:
and the program notes by Sandor and the information given on Longings; Hallett: My Song of Songs.
publishers, are especially helpful. This CD is a fine addition to Carl Saunders [a British cor-
the trumpet discography. (Paul T. DeBoer, Professor of Music, net soloist, not the American
Houghton College, Houghton, New York) jazz trumpeter mentioned in
the previous review] is one of
Carl Saunders —Live at Spazio the up-and-coming cornet
Carl Saunders, trumpet, flugelhorn, vocals; Ron Feuer, Christ- soloists from the Salvation
ian Jacob, piano; Dave Stone, bass; Santo Savino, drums Army tradition, and serves as
Skyhigh Films the Deputy Bandmaster and
All compositions by Carl Saunders: Prudence; I’m All for You; Junior Band Leader at Cardiff
A Song for Raoul; unidentified; Dear Mr. Florence; C a n t o n . He i s v e r y a b l y
Will Do, Done, Did. accompanied on this CD by

ITG Sponsor-A-Trumpeter Program
The Sponsor-A-Trumpeter (SAT) Program was created to encourage ITG members to donate memberships for trumpet players
who are unable to join due to financial circumstances. The names of potential recipients can be forwarded to ITG from mem-
bers aware of someone in need of this help. For more information, please contact: Joyce Davis, ITG Sponsor-A-Trumpeter
Coordinator, School of Music, University of Florida, Gainesville, FL 32611-7900 USA; [email protected]
I would like to sponsor a membership:
Regular Number of years________ x $40/year = $________
Student/Senior Number of years________ x $25/year = $________
Makes checks payable to:
Assign someone for me to sponsor; or International Trumpet Guild
I wish to sponsor this person: __________________________________ Mail completed form with check or
credit card info to:
Address _____________________________________________________
David Jones, ITG Treasurer
City_______________________State______Zip/Country _____________ 241 E. Main St #247
Westfield, MA 01085-3307 USA
Phone ______________________________________________________
Check enclosed; or or fax form with credit card info
Charge my: Amex Discover MasterCard Visa

to (413) 568-1913
Card Number ________________________________________________

Exp. Date___________Signature _________________________________
The Household Troops Band, which, for those not familiar to fade at the end of some of the more technical solos, which
with Salvation Army (SA) groups, is a brass band made up of usually wind up with the cornet on a very high note and the
some of the finest younger SA musicians in the UK. The reper- band blowing fortissimo. In spite of this, however, Going Solo
toire on this disc includes both familiar and unfamiliar works, is an excellent recording of some of the newer Salvation Army
but leans toward more recent compositions and seems to favor cornet solos, and is well worth the effort to hear. (H. M. Lewis,
ballad-style solos, which are obviously Saunders’ forte. Georgetown College, Georgetown, KY)
Listening to the disc, one is impressed with Saunders’ beauti-
ful tone and fluent technique, particularly in pieces like The Warren Vaché—I Love the Trumpet DVD
Amazing Mr. Leidzèn, by Peter Graham, which opens the pro- Warren Vaché, cornet
gram. Many American trumpeters are familiar with My Song of Artists House ISBN 0-6340-7763-5 (DVD);
Songs, which was written for Phil Smith and featured on his http://www.artistshousemusic.com
CD of the same name. The band gets a chance to shine by http://www.warrenvache.com
itself in the march Britannia by Kenneth Smith and Knowing In this 2004 release Warren
You by Trevor Davis. One of the more interesting offerings is Vaché, faculty member in the
the Flower Duet from Leo Délibes’ opera Lakmé, with David jazz studies program at the Juil-
Daws on the other cornet part. Daws, with his more tradi- liard School, has produced a
tional British cornet tone, provides a nice contrast with comprehensive introduction to
Saunders’ sound, which is more “American” and bright. If the trumpet. This two-sided
there is a downside to this disc, it is the tendency of the soloist DVD with easily navigable on-
screen menus contains over
four hours of footage, and on it
Vaché includes something for
Make Plans Now to Attend just about everyone. While
there certainly is material on
the DVD that would appeal to
2006 ITG Conference trumpet players of all levels,
the majority of it would proba-
bly prove most useful for an undergraduate brass pedagogy
June 6 – 10, 2006 class or for any student in his or her first few years of experi-
ence. In the opening section of the DVD, Vaché gives lessons
to students of various ages on each of the following topics:
basics of holding the trumpet, musical notation, and fingering;
breathing; embouchure; tonguing; development of fingering
dexterity, and advanced techniques. Vaché offers refreshing
ideas on teaching the basic elements of trumpet playing and
proves to be quite an effective and amiable teacher. Vaché then
Coming in the
discusses equipment: instruments, mouthpieces, mutes,
method books, and basic maintenance. While the quality of
this section is marred somewhat by a lack of depth and by
October 2005
camera and sound techniques that do not adequately convey
the intended message, the information is nonetheless valuable
for students to learn. Noted author Doug Ramsey presents a
ITG Journal
very engaging history of jazz trumpet players, going into just
enough depth to be informative and interesting, while not
being so detailed as to lose a novice’s attention. He also • The 2005 ITG Conference, Bang-
includes a fine description of suggested jazz trumpet record- kok, Thailand Compiled by Gary
ings and reading. Vaché then takes the viewer on fascinating
tours of a New York recording studio, the brass gallery at the Mortenson
Metropolitan Museum of Art, the Yamaha factory, and Dillon
Music. At the end of the DVD, two very interesting interviews
on Latin and Classical trumpet playing are presented with Ray • J.S. Bach’s Cantata 51, Jauchzet
Vega and Mark Gould. The disc also offers printable sheet
music with special etudes and jazz tunes—a nice touch, as long Gott in allen Landen: Historical
as one has a DVD drive in his/her computer. Warren Vaché has Observations and Insights for
made a significant contribution to the trumpet community
with this innovative pedagogical DVD. Some items could have Mod ern Performance by Ran dy
been omitted and others explained more thoroughly. Yet,
Vaché’s product is a very attractive and all-inclusive introduc- Tinnin
tion to the instrument. (Peter J. Wood, assistant professor of
music, Morningside College, Sioux City, IA)
• An Interview with Wilmer Wise
Briefly Noted
by Laurie Frink
Eric Ball Ce nte nary Concert—A Ce le bration in Bras s
WOB 103 DVD (DVD); http://www.worldofbrass.com
This double DVD set contains a treasure trove of great per- • Plus columns, news, reviews,
formances and informative commentary about the music and
life of the legendary bandmaster and composer, Eric Ball. clinics, and much more!
Recorded live in performance at the Royal Concert Hall in
Nottingham on October 11, 2003, this DVD features insight-
ful interviews, behind the scenes coverage, a beautiful color
booklet, and lots of brilliant playing. Particular highlights Performing with Guzio are pianist Sarah Jane Cion, drummer
include Resurgam, The Torchbearers, and David Daws’s stun- Darryl Pellegrini, bassist Phil Palombi, and Gerry Niewood on
ning rendition of Clear Skies. tenor and soprano sax. The title track, “I Got a Secret…”
includes some humorous banter between Guzio and Niewood
B l a c k D y k e B a n d — E s s e n t i a l D y k e Vo l u m e I V: T h e regarding the trumpeter’s receding hairline, and Guzio’s sultry
Pondashers flugelhorn playing on the opening of “Moon Storm” is simply
DOY CD167 (CD); Doyen Recordings; breathtaking.
http://www.worldofbrass.com
This collection shows why this eminent British brass band New York Brass Quintet—50th Annivers ar y Ce le bration
was the first group of its kind to perform at Carnegie Hall. HPF-GCA CD 5 (CD); HPF Recordings & Tapes, P O Box
Packed with rousing marches, orchestral transcriptions, and 933, Bloomington, IN 47402-0933
virtuosic soloists, this CD has it all. Featured transcriptions This CD was produced to celebrate the 50th anniversary of
include Tchaikovsky’s March Slav, Mozart’s Marriage of Figaro the New York Brass Quintet’s historic debut performance at
Overture, and Brahms’ Academic Festival Overture. Cornetist New York’s Town Hall on June 11, 1954. The recordings
Roger Webster performs variations on Silver Threads Among included are digital re-issues of the NYBQ’s first two releases
the Gold and euphonium soloist David Thornton dazzles in on Gold Crest Records from 1959 and 1960, respectively.
Rossini’s Variations on a Theme. Featuring the original members (Robert Nagel and Jon Glasel,
trumpets; Frederick Schmitt, horn; Keith Brown, trombone;
T he Gar y Guzio Quintet—I Got a Secret… and Harvey Phillips, tuba), the repertoire includes transcrip-
GMR 8669 (CD); http://www.guziomusic.com tions of music by Pezel and Holborne along with original
New Jersey trumpeter Gary Guzio entertains with this works by Haines, Harris, Wilder, Bozza, and Hammond. The
enjoyable mix of bebop, Latin tunes, and relaxing jazz. CD is available at the address listed above.

Music Reviews
Bryan DePoy and Luis Engelke, Editors
Music reviews appear regularly in each issue of the ITG tones, both stopped horn and passages employing only the
Journal. ITG members are invited to participate in this column natural tones of the instrument, a variety of glissandi particu-
as reviewers. Please contact one of the music reviews editors larly in the trombone part, excessively angular melodies not
and state your qualifications and areas of interest (Baroque, typically scored for tuba, and a variety of mutes in the perfor-
contemporary, jazz, brass quintet, etc.). Items for review and mance of diverse sonorities. Overall, while the work requires
reviewers are selected at the discretion of the music review edi- an advanced quintet with considerable preparation and atten-
tors. Unsolicited reviews will not be accepted. Publishers are tion to detail; such an ensemble will find the music worth the
encouraged to submit serious publications and pedagogical effort. On a diverse program, the work will stand out as sonic
materials for trumpet. showcase reminiscent of the intricate brass quintet music by
The Music Received list is located on the ITG Web Site: the likes of Gunther Schuller and Peter Maxwell Davies. (Luis
http://www.trumpetguild.org/journal/journal.htm C. Engelke, Music Reviews Editor, Towson University,
The ITG Music Review editors are Bryan DePoy (EMail Towson, MD)
[email protected]) at Southeastern Louisiana
University and Luis Engelke at Towson State University Cooman, Cars on P. Sonata for Trumpet and Piano, Op. 571.
(EMail [email protected]) MMB Music, Inc., 2004.
Please send all new publications and correspondence to: Carson Cooman’s Sonata for Trumpet and Piano provides a
Bryan DePoy, Southeastern Louisiana University, Department distinguished contrast to the often-programmed music of pop-
of Music SLU 815, Hammond, LA 70402 USA; fax 504-549- ular composers such as Ewazen, Turrin, and Plog. Divided into
2892. three movements, this new work challenges the performers and
audience with harmonies that are both jarring and bleak.
Musically speaking, the piece is symmetrical and purposeful.
Its outer movements are complex and striking, while the cen-
ter movement is lyrical and tender.
In the opening measures, the composer offers a six-note osti-
nato in the bass upon which the trumpet provides legato punc-
tuations. This prologue increases in intensity ending with long
sustained soft notes and drastic silences. The treatment of the
Amy, Gilber t. Symphonies pour Cinq Cuivres. Brass quintet. popular “O Come, O come Emanuel” which follows is very
Amphion (Theodore Presser, USA), 1993. effective in its sparseness; the piano plays only a few triads to
French composer Gilbert Amy composed this one-move- accompany this eerie reworking of the popular Christmas
ment avant-garde work for the Fifth Narbonne Brass Quintet carol. The movement concludes with a return to the six-note
Competition. As one would expect from a contest piece, the ostinato, ending with a piercing, angular cry from the trumpet
technical mastery of each player and rhythmic precision of the in the upper register. Movement two is strikingly simple, yet
ensemble are challenged to the utmost. The work should only reflective and elegant. Only thirty-eight measures in length,
be attempted by professionals or advanced players with extend- the simple tune is built upon more traditional tonality than the
ed rehearsal time. first movement. The final movement features repeated six-
Individual challenges are abundant. Range and flexibility are teenth-note patterns in the piano amidst angular, athletic out-
tested with passages that traverse rapidly between registers with bursts from the trumpet. Range demands in this movement
slurred thirty-second flourishes, including moving from will provide serious challenges to even accomplished soloists,
d-flat''' to f-sharp below the staff within the span of one mea- with some passages ascending to concert c-sharp'''. After a brief
sure. Endurance is challenged through extended passages and return to the fanfare motives from the movement’s beginning,
sustained notes in the high register. Intonation also poses some the sonata ends with the nearly-unaccompanied trumpet play-
difficulty because of effects such as complex harmonies and ing lyrically, ultimately ending on c-sharp'''. The ending of this
Harmon-muted passages in the high register up to sounding work is especially intense and somber.
c-flat''. Additionally, ensemble challenges include the follow- At twelve minutes’ duration, Cooman’s sonata is ideal for
ing: complex cross rhythms such as syncopated notes superim- college-level recitals. The work’s combination of daring har-
posed over steady sixteenth notes; mixed divisions of the beat monies, simple lyricism, and powerfully grand statements will
such as seven notes against five and eleven against both three be a delight for brass players and audiences. (Paul K. Bhasin,
and five simultaneously; complicated changing meters such as assistant professor of trumpet, University of Wisconsin-Green
12/16, 11/16, 10/16, and 9/16; lastly, several very subtle Bay, Green Bay, WI)
tempo changes.
Looking beyond the complexities and challenges, there are Davies, Ken. Antiphonal Music. Two trumpets. Kenvad Music,
numerous colors and interesting effects that warrant spending 2004.
the necessary rehearsal time to perform this work convincing- This three-movement suite for two trumpets was conceived
ly. Some of these engaging effects include the use of quarter- in a modern style reminiscent of the writing of Anthony Plog.

Characteristics lending to this depiction include interesting Davis’ output in a clear, concise format. It is an extremely
counterpoint, whimsical motives in a pointillistic style, and important and effective resource for all jazz musicians.
quick exchanges of rapid notes in alternating parts. As the title (Richard A. Schwartz, instructor of jazz, Southeastern
suggests, the three duets should be performed antiphonally, Louisiana University, Hammond, LA)
with players at least fifteen feet apart on a concert stage.
The first movement is titled “Playful Fifths” and is approxi- Dignam, Walter. Hope Told a Flattering Tale. Arranged by Joel
mately 1:15 in duration. This energetic movement in common Treybig. Solo cornet, brass quintet, and percussion.
time includes three sections with different forms of counter- Manduca Music Publications, 2001.
point. The first begins with an ascending fifth motive sound- This theme and variations was conceived for E-flat cornet
ed a fourth apart by the two trumpets in a call-and-response and band in 1863 for the fourth New Hampshire Regiment
manner. Diminution is used to increase the speed of this Band, and the theme was taken from an aria titled Nel cor piu
motive, and then the idea is developed with gradually faster non mi sento by Giovanni Paisiello (1740 – 1816). In his fore-
note values and increasing intensity. Both subsequent sections ward to the arrangement, Treybig notes that most of Dignam’s
are similar in their vigorous and energetic nature, while the manuscripts are typical of Civil War service music, and the vir-
middle one contrasts the outer sections with a softer dynamic. tuosity presented in this solo departs from this norm.
“Playful Fifths” concludes with a flutter-tongued whole-step In this arrangement, the solo E-flat cornet part has remained
followed by a brisk stream of quintuplet sixteenth notes end- unchanged from the original; however, Treybig reduced the
ing in octaves. band accompaniment for brass quintet by omitting doublings
The second movement is titled “Tritone Mutations” and and octaves, and occasionally re-scoring lines to improve voice
consists of a slower and more lyrical style. Both trumpets are leading. The original articulations were maintained except for
cup muted throughout. The finale is titled Second Crossings a few instances where minor adjustments were made with the
and effectively concludes the piece. Again, interesting counter- purpose of improving consistency. Utilizing the snare drum,
point, a quick exchange of motives, and a driving intensity are bass drum, and cymbals greatly improves the musical effect of
prevalent in this movement. the work and helps produce a sound more reminiscent of a
These duets are ideal for undergraduate students. There are brass band, yet the arrangement can be performed effectively
some interesting rhythmic challenges, and a good command of with reduced percussion parts or even without percussion.
double tonguing is required. In addition, the pointillistic The accompaniment parts are not excessively difficult.
motives require good ear training; however, since endurance is There are, however, a few exposed passages that stand out as
not much of a consideration and range is quite reasonable (the technically challenging. In particular, the introduction
parts rarely ascend above the staff and there is only one c''' ), includes a melody that alternates between dotted-eighth and
advanced high school players will likely find the duets accessi- sixteenth notes and dotted sixteenth and thirty-second notes.
ble. University professors will find these short works to be use- These rhythms are performed tutti with the entire ensemble;
ful additions to their library of duets for sight-reading in les- hence, they may present a significant challenge for players at
sons. Undoubtedly, the works are suited for concert perfor- an undergraduate level. Conversely, this and other passages
mance as well, possibly either commencing or concluding a allow an opportunity to work on ensemble precision and sub-
recital. (Luis C. Engelke, Music Reviews Editor, Towson division. While the ensemble parts are not too technically
University, Towson, MD) intricate, a few passages in the B-flat cornet parts require some
control just above the staff. A few cross rhythms and thirty-sec-
Davis, Miles . Miles Davis Real Book: Lead sheets for 57 compo- ond note decorations are also notable. The solo E-flat cornet
sitions (C Edition). Hal Leonard Publishing, Inc. part indeed requires a virtuoso soloist to navigate the typical
This Hal Leonard publication features fifty-seven lead sheets cornet solo variations, short cadenza passages, embellishments,
and corresponding discography. What may initially strike the and melodies that ascend as high as sounding d-flat''' with an
first-time user of this book is its cover. It looks exactly like the optional e-flat'''.
illegitimate The Real Book series, complete with capital letters This reduction works superbly well for brass quintet, and
with the musical font, manila brown coloring, and inexpensive the arrangement is recommended to anyone looking for early-
comb binding. This Hal Leonard publication is clearly legiti- American repertoire. In particular, the arrangement will be
mate or legal, however. This is indicated by the use of copy- useful for faculty quintets to provide variety to recitals. Dig-
right reservations at the bottom of each tune. A quick check to nam’s work will both challenge soloists and delight audiences
the Hal Leonard Website shows that this is the only publica- through both beautiful operatic melodies and impressive tech-
tion released in this style that focuses on a particular artist. The nical displays. (Luis C. Engelke, Music Reviews Editor, Tow-
selections of titles include many standards, such as All Blues, son University, Towson, MD)
Blue in Green, Half Nelson, So What, Solar, and Tune Up, as
well as several more obscure works. Fauré, Gabrie l. Le Pas Espagnol. Two trumpets and piano.
Each composition boasts sparse and clear notation with Transcribed by Odette Gartenlaub. Alphonse Leduc
accurate use of chord changes. It is important to relay that (Theodore Presser, USA), 2001.
there are no articulations. There are also few style indications. Gabriel Fauré (1845 – 1924) was a prominent French com-
If one were to play All Blues as displayed in this book, it would poser of the late 19th and early 20th centuries. He was a stu-
sound stiff and immature. Every note would be tongued, and dent of Camille Saint-Saëns and Ecole Niedermeyer and
every rhythm would be straight, not swung. However, this served as organist at several Paris churches. He later turned to
book works well in the hands of an arranger or an experienced teaching, where his pupils included Ravel and Enescu.
jazz player. This publication treats the reader to a wide array of Le Pas Espagnol is the last of six movements from Fauré’s

Dolly Suite, Op. 56 for two pianos, one of his more important version are shared in the tuba and trombone lines, with the
piano works. The piece was inspired by an acquaintance of horn filling in the remaining string voices. This arrangement
Fauré’s; La Pas Espagnol was a bronze statue created by his artfully sidesteps endurance issues by providing a significant
father-in-law. amount of rest for each player. The arranger has dealt with the
This brief work has an approximate performance time of challenges of the steady, reoccurring sixteenth-note figures
2:00. It is similar to other early chamber works by Fauré that from the original by abridging these rhythms into eighth, two
tend to be flowery in character, but in a delicate classical style. sixteenth patterns, making the work even more accessible to
While Fauré experimented with dissonance in his later music, younger players. A lower key (perhaps F) might better reveal
this through-composed piece is entirely tonal and predictable. the brilliance of the original version; such a change would
The quick tempo and time signature of 3/8 offer a dance-like allow for a less technically abridged treatment of the opening
quality, with lots of flair. introduction. With its florid solo lines, buoyant bass figures,
A straightforward transcription, the technical demands are and sparkling effects, this reworking of Handel’s classic would
rather significant for the trumpeter. Numerous sixteenth notes, be an elegant addition to any intermediate brass quintet pro-
many tongued, will require a sure double-tonguing technique. gram. (Paul K. Bhasin, assistant professor of trumpet, Univer-
In addition, the piece was not transposed to accommodate for sity of Wisconsin – Green Bay, Green Bay, WI)
the range of the trumpet. The first trumpet part demands a
concert c-sharp'''. This edition is extremely effective and will Kaise rs hot, Ke vin. Scherzo Burlesca. Two trumpets. Kendor
certainly delight audiences. Its brevity, however, will likely Music, 2003.
limit its use to that of a closing work or encore. (Bryan W. Kevin Kaisershot (b. 1957) is currently the Director of
DePoy, ITG Music Reviews Editor, Southeastern Louisiana Bands at East Aurora High School in Aurora, IL. He also
University, Hammond, LA) works as a freelance trumpet soloist, composer, and arranger.
Kaisershot currently has over thirty published works for trum-
Hails tork, Adophus . Variations for Trumpet. Unaccompanied pet and small ensemble with Kendor Music, Inc. His works
trumpet. Theodore Presser Company, 2004. include trumpet solos, trumpet chamber music, brass choir,
William Doyle commissioned this brief work in 1981. At and small woodwind ensemble pieces.
only four minutes, the piece is divided into three major sec- The duet Scherzo Burlesca, is a 6/8 rondo given a difficulty
tions. The first, marked at dotted quarter = 112, is written in rating of Grade 4. Advanced high school players should be able
a vigorous style and includes mixed meters, with extended to perform this 2:05 work with a range from written a – a''.
periods of 10/8, 12/8, and 8/8, all grouped in different ways. Endurance may be a concern given that there is little time
Skillful attention to dynamics and placement of accents is allowed for rest.
required. The second section is in stark contrast to the first. The easily identifiable eight-bar phrases reinforce the lilting
Much slower, it requires a more cantabile style of playing. rondo form. Rhythms in 6/8 are basic with no more than four
Smears and open and closed notes with the hand and add a sixteenth notes in succession at any time. The eighth note
distinct character to the section, and cup mute added near the pulse is constant throughout, with melodic and harmonic
end broadens the color palette with which the performer has motives stressing the first and fourth beat. In one section, how-
to work. The final section is a reprise of the opening that press- ever, the composer uses accents to indicate a brief rhythmic
es forward in tempo to a wild climax that includes several spots hemiola, highlighting the change in rhythmic feel.
that require flutter-tonguing. The main key of the piece is A minor, with a single section
Facile technique is required by the soloist to successfully per- in the relative major. Dynamics occur at the beginning of each
form some of the extended techniques and rhythmic effects phrase, and occasional written crescendos remind the players
employed in this work. Several skips of a 6th or more are pre- to keep the momentum moving forward. The technical re-
sent, and several styles of articulation are required. The range quirements are relatively small. No multiple tonguing is
of the work should pose no difficulty as it ascends only to a b- required; the key is easily managed; range is optimum, and
flat''. The college-level student should easily master the extend- harmonies are traditional minor progressions. This two-
ed techniques and rhythmic difficulties of the work. For the minute piece, however, will test the performers’ endurance and
trumpeter searching for a different unaccompanied work for ability to play in a light, dance-like style. Instructors will find
recital use, Variations for Trumpet is a fun and refreshing work this work useful for lessons on form and style. (Eric Baker,
to place on a program. (John Marchiando, Scottsdale, AZ) graduate trumpet student, Arizona State University, Tempe,
AZ)
Handel, Ge orge Frederic. Let The Bright Seraphim. Brass quin-
tet. Arranged by Brom. Kendor Music, Inc., 2004. Laburda, Jirí. Concerto per tromba e orchestra d’archi. Trumpet
Roland Brom’s arrangement of Let the Bright Seraphim is a and piano reduction. Wolfgang G. Haas—Musikverlag
light, joyous addition to the intermediate brass quintet’s reper- Köln, 2002.
toire. The arranger combines string, soprano, and trumpet The works of Vejvanóvsky and Finger are representative of
lines in this arrangement without sacrificing the fullness or Czech (Bohemian) trumpet repertoire. The legacy of fine
character of the original composition. The two trumpet voices trumpet works established by these composers continues to
share the original solo lines, and as such, a solid level of tech- inspire Czechs of our time. One of these contemporary com-
nical proficiency and musical sensitivity is required. posers is Jirí Laburda who, besides his Concerto for trumpet
Transposed to A-flat, the work places only moderate range and strings, has conceived many other excellent works includ-
demands on the ensemble, with the trumpet parts ascending to ing Capriccio, Signal scherzo, and Sonatina for trumpet and
a-flat'' concert several times. The basso parts from the original piano. This concerto was dedicated to Wolfgang G. Haas, who

also published the work. Notes about the composer are very unique and enjoyable assemblage of three hymn settings. This
informative, but the editors might have included more specif- work was originally composed for C trumpet and full orches-
ic information about the piece. The notes are presented in tra; however, it has been adapted for trumpet and piano. The
German without translation. piano reduction has retained the spaciousness and grandeur of
This concerto consists of three movements in a neoclassical the orchestral version. It was commissioned and premiered by
style. The first movement is full of tempo variations and the Carson City Chamber Orchestra with trumpet soloist,
charming, well-developed thematic ideas. This movement Mark Lord, in 1997. The piece is 16 minutes in length and
begins with the solo trumpet playing a flowing, tranquil has a range from concert g to “the highest note possible” or a
melody. Orchestral accompaniment enters after six measures. written f'''.
Then, the melody gradually builds to an Allegro tempo. The The first movement is based on the hymn tune “All
movement concludes with an impressive cadenza, followed by Creatures of Our God and King.” The trumpet enters with a
a brisk coda based thematically on the principal Allegro theme. long sustained statement of the melody. A new theme is creat-
The second movement is marked Larghetto. It begins with a ed in the trumpet line that is then developed to the end of the
rubato theme that is developed, gradually leading to a rapid movement. It requires great agility from the performer due to
dance-like middle section. The movement concludes with a the lines that weave nimbly up and down throughout the
return of the slow opening tempo and a calm ending. The range of the instrument. The underlying accompaniment has
third movement has a lively, rhythmic dance-like melody typ- a forward driving pulse that continually builds anticipation to
ical of Laburda’s style. The technically demanding middle sec- the end. The opening movement concludes with an arpeggiat-
tion of this movement is characterized by tempo variations. As ed cadenza finished off with a climatic e-flat''' for three bars.
in the first movement, in the coda, the composer quotes a pre- The spiritual “Steal Away” is the melodic basis of the middle
viously stated theme. The lyrical melody that finishes the con- movement. This portion of the concerto is a real gem. A ten-
certo is quite memorable. Its appeal will touch performers and der, sighing quality is created by a trumpet part that slowly
listeners alike. soars above the accompaniment. The scoring creates a true
Although there are some demanding passages that need par- sense of reverence and intimacy.
ticular attention regarding ensemble precision, the concerto is In the final movement, “Go Tell It On the Mountain,” the
not terribly difficult and is recommended for the library of any trumpet and piano alternate between jazz licks and quasi
professional-level soloist. (Tomislav M. Spoljar, Zagreb, recitative-like passages. A strong sense of jazz style will be
Croatia) required to pull off the shakes, smears, trills, and plunger-
muted portions of this movement. The concerto concludes
Ube r, David. Fanfare for the International Trumpet Guild. Six with a challenging cadenza that tests range and endurance.
B-flat trumpets. Triplo Press, 2000. Approximately half of the notes on the final page are above
David Uber is one of America’s most prolific composers for concert b-flat'''.
brass. His diverse musical background covers a wide range of This reviewer found each individual movement to be a fan-
study, including teaching, performing, and composing. Uber tastic and challenging addition to any church trumpeter’s
has contributed numerous works to the trumpet repertoire, library. These new hymn settings are by no means traditional.
which include Ride of the Valkyries, Romance, and Silhouette, all The only criticism this reviewer observed was the matching of
for solo trumpet and piano. Artists such as Robert Nagel and the three individual movements into one coherent work. The
Gerard Schwarz have premiered some of his works. first two are tranquil and spacious with an Appalachian quali-
Fanfare for the International Trumpet Guild is a four-minute, ty about them. In contrast, the third movement, although
two-movement piece written in 2000 for the 25th anniversary impressive, does not have the same qualities of richness and
of the ITG. The first movement is in 6/8 and begins with an grandeur as the first two. The work is highly recommended for
exciting “pyramid” opening. Unlike many fanfares, this piece any advanced trumpet player’s library. (David Seals, freelance
uniquely develops the melodic material. The thematic inter- trumpeter, Northfield, NJ)
play and dynamic contrast, both characteristics of Uber’s
music, add to the excitement of the fanfare. It is important to
have a strong first trumpet player due to the frequent appear- ITG Sponsor-A-Trumpeter Program
ance of c'''. The second movement differs from the first in sev-
eral ways: it is shorter in duration, in a 2/4 meter, and utilizes The Sponsor-A-Trumpeter (SAT) Program was created
a descending pyramid pattern beginning on grace notes.
more than ten years ago to encourage ITG members to
Movement two lacks the energy of the first, but it is still an
effective, interesting fanfare. donate memberships for trumpet players who are unable
This fanfare is a wonderful piece for a talented high school to join due to financial circumstances. The names of
or university trumpet ensemble. A recording of the piece can potential recipients can be forwarded to ITG from mem-
be heard on the publisher’s web site (http://www.triplo.com). bers aware of someone in need of this help.
(Justin Albritton, undergraduate trumpet student, Southeast-
ern Louisiana University, Hammond LA) For more information, please contact: Joyce Davis, ITG
Sponsor-A-Trumpeter Coordinator, Department of
Walker, Gw yneth. A Concerto of Hymns and Spirituals. Trum-
pet and piano. Available with full orchestra accompani- Music, University of Florida, Gainesville, FL 32611-
ment. MMB Music, Inc., 1997. 7900 USA; E-mail [email protected]
A Concerto of Hymns and Spirituals by Gwyneth Walker is a

Book Reviews
John Korak, Editor
Please send correspondence, review copies of books, disser- resource for brass players suffering from embouchure prob-
tations, videos, and requests to write reviews to John Korak, lems, and she has succeeded. Though there are a distracting
ITG Book Reviews Editor, Box 1771-Department of Music, number of typographical errors throughout the book, the con-
Southern Illinois University – Edwardsville, Edwardsville, IL tent is worth the purchase. As in any topic dealing with brass
62026; [email protected] playing, there are aspects of her work that may be controver-
sial to some, but it is a good bet that there are brass players out
Lewis, Lucinda. Broken Embouchures: An Embouchure Ha nd- there who will benefit from her contribution. (Gary Wurtz,
book a nd Repa ir Gui de for Bra ss P la yer s Sufferi ng from Stephen F. Austin State University, Nacogdoches, Texas)
Embou ch u r e P r obl ems Ca u sed by Over u se, I nj u r y,
Medi ca l /Denta l Condi ti ons, or Da ma ged Mecha ni cs. Mars alis, Wynton and Carl Vig eland. Ja z z in the Bitter sweet
New York, NY: Author (http://www.Embouchures.com, Blu es of Li fe. Cambridge, MA: Da Capo Press, 2001.
Inc., P.O. Box 20384, Greeley Square Station, New Softcover, 249 pp.
York, NY, 10001), 2002. Softcover, 172 pp. In Jazz in the Bitter-
In her book Broken sweet Blues of Life, auth-
Embouchures, Lucinda ors Wynton Marsalis
Lewis has tackled sub- and Carl Vigeland pro-
ject matter that is under- vide an intriguing
researched; consequent- glimpse into life on the
ly, she has contributed road with the Wynton
significantly to the brass Marsalis Septet. The
playing literature. In a book documents the
world where musicians travels and encounters
are often told that the of Wynton and his en-
answer to any given semble from 1989 –
problem can be found 1994, and how their ex-
through better use of the periences and contacts
air, Lewis offers a source all over the world influ-
“for brass players suffer- enced and shaped their
ing from embouchure music; however, Jazz in
problems caused by the Bittersweet Blues of
overuse, injury, medical/dental conditions, or damaged mech- Life is far from merely a
anics.” journalistic accounting
Based on her personal experiences, as well as the knowledge of events. According to Vigeland, the logic of this book is “one
of contributing physicians, the author discusses playing prob- of feeling, not geography or chronology, and it develops accre-
lems as related to lip swelling, lip bruising, chronic fatigue, tively [sic], elliptically.”
numb lips, unresponsive lips, loss of endurance, embouchure Vigeland’s observations are presented in normal type, while
weakness, high range problems, minor lip discomfort, air con- Wynton’s voice and thoughts are presented in italics—the two
trol, excessive mouthpiece pressure, various abrasions, lip often intertwined in the same paragraph. Wynton gives candid
injuries, stretched lip muscles, torn muscles, and others. She insights into the various roles he plays: a bandleader and busi-
describes means by which various problems may be identified, nessman, a composer trying to make deadlines, a world-class
and includes numerous exercises designed to rebuild embou- trumpeter who straddles the worlds of jazz and classical music,
chures. She also provides brief descriptions of a number of and a father who misses his kids.
medical conditions common to brass players, as well as the The supporting characters in this book are members of
effects each may have upon them. Conditions discussed Wynton’s septet: Wycliffe Gordon, trombone; Herlin Riley,
include acid reflux disease, Bell’s Palsy, burning mouth syn- drums; Marcus Roberts, piano; Wes Anderson, alto saxo-
drome, embouchure dystonia, Fibromyalgia, facial neuralgias, phone; Todd Williams, tenor saxophone; and Reginald Veal,
sleep apnea, temporal mandibular joint disorder, and many bass. Recordings such as Blue Interlude, Citi Movement, and In
others. Lewis dedicates a chapter to the success she experienced This House, On This Morning figure prominently in this text.
through the use of a hypnotherapist, includes a section of fre- Fans of Marsalis and his music will enjoy stories from the
quently asked questions, and presents a large number of per- perspective of live performances, the recording studio, and the
sonal statements from visitors to her website who have suffered countless encounters with people (interesting and often hum-
various embouchure problems. orous) met along the road. Jazz in the Bittersweet Blues of Life
Ultimately, this reviewer finds a great deal of useful infor- is a fun book that gives us a small taste of life on the road
mation in the work Lucinda Lewis has done in compiling this through the eyes and ears of one of the most prominent figures
book. She has clearly dedicated herself to providing a useful in jazz today. (Vern Sielert, University of Washington)
Mathie , Gordo n . The Tr u mpet Tea cher ’s Gu i de: A B i bl i - Spaulding holding
ogr a phy of S el ected a nd Gr a ded Etu des a nd Du ets, his trumpet still re-
Third Edition. Portland, Maine: Manduca Music mains the same in
Publications, 2003. Softcover, 43 pp. the “enlarged” fifth
Every trumpet teach- edition of 1995, as
er knows how it feels to does the text. The
run out of approaches only difference in the
when addressing a stu- various editions is
dent’s problem. Wheth- the price of the sug-
er it is addressing a tech- gested mouthpiece
nical issue such as effec- ($25 in 1968 to
tive double tonguing or $125 in 2003) and
finding a clear way to the number of en -
convey the concept of dorsements. Spauld-
vibrato, a teacher can al- ing and his book,
ways use fresh perspec- however, remain an
tives. An experienced enigma since he nev-
ped agogue, Gordon er mentions the in-
Mathie draws upon his fluence of any teach-
expertise and knowl- er or particular player in developing his material.
edge to produce a un - Other than a passing reference on a Web page and in a dis-
ique and useful resource sertation, Spaulding has received one mention by Edward H.
for teachers of students at all ability levels. Tarr in Grove Music Online: “The teaching of jazz at academic
In The Trumpet Teacher’s Guide, Mathie identifies 41 prob- institutions has encouraged high-note trumpet methods (by
lems that trumpet players face. He then suggests appropriate Carlton MacBeth, Roger Spaulding, Claude Gordon, and
etudes and duets that address the issue at various levels of dif- James Stamp)…” Although his text supplies some 17 pages of
ficulty. Specific page numbers or etude numbers are given for endorsements (including that of Don Ellis), many trumpet
the exercises, and if an entire book is devoted to a particular players and teachers have not heard of him or his text,
problem it is listed as such. Certain books appear in nearly although Tarr in an EMail note to the reviewer (17 September
every category (e.g., Charlier, Arban, Hering), but there is cer- 2004) indicates that Bo Nilsson and the late Pierre Thibaud
tainly no shortage of resources. Throughout the guide, Mathie have employed the method in their teaching.
references 180 etude books and 42 duet books. For problems Spaulding (born December 19, 1932) died at the age of sev-
that are difficult to address through an etude (e.g. vibrato, tone enty-one in November 2003 in an automobile accident, just
quality), he has included references to discussion material by one month after forwarding his latest version to the ITG for
recognized authors. review. According to his daughter Cheryl, Spaulding was still
Another purpose of the book is to “suggest duets as a rein- playing at the age of seventy (telephone interview, 19 May
forcement to the learning of etudes.” This aim is quite effec- 2004). But to this reviewer’s knowledge, there are no available
tively achieved, as each category at nearly every level has appro- recordings of any of Spaulding’s playing. Largely self-taught,
priate duet books identified. There are only a few areas, such Spaulding, an insurance investigator by profession, played for
as “Advanced Level Atonality” and “Elementary Level many years at the Angleus Temple (Christian Church in Los
Breathing,” where duet recommendations are not given. Also, Angeles, California), at the Fox Theatre in Redwood City,
in several instances, the Charlier Thirty-six Etudes Transcen- California, and saw some limited duty as a studio musician.
dantes is referred to as a duet book when it is likely that Mathie Spaulding’s text is divided into four parts with exercises
intends to list James Olcott’s The Charlier Companion for those meant to extend the range from three octaves below low F# to
duets. G above double high C within approximately nine months by
The Trumpet Teacher’s Guide is an invaluable resource for any the extensive use of pedal tones, chromatics, long tones, slurs,
teacher who enjoys modeling through duets. I would recom- tonguing, arpeggios, and glissandi. Called “suspended incuba-
mend it to all teachers, whether they are looking to access a tion” by Spaulding, the approach is to play the book through
comprehensive list of etude books or to expand their studio the first part every other day, the second part on every day, the
library. As Mathie writes, this book will be a “breath of fresh third part every other day, the fourth time every day, with the
air” for both teachers and students alike as they search for Finale section to be played for the remainder of one’s career.
methods, etude books, and duets that target specific problems Included with the 154 pages of exercises are forty-six pages of
in the field of trumpet playing. (Benjamin Peterson, Southern comments. Suspended incubation follows the premise of
Illinois University Edwardsville) bodybuilders who do heavy physical exercise one day and rest
the next day, thus allowing muscles to rebuild. The regimen of
Spaulding , Rog er W. Dou bl e Hi gh C i n 3 7 Weeks, Fifth embouchure exercises is paralleled by sit-ups, leg-ups, push-
Edition. Anaheim, CA: Author (High Note Studios, ups, chin-ups, and running.
P.O. Box 3007, Anaheim, CA, 92803-3007), 1995. The twenty-page Finale will give an indication of the diffi-
Softcover, spiral bound, 230 pp. culty of this program: the first exercise begins on high C with
Roger W. Spaulding’s Double High C in 37 Weeks first
appeared in 1963. The full-page image of a smiling, young Continued on Page 100

News from the Trumpet World
Neville Young, Editor
TRUMPET AND BRASS NEWS prize winners was less dependent on their technical mastery
than on their communication with their orchestral accompa-
Trumpet Compe tition in Germany nists and the audience.
The pieces heard in the two days of Round One were:
From August 29 to September 3, 2004, the “Europäischer Bitsch, 4 Variations on a Theme by Scarlatti (4, only once on
Wettbewerb im Klassik Festival Ruhr für Trompete,” or cornet); Clarke, The Debutante (3, only once on cornet);
“European Competition for Trumpet within the Ruhr Valley Françaix, Sonatine (4); Friedman, Solus (6); Gaubert, Cantabile
Classic Festival” took place in Marl, Westphalia, the former et Scherzetto (4, only once on cornet); Hansen, Sonata for
home of the now defunct Philharmonia Ungarica. It consisted Cornet and Piano (1); Henderson, Variation Movements (4);
of three rounds, the first two with piano and the third with Hindemith, Sonate (8); Höhne, Slavic Fantasy (6, only once on
orchestral accompaniment. cornet); Parès, Fantasie-Caprice (1); and Takemitsu, Paths (4).
This particular competition had two special features distin- Six candidates were selected for Round Two, pairing works
guishing it from others of its type. One feature was that all by Jolivet (Concertino) and Fasch (Concerto). First the Jolivet
European professors of trumpet at superior conservatories of was heard from all of them, after which they performed the
music had been invited to propose one or two particularly Fasch concerto. In the afternoon they performed a third com-
promising students from their classes. They did so, and the position: Kovács, Capriccio Brasiliana; Enescu, Légende; Hum-
result was a truly international selection of 19 gifted perform- mel, Concerto (in E-flat); Sommerfeldt, Elegi; Viviani, Sonata
ers, of which 15 actually attended. The registered participants No. 2 (on Baroque trumpet), and Michael Haydn, Concerto
came from Germany, Belgium, France, Czechia, Denmark, No. 2 in C were all heard one time each.
Estonia, Hungary, Japan (studying in Germany), Lithuania, When all was said and done, the first jury chose three final-
Macedonia, Nicaragua (studying in Germany), Norway, ist-prize winners, who not only gave one concert each in sur-
Poland, Switzerland, and the United Kingdom. Many had rounding towns, but also participated in the final concert with
already won prizes in national or international competitions. orchestra on September 3. All three were awarded a substantial
The other special feature was the participation of two juries, sum of money.
not one. The first jury was composed of well-known trumpet The winner of the jury prize and the audience prize was
teachers: Niklas Eklund (Gothen burg/Bas el), Wolfgang Antal Endre Nagy (21 years old) from Hungary. He performed
Guggenberger (Munich), Klaus Schuh werk (Basel and the Jolivet Concertino with the Neue Philharmonie Westfalen
Frankfurt am Main), Anatoly Selianin (Sara tov), Bernard of Recklinghausen, conducted by the French-American, Dan-
Soustrot (Boulogne-Billancourt), and Edward Tarr iel Lipton. Nagy is presently a student at the Franz Liszt Music
(Karlsruhe/Frankfurt/Lucerne); president was Eckart Rohlfs Academy in Budapest (taught by Frigyes Varasdy in 2001 –
(the editor of the Neue 2003, and subsequently by
Musikzeitung who since Tamás Velenczei). He has
1988 has been the gen- participated in master classes
eral secretar y of the given by Niklas Eklund,
E u r o p e a n Un i o n o f Balázs Nemes, Bo Nilsson,
Music Competitions for and Markus Stockhausen.
Youth). This jury select- The newspapers commented
ed three finalist-prize on the soloist’s professional
winners. The second virtuosity and his vital, pow-
jury (assisted by the erful, and dynamic perfor-
orchestra and the audi- mance.
ence) decided on their The winner of the orches-
placement. The second tra prize was Fruzsina Hara
jury was composed of (22 years old), also from
media representatives Hungary. After studies at the
and some non-trumpet- Franz Liszt Music Academy
ing musicians: Jan she transferred to Karlsruhe,
Mühlendorfer (a news- First Prize winner Antal Endre Nagy
where she is currently a stu-
paper editor for the dent of Reinhold Friedrich and Edward Tarr. Noteworthy
Bauer publishing company), Christoph Döhr (a musicologist among the international competitions in which she has partic-
and general editor of the Rheinisches Musikmagazin), Michael ipated are a special prize for promising talent in the 2003
Krügerke (from the West German Radio in Cologne), Dietmar Maurice André Competition and a third-place finish in the
Krentz (a hornist in the Beethoven Orchestra in Bonn), 2004 Ellsworth Smith Competition. Her transparent, delicate
Christian de Witt (from the Folkwang Musikschule in Essen), performance of the Fasch concerto won her not only the
Rainer Nörenberg (from the Neue Philharmonie Westfalen in orchestra prize, but also an invitation to perform during the
Gelsenkirchen), and Rohlfs. Thus the final placement of the
next season as a soloist with the Recklinghausen orchestra. 2004 performance of 3 MOB Pieces the UK’s Guardian news-
The other finalist-prize winner, performing the Jolivet Con- paper wrote: “With HK Gruber’s jaunty Three MOB Pieces…
certino, was Heike Gerber (26 years old) from Freiburg, Ger- what you hear is what you get. Say what you like about Gru-
many, a former student of Anthony Plog who is currently ber, but it would take a heart of stone to actively dislike this
studying with Klaus Schuhwerk at the Basel Conservatory. engaging pastiche of bossa nova, Beatles and baroque, espe-
Gerber recently completed a Praktikum with the Radio Sym- cially in Hardenberger’s hands.” 3 MOB Pieces was written by
phony Orchestra of Berlin and has just won a similar position Gruber in 1968 (revised 1977) for an ensemble consisting of
with the Munich Philharmonic. “7 interchangeable instruments and percussion.” In 1999
Since the undersigned has served on similar juries for years Gruber made a new version of this 11 minute long piece, this
and has both observed and actively contributed to young per- time for trumpet and small orchestra. It was premiered in Öre-
formers’ constantly rising level of technical accomplishment, bro, Sweden, June 5, 2000, by Håkan Hardenberger and the
he will be permitted to note a few areas of positive criticism. Swedish Chamber Orchestra.
Basically, the level of stylistic awareness has not always kept up An earlier Gruber piece for trumpet, the concerto Aerial
with the technical level. Homework needs to be done in the (1998 – 99), for trumpet and orchestra, has already been estab-
future on the following deficient areas: selection of old-fash- lished as one of the most successful concertos of recent years.
ioned editions of music, stopping long trills in Classical works Around 20 performances of the work have taken place
before their terminations, use of cup mute instead of straight throughout Europe since the premiere at the Proms in 1999.
mute in older works (notably at the end of Enescu’s Légende), Hardenberger, for whom it was written, has been the trumpet
too frequent use of trumpet for soloist for each performance.
works intended for the cornet, Heinz Karl Gruber is one
incomplete awareness or even of the most well-known and
ignorance of accompanying part well-loved figures in the Aus-
(resulting in too fast tempi, lack trian contemporary mus ic
of togetherness with accompa- scene, and yet he remains
nist, even wrong entrances), something of an enigma.
ignorance of the text when a Born in Vienna in 1943,
given piece has a vocal origin Gruber sang with the Vienna
(breathing before the final note B oy s Ch oi r t h rough his
instead of the penultimate note childhood. In 1961 he began
of the Hindemith Sonate: the playing double bass with the
word in question is “be-reit”), ensemble die reihe (and is
non-differentiated dynamic level currently their Artistic Dir-
(lack of planned or paced dyn- ector) and from 1969 to
amics through sections of a 1998 he played double bass
given piece or even throughout in the Radio Symphony Or-
an entire recital). While it may Håkan Hardenberger
ch estra—Vienna. Gruber
be true that 22-year-old conser- first began performing as a
vatory students have a lot of technical material to plow singer/actor with the MOB art & tone ART ensemble, a group
through, at least their professors should be able to advise them he co-founded in 1968. Composing in his own highly indi-
on the choice of a mute, the nature of trills in Classical and vidual style, he has been labeled “new-Romantic,” “neo-tonal,”
Baroque music, and similar matters. These observations apply “neo-expressionistic,” and “neo-Viennese,” but his music
of course not just to the competition in Marl, but to higher remains refreshingly non-doctrinaire—a deceptively simple
musical education in general. An improvement in these defec- and darkly ironic idiom which often includes a heavy dose of
tive areas will help raise the trumpet’s level of acceptance as a black humor. Berg, Stravinsky, cabaret, and pop music are all
true solo instrument, next to others that have a much longer influences, but whatever stylistic ingredients he uses in his
history of soloistic performance. works, he remains inimitably himself: one of the major talents
In a consultation between the second and final rounds, the of post-war music.
jurors and the festival organizers decided to hold this competi- Source: Vera Hørven
tion annually, with the trumpet appearing every two years as Trumpet news from the Unive rs ity of North Texas
the featured instrument. In view of the special features of this
particular competition, this is a most welcome decision. Keith Johnson, Regents Professor of Trumpet at the Univ-
Source: Edward H. Tarr ersity of North Texas, presented recitals and clinics in May
2004 at the conservatories in Cluj and Timosoara, Romania.
Håkan Harde nbe rg er performs
Earlier in the previous year Johnson presented recitals in Cape
mus ic by HK Gruber in Os lo
Town, South Africa, and gave clinics and master classes at the
Håkan Hardenberger and the Norwegian Chamber Orch- University of Cape Town and Stellenbosch University. Johnson
estra under the leadership of Terje Tønnesen performed also presented clinics during spring 2004 at the University of
Haydn’s Trumpet Concerto in E-flat Major, and HK Gruber’s 3 Memphis and the University of Northern Colorado. Please see
MOB Pieces in Oslo on September 14, 2004. Heinz Karl “Recent Appointments” for news of some of Johnson’s stu-
Gruber’s music was new to me, so I really want to tell ITG dents.
readers about this beautiful piece. In a review of an August Source: UNT

Richard Stoelzel Tours China Frederick performed music of the 26th North Carolina Reg-
Zhonghui Dai, professor of trumpet at Beijing’s Central imental Band on period instruments such as bell-front rotary
Conservatory of Music invited Richard Stoelzel, professor of cornets and a soprano E-flat over-the-shoulder rotary cornet.
trumpet at Grand Valley State University to present two recit- Frederick was invited by David Alexander, professor of trum-
als, four masterclasses, and one lecture. These events took place pet at Auburn University to present this lecture recital.
from September 20 – 29, 2004. Twenty-three students per- Source: Emory & Henry College
form ed during the masterclasses. Student performances Baltimore Trumpet Day 2004
included the following repertoire: Tomasi Concerto, Kennan On Saturday, September 4, 2004, the Baltimore Trumpet
Sonata, Halsey Stevens Sonata, Arutunian Concerto, Hinde- Guild held its second biannual trumpet day at Towson
mith Sonate, Enescu Legend, Bach’s Second Brandenburg Con- University (TU). Terry Everson, professor of trumpet at
certo, and numerous etudes and orchestral excerpts. Students Boston University, served as the featured artist for the event
from ages fifteen to twenty- two performed during the master- sponsored in part by ITG, the Maryland State Arts Council,
classes. Stoelzel was able to significantly help each student at and TU’s Department of Music. Individual sessions included
every level. He described the background of each work and master classes by Everson and Dave Ballou (TU’s newly
spoke about phrasing and basic fundamental details of perfor- appointed professor of jazz studies) and performances by a
mance practice including articulation, pitch, rhythm, and high school trumpet ensemble and the Towson Brass Quintet.
phrasing. Stoelzel gave excellent demonstrations for each stu- The highlight was Everson’s evening recital that commenced
dent. Over 50 people attended each class including students with a dazzling rendition of Rodion Shchedrin’s Im Stile von
and many visiting professors from other cities and conservato- Albéniz. The first half also included excellent performances of
ries in China such as the Shen Yang Conservatory and Shang- an arrangement of Robert Schumann’s Three Romances and
hai Conservatory. Stoelzel’s masterclasses stimulated each stu- Eric Ewazen’s Sonata for Trumpet and Piano. The second half
dent’s mind. Many in attendance spoke of having been in- opened with an outstanding performance of Peter Maxwell
spired by this master teacher’s wealth of knowledge. Davies’s Sonata for Trumpet and Piano. Peter Gilbert’s Epigrams
Stoelzel’s wonderful lyricism, warm sound, and beautiful for Solo Trumpet followed, an interesting multi-movement un-
musical phrasing were impressive to all in attendance. His pro- accompanied work that included the use of vibraslap by the
gramming for the recitals was enlightening. He performed trumpet soloist during short rests. The recital concluded with
works never heard before in China including works by Robert a truly memorable performance of Gregory Pascuzzi’s
Bradshaw, Eric Ewazen, James Stephenson, Verne Reynolds, Meditations on a Scottish Hymn Tune. This was a truly engag-
Bruce Broughton, Joseph Turrin, and Aaron Copland. He per- ing work that featured sequenced bagpipes and three addition-
formed many works from his recently released solo disc Born al trumpets that performed ostinato motives and then circled
To Be Mild. Professor Zhonghui Dai joined Stoelzel to perform the audience while playing the hymn tune Amazing Grace (in
Franceschini’s Concerto for Two Trumpets, Copland’s Quiet various keys) in an aleatoric manner.
City, and an impressive performance of Verne Reynolds Calls Source: Luis Engelke
and Echoes. Stoelzel proved himself to be both a master teacher
and performer. This event followed earlier masterclasses by Barbara Sauer Prugh premieres David Finko’s concerto
Philip Smith, James Thompson, Michael Sachs, Pierre Dutot, On October 17, 2004, ITG member Barbara Sauer Prugh
and Jens Lindemann. gave the world premiere of
Source: Professor Zhonghui David Finko’s Concerto for
Dai, Central Conservatory of Trumpet and Orchestra in
Music, Beijing Lansdowne, Pennsylvania, a
Matthe w Frederick vis its suburb of Philadelphia. The
Auburn Unive rs ity concer to, per formed in a
piano reduction with Finko at
On September 24, 2004, the piano, was given at one of
Matthew Frederick, assistant the Crissey Concerts, Har -
professor of trumpet and music ring ton Crissey’s solo and
at Emory & Henry College in chamber music concert series
Emory, Virginia, presented a featuring Philadelphia area
lecture recital entitled “The composers.
History, the Lives, and the David Finko is a composer
Music of the Civil War Brass of international stature who
Band” at Auburn University in graduated from the Leningrad
Auburn, Alabama. During the Conservatory in 1965. Since
lecture, Frederick discussed the arriving in the United States
origins of the brass band con- in 1979, Finko has taught at a
cept here in America and then number of prestigious univer-
gave a comparison of two sities and music schools, and
bands, the 114th Pennsylvania written works on commission
Regimental Band and the 26th for orchestras and music soci-
North Carolina Regimental eties. He is the recipient of
Band. Following the lecture, David Alexander and Matthew Frederick many awards. The Presser
Soloist Barbara Sauer Prugh adds: “From the performer’s
viewpoint, this concerto offers the advanced player all the
technical challenges one could want (i.e., fast fingering and
tonguing, including some double, triple, and flutter tonguing;
very angular writing with lots of tricky intervals; range and
breath control challenges, etc.) all within a contemporary and
very musical setting. David has done a great job giving the
player some wonderful thematic material in which to display
their musicality, with the second movement being particularly
expressive and exquisite!” Prugh is a graduate of the University
of Delaware and the Eastman School of Music and a busy solo
and orchestral artist in the Philadelphia area. Other premieres
she has given include works for trumpet and contemporary
ensemble by Thea Musgrave and Jan Kr yzwicki. For
more information on Ms. Prugh please see her website
(http://www.bsptrumpetartistry.com).
Concert promoter Harrington Crissey comments: “The
three-movement concerto is a modern yet accessible work.
David Finko has carefully prepared the orchestration so that it
is playable by community orchestras. Thanks are due to ITG
president Steve Chenette, who encouraged Mr. Finko to forge
ahead with the piece. I consider it highly deserving of repeat
performances.”
Source: Harrington Crissey, David Finko, Barbara Sauer
Prugh
Walte r M. Ches nut—honorary doctorate at UMas s
The University of Massachusetts at Amherst awarded a Doc-
tor of Fine Arts Degree to ITG member Walter M. Chesnut,
Professor Emeritus of Trumpet, at the 134th Commencement
held on May 23, 2004.
Barbara Sauer Prugh A member of the music faculty of the University of Massa-
chusetts Amherst since 1967, Professor Emeritus Walter Ches-
website comments, “Finko’s Russian-Jewish heritage is an nut has taught untold hundreds of students who have gone on
important aspect of his music, often providing the subject to be professional performers and music educators. He is a
matter (especially for his operas and tone poems) as well as beloved figure on the UMass campus, thanks in part to his
motivating the thematic content. Mussorgsky and Tchai- long service as University Herald at commencements and
kovsky, Shostakovich and Prokofiev, the music of the Russian other important ceremonies.
Orthodox Church, and Jewish folksong and synagogue music
are clear influences on his style. David Finko has been espe-
cially interested in exploring tragic conceptions of the human
life expressing those issues in his operas, concertos for instru-
ments, and chamber music.” More details are available at
http://www.presser.com/composers
The Concerto for Trumpet and Orchestra (2002) is a 20-
minute work in three movements: Andante con moto, Largo
cantabile, and Moderato con moto. The original orchestration
includes woodwind, four horns, two tubas, two percussion and
strings. David Finko tells us: “I may say that writing trumpet
concertos was not a major artistic avenue in Russian music of
the 19th and 20th centuries. You see, neither Tchaikovsky nor
Prokofiev nor any other major Russian composer wrote a
trumpet concerto. Thus it was a challenge for me culturally
and mentally. I was delighted that my trumpet concerto got a
warm reception from several US professional composers, musi-
cians, board members and listeners last October. I was told, Walter M. Chesnut
‘Your Trumpet Concerto was very pleasant and easy to listen
to, and in the same time the content of the music was very pro- A graduate of the University of Michigan, where he studied
found.’ I was so much encouraged by the responses the piece with Clifford Lillya for six years, Chesnut is an accomplished
received that I have started work on my future trombone and performer on brass instruments, an expert in their history and
horn concertos!” literature, and a gifted singer. He has a loyal following among

his former students and countless others who relish his perfor- One of the others was intended for clarinet, bassoon, trumpet,
mances on a variety of modern and historical instruments. In and piano. The Serenata, op. 46, by Alfredo Casella (1927) is
1993, a spinal condition left Chesnut unable to walk or per- based on six 18th-century dances: Marcia, Minuetto, Not-
form. He regained his mobility and musical mastery only by turno, Gavotta, Cavatina, and Finale (Tarantella).
way of the most arduous and protracted effort. In so doing he
became an inspiration for all those who face physical chal-
lenges. Chesnut has performed with many orchestras, includ-
ing the Springfield Symphony with which he has been princi-
pal trumpet. He was named as one of the Outstanding
Educators of America in 1973 and has received the UMass
Chancellor’s Medal and outstanding Teacher of the Year
Award.
Source: Eric Berlin/UMass Commencement Program
Industry News
Vax CD s ite benefits young mus icians
A casual enquiry on the Trumpet Players’ International
Network (TPIN) about the Mike Vax track Vax Attacks
led your News Editor to have a look at Vax’s website
(http://BigBandJazz.net). The site, Friends of Big Band Jazz, is
“A Non-Profit Organization Dedicated to the Preservation and
Promotion of the American Art Form Big Band Jazz.” When
the reader comes to the “CD Shop” page, you will find that
“Proceeds from these CDs benefit the Al ‘Jazzbeaux’ Collins
Memorial Scholarship Fund, supporting young jazz musi-
cians.”
Readers will not be surprised to hear that the CD Shop on
jazz virtuoso Vax’s site is somewhat trumpet-heavy, including
the work of Vax, Stamm, Childers, Bergeron, and many more.
A browse now might just blow away some of those post-
Christmas blues! In the TPIN conversation, Vax commented:
“One of the great things about this website, is that $5 from
every CD sale goes into our scholarship fund. We have already
given out over $12,000 to high school music programs and to Peter Masseurs
young people to go to summer jazz camps.”
And the answer to the question? Vax Attacks is on the CD The second CD, Three Concertos for a New Century, consists
“Bigbandjazz.net,” track 11, available on the web site listed of live recordings of three concertos, commissioned and played
above. by the Royal Concertgebouw Orchestra, a concerto for French
Source: TPIN/ BigBandJazz.net horn by Geert van Keulen, a clarinet concerto by Theo Loe-
vendie and a concerto for flugelhorn by Willem Jeths. Jeths
Tw o new CDs by Pete r Mass eurs was first inspired to write a concerto for flugelhorn when he
Peter Masseurs, principal trumpet with the Royal Concert- heard a recording of Dutch jazz legend Ack van Rooyen. He
gebouw Orchestra, has recently released two new CDs. The was very impressed with the dark timbre of the instrument.
first one is a solo CD in the series “Soloists from the Royal Jeths is a composer who works primary with colors. To empha-
Concertgebouw Orchestra,” and the second is a live recording size the dark color of the flugelhorn, he frequently uses the
of the world-premiere of Willem Jeths’ flugelhorn concerto pedal register of the instrument. In addition he wrote for a
with the Royal Concertgebouw Orchestra. very dark symphony orchestra, with contrabass clarinet, con-
On the first CD: Soloists from the Royal Concertgebouw trabassoon, bass trombone, tuba, bass marimba, ten cellos, and
Orchestra, Masseurs plays the Second Trumpet Concerto by eight double basses. A synthesizer amplifies the double basses
André Jolivet, as well as less well-known works. The Intrada for one octave lower. At the end of the work the organ plays a tone
trumpet solo by Dutch composer Otto Ketting was written in cluster of f, f-sharp, g, g-sharp, a in the lowest sub-octave. The
1958 for Ketting’s own exam at the The Hague Conservatory. exotic percussion section has instruments like the tubes, boo-
Martijn Padding’s One Trumpet was written especially for Peter bams, lions roar, vibraslap, steel drums, and a wind machine.
Masseurs. The piece was not only dedicated to him, but also The CD is on the NorthWest Classic Records label.
designed to portray his special musical and instrumental skills. Peter Masseurs plays on Hub van Laar trumpets and flugel-
“Don’t pull any punches,” is what Masseurs told the compos- horns.
er, and he certainly got what he asked for. Theo Loevendie’s For more information on the composers please see the web sites
Golliwogg’s Other Dances was inspired by Claude Debussy’s (http://www.muziekgroep.nl and http://www.willemjeths.com).
sonatas. Debussy had plans for six sonatas for different instru- Source: Emile Meuffels, ITG European News Correspond-
ments. Unfortunately only three were finished when he died. ent

Alison Bals om signs to EMI Clas sics Portrait of a Trumpet—new CD from Richard Byrd
British trumpet soloist Alison Balsom has signed an exclu- Richard Byrd, professor of trumpet at Cumberland College,
sive recording contract with EMI Classics. announces the release of his new solo CD, entitled Portrait of
Balsom, who was born in Hertfordshire, England, studied in a Trumpet, which fea-
London at the Guildhall School of Music and Drama, and at tures Vincent DiMarti-
the Paris Conservatoire, graduating in 2001 with First Class no. Selections include
Honours. She has also studied with Håkan Hardenberger. works by Vincent Bach,
In 1998 she was a concerto finalist in the BBC Young John Cheetham, Fisher
Musicians Competition, and in 2000 she won the prize for the Tull, Carlos Surinach,
“Most Beautiful Sound” at the Maurice André International Vivaldi, Hindemith, and
Trumpet Competition, Paris. She is a BBC New Generation Sammy Nestico. The
Artist. music of Sun Jun’s Cele-
brating Harvest, also in-
cluded on the CD, was
published by the ITG in
the special supplement
of the May 1990 ITG Portrait of a Trumpet CD cover
Jour nal. The CD also
features the January 2005 ITG Young Artist Award recipient,
Caleb Hudson. More information about the CD can be found
at the website (http://cdbaby.com) or by EMailing Richard
Byrd ([email protected]).
Source: Richard Byrd
Recent Appointments
University of North Texas
Trumpet students at the University of North Texas have dur-
ing 2004 the following positions: Iskander Akhmadullin, assis-
tant professor at University of Missouri, Columbia; Raquel
Rodriquez, adjunct instructor at Southeastern Oklahoma State
University; John Wacker, adjunct instructor at Texas Woman’s
Alison Balsom, photo by Keith Saunders University; Robert Barnett, The Air Force Band of the Golden
West; Kullen Fuchs, adjunct instructor at Campbellsville
Alison Balsom’s career already covers appearances with many University; Eric Swisher, acting assistant professor at Murray
of the major British and European orchestras. In 2006 she will State University; Robert Murray, assistant professor at the
give the premiere of a new concerto, by the young British com- University of Northern Colorado; Geoffrey Tiller, co-principal
poser Joby Talbot, commissioned for her by the Royal Liver- trumpet of the Monterrey (Mexico) Symphony; Kathryn
pool Philharmonic and Munich Chamber Orchestras; in that James, trumpet with Tafelmusik Orchestra and First Place
year she also makes her US debut with the Milwaukee Sym- Winner of the NTC Baroque Trumpet Competition; Kurt
phony Orchestra. Gorman, assistant professor at University of Tennessee,
The new EMI Classics contract is for three CDs; the first, of Martin; Phillip Johnson, The Glen Miller Band. All are or
“Bach chamber works,” will be released in 2006. Balsom were students of Keith Johnson, Regents Professor of Trumpet
already has one recording, for trumpet and organ, out on EMI at UNT.
Classics in the Debut series. Source: UNT
Source: TPIN, BBC, HarrisonParrott, EMI Gus tafs on to Fairbanks
Tw o new mouthpieces from Denis Wick The University of Alaska Fairbanks and Borealis Brass have
Denis Wick has announced two new product lines of inter- announced the appointment of ITG member Karen Gustafson
est to trumpet and cornet players. Mr Wick, eminent trom- as assistant professor of trumpet. Previously on faculty at
bonist and currently president of the ITG’s sister organization Oklahoma City University, her performance credits include
the International Trombone Association, is also a well-known the Bach Chamber Players of St. Paul, Minnesota Orchestra,
manufacturer of mutes and mouthpieces. The new lines are the Windsor Symphony, Enid Symphony, Niagara Symphony, and
Maurice Murphy Signature trumpet mouthpiece, and a “heavy the Shaw Festival Orchestra. Gustafson serves as guest artist in
top” series of cornet mouthpieces Wick characterizes as the Fairbanks Summer Arts Festival and artist-in-residence at
“Mouthpieces for reluctant cornet players.” If you are interest- the “Music from Greer” Chamber Music Festival in Arizona
ed in trying them, the model numbers are: 6881-1XB 17.5mm (summers). Gustafson’s degrees are from the University of
and 6881-1B 17.25mm. They are also available in the 2B, 3B, Victoria (BM), Northwestern University (MM), and the Univ-
and 4B in the same exterior format; these are the same cups as ersity of Minnesota (DMA). The Borealis Brass Trio was
the normal concave exterior models. formed in 1994 to present performances of brass trio literature
Source: Denis Wick and to commission works for this idiom. The group is com-

prised of UAF Faculty Karen Gustafson, Jane Aspnes (horn), Andrea Tofanelli to Orazio Vecchi
and James Bicigo (trombone). The 2004 – 2005 concert sea- Institute of Music, Modena
son is the tenth anniversary of Borealis Brass and promises Professor Liliana Forti, Director of the Orazio Vecchi Insti-
many gala events including performances in Hawaii and Italy tute of Music in Modena, Italy, writes to announce that Prof-
as well as throughout Alaska. The Borealis Brass is a Yamaha essor Andrea Tofanelli has been named Professor of Trumpet
Performing Ensemble. and Jazz Trumpet at the Institute, adding him to the roster of
Source: University of Alaska Fairbanks international performers who are already teaching there, Luc-
Jon Faddis appointed Artistic Director iano Pavarotti being just one example.
of Chicag o Jazz Ense mble Tofanelli gives master classes on playing lead trumpet and
The Chicago Jazz Ensemble (CJE), in residence at Columbia performing in the high register at the “Istituto Musicale
College Chicago since 1965, announced in October 2004 that Pareggiato L. Boccherini” in Lucca where he is also a board
it has appointed trumpet virtuoso, composer, conductor, and member for the trumpet and trombone graduating examina-
educator Jon Faddis as its new artistic director. “The Chicago tions. Moreover, he was an assistant at Maynard Ferguson’s
Jazz Ensemble is a truly world-class band, and I was honored seminar during the Vicenza Jazz Festival 2003. Andrea, a
even to be considered, much less asked, to be its Artistic Dir- Yamaha Artist, also gives seminars for Yamaha and collaborates
ector,” said Faddis. “My goals are to help raise the profile of thewith the International Campus of the Gallodoro Municipality,
CJE, to further develop its musical excellence, to introduce as well as summer seminars for the “Artemixta” Musical
new music with the band, to provide more opportunities for Association in Barberino Val D’Elsa, the NCDM School of
audience involvement and understanding, and to increase edu- Music in Milan and the “Minale” School of Music in Naples.
cational outreach to students and jazz fans of all ages.” For Tofanelli’s complete biography, links to other sites featur-
Both Faddis as an individual, and the Chicago Jazz Ensem- i n g h i m , a n d m u c h m o re , p l e a s e v i s i t h i s we b s i t e
ble as a nationally respected hometown institution, possess (http://www.andreatofanelli.com). Source: Orazio Vecchi Inst-
unique musical experiences. Devoted to teaching the next gen- itute of Music
eration of jazz musicians and audiences, Faddis frequently con- In Memoriam
ducts clinics and master classes for students of all ages around
the world. In recognition of his work, Faddis received the first- Martin Banks 1936 – 2004
ever honorary doctorate in Jazz Studies from the Manhattan The American jazz trumpet player Martin Banks died in
School of Music (May 2003) and the Milt Jackson Award for Austin, Texas on August 20, 2004.
Excellence and Accessibility in Jazz Banks was born in June 1936 in Austin.
(2001); Faddis is also artist-in-resi- During a long career he played with a
dence, professor, and Director of Jazz wide range of artists including Dizzie
Performance at the Conservatory of Gillespie, King Cur tis, Count Bas ie,
Music, Purchase College, SUNY. Duke Ellington, Dexter Gordon, Ray
Warrick Carter, president of Col- Charles, Sun Ra, and many others. His
umbia College Chicago, sees the ap- playing activities took him from Austin
pointment as a positive step in fulfill- to California, New York, and back to
ing founder William Russo’s original Austin in the 1980s.
vision of the CJE becoming the pre- The Austin-based Creative Oppor-
eminent jazz organization in the heart tunity Orchestra (CO2) pays tribute on
of America and acclaimed around the its web site to “Martin’s noble sound,
world. “We are very excited to have hard swing and legendary status.” Wil-
Jon Faddis joining us as the artistic mer Wise comments, “He was a great
director of the Chicago Jazz Ensem- guy and a great player.”
ble,” said Carter. “Jon brings a wealth For more details of Banks and his
of conducting and performing experi- career, please see the CO2 website
ences, international visibility and (http://www.creop.org/html/martin-
artistic credibility to this position. banks.html) and the Texas Cultural &
Under his leadership, we clearly see Arts Network (TCAnet) news pages
the CJE further developing into one (http://www.arts.state.tx.us/news/
of the world’s most important large newspage.asp?nid=banks).
jazz ensembles.” The Martin Banks Tribute Fund has
The CJE kicked off its Sixth been established to provide assistance
American Heritage Jazz Series in for the wife and grandchildren of Mar-
Martin Banks
February of 2005, and performed a tin Banks.
10-week engagement on consecutive Monday nights at Joe Sources: Wilmer Wise/TPIN/CO2/TCAnet/Alex Coke
Segal’s Jazz Showcase in Chicago, October 11 through
December 13, 2004. For more information, EMail Mark Le dford 1960 – 2004
([email protected]), call 312-344-6270, or visit the website Mark Ledford, the American trumpet player, vocalist, gui-
(http://www.chijazz.com). tarist, and drummer, died on November 1, 2004, in Los
Source: Columbia College Chicago Angeles, from a heart attack. He was 44. Ledford, a long-time
Pat Metheny collaborator, was raised in Detroit and studied at
Berklee from 1978 to 1982. His other work included collabo-
rations with such luminaries as Bobby McFerrin, Hugh
Masekela, Mary J. Blige, Eliane Elias, and Youssou N’Dour.
itg journal, jr.
For further details on Ledford’s career, and discussions and is for your students, colleagues ,
tributes, please see the websites listed in the online version of
this story. friends, anyone…
Source: TPIN, American Garage, http://www.jazzhouse.org,
http://smoothvibes.com, http://jazzreview.com
Do you know a young trumpet
Robert Weatherly (d. January 28, 2005)
player who could benefit from ITG?
Robert Weatherly, former principal trumpet with the St.
Louis Symphony and the U.S. Air Force Band, died January You can freely copy and
28, 2005, in Hammond, Louisiana. He was 83.
Born in Coffeyville, Kansas, Weatherly studied trumpet at distribute i tg jour na l, jr.
the Juilliard School of Music in New York City. Following a
successful performing career, he switched to academia and
taught trumpet and directed the bands at Southeastern
There i s something for ever yone
Louisiana University, where he later became the department i n ITG. Spread the w ord…
head. Weatherly also performed with the Radio City Music
Hall orchestra.
Source: Bryan DePoy Book Revi ews continued from pa ge 92
R. Bernard Fitzge rald 1912 – 2005 slow lip slurs in the open position up to a double high C, fol-
R. Bernard Fitzgerald died on February 20, 2005, in Lexing- lowed by lip slurs beginning on middle C and descending to
ton, Kentucky, where he had been a resident since 1956. Fitz- three octaves below low F#. This series is followed by arpeggios
gerald earned his undergradu- beginning on low F# and then ascending three octaves above
ate degree from Oberlin Col- and then descending three octaves below, with the series con-
lege in 1932 and his master’s cluding three octaves above middle C and ending on three
from the Jordan College of octaves below middle C. Additional tongued arpeggios go
Music in 1935. He completed from double pedal C to double high C, with the concluding
his teaching career, spanning section incorporating glissandi from low F# to G above dou-
more 45 years, when he retired ble high C. Spaulding maintains that the vital part of pedal
as Pro f es sor Emeritus after tone exercises is to “rebuild lip tissue and condition your lips
serving two decades at the Un- for the ‘upstairs-work.’” Equally vital is the psychology of play-
iversity of Kentucky, Lexing- ing high notes by imagining that the note is an octave below
ton. what is being played.
Prior to his tenure at UK, An equal amount of rest is required with each playing sec-
Mr. Fitz gerald taught at the tion with the trumpet mouthpiece taken completely away
Jordan College of Music (In- from the lips. Both the lower lip and the jaw are to be project-
diana pol is), Emporia State ed forward to supply support for the embouchure, with more
Teachers College (Kansas), the lower lip being put into the mouthpiece as one plays higher,
University of Idaho (Moscow), along with the support of the diaphragm lifted “clear up into
R. Bernard Fitzgerald and the University of Tex as your chest” for the high register. Lips are to be puckered as in
(Austin). a whistle, while the tongue is anchored to the bottom of the
Bernard Fitzgerald was well known as an educator, compos- lower teeth and raised in the center to accommodate the high-
er, arranger, conductor, and author. He published more than er notes, with all attacks coming from the mid-portion of the
25 original compositions, 100 arrangements for brass instru- tongue.
ments, and 35 articles on music. While there are many texts advising the use of pedal tones,
He was a member of the International Trumpet Guild, many do not. More problematic for the trumpeter is giving up
American Bandmasters Association, College Band Directors nine months to a technique that might possibly fail, all the
Nat ional Association (past president), Music Educators while not performing any musical recitals. Such a regimen may
National Conference, and was included in Who’s Who in not be feasible for the working professional who can not dis-
Music. continue his or her livelihood for the sake of proving or dis-
Source: Lexington Herald-Leader proving a method nor for the high school or college student
who needs to perform in any number of recitals. Therein lies
For more detailed information on many of these news items, the great enigma of Double High C in 37 Weeks. (Arthur A.
and other stories omitted due to space restrictions, visit the ITG Molitierno, Wright State University Lake Campus)
Web Site (http://www.trumpetguild.org/news/) Note: the reviewer wishes to thank Cheryl Spaulding for gra-
ciously supplying biographical details.

1995 – 2005 ITG Membership Demographics
COMPILED BY BRYAN GOFF AND DAVID C. JONES
4/ 1 3 /3 0 3 /2 6 3 /2 5 3 /2 4 3 /1 2 3 /0 3 3 /2 2 4 /0 5 3 /2 1 2 /2 5 Canada..............248 .....257 .....257 .....242 .....203 .....199 .....202 .....216 .....207 .....175 .....170
199 5 199 6 199 7 199 8 199 9 200 0 200 1 200 2 200 3 200 4 200 5 Chile .....................3 .........2 .........2 .........2 .........2 .........2 .........1 .........2 .........3 .........1 .........1
China ..................12 .......15 .......12 .........8 .........5 .........4 .........3 .........7 .......10 .........8 .......14
USA Membership by State Colombia ..............2 .........1 .........1 .........1 .........2 .........2 .........0 .........1 .........1 .........1 .........1
Alabama ..............50 .......56 .......49 .......54 .......52 .......59 .......58 .......56 .......53 .......55 .......53 Costa Rica.............0 .........0 .........0 .........0 .........0 .........1 .........0 .........0 .........0 .........0 .........1
Alaska..................10 .......11 .......14 .......14 .......12 .......16 .......19 .......24 .......22 .......18 .......17 Croatia ..................1 .........1 .........1 .........1 .........0 .........1 .........2 .........1 .........1 .........2 .........2
AE & AP.............13 .......20 .......20 .......20 .......20 .......24 .......21 .......23 .......18 .......14 .......13 Cyprus ..................0 .........0 .........0 .........0 .........0 .........0 .........0 .........0 .........0 .........1 .........1
Arizona................69 .......85 .......85 .......81 .......81 .......74 .......73 .......85 .......87 .......81 .......81 Czech Rep .............5 .........7 .........4 .........3 .........2 .........2 .........2 .........3 .........2 .........2 .........2
Arkansas ..............37 .......39 .......39 .......36 .......36 .......44 .......51 .......54 .......53 .......52 .......40 Denmark.............10 .......11 .......10 .......12 .........6 .........6 .........7 .......10 .........7 .........6 .........7
California ..........437 .....556 .....550 .....525 .....476 .....450 .....478 .....503 .....502 .....498 .....468 Dominican Rep .......0 .........0 .........0 .........0 .........0 .........0 .........1 .........1 .........0 .........0 .........0
Colorado ...........101 .....112 .....111 .....102 .......90 .....100 .....115 .....117 .....121 .....145 .....154 Egypt.....................0 .........0 .........0 .........0 .........1 .........1 .........0 .........0 .........0 .........0 .........0
England...............62 .......65 .......68 .......81 .......57 .......65 .......83 .....139 .....137 .....132 .....133
Connecticut ........78 .......83 .......88 .......90 .......83 .......90 .......99 .......95 .......92 .......96 .......99
Estonia ..................0 .........1 .........1 .........1 .........1 .........1 .........1 .........4 .........0 .........0 .........0
Delaware ...............7 .......11 .......12 .......13 .......19 .......19 .......20 .......18 .......22 .......16 .......15
Faroe Islands..........1 .........0 .........0 .........0 .........0 .........0 .........0 .........0 .........0 .........1 .........0
Dist. of Col. ........15 .......16 .......15 .......14 .......15 .......11 .........9 .........9 .........7 .........9 .......10 Finland................20 .......21 .......20 .......23 .......17 .......19 .......23 .......22 .......24 .......21 .......26
Florida...............276 .....336 .....319 .....293 .....252 .....252 .....262 .....268 .....266 .....262 .....246 France .................14 .......14 .......16 .......22 .......15 .......12 .......14 .......15 .......15 .......13 .......13
Georgia .............117 .....134 .....140 .....131 .....106 .....116 .....110 .....138 .....131 .....121 .....110 Germany ...........146 .....173 .....136 .....153 .......70 .......78 .......54 .......77 .......67 .......51 .......53
Guam....................1 .........0 .........0 .........0 .........0 .........0 .........0 .........0 .........0 .........0 .........0 Greece ...................3 .........2 .........1 .........3 .........2 .........2 .........2 .........3 .........3 .........5 .........5
Hawaii.................21 .......24 .......19 .......16 .......20 .......17 .......20 .......22 .......18 .......19 .......17 Haiti......................0 .........0 .........0 .........0 .........0 .........1 .........1 .........1 .........0 .........0 .........0
Idaho.....................7 .......19 .......21 .......15 .......14 .......16 .......19 .......20 .......20 .......16 .......17 Hong Kong ...........3 .........3 .........3 .........3 .........2 .........3 .........3 .........3 .........6 .........4 .........5
Illinois ...............275 .....311 .....308 .....279 .....261 .....259 .....275 .....280 .....293 .....272 .....261 Hungary................5 .........3 .........3 .........5 .........2 .........2 .........2 .........4 .........3 .........6 .........5
Indiana..............133 .....137 .....131 .....125 .....116 .....115 .....142 .....153 .....145 .....140 .....138 Iceland ..................7 .........7 .........8 .........7 .........7 .........5 .........3 .........7 .........6 .........5 .........5
Iowa ....................77 .......91 .......80 .......68 .......67 .......65 .......72 .......74 .......72 .......61 .......54 Ireland...................3 .........5 .........5 .........4 .........3 .........5 .........4 .........5 .........5 .........5 .........5
Kansas .................55 .......64 .......72 .......75 .......68 .......70 .......72 .......72 .......96 .......83 .......73 Israel......................4 .......10 .........9 .........6 .........5 .........5 .........5 .........6 .........4 .........3 .........4
Kentucky...........101 .....108 .....100 .....112 .....106 .......91 .......90 .......96 .......95 .......90 .......85 Italy.....................14 .......14 .......19 .......20 .......12 .......10 .......10 .........9 .......15 .......15 .......19
Louisiana.............58 .......66 .......62 .......54 .......52 .......45 .......53 .......53 .......52 .......65 .......57 Jamaica..................0 .........0 .........0 .........0 .........0 .........0 .........1 .........0 .........0 .........0 .........0
Japan ...................31 .......32 .......35 .......37 .......27 .......25 .......28 .......20 .......25 .......28 .......28
Maine..................28 .......34 .......23 .......26 .......24 .......26 .......31 .......31 .......28 .......31 .......28
Kazahstan ..............0 .........1 .........1 .........1 .........1 .........0 .........1 .........1 .........0 .........1 .........1
Maryland...........146 .....166 .....163 .....155 .....135 .....147 .....147 .....165 .....160 .....172 .....161
Korea.....................0 .........0 .........0 .........2 .........0 .........1 .........0 .........0 .........0 .........0 .........0
Massachusetts...........137......174......174......172......158......164......175......188......186......176......176 Latvia ....................3 .........3 .........4 .........3 .........2 .........2 .........3 .........2 .........2 .........2 .........3
Michigan...........208 .....246 .....236 .....227 .....207 .....204 .....217 .....215 .....227 .....222 .....223 Lithuania...............1 .........1 .........1 .........1 .........0 .........0 .........1 .........1 .........1 .........1 .........1
Minnesota .........124 .....140 .....139 .....126 .....123 .....121 .....134 .....141 .....138 .....140 .....123 Luxembourg..........4 .........4 .........3 .........3 .........1 .........1 .........1 .........2 .........3 .........2 .........1
Mississippi...........32 .......35 .......33 .......31 .......25 .......26 .......21 .......24 .......26 .......28 .......31 Malaysia ................1 .........1 .........1 .........0 .........0 .........0 .........0 .........0 .........0 .........0 .........0
Missouri ..............86 .....106 .....116 .....120 .....115 .....108 .....117 .....133 .....119 .....122 .....122 Malta.....................1 .........1 .........1 .........0 .........0 .........0 .........0 .........0 .........0 .........0 .........0
Montana .............18 .......20 .......18 .......19 .......22 .......19 .......26 .......21 .......18 .......14 .......15 Mexico ..................3 .........5 .........3 .........3 .........2 .........3 .........2 .........2 .........2 .........2 .........4
Nebraska .............54 .......61 .......57 .......62 .......46 .......41 .......45 .......47 .......49 .......46 .......41 Netherlands.........24 .......26 .......29 .......28 .......25 .......24 .......21 .......22 .......22 .......23 .......25
Nevada ...............27 .......28 .......24 .......18 .......20 .......25 .......26 .......29 .......31 .......33 .......30 New Guinea ..........0 .........1 .........0 .........0 .........0 .........0 .........0 .........0 .........0 .........0 .........0
New Hampshire......25 .......34 .......40 .......37 .......27 .......31 .......30 .......34 .......34 .......41 .......39 New Zealand.........8 .........7 .......10 .........9 .......10 .......11 .........6 .........7 .........8 .........6 .......11
New Jersey ........164 .....180 .....185 .....176 .....161 .....167 .....168 .....164 .....170 .....164 .....172 Nicaragua ..............1 .........1 .........0 .........1 .........1 .........0 .........0 .........0 .........0 .........0 .........0
New Mexico........34 .......38 .......40 .......34 .......28 .......32 .......44 .......50 .......48 .......52 .......42 Nigeria ..................0 .........0 .........0 .........0 .........0 .........0 .........0 .........0 .........2 .......12 .........5
New York ..........349 .....433 .....433 .....431 .....393 .....387 .....409 .....421 .....407 .....360 .....367 N. Ireland..............2 .........1 .........1 .........0 .........0 .........0 .........0 .........1 .........2 .........1 .........1
Norway ...............24 .......25 .......23 .......25 .......20 .......14 .......14 .......17 .......19 .......22 .......26
North Carolina ....101 .....118 .....112 .....115 .....114 .......97 .....100 .....115 .....120 .....111 .....101
Oman....................1 .........1 .........1 .........1 .........1 .........1 .........1 .........0 .........0 .........0 .........0
North Dakota.......13 .......18 .......15 .......16 .......11 .......12 .......10 .......14 .......12 .........9 .........9
Panama..................1 .........1 .........1 .........1 .........1 .........1 .........1 .........1 .........1 .........0 .........0
Ohio .................282 .....317 .....315 .....316 .....293 .....285 .....314 .....345 .....306 .....289 .....275 Philippines ............0 .........0 .........0 .........0 .........0 .........1 .........0 .........0 .........0 .........0 .........0
Oklahoma ...........49 .......56 .......50 .......44 .......46 .......46 .......51 .......45 .......53 .......59 .......48 Poland ...................2 .........2 .........2 .........3 .........0 .........0 .........1 .........1 .........2 .........1 .........0
Oregon................51 .......56 .......58 .......61 .......52 .......55 .......59 .......61 .......59 .......59 .......64 Portugal.................1 .........1 .........1 .........2 .........4 .........5 .........7 .........7 .......12 .......15 .......19
Pennsylvania........254 .....340 .....339 .....346 .....329 .....336 .....349 .....382 .....370 .....364 .....327 Romania................2 .........3 .........2 .........2 .........0 .........0 .........1 .........1 .........0 .........1 .........1
Puerto Rico ...........8 .......11 .......12 .......11 .........7 .......15 .......14 .......10 .......11 .........8 .........8 Russia..................13 .......21 .......21 .......24 .......12 .......10 .......16 .......14 .........7 .......19 .......19
Rhode Island .......25 .......31 .......28 .......27 .......20 .......25 .......21 .......26 .......28 .......31 .......27 Saudi Arabia..........0 .........0 .........1 .........1 .........1 .........1 .........1 .........2 .........2 .........1 .........1
South Carolina ......52 .......65 .......61 .......61 .......58 .......63 .......65 .......63 .......69 .......58 .......49 Scotland ................2 .........1 .........3 .........3 .........3 .........1 .........3 .........3 .........2 .........3 .........3
South Dakota .......24 .......28 .......25 .......22 .......19 .......18 .......19 .......20 .......20 .......19 .......21 Sierra Leone ..........0 .........0 .........0 .........0 .........0 .........0 .........0 .........1 .........2 .........0 .........0
Tennessee ............94 .....117 .....124 .....123 .....108 .....124 .....114 .....117 .....117 .....120 .....117 Singapore ..............6 .........8 .........8 .........8 .........4 .........4 .........7 .........6 .........3 .........4 .........5
Texas .................291 .....342 .....322 .....319 .....286 .....287 .....302 .....340 .....407 .....423 .....350 Slovakia .................0 .........0 .........0 .........0 .........1 .........0 .........1 .........1 .........0 .........1 .........1
Utah....................24 .......28 .......34 .......28 .......26 .......29 .......32 .......30 .......32 .......32 .......36 Slovenia.................1 .........1 .........1 .........1 .........1 .........1 .........1 .........1 .........1 .........1 .........1
Vermont ..............20 .......20 .......22 .......21 .......21 .......23 .......23 .......23 .......24 .......27 .......24 South Africa ..........4 .........8 .........7 .........6 .........5 .........3 .........5 .........3 .........5 .........4 .........1
South Korea ..........0 .........1 .........2 .........2 .........3 .........3 .........4 .........3 .........2 .........4 .........5
Virgin Islands ........2 .........2 .........2 .........2 .........0 .........2 .........2 .........3 .........3 .........4 .........4
South Wales ..........0 .........0 .........1 .........1 .........1 .........0 .........0 .........0 .........0 .........0 .........0
Virginia .............168 .....183 .....183 .....194 .....198 .....210 .....213 .....219 .....204 .....204 .....193
Spain .....................5 .........6 .......12 .......12 .......14 .......13 .......16 .......15 .......17 .......12 .......15
Washington .........95 .....122 .....137 .....122 .....102 .....108 .....127 .....119 .....125 .....117 .....130 Sweden................22 .......27 .......30 .......34 .......16 .......12 .......18 .......19 .......14 .......15 .......16
West Virginia .......27 .......34 .......31 .......23 .......27 .......29 .......26 .......26 .......31 .......29 .......25 Switzerland..........24 .......24 .......21 .......25 .......14 .......12 .......10 .......14 .......11 .......11 .......13
Wisconsin .........112 .....129 .....132 .....135 .....120 .....116 .....110 .....114 .....103 .....110 .......99 Taiwan ................20 .......13 .......15 .........8 .........8 .........7 .........7 .........5 .........5 .........7 .........7
Wyoming ............11 .......17 .......16 .......14 .......19 .......17 .......18 .......13 .......15 .......16 .......13 Thailand................0 .........0 .........1 .........2 .........1 .........3 .........2 .........2 .........1 .........4 .......22
Turkey ...................1 .........1 .........1 .........1 .........2 .........3 .........4 .........2 .........2 .........0 .........2
Ukraine .................0 .........1 .........2 .........4 .........1 .........2 .........1 .........2 .........2 .........3 .........4
Members hip by Countr y Uruguay ................0 .........0 .........0 .........0 .........0 .........0 .........0 .........1 .........0 .........0 .........0
Argentina ..............1 .........1 .........0 .........1 .........0 .........2 .........4 .........2 .........1 .........0 .........0 Uzbekistan (CIS).......0 .........1 .........0 .........1 .........1 .........0 .........1 .........1 .........0 .........0 .........0
Australia ..............92 .....107 .......89 .......76 .......77 .......65 .......63 .......67 .......61 .......53 .......59 Venezula................0 .........0 .........0 .........0 .........0 .........0 .........1 .........0 .........0 .........0 .........0
Austria.................12 .......12 .......12 .......12 .........8 .......10 .........9 .......10 .......10 .........9 .........7 Wales.....................2 .........3 .........2 .........2 ........1 .........2 .........1 .........1 .........1 .........1 .........3
Bahrain..................0 .........0 .........0 .........0 .........0 .........0 .........0 .........0 .........0 .........0 .........1 USA.................5,104 ....6,008 ....5,934 ....5,721 ....5,287 ....5,328 ....5,617 .....5909 .....5915 .....5803 .....5498
Belarus .....................0 ..........1 ..........1 ..........1 ..........0 ..........1 ..........1 ..........1 ..........1 ..........1 ..........1
Belgium...............18 .......14 .......23 .......32 .......26 .......13 .........5 .......20 .......12 .........7 .......15
Total 6,017 7,010 6,909 6,766 6,015 6,032 6,331 6,742 6656 6557 63 17
Brazil......................16 ........17 ........24 ........33 ........19 ........21 ........19 ........13 ........14 ........16 ........15
19 95 19 96 19 97 19 98 19 99 20 00 20 01 20 02 20 03 20 04 20 05
Bulgaria.................1 .........5 .........3 .........3 .........1 .........0 .........2 .........3 .........1 .........2 .........2

International Trumpet Guild Journal Index
®
October, 2004 – June, 2005

Compiled by Gary Mortenson
Hunsaker, Leigh Anne
*Baroque Trumpet Study in the United States Jun05/37
ARTICLES & COLUMNS BY AUTHOR
Irish, John
Articles listed chronologically (most recent to past). Gordon Mathie: Trumpetus Emeritus Mar05/44
Putting Music First: An Interview with John Miller Jan05/15
Kaderabek, Frank
The Worst of Times…The Best of Times: An Interview with
*Indicates articles that were reviewed and approved by the ITG
David Zauder Mar05/6

Editorial Committee (est. 2002)
Almeida, John Against All Odds: An Interview with Miroslav Kejmar Jan05/31
John Swana: Learning and Relating Through Jazz Jun05/56 Klaus, Sabine
Anderson, Michael Trumpet in B-flat (a'=468 Hz) by Andreas Barth Jun05/63
Online Radio Stations Jun05/78 Cornopean by Thomas Key in B-flat Mar05/50
Buying and Selling Trumpet Gear Online Mar05/68 Keyed Trumpet in G by Eduard Johann Bauer Oct04/57
University Trumpet Studio Web Sites Jan05/56 Kruger, Jonathan
Trumpet-Related Music Publishers Oct04/70 A Closing Fanfare Mar05/59
Baldwin, David Lilly, Albert
Notes on J. B. Arban’s The Art of Phrasing Jan05/49 The 2004 National Trumpet Competition Jan05/36
Boren, Mark Llobet, Jaume Rosset I
Mind Over Matter / Matter of Mind Oct04/65 *New Tools for the Assessment of Embouchure Biomechanics
Burgess, Jon Mar05/51
Trumpet Ensembles Can (Now) Play More Than Fanfares Lyren, Delon G.
Jun05/74 Cornettos, Recorders, and Trumpets, Oh My! An Interview with
Caldwell, Michael Allan Dean Mar05/23
Rhythmic Development in Improvisation Jan05/46 Lyren, Del—Young Artist Award Column
Champouillon, David YAA: Traci Nelson Jun05/67
Marvin Stamm on Expectations and Responsibility Jun05/44 YAA: Shawn Williams Mar05/55
Chesky, Kris YAA: Caleb Hudson Jan05/44
Health Promotion in Schools of Music Jan05/41 YAA: Andrew Bruhn Oct04/60
Dental Implants and Trumpeters: A Request for More Mathie, Gordon W.
Information Oct 04/58 How to Practice Oct04/61
Engelke, Luis C. Miller, Eric
Andrew Balio’s Journey to Baltimore Jun05/51 Sounds from the Hudson: The Hellcats Jan05/47
Erdmann, Thomas Moore, Thomas
Wallace Roney: Finding His Own Way Mar05/37 Some Final Thoughts on Bell Vibrations Jun05/77
A Passion for Creativity: An Interview with Herb Alpert A Close Look at Bell Vibrations Mar05/66
Jan05/21 How Loud is Loud? Jan05/54
Frink, Laurie—Profile Column The Complicated Phenomenon of Buzzing Lips Oct04/67
ITG Profile: Leanne Sullivan Jun05/66 Mortenson, Gary C.
ITG Profile: Paul Kurtz Mar05/54 Remembering Timofei Alexandrovich Dokshizer 1921 – 2005
ITG Profile: Larry D. Jess Jan05/43 Jun05/6
ITG Profile: Lisa Norris Oct04/59 The Trumpet Section of the London Philharmonic Orchestra
Gabel, Mitchell Jun05/29
Air Direction, Sound, and Efficiency Mar05/56 The 2004 Ellsworth Smith International Trumpet Solo
Gates, Charles R. Competition Mar05/31
The Modern Trumpet Player and the Cornet Mar05/62 A Day With the Band of the Irish Guards Trumpet Section
Greig, Murray—Orchestra Section Profile Column Jan05/9
The BBC Scottish Symphony Orchestra Jun05/76 The 2004 ITG Conference, Denver, Colorado Oct04/5
The Oklahoma City Philharmonic Orchestra Mar05/65 My Favorite Quotes Oct04/64
The Los Angeles Philharmonic Jan05/52 Nowicki, Carole
The Bergen Philharmonic Trumpet Section Oct04/68 *Walter F. Smith, “The Star of the Band” Oct04/48
Hood, Alan Palmer, Kye
What a Wonderful World! Reflections of Ron Modell Jun05/19 Jazz Tools: The Major Scale Oct04/63

Rosenstein, Peter Goode, Michael
Trumpet Playing and Dentistry: An Historical Perspective Stage Fright in Music Performance and its Relationship to the
Jun05/64 Unconscious (Korak) Mar05/82
Rulli, Richard Horvath, Janet
Better Practice Through Focus Jan05/45 Playing (less) Hurt: An Injury Prevention Guide for Musicians
Sanborn, Chase (Shook) Mar05/97
The Smartest Player Wins! Jun05/68 Jordon, James
Sandor, Edward The Musician’s Spirit: Connecting To Others Through Story
The 2004 ITG Composition Contest for Solo Trumpet and (Stowman) Oct04/83
Trumpet Ensemble Oct04/47 Lewis, Lucinda
Schuman, Leah J. Broken Embouchures: An Embouchure Handbook and Repair
*Interpreting Shostakovish: The Expressive Capabilities of the Guide for Brass Players Suffering from Embouchure
Trumpet in Symphony No. 5 Mar05/15 Problems Caused by Overuse, Injury, Medical/Cental
Tarr, Edward H.—Historic Instrument Window Column: Conditions, or Damaged Machanics (Wurtz) Jun05/91
Trumpet in B-flat (a'=468 Hz) by Andreas Barth submitted by Lewis, Roddy
Sabine Klaus Jun05/63 Embouchure Enhancement: A Self Analysis and Diagnostic
Cornopean by Thomas Key in B-flat submitted by Sabine Klaus Method for Trumpet Advancement (Morton) Oct04/84
Mar05/50 Marsalis, Wynton and Carl Vigeland
Jazz in the Bittersweet Blues of Life (Sielert) Jun05/91
Glass Trumpet by Paolo Vinini 1959 & Dung-chen (Tibetan
Mathie, Gordon
temple trumpet) 19th century Jan05/40
The Trumpet Teacher’s Guide: A Bibliography of Selected and
Keyed Trumpet in G by Eduard Johann Bauer submitted by
Graded Etudes and Duets, Third Edition (Peterson) Jun05/92
Sabine Klaus Oct04/57
Miller, John
Thomas, John
Trumpet Basics: A Method for Individual and Group Learning
The Lead Trumpet Player Jun05/69
(Weimer) Jan05/70
Tumlinson, Charles
Ostleitner, Elena and Ursula Simek
Improving Your Sense of Direction Mar05/57
Carole Dawn Reinhart (Molitierno) Jan05/71
West, James R. Sanborn, Chase
More “Inside the Trumpeter’s Studio” with Gary Peterson Brass Tactics, revised edition (Spoljar) Mar05/97
Jun05/75 Spaulding, Roger W.
Orchestral Dynamics and more “Inside the Trumpeter’s Studio” Double High C in 37 Weeks, Fifth Edition (Molitierno)
Mar05/64 Jun05/92
Nine Questions Answered by Two Greats! Jan05/53 Tarr, Edward H.
Seating Arrangements Oct04/69 East Meets West: The Russian Trumpet Tradition from the Time
Wick, Denis of Peter the Great to the October Revolution (Dunnick)
My Treble Clef Friends Jun05/70 Jan05/72
Wood, Peter J.
*Gunther Schuller’s Concerto for Trumpet and Chamber
Orchestra: A Hidden Treasure Jan05/5
MUSIC REVIEWS
(Reviewer’s name in parentheses)
Titles listed alphabetically.
Amy, Gilbert
REVIEWS
Symphonies pour Cinq Cuirves (Engelke) Jun05/87
Armstrong, Louis
The Louis Armstrong Collection; Louis Armstrong Plays
BOOK REVIEWS
(Reviewer’s name in parentheses) Standards trans Forrest Mankowski (Helgesen) Mar05/77
Titles listed alphabetically Bock, Kim and Corey Christiansen
Essential Jazz Lines in the Style of Clifford Brown (DePoy)
Barclay, Robert, and Richard Saraphinoff Mar05/77
Making a Natural Trumpet: An Illustrated Workshop Guide Bradshaw, Robert J.
(Proksch) Oct04/83 Sonata for trumpet and strings (or piano) (Wood) Jan05/64
Chesnut, Walter Brahms, Johannes
The History of the Trumpet in Sight and Sound (Martincic) Hungarian Dance No. 5 Michael Brenner trans (Hofer)
Oct04/83 Dec93/60
De Cosmo, Emile and Laura De Cosmo Brandt, Vassily
The Path to Jazz Improvisation (Zemaitaitis) Jan05/70 Concertpiece No. 1 (DePoy) Jan05/64
Frisch, Roger Civil, Alan
The Orchestral Audition: How to Prepare (Morton) Mar05/82 Hiroshi-Rushi (Morgan) Oct04/78
Collins, Brendan Krumpfer, Hans-Joachim
Double the Fun: Forty Duets for Two Trumpets (Sanders) Trompetenschule für Anfänger Vols. I & 2 (Sanders) Jan05/67
Mar05/78 Laburda, Jiri
Cooman, Carson P. Brass Quintet (Spoljar) Jan05/68
Sonata for Trumpet and Piano (Bhasin) Jun05/87 Concerto for trumpet and strings (Spoljar) Oct04/80
Daly, Joseph M. Concerto per tromba e orchestra d’archi (Spoljar) Jun05/89
Chicken Reel David Kosmyna arr (Engelke) Jan05/65 LaCour, Guy
Damase, Jean-Michel 28 Études—Imprompus (Evans) Oct04/80
Arlequin pour Trompette et Piano (Spoljar) Mar05/78 Manfredini, Francesco
Davies, Ken Concerto for Two Trumpets arr Edward Tarr (DePoy) Mar05/80
Antiphonal Music (Engelke) Jun05/87 Morrison, Timothy (Ed.)
Davis, Miles Solos for Trumpet: 23 Recital Pieces with Piano
Miles Davis Real Book: Lead sheets for 57 compositions Accompaniment (Engelke) Oct04/81
(Schwartz) Jun05/88 Olcott, James
Dignam, Walter Fourteen Recreational Jazz Quartets (Modell) Jan05/68
Hope Told a Flattering Tale (Engelke) Jun05/88 Plog, Anthony
Driskill, Jeff, Steve Holtman, Daniel Kelley, Paul Klintworth, Method for Trumpet (Books 1 – 3) (Engelke) Jan05/68
James Thatcher, and Brad Warner Proust, Pascal
Music for Two Trumpets—Volume I (Engelke) Mar05/78 Le Bicorne (Albright) Oct04/81
Ewazen, Eric Quinze pièces en forme d’ètudes pour Trompette ou Cornet
An Elizabethan Songbook (DePoy) Mar05/78 (Spoljar) Mar05/80
Sonoran Desert Harmonies (Zingara) Jan05/65 Reutter II, George von
Fauré, Gabriel Sinfonia with Two Choirs of Trumpets in C Major Edward Tarr
Le Pas Espagnol Odette Gartenlaub trans (DePoy) Jun05/88 ed & arr (Engelke) Oct04/81
Franck, César Sampson, David
Panis angelicus arr Paul Wisskirchen and Wolfgang Hass Notes from Faraway Places (Sanders) Oct04/81
(Engelke) Mar05/79 Silva, José Ursicino da
Friedman, Stanley Fantasia Brasileira Luis Engelke ed (Kelly) Oct04/82
Spanish Dances (Treybig) Jan05/65 Smith, Philip (Compiler)
Ghidoni, Armando The Philip Smith Signature Series (DePoy) Jan05/69
Ballad and Rag Divertimento (Morgan) Oct04/78 Snedecor, Phil
Ghidoni, Armando, arr. The Fountain (Engelke) Mar05/80
Airs Célèbres d’ Opéra (Favorite Opera Arias) Vol. II (Engelke) Uber, David
Jan05/66 Ancient Hymns and Canticles (Parish) Oct04/82
Gilliland, Allan Fanfare for the International Trumpet Guild (Albritton)
Concerto for Trumpet and Orchestra (Hunsicker) Mar05/79 Jun05/90
Haas, Wolfgang G., arr. Walker, Gwyneth
Festliche Suite (Ackley) Jan05/66 A Concerto of Hymns and Spirituals (Seals) Jun05/90
Hailstork, Adolphus
Sonata for Trumpet and Piano (Seals) Mar05/79
Variations for Trumpet (Marchiando) Jun05/89
RECORDING REVIEWS
Handel, George Frederic (Reviewer’s name in parentheses)
Hornpipe from Water Music Lloyd Conley arr (Justus) Oct04/78 Titles listed alphbetically.
Let the Bright Seraphim Roland Brom arr (Bhasin) Jun05/89 Antonsen, Ole Edvard
Suite from Armadigi Wolfgang Haas ed & arr (Engelke) New Sound of Baroque (Spoljar) Oct04/71
Oct04/79 Popular Pieces for Trumpet and Organ (Falskow) Jun05/80
Haydn, Franz Joseph Twentieth Century Trumpet (Falskow) Jan05/57
Trumpet Concerto Ryan Anthony ed (Volz) Jan05/67 Art of Brass Copenhagen
Holst, Gustav From the Merry Life of a Spy (Barrow) Oct04/71
Jupiter Theme: I vow to Thee, My Country Michael Brown Atlantic Brass Quintet
trans (Sanders) Oct04/79 Fanfares and Passages (Scully) Oct04/71
Hummel, Johann Nepomuk Five Chairs (Shook) Mar05/70
Trumpet Concerto Ryan Anthony ed (Volz) Jan05/67 A Musical Voyage (Grabowski) Feb92/25
Kaisershot, Kevin Basso, Guido
Eight Fanfares for Three Trumpets (Holley) Oct04/79 Lost in The Stars (Lipka) Jan05/57
Scherzo Burlesca (Baker) Jun05/89 Boston Brass
Studies in Syncopation (Ruttan) Oct04/80 Within Earshot (Zemaitaitis) Jun05/80

Cobb, Kevin Peters, Grant
One: American Music for Unaccompanied Trumpet (Wilson) Friendly Amendments (Wilson) Jun05/83
Mar05/70 Philharmonic Brass (Los Angeles)
Concert Brass Philharmonic Brass (Lewis) Mar05/74
live and unplugged..! (Koehler) Mar05/70 Picher, William
Cowie, Mike Te Deum (Pepping) Oct04/74
Lucid Blue (Schiller) Jun05/81 Pittsburgh Symphony Brass
Cox, Allan The Spirit of Christmas (Martincic) Jun05/83
Petite Pieces for Trumpet and Piano (Campos) Jan05/58 Posvalyuk, Valery
Davis, Michael Concert Compositions for Trumpet and Piano (Wilson)
Trumpets Eleven (Wilson) Oct04/72 Oct04/75
Daws, David Roberts, Peter
The Sounds of David Daws (Burgess) Oct04/72 Legend (Wood) Jan05/60
Denver Brass Rossum, Kelly
Misbehavin’ (Zemaitaitis) Jan05/58 Renovation (Johnson) Jan05/60
Douglas, Dave Sandor, Edward
Strange Liberation (Johnson) Oct04/73 Trumpets and Stops (DeBoer) Jun05/84
European Brass Band Championships Saunders, Carl (U.S.)
Highlights from 2004 (Schiller) Mar05/71 Live at Spazio (Johnson) Jun05/84
Fezishin, Frank Saunders, Carl (U.K.)
The Classical Flugelhorn (Wood) Jan05/58 Going Solo (Lewis) Jun05/84
Freiburg Trumpet Ensemble Saxton’s Cornet Band
New Dimensions (Burgess) Jun05/81 You Naughty, Naughty Men (Schiller) Jan05/61
Gomalan Brass Quintet Schartz, Philippe
Gomalan Brass Quintet (Spoljar) Mar05/71 The Magic of Brass (Spoljar) Oct04/75
Hardenberger, Håkan Schwebel, Heinz Karl
Trumpet Concertos (Koehler) Mar05/71 Policromo; Musica Moderna para Trompete (Wilson) Jan05/61
Harlequinade Severn, Eddie
Brass Works by Michael Forsyth (Falskow) Oct04/73 Equilibrium (Erdmann) Oct04/75
Holt, John St. Luke’s Chamber Ensemble
Facets (Reed) Jun05/81 Bach Brandenburg Concertos (Roper) Oct04/76
Hopkins, Greg Stoelzel, Richard
Quintology (Zemaitaitis) Mar05/72 Born To Be Mild (Bowman) Mar05/74
Hora Decima Brass Ensemble Summit Brass
Hora Decima Brass Ensemble (Pepping) Jan05/59 Live (Zemaitaitis) Oct04/76
Jenkins, Clay Trumpet Jungle
Matters of Time (Johnson) Jun05/82 Just Friends (Schiller) Jan05/62
Jensen, Brent and Rob Walker Quintet Vaché, Warren
Art of the Groove (Lipka) Mar05/72 I Love the Trumpet DVD (Wood) Jun05/85
La Barbera, John Big Band Washington Symphonic Brass
On the Wild Side (Lipka) Jun05/82 Dances with Brass (Wilson) Mar05/75
Laughton & Humphreys Webster, Roger
Opening Day (Madeja) Sep96/67 Passport: A Musical Journey (DeBoer) Jan05/62
Laughton, Stuart
Remembrance (DeBoer) Mar05/73
Lindemann, Jens
Briefly Noted
Rising Sun (Wood) Mar05/73 (est. October 2004)
London Trumpet Sound American Brass Quintet
The London Trumpet Sound Vol. 2 (Reed) Jan05/59 Trilogy: Chamber Music of Daniel Asia Jan05/62
Merkelo, Paul Antonsen, Ole Edvard
Baroque Transcriptions (Wood) Oct04/74 Read My Lips Jan05/63
Metheny, Mike Ball, Eric Centenary Concert
KC Potpourri (Lipka) Oct04/74 A Celebration in Brass DVD Jun05/86
Nark, Vaughn Black Dyke Band
Trumpet Prism (Erdmann) Jan05/60 Essential Dyke Volume IV: The Pondashers Jun05/86
Neebe, Paul Ensemble de Cuivres Valaisan
Te Deum (Weimer) Mar05/74 An Astral Fable Mar05/76
European Brass Band Association Flinchbaugh, Brent
25 Years of the European Brass Band Championships (Koehler) Just Another Audition Jun05/2
Oct04/77 Kaupa, Mike
Grimethorpe Colliery Band Young Talent: Felix Rossy Jun05/4
The History of Brass Band Music: The Golden Era Jan05/63
Manhart, Grant and Thomas Dust
Guzio, Gary Quintet
I Got a Secret… Jun05/86 So You Got Braces… Now What? Jan05/1
Kollandsrud, Arne Meuffels, Emile
Music for a While (Koehler) Oct04/77 Dutch Treat: Floris Onstwedder Jan05/4
Levin, Joseph M. Sanborn, Chase
Passageways Jan05/63 Summer Vacation Jun05/1
New York Brass Quintet
50th Anniversary Celebration Jun05/86
Norman, Dave C.
Special Supplements
Screaming at the Flea (Koehler) Oct04/77
Coombes, Nigel
Now that’s what I call Brass!
Vol. 1: 2002 – 2003 Mar05/75 Trumpet Salutations Jan/05
Southwest Chamber Music Eisensmith, Kevin
Carlos Chavez: Complete Chamber Music Vol. 2 Mar05/75 Trumpet and Brass Programs 2003-2004 Oct04
Stephenson, James
Colors: Music of James Stephenson (Koehler) Oct04/77
Thysen, John
ITG COMPACT DISCS & RECORDINGS
A Carmichael Memior Mar05/76 Assorted Artists
European Cornet and Trumpet Soloists, 1899 – 1950 Mar05
itg journal, jr. ---------
Bowman, Joseph A free electronic version of the entire comprehensive ITG
The Stoneback Sisters: Playin’ Trumpet, Havin’ Fun! Jan05/2 Journal Index is maintained on an issue-by issue basis at
Collins, Amanda http://www.trumpetguild.org/journal/journal.htm
Music and Extracurricular Activities: A Balancing Act Jun05/3
Index to DEG Music Products . . . . . . . . . . Col National Trumpet Competition . . Col

Dillon Music . . . . . . . . . . . . . . . . 112 Naumann Trumpets . . . . . . . . . . . Col
Advertisers Edwards Trumpets . . . . . . . . . . . . Col New York Trumpet Company. . . . 118
Cvr = Inside Front Cover OnBoard Research . . . . . . . . . . . . 120
Ferree’s Tools. . . . . . . . . . . . . . . . . 108
Col = Color Section
GMP Torpedo Bags. . . . . . . . . . . . Col Pickett Brass . . . . . . . . . . . . . . . . . 126
5 Starr Music Products . . . . . . . . . 116
Graham Carter . . . . . . . . . . . . . . . 124 Raymond Burkhart. . . . . . . . . . . . 124
AAIIRR Acousti-Coil . . . . . . . . . . Cvr
Hickey’s Music Center . . . . . . . . . 110 Robert’s Engineering /
Alfred Publishing . . . . . . . . . . . . . 125 Blue Juice . . . . . . . . . . . . . . . . . Col
BERP . . . . . . . . . . . . . . . . . . . . . . 109 HornTrader.com . . . . . . . . . . . . . . 114
Rowan University . . . . . . . . . . . . . 123
Bob Reeves . . . . . . . . . . . . . . Col, 109 Jeffrey Purtle. . . . . . . . . . . . . . . . . 126
Salvation Army . . . . . . . . . . . . . . . 117
Brass Spa. . . . . . . . . . . . . . . . Col, 113 Jet-Tone . . . . . . . . . . . . . . . . . . . . 118
Sam Ash . . . . . . . . . . . . . . . . . . . . 109
Brian McWhorter . . . . . . . . . . . . . 124 Jo-Ral Mutes . . . . . . . . . . . . . . . . 112
Schilke . . . . . . . . . . . . . . . . . . . . . Col
Callet Custom Trumpets. . . . . . . . 114 John Colson . . . . . . . . . . . . . . . . . 122
Select-A-Press . . . . . . . . . . . . . . . . 114
Cambrass / Stomvi . . . . . . . . . . . . Col John J. Kelly, DDS . . . . . . . . . . . . Col Sheet Music Service . . . . . . . . . . . Col
Chase Sanborn . . . . . . . . . . . . . . . 110 Jupiter Band Instruments . . . . . . . Col Shulman System . . . . . . . . . . . . . . Col
Chopsaver. . . . . . . . . . . . . . . . . . . 116 Kanstul Musical Instruments . . . . 113 Solid Brass Music Company . . . . . 108
Chop-Sticks . . . . . . . . . . . . . . . . . 110 Kelly Mouthpieces . . . . . . . . . . . . Col TAP Music Sales . . . . . . . . . . . . . . Cvr
Claude Gordon Music Enterprise . . 120 Ken Larson’s BrassWerks. . . . . . . . 111 Ted Sparks Music Services . . . . . . 122
Conn-Selmer (Conn) . . . . . . . . . . 119 Kevin Clark . . . . . . . . . . . . . . . . . 120 Triplo Press. . . . . . . . . . . . . . . . . . 116
Conn-Selmer (Bach). . . . . . . . . . . 121 Kevin Cobb . . . . . . . . . . . . . . . . . 118 Vogtlandische Musik-
Crown Music Press . . . . . . . . . . . . 108 Lampcraft . . . . . . . . . . . . . . . . . . . 122 instrumentenfabrik . . . . . . . . . . Col
Crystal Records. . . . . . . . . . . . . . . 111 Maller Baroque Brass . . . . . . . . . . 115 Wavesong Press. . . . . . . . . . . . . . . 110
Curry Precision Mouthpieces . . . . Col Mike Thompson Music . . . . . . . . 126 Woodwind/Brasswind . . . . . . . . . . Col
David Zuercher . . . . . . . . . . . . . . 111 Najoom Music Products . . . . . . . . 108 Yamaha . . . . . . . . . . . . . . . . . . . . . Col

ITG Welcomes New Members and Organizations
James Adair IA Matthew Demarest Ma Jun CHINA Nancy Morris ME Angela Smith MS
Sibeliius Akatemian OH George Justice CA Matthew Murdock IN Ryan Spacht PA
FINLAND Paul Dobson FL Hake Karlsson Yoko Nagahata WA David Stonecipher MI
John Allen AL Chris Dunn NC SWEDEN Mark Nelson ND Dan Suniga TX
Brad Allison WA Scott Edgar OH Alexander Kartashev Casy Newman TX Kevin Sweatman GA
David Alter OH George Phillip Eleazer RUSSIA Alex Nguyen FL Benjamin Syversen IN
Jose Amador LA TX Petter Kateraas Jimmy Oliver TX Harold Taylor NY
Travis Austin OK Chelsea Fechter MD NORWAY Tapio Paavilaninen William Theurer CA
Nick Azelborn TN Ben F Fuller NC Boris Kertsman FINLAND Brian Thompson CA
Leon Barra TX Lev Garbar IL ISRAEL Antonio Sergio Ramos Eric Thompson GA
David Bell FL Francisco Fdo. Arias David Kim TX Pacheco UK Emmanuel Thouin
Brad Benick OH Garcia SPAIN Ashton Kimbrough AL Timo Pajunen WI CANADA
Paul Beuning AZ Melanie Garrett OR Matthew Kipp CO Mandrel Pansy LA Hanspeter Treichler
Daniel Blumenfeld PA Dale Gedcke TN Haley Kitts TX Jonathan Parslow MD SWITZERLAND
Alan Bothe OH Stephanie Gobrecht IN Justin Kohmetscher VA Beth Peroutka MD Allen Tripp ID
Robert Bottger PA Gerardo Gonzalez TX James Korfta WI Scott Pribanich PA Chris Turner UK
Akhil Gopal CA Colleen Krause TX Nick Reefman
Joseph Brown GA Locenieks Uldis
Jason Graf NY Harris Lanzel FL AUSTRALIA
Daniel Brown NY LATVIA
John Green TX Kevin Lawson NV Donald Reinhardt MO
Rainard Bunte Kathryn Umble PA
Royce G Gruenler MA Emily Lawyer CA Yon Renato ITALY
GERMANY Trent Hall AR David Levy NJ Nancy Reyes TX John Vendetti PA
Jared Burrell MA Paul Hanson Daniel Lugo TX Wes Riggs WV James Verdone MA
Wesley Campbell MO AUSTRALIA Warren Lynch TX Jeffrey Robinson PA Steven Verhaert
Charles Canales TX Thomas Hartung Jon Marshall PA Felix Rossy SPAIN BELGIUM
Brad Cochrane NC GERMANY Andrew Martin NY Jason Royal GA Joel Villanneva NY
Jacquelyn Coleman IN Tim Hawes UK Luca Mastrotto ITALY Adam Russak CA Jordan Wada CA
David Collins James Hawkins OH Jake McAllister NC Sunny lu Sai Yu Steve Wade CA
IRELAND Craig Hayne TX Ben McNabb MO HONG KONG Arnett Waters MA
Matthew Compton VA Shane Hicks Darvin McRoy GA Thomas Salistean NE Pierson Wetzel OH
Asas Conner DC CANADA Charles Megules OH Michael Scanza IN Glenn Wilfong WI
Ezequiel Ferreira da Wooseok Hong Timothy Mendoza CO Chris Schroeder FL Dustin Williams MO
Silva BRAZIL SOUTH KOREA Stephen Miles MD Larry Sellers TX Larry Don Woods TN
Minerva Davis TX Rob Hunter AZ Sara Mills CANADA Erin Shaw VA David Wright UK
Rachael Davis TX Mike Jarosz NJ Rik Mol HOLLAND Ralph Brian Simpson Xiao Xiaohu CHINA
Marc Decker IL Bryan Jarvis MN Huw Morgan WALES NEW ZEALAND Yin Xiaohui CHINA
Joel Deichman TX Kalomo Johnson CA Robert Morning WA David Slonaker CA Liu Yi CHINA
ITG Honorary Award and ITG Award of Merit

The ITG Honorary Award is given to individuals who have made extraordinary contributions to the art of trumpet playing
through performance, teaching, publishing, research, and/or composition. The tradition has been to aw ard persons tow ard the
end of their careers. Honorary Award recipients include Maurice André, Louis Armstrong, Mel Broiles, Clifford Brown, Vincent
Cichowicz, Miles Davis, Timofei Dokshizer, Armando Ghitalla, Harry Glantz, Adolph Herseth, Robert King, Clifford Lillya, Rafael
Méndez, Robert Nagel, Renold Schilke, Doc Severinsen, Edward Tarr, Clark Terry, William Vacchiano, and Roger Voisin.
The ITG Award of Merit is given to those individuals who have made substantial contributions to the art of trumpet playing
through performance, teaching, publishing, research, composition, and/or support of the goals of the International Trumpet Guild.
Award of Merit recipients include William Adam, Leonard Candelaria, Charles Colin, Raymond Crisara, Kim Dunnick, Stephen
Glover, John Haynie, Frank Kaderabek, Gordon Mathie, and Anatoly Selianin.
To nominate someone who has made a significant contribution to the trumpet world, send the nominee’s biography and a ratio-
nale for his/her nomination to ITG Vice President Jeffrey Piper, Department of Music, University of New Mexico, Albuquerque,
NM 87131; [email protected]
© 2005 International Trumpet Guild This pa ge ma y be duplica ted. June 2005 / ITG Journal 107

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z

International Trumpet Guild ®

Vol. 29, No. 4 Gary Mortenson, Editor June 2005

The London Philharmonic

June 2005 ITG Journal

2 ITG Journal / June 2005 © 2005 International Trumpet Guild

4 ITG Journal / June 2005 © 2005 International Trumpet Guild

O n the afternoon of March 16, 2005, the great Rus-

6 ITG Journal / June 2005 © 2005 International Trumpet Guild

The International Trumpet Guild, through the under-

The Officers, Board of Directors, the Guild’s membership,

With our best and sincere regards,

Five members of the Dokshizer family at the remembrance dinner on

L – R: Anatoly Selianin, Vyacheslav Prokopov, and

Ministry of Defense Band members playing the

Grave of Dokshizer's first wife and son,

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On March 16, 2005, the world of trumpeters became infi-

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It is always a sad time when a great musician pas-

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L – R: Kiril Dimitriev, Mona Rachgus, Arto Hoornweg, Timofei Dokshizer

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I can remember so vividly the phone call which came to me

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In Moscow with his students in the 1980s

We have lost the most amazing trumpet virtuoso the

With Arturo Sandoval at the 1995 International Brassfest

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Special thanks to the following people w ho helped in as se mbling this article:

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The stage band for La Boehme at Glyndebourne (2003) in Santa costume

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