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@jNEW&LETTEIZ Vol. 3. No. 2 Stephen L. Clover, Editor February, 1977

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Table of Contents
2 From the President
From the Editor
General News
4 Introduction to the French Trumpet Stars by Michel Laplace
6 Why Do I - a Trumpeter - Play the Horn? by Edward H. Tarr
7 Schedule of Programs
Book Reviews, Kim Dunnick, Editor
8 Music Reviews, Norbert Carnovale, Editor
12 Record Reviews, David R, Hickman, Editor
15 Instructions to Contributors
16 Advertisements

1975-1977 Officers
President: Lloyd Geisler, 3444 North George MasonDrive, Arlington, VA 22207
Vice President: Clifford Lillya, 1212 Henry Street, Ann Arbor, MI 48104
Secretary: David Baldwin, 589 Lincoln Avenue, St. Paul, MN 55102
Treasurer: Gordon Mathie, Crane School of Music, SUC, Potsdam, NY 13676
Board of Directors
Bud Brisbois, Ward Cole, Charles Colin, Charles Gorham, David R. Hickman, Robert Levy, Robert Nagel, Carole Reinhart,
Susan Slaughter, Don Smithers, Thomas Stevens, Roger Voisin
IT6 Journal & Newsletter Staff
Editor: Stephen L. Glover, 2817 Acklen Avenue, Nashville, TN 37212
Associate Editors
Book Reviews: Kim Dunnick, Music Department, TennesseeTech University, Cookeville, TN 38501
Music Reviews: Norbert Carnovale, Music Department, University of Southern Mississippi, Hattiesburg, MS 39401
Record Reviews: David R. Hickman, Music Department, University of Illinois, Urbana, IL 61801
Advertisements Manager: Donald R. Whitaker, School of Music, University of Wisconsin-Madison, Madison, WI 53706
Deadlines for receiving information to be published are: December 1st (February Newsletter), March 1st (May Newsletter),
August 1st (October Newsletter); July 1st (Journal).
The ITG Newsletter is published three times yearly, in February, May, and October; the ZTG Journal is published each fall.
ITG memberships are arranged to run in units of one year (July l-June 30) and include subscriptions to ITG publications.
(Library subscriptions are welcome.) Please make checks or money-orders payable to: International Trumpet Guild and mail
to: Gordon Mathie, Crane School of Music, SUC, Potsdam, NY 13676 U.S.A. (Payments from outside the U.S.A. should be
made in US $ by international money order or by a draft on a U.S. bank.)
Membership dues: $5.00 (students); $10.00 (regular members and libraries).
The ZTG Newsletter is an official publication of the International Trumpet Guild. ISSN: 0363-2857.
@Copyright 1977 by the International Trumpet Guild. All rights reserved. Printed in U.S.A.
From the President section. Much assistance is also needed to supervise the Genera1
News section. Both of these sections require the revising and re-
typing of material. Anyone interested in helping with these
Now that you have had time to read the first ITG Journd, I hope
should contact me as soon as possible
that you have all come to the same conclusion that I have. It is a
All ITG members are invited to submit articles and news items.
great pubhcation: exactly what we needed at this time in the short If you have a special area of interest, or if you are working on a
life of ITG. I want to congratulate Stephen Glovei and his staff project. feel free to discuss it in an article. I will print interesting
for giving us such an interesting volume.
correspondence, so if you disagree with a statement in any issue,
ITG has just been declared a non-profit organization by the IRS.
or if you have additional information to add, please contact me.
As such. ITG will not have to pay income tax. will receive a
Due to the large volume of mail received and the lack of staff
much lower postage rate on bulk mailings and. i~ general, be in
to handle it, none of the editors can necessarily acknowledge
much better shape to operate more beheficially for our members.
receipt of materials. If an acknowledgement is desired, please
In applying for this exemption, it was necessary for us to supply
enclose a stamped, self-addressed postcard with your shipment.
a constitution that was ratified by the organization. The IRS ruled I would like to inform all ITG members that they should take
this could be done by a majority of the Officers and Board of the initiative by sending materials such as forthcoming dates for
Directors. This was done by tnail (it was unanimous). and the concerts and other activities. and information for inclusion in the
acceptances sent to the IRS, along with many government forms
ITG Artist-Members section. It is simply impossible for the editor
prepared by our General Counsel. Don Macintosh. If anyone
to contact individual metnbers to request such information. Local
desires a copy of the Constitution and By-Laws, I am sure Ward
ITG Chapters are also advised to keep the editor advised of ac-
Cole will be happy to send you one. Please contact hitn at: 2316
tivities. (S.L.G.)
Sovereign Cr., S.W.. Calgary. Alberta. Canada T3C 2M3.
Another item of importance is a notice I received from the
Director of the International Brass Congress held last June at
Montreux, stating that records of the event would be made if the
demand warranted. He needs at least 500 requests, and your
General News
letters to Mr. Richard F. Zellnrr. Managing Director. Institute for
Advanced Musical Studies, Box 141, CH-I 810 Montreux. Switzer- N .Y. Philharmonic Orchestra Has Second Trumpet Opening
land will help tremendously. All the trumpet recitals and ensem-
The New York Philharmonic Orchestra will hold auditions for
bles will be grouped together. so you won’t have to buy events
the position of Second Trttmpet in March. 1977. For further
played by other groups. He indicated that the price would be in
information. qualified applicants should contact: James Chambers.
the neighborhood of $10 each. Two records would include all of
Orchestra Personnel Manager, New York Philharmonic at Avery
the recordable material. Your letters would be of great help in
Fisher Hall. Broadway at 65th Street. New Yprk, New York
getting this done. Please write to him and request that the record-
10023. or phone: (2 12) 580-8700.
ings be made. (The postage is 3 1 cents.)
We are looking forward to the 1977 Annual ITG Conferrncc at
the University of Illinois. with Dave Hickman as host and Confcr- Flint Symphony Orchestra Seeks Principal Trumpet
ence Chairman, to take place May 1 X-21. 1977. From the
enclosed brochure. you will see that it is going to be a great event: The Flint Symphony Orchestra, John Covelli Music Director
don’t tniss it! and Conductor. has announced that the position of Principal Trum-
My final admonition is an appeal IO all of you who have not pet is open for the present (1977) season. Qualified applicants
paid your 1976 dues. Please do so at your earliest convenience. should contact: Bennie Gregurick. Personnel Manager, Flint Insti-
and give our treasurer. Gordon Mathie. a Happy New Year, which. tute of Music. 1035 E. Kearsley Street. Flint. Michigan. Phone:
incidentally I wish to all of you. too. (313) 23%9651.

Lloyd (kisler. President

1977 ITG Conference to be at University of Illinois
David Hickman, Chairman of the ITG Conference, has an-
nounced plans for the I977 Conference to be held May 18-21 at
From the Editor the Universit$ of Illinois in Urbana. A special brochure is included
with this issue of the newsletter. An excellent faculty will be fea-
As will be noted. several persons have accepted positions a\ tured tn concerts and lectures. For more brochures or additional
Associate Editors of the ITG Newsletter and Joumol. Dr. Norbert information contact: D;lvid Hickman. Music Department. Univer-
Carnovale, Chairman of the Music Department at the University ot sity of Illinois. Urbana. IL 61801.
Southern Mississippi (Hattiesburg): is our new Music Review
Editor; Kim Dunnick, Trumpet Instructor at Tennessee Techno-
logical University (Cookeville). is the Book Review Editor; and Central New York Brass Festival Rescheduled
David Hickman. Professor of Trumpet at the University of Illinois
(Urbana), is our Record Review Editor. All ITG members are The Second Annual Central New York Brass Festival has been
invited to participate as reviewers and should contact the appro- tentatively reschuled for April 16th. (All plans were not confirmed
priate editor stating your interests and qualifications. Books, at press time.) James W. Estes announced that the Festival has
records, and music for review should now be sent directly to the been postponed due to the bad weather in January. Clinicians for
appropriate editor. the Festival will include Vincent Cichowicz, trumpet (North-
While the above sections are now in capable hands, additional western University and formerly a member of the Chicago Sym-
editors are needed. Although I have received numerous concert phony); Milan Yancich. horn: Allen Ostrander. trombone (Ithaca
programs no one has expressed an interest in organizing this College and fortnerly a member of the New York Philhaimonic);

and Peter Popiel,. tuba. The: Festival will be held at West Genesee University of Illinois Trumpet Guild
High School in Camillus, New York (a suberb of Syracuse) and The University of Illinois Trumpet Guild has sponsored the
will include clinics, open rehearsals and concerts by students at following programs:
Eastman School of Music, West Genesee H.S., and Ononodaga Oct. 19, 1976 - Gerald Endsley (Instructor of Trumpet at the
Community College. University of Denver, President of Tromba Publications and
For further information contact James W. Estes at West Gene- Clarino Recordings) presented a lecture-recital with pianist
see H.S., Camillus, NY 13031. Phone (315) 487-4612. Robert Ray of the U. of 1. faculty on the comet.
Oct. 26, 1976 - Jane Hickman Trumpet Recital.
Oct. 31, 1976 - Faculty Brass Quintet (David Hickman & Ray
Edward Tarr to Present Baroque Brass Class at Indiana Sasaki, trumpets; Thomas Holden, horn; Robert Gray, trom-
Indiana University has announced that ITG member Edward bone; Daniel Perantoni, tuba).
Tarr will present a two-week Baroque Brass Master Class at IU Nov. 14, 1976 - University of Illinois Large Symphonic Band
from June 20th to July lst, 1977. The session will be open to with David Hickman, trumpet soloist. Mr. Hickman premiered
cornetto, sackbut, and Baroque trumpet players. Bruce Dickey, work commissioned by the U. of I. Band: Concerto for Trum-
cometto virtuoso and expert on Renaissanceand Baroque articula- pet by Jerry Bilik.
tion and improvisation, will assist Tarr. Nov. 17, 1976 - Trumpet Recital by Verlin Richardson & Thomas
Tarr is one of the world’s leading authorities on the Baroque Pattock.
trumpet. He has recorded many works on the natural trumpet, Dec. 6, 1976 - Faculty Trumpet Recital with David Hickman
authored many articles and a book, and edited numerous critical (Gerald Hammilton, organ).
editions of trumpet music. Dickey is a graduate of IU and a
master pupil of Tarr. Dickey has performed with such groups as
Concentus Musicus Vienna, Early Music Consort, Musica Antiqua Instrumentalist Will Have “Trumpet” Issue
Vienna, and others. The Instrumentalist magazine (1418 Lake St., Evanston, IL)
For further information, contact: Dr. Miriam Gelvin, Summer will devote their April issue to the trumpet and will base the
Sessions, Indiana University School of Music, Bloomington, issue around the International Trumpet Guild and the upcoming
Indiana. May Conference at the University of Illinois. Many feature arti-
cles for the magazine will be by trumpeters on the Artist-Faculty
of the Conference. Don’t miss it!
Timofei Dokshitzer to Give First United States Solo Tour
Russia’s greatest trumpet virtuoso, Timofei Dokshitzer, is sche- Brass Bulletin Will Not Be Free
duled to tour the United States for the first time as a soloist in
May, 1977. Professor Dokshitzer has toured many countries earn- In the last issue of the ZTG Newsletter, it was reported that all
ing acclaim as one of the world’s greatest musicians. Although he members of ITG would receive three free issues of Brass Bullefin
has toured the US. with Soviet orchestras, this will be the greatest (Nos. 13, 14, and 15). We have since been notified that No. 15
opportunity for American trumpeters to hear this truly outstand- will not be sent free. Further, the supply of Nos. 13 and 14 has
ing virtuoso. been exhausted; these two issues were mailed last summer to all
It is suggested that interested persons contact the host at each (then) current members of ITG. ITG members interested in sub-
concert location to confirm program. Further information will scribing to this fine publication should write to: Brass Bulletin,
appear in the next ITG Newsletter. The tentative schedule is as Box 12, CH-I 5 10, Moudon, Switzerland.
May 15, 1977 - Cookeville, Tennessee (Tennessee Tech Com- Correction for Last Journal
munity Symphony Orchestra - Dr. James Wattenbarger, con-
ductor) Concert: 3:00 p.m. - Derry Berry Hall;, Host - The first ITG Journal was issued in October, 1976 as Volume 1.
Dr. Howard Brahmstedt Due to a printer’s error the Journal was incorrectly shown as
May 18, 1977 - Madison, Wisconsin ( University of Wisconsin Vol. 3, No. 1 on the contents page. The October, 1976 ITG News-
Wind Ensemble - Mr. Eugene Corporon, conductor) Concert: letter (bound with the Journal) was correctly shown as Vol. 3,
(TBA) - Mills Concert Hall; Host - Mr. Donald Whitaker. No. 1. The Journal Editor apologizes for any misunderstanding
May 21,‘1977 - Urbana, Illinois - International Trumpet Guild this has caused.
Conference (University of Wisconsin Wind Ensemble -
Mr: Eugene Corporon, conductor) Concert: 8:00 p.m. - Great
Iowa Trumpet Festival
Hall, Krannert Center; Host - Mr. David Hickman.
May 24, 1977 - Atlanta, Georgia (Georgia State University Orches- The Iowa Trumpet Festival was held on November 20, 1976
tra - Dr. John Sumrall, conductor) Concert: (TBA) - G.S.U. at the University of Northern Iowa in Cedar Falls and was organ-
Concert Hall; Host - Dr. Steven Winick. ized by ITG.member, Keith Johnson. About 75 trumpeters from
May 27, 1977 - Evan’ston, lllinois (Northwestern University Sym- Iowa, Wisconsin, and Illinois attended the festival.
phonic Band - Mr. John Paynter, conductor) Concert: (TBA) Guest artist David Hickman (University of Illinois) performed
- Pick-Steiger Auditorium; Host - Mr. Vincent Cichowicz. works by Albinoni, Vivaldi, and Altenburg (Concerto for
May 29, 1977 - Ann Arbor, Michigan (University of Michigan, 7 trumpets and tympani, performed with the UN1 Trumpet
School of Music) Clinic and masterclass. Hosts: Clifford Lillya Ensemble). Lloyd Fillio (Vincent Bach Corp.) lectured on the
and Renold Schilke. design and manufacture of trumpets. In addition, the Northern
June 1, 1977 - Detroit, Michigan (Wayne State University Sym- Brass Quintet (Keith Johnson and Bruce Chidester, trumpets;
phonic Band -“Mr. Harold Arnoldi, conductor) Concert: 8:30 Robert Krueger, horn; Jon Hansen, trombone; Fritz Kaenzig,
p.m. - Ordhestra Hall; Host - Mr. Harold Arnoldi. tuba)‘performed a recital for the festival.
New Work For Trumpet and Tape AMIS publishes a’scholarly Journal comprising an annual num-
ber and three annual Newsletters providing the membership with
Transparencies for trumpet and computer tape has recently
information on worldwide activities, book lists and comments, and
been composed for trumpeter David Hickman by John Melbjr, general short articles of interest to museum curators, collectors,
well-known electronic composer. The work will be premiered in performers, and others interested in musical instruments. A current
February, 1977 at the University of Illinois-Urbana. project of the Society is the compilation of a Directory of Con-
temporary American Musical Instrument Makers. ’
Bruce Wheeler
Membership in AMIS is open to both individuals and institu-
ITG member Bruce Wheeler, principal trumpet of the Savannah tions upon payment of the annual dues of $12.50. Members
Symphony Orchestra, was featured as a soloist this past summer in receive the Journal, arid the Newsletter aswell as all mailings rela-
the premiere and seventeen subsequent performances of the tive to activities of the Society. Checks or bank drafts, payable in
Concerto for Trumpet and Wind Orchestra by Jerzy Sapieyeuski U.S. dollars, should be made out to the American Musical Instru-
with the American Wind Symphony Orchestra of Western Pennsyl- ment Society, Inc., and, together with a membership application,
vania under the direction of Robert Austin Boudreau. sent to the Treasurer: Ms. Linda Tauber, P.O. Box 4147, Shreve-
port, Louisiana 7 1104.

Introduction to the French Trumpet Stars

by Michel Laplace
Like most of the other European cduntries France began its
modern trumpet history under the German influence. It was in
October, 1826, that Spontini sent to Joseph David Buhl, virtuoso
from Amboise, a new German invention: a trumpet with two
valves. His nephew, Franqois Joseph Dauvernt?, gave a successful
concert with that instrument, then improved it alot. He is the same
DauvernC of the Paris Opera, who became the first trumpet
teacher at the Paris Conservatory when Luigi Cherubini opened a
class for that instrument in 1833. Again, for his “methode pour la
trompette” (1857) DauvernB was under the German influence
using extracts of J. E. Altenburg’s “Versuch einer Anleitung zur’
heroischmusikalischen Trompeter-und Pauker-Kunst.” Usually, the
EdwardTarr rehearses
with the Louisville Bach Society Orchestra, cornet B pistons (French product) history is incorporated into thai
Melvin Dickinson,Conductor of the trumpet; however, this is not accurate. The world famous
J.B. Arban made his chosen instrument the great rival of the trum-
Edward Tarr Trumpet Seminar and Concert
pet. Auber, successor of Cherubini, opened a class for the cornet
A Baroque trumpet seminar and concert was held November 1% at the Paris Conseryatory on February lst, 1869 and Arban was
19, 1976 at the University of Louisville School of Music. Guest the first teacher. It was not until Merri Franquin that the trumpet
lecturers were Edward H. Tarr, trumpeter and musicologist, and made a “come-back.” He was the trumpet t&her at the Paris
Stephen L. Glover, founder and editor of The Brass Press and Conservatory from 1894 to 1925, and was said to be .the very first
editor of the ITG Journal. in France to teach diaphragmatic breathing. He was the greatest
Lectures were presented by Edward Tarr on Baroque trumpet influence of his time, together with the Belgian trumpeter Theo
style, and by Stephen Glover on the history of the Baroque trum- Charlier (a member of the examinations board of some Fren’ch
pet. A joint lecture was given on the editing and publishing of conservatories). lncidently, Charlier was the first to be able to
early music. The seminar concluded wi’th Edward Tarr,, natural play the Second Brandenburg Concerto in 1902. Even if Fran-
trumpet, and William Whitesides, tenor. in concert with the Louis- quin’s method is not among the usual teaching books today, the
ville Bach Society Orchestra conducted by Melvin Dickinson. young beginner in France learns from the literature of that period
Selections included the Purcell “Trumpet Overture” from The or is inspired by it. For the various levels, the order often is:
Indian Gueen, Z. 630, the Fux .cantata, “Plaudite. sonat tuba”, 1. “methode complete pour le cornet B pistons” ‘by Pierre
and the Handel Suite in D Major. (Ann Farr, University of South Clodomir.
Carolina) 2. “m;thode compl2te” by Guillaume Balay, 2 volumes.
3. “14 &tudes CaractCristiques” by Jean-Baptiste Arban.
4. “36 etudes transcendantes” by ThCo Charlier.
The American Musical Instrument Society
Finally comes Chavanne and Balay’s studies mixed with various
The American Musical Instrument Society (AMIS) is an inter- French concertos (see “musique pour trompette”, A Leduc. Com-
national organization founded in 1971 to promote study of thq piling extracts of that literature). Usuajly, beginners iearn first the
history, design, and use of musical instruments in all cultures and cornet, then the C trumpet. The choice of the latter instrument is
from all periods. a great part,of the French (legitimate) trumpet world. The French
AMIS holds an annual meeting with symposia, papers, and per- player his a lot of preconceived ideas: among others, he c&not
formances of interest to the menibersl%p. Meetings have been held accept the B-flat trumpet (the F trumpet was used briefly in the
at the Smithsonian lnstitu.tiqn in, Washington, D.C.; The Boston early days). Curiously the legendary Ernest Hall’wrote me: “Yes!
Museum of Fine Arts; The University of Michigan at Ann Arbor; 1 did not have any’ time for the C trumpet.” (letter 21/8/76).
and New York University. A great generation’ of distinguished British trumpeters played
everything except Bach & Handel on the B-flat trumpet, exactly
like German & Soviet players among others, making the French
concept quite isolated.
We can pass over the other teachers of the Paris Conservatory
until 1925 (Maury, Cerclier, A. Petit). From 1925 to 1957 the
greatest French teacher was Eugene Foveau. “He had a beautiful
warm sound and played with a lot of heart and soul.” (G. Hirst.
letter l-76) Mostly a cornet player, he succeeded A. Petit as cornet
teacher. At the same time, his powerful colleague at the Paris
Opera, Pierre Vignal, was named trumpet teacher. Foveau was a
stylist, being the originator of the pretty French sound of the late
1950’s. Happily for us? Foveau recorded some 78’s. His pupil,
Raymond Sabarich, took most of the soloist jobs and succeeded G. Berton, R. Rideau, J-C. Elisas,M. Lamarche (Conservatoire de Tours, 1970)
Vignal after the Second World War (in 1947). Sabarich was (for
the present author) the greatest French concert virtuoso; he is
said to have worked quite hard toward his prizes, notably because the French people. Every French musician knows Scherbaum, but
of lip troubles. (He had thin lips and Selmer made for him a small- very few accept his original way to play the trumpet (the attacks
rimmed mouthpiece.) He quickly developed his own style, curious- and particularly his vibrato and phrasing). However, he is
ly very close to today’s Soviet standard (every French player had respected for his unusual range and power. Since the 1950’s, the
reminiscences of Sabarich, hearing the marvelous Timofey Dok- Soviet players have been legendary. Popular music players (G. JOU-
shitzer in Montreux, 6-76). He was a star from the 1930’s to his vin! the late Coca Barbier) heard them on tours to the USSR and
death: “I did shows with Raymond and also quite a lot of films. told great stories of them upon their return. Likewise. good rela-
He was fantastic. Also when he was trumpet solo at the Opera tions were established between Foveau, Sabarich and the virtuosos
Comique I used to go with Lirn and sit in the pit next to him (not from Moscow. (Foveau arranged studies by Balasanyan, and
to play, just to listen) while they played the opera. He was a fan- G. Orvid was on an examination board at the Paris Conservatory.)
tastic player, and a real good unpretentious person Sabarjch The terrific trumpet section of the Bolshoi (7. Dokshitzer. A.
was the trumpet man who was called from all over when the Maksimenko, I. Pavlov) played in Paris in 1970.
B Minor Mass, or any of the difficult Bach works were performed: We cannot discuss the trumpet without some words on the
he used a I) trumpet to do this work.” (G. Hirst, letter l-76) All variety and jazz business. The American rhythms were introduced
his former pupils are under his spell; he made them study at the in France around I9 17. Of course, John Philip Sousa’s band (Her-
Selmer house (where? one day in the 1950’s, Rafael Mendez bert L. Clarke. solo cornet) came to the Paris Exhibition in 1900
played for them at the request of Sabarich). Following a rivalry and then played some ragtimes. But. we think everything began
between Foveau and Sabarich the two courses at the Paris Con- with the Hell-Fighters directed by Jim Europe, in 1918 (Frank
servatory combined cornet and trumpet instruction. Since these DeBraithe, solo cornet). The same year Mitchell’s Jazz Kings catne
two legendary men (a complete article on them is a must) the to play at the Casino de Paris (Cricket Smith. trumpet). The great
other teachers have been Ludovic Vaillant. Pierre Thibaud: and influence was Emil Christian (cornet, trombone) who has played
Maurice AndrC. in Paris and other European towns since 1924. He spoke highly of
Among the great players of the past, the cornet virtuosos of the Alex Renard-“A really outstanding jazz, and all around trutnpeter
Garde RCpublicaine, such as hslr. Bernard and the duo Joseph I% outside of symphony work was a fellow named Renard he had
DeFossez, made interesting 78 recordings. Among the first genera- a very good style somewhat like Ziggy Eltnan.” (G. Hirst, letter
tion of famous orchestral players (late 1940’s to late 1950’s). I -I 976) Renard played in Paris from 192 1 to 1972(!). From 1924
there are Albert Adriano, Coursier, G. Fauthoux, J. Maire, R. Maxitn Neff (with LCo Vauchant orchestra) and Faustin Jeanjean
Laurant, P. Chaine, Chabrier, C. Perrin (Algiers Radio). R. Tournc- (in Lud Bluskin band from 1925 to around 1934) were good dance
sac, P. Piton, J. Greffin, P. Pollin (now first player of the Orches- band players. It was in 1925 that Pierre Allier made his debut at
tre National), R. Delmotte and the late Maurice Leclcrcq (Paris the “Abbaye de Th&me.” Allier along with Renard and Philippe
first prize, Garde RCpublicaine. Lille Radio and Roubaix Conserva- Brun will be regarded as our greatest jazz trumpet players of the
tory). Curiously enough, it is the early recordings of R. Delmottc, first generation. These three men established a French sound in the
L. Menardi and A. Adrian0 (and, even P. Thibaud) that are closest late 30’s and early 40’s. No Americans were in Paris during that
to Savarich’s style: powerful, very lyric, with a lot of vibrato period, so there was no foreign intluence. Allier had a full sound?
(none of them are among his pupils; Menardi is his son-in-law). without great range but with soul and vibrato. Brun is said to have
His most distinguished pupils have chosen to imitate the sophis- been our first player of international standard, but was a hard
ticated style of Maurice Andre, Sabarich’s most famous student. drinker exactly like one of his idols, Bunny Berigan. Brun was at
Of these are Marcel Lagorce (Orchestre de Paris), Bernard his best in 1937-38. a powerful and authoritative trumpeter. .
Jeannoutot (LeMans Conservatory), Gaetan Berton (Tours con- Among the section men we tnust name: Gaston Lapeyronie
serv.), Albert Calvayrac (Toulouse conserv.). Yves CougffC (Radio (“when I first went to France in June of 1928 there was a player
France), Franqis Hardy (Poitiers conserv.; Paris Opera) and so on. named G. Lapeyronie who was the most outstanding French
Among other good players from this second generation (born from player that I met!” G. Hirst, letter t-1976); Maurice Mouflurd
1930 to 1940) are Claude VassC (Musique vivante ensemble), Jean- (well known since 1934); Al Piguiletn (“also a young player named
Jacques Gaudon, Jean-Jacque Greffin (as powerful as his master Piguilem . He was a first prize winner at the Paris Conservatory.
Sabarich), Delange and G. Roussel (Northern France). He was not a jazzman but played good lead and was a good all
In the 1950’s Roger Voisin was often cited as a “reference” at around trumpet man, but he died young of a lung ailment,”
the Paris Conservatory. His recordings of Baroque music, together G. Hirst, letter l-76); Alex “Fifis” Caturegli; Christian Bellest (still
with the many concerts by Adolf Scherbaum in Paris (beginning in active); Severin Luino (with a pretty thin sound); and Raoul
1950) were a prerequisite for the success of this repertory among Cottcoule. Like his good friend Sabarich, AimC Barelli made his
name during the Second World War. In 1947, other players ap- versant with the trumpet, the cornetto, and the horn. In the
peared: Vincent Casino (Boeuf sur le toit), Fernand Verstraete Baroque period the literature for both instruments, trumpet and
(from Lille), and Henri Vanhaecke (very famous French first horn, was similar qr even exchangeable: the horn parts from the
trumpeter). In the 50’s, Paris gave a lot of jobs to musicians in the final chorus of Bach’s Ciif~tufa No. 208 (“Was mir behagt, ist nur
popular field. We remember Fred Gerard, Roger Guerin, Bernard die muntre Jagd”) are also to be found as trumpet parts in the
Hullin, Maurice Thomas, and Georges Gay, among others. The opening chorus of his Cuntafa No. 149 (“Man singet mit Freuden
French brass sound in the 1957-62 period is of very’high quality vom Sieg”).
and completely different to that of the late 30’s and 40’s (Allier, In order to perform high Baroque trumpet parts in modern con-
Brun, ). In solos these men are technically great (most of them cert life. today’s trumpeter Itas at his disposal since the Second
studied under Foveau & Sabarich) with elegant phrasing and good World War not only the valveless Baroque trumpet, but also so-
ideas in the bop (Guerin). or-mainstream (Gerard) tradition. Surely called piccolo trumpets. which are pitched an octave higher than
the French way of playing the trumpet found its high point in that the normal B?lat trumpet. They facilitate performing in the
period: “Thinking there is no French trumpet school. I am not the extreme high register, their sound is brilliant. and it is nearly
last to say there are in France very great individualities: Andre, impossible to play wrong notes on them. In recent years, follow-
Tliibaud. Delmotte, Lagorce and so on (legit), Thomas, Vanhaecke. ing the example of the piccolo trumpets, certain makers have also
Barrot (variety), Naude, Guerin (jazz) and so on.” (F. Gerard, constructed higher-pitched horns. Now! a piccolo-B-flat horn has
letter 1973). Shortly after. in the early 60’s Pierre Sellin and lvan the same tube length as a normal B-flat trumpet; and the playing
Jullien appeared. We must add that many Belgians worked in technique of both instruments is similar. For a horn-player, such a
Fence from Gus Deloof to Marion Mondryk, through terrific Fen horn is an extremely short instrument, but for a trumpeter it is
such as Edmond Harnie and Theo Mertens (also legit player). quite normal; for the former. the range is extremely high, for the
For the present author, the French standard has lost a lot since latter, it is again quite normal, even low. What could have been
the mid-60’s. Of course, we think about M. AndrC. His first more natural than the fact that trumpeters began to occupy
Baroque records were made in 19.55 (he did not sound like today), themselves intensively with the new horn, more so than horn-
then in 1958 he made a trumpet and organ recording for Philips players?
which was a popular success. Many.records made by him until My trumpet ensemble has gone a step further. Together with
1962 are interesting and perhaps sincere. After that it became a the instrument-maker Ewald Meinl, and according to principles of
commercial affair. It’s just a pity that every young French player construction devised by my colleague Klaus Rehm, we developed
cannot imagine anything other than the “g la AndrC.” Every one a special kind of piccolo B-flat horn combining the tube dimen-
here gives recitals with organ and records piccolo trumpet arrange- sions of a horn with the mechanical parts of our trumpets: For
ments. Among those are: Guy Touvron? Bernard Soustrot, Ray- example, the valve section with its four valves is to be played with
mond Andre, Claude Molenat, Philippe Hechler. Marc Ullrich. the right hand. (Hornists, as is well known, finger with the left
Pierre Dutot, Andre Bernard and so many more! Often good in- hand.) Since we play both horns and trumpets in the same pro-
strumentalists but all are M. AndrC’s imitators. A great number of gram (such as in Bach’s B Minor hfass or Chistmas Oratorio), we
brass ensembles, the most professional being the Ars Nova Quintet were interested in having both instruments possess the same
(Lagorce, Jeannoutot. trumpets). can be classified in the same characteristics.
commercial category. Some have unusual instrumentatiolls. for My debut as a horn-player was in the year 1971, in Bach’s
example, the trumpet quartet. In 1970 G. Berton, from Tours, B Mirm Muss. Since then, Part IV of the Christmas Oratorio has
organized one of the very first, the Beriella Quartet. been a staple of my ensemble’s repertoire. In 1976, we first pre-
On the popular and jazz side r!o great names have yet been sented a program consisting of Bach‘s Cuntufa IVO. 208 and First
established among the young players. We can name the good B,u/rde/lbtcrg Co/lcrrfo as well as J. Reicha’s Do&e Currcerto in
mainstream trumpeter Patrick Artero, and,more interesting the E for two horns.
strange concerts by Maurice Gourgues, alone on stage‘with an There is a little story connected with the Reicha double con-
electronic trumpet. certo. A publisher in Hatnburg showed us the score, after a per-
This is not an analytical paper or a complete history, but just formance of Bach’s Chrisfmzs Orutorio, and asked us if it
an occasion to name a few good trumpet players frotn France-- shouldn’t be published in a version for trumpets. since the first
some perhaps unknown elsewhere, and it’s a pity. part required a high register (up to high B. cdncert pitch) impossi-
ble for horn-players today. The concerto had been lying dormant
in the archives of tltc Simrock publishing house since the time of
Why Do I -a Trumpeter -Play the Horn? Beethoven and surely has not been performed since about 1800.
(The founder of the publishing house. who also was a horn-player.
by Edward H. Tarr was a friend of both Reicha and Beethoven.) Already at a first
glance, the concerto seemed to be tailor-made for our new horns.
For a trumpeter there are historical and practical reasons to The work calls for extremely high and low tones, has many
take up the horn. passages of a virtuoso nature. and is seasoned with lots of humor.
In Bach’s time, both horns and trumpets were vallveless natural Since it is a Romantic work. we hold one hand in the bell of our
instruments. Both were played open, without the ltand in the bell, horns: Baroque works are played open.
and the out-of-tune notes were corrected by lip adjustment. (Hand- In 1976 I also fulfilled a lifelong ambition by adding Mozart’s
stopping did not becotne known until the second ha1fof the 18th Fourth Horn Concerlo to my repertoire. It is a well-kndwn fact
century; it was u?iversally employed only in ,music of the late that the trumpet repertoire’s golden age was the Baroque period;
Classical and Romantic periods.) Not only the playing technique, the only major later works for the trunlpet’are the concertos by
but also the players of both instruments were identical; illustra- I-laydn and Hummel. composed in 1796 and 1803. At this point,
tions are preserved fror,n the late 18th century on which trumpeters where the trumpet literature has ceased. to be. the horn literature
can be seen playing in the orchestra with their horns lying on the comes into its’own. By playing the horn. 1 as a trumpeter can gain
floor beside them, ready for use. It is a!so well-knpwrt that the the dimensions of an entirely new repertoire which would other-
Leipzig city-pipers, who performed the works of Bach. were con- wise remain closed to me.
Schedule of Programs Magasin de Musique du Conservatoire Imp&.‘) Minkoff Reprint.
1974. 33 pages, hardbound, in French. (70FS)
Camus, Raoul F. Military Music of the American Revolution. The
University of North Carolina Press, 1976 (Chapel Hill, North
The following is a list of concert and workshop dates as supplied
Carolina 275 14) 2 18 pages, hardbound. (S 14.95)
by individual ITG artists. Because it is impossible for the ITG
Carnovale, Norbert. Twentietlz-Century, Music for Trumpet und
Newsletter Editor to verify the information, and because schedules
frequently change. it is suggested that anyone interested in attend-
Orchestra: An Annotated Bibliography. The Brass Press? 1975.
55 pages, paperbound. (S4.50)
ing an event listed below contact the sponsoring organization or
*Clarke, Herbert L. How I Became a Cornetist. (Reprint of 1934
artist to confirm the exact date, time? and place. Admission fees
edition published by Joseph L. Huber, St. Louis, Missouri)
may be charged for some events. ITG members presenting con-
G. LeBlanc Corp.. n.d. 74 pages, paperbound. (S 1.50, avail-
cer& are encouraged to send preconcert information to the ITG
able only through local LeBlanc dealers)
Newsletter Editor. (Please see the Instructions for Contributor’s
Dahlqvist, Reine. The Keyed Tizmpet and /IS Greatest Virtuoso.
column for information about preparilig your typescript.)
Anfon Weidinger. The Brass Press, 1975. 25 pages, paperbound.
International Trumpet Guild Conference Decker, Richard G. Music for Three Brasses. Swift-Dorr Publica-
May 18-2 I University of Illinois,at Urbana-Champaign. tions, Inc., 1976 (17 Suncrest Terrace, Oneonta, New York
An outstanding faculty of ITG Artists will present .master 13820) 82 pages, paperbound. ($5.00)
classes and concerts. David Hickman, host. (Music Dept., U. of Devol, John. Brass Music for the Church. Harold Branch Publish-
1.: Urbana, IL 61801) ing Company, 1974. (42 Cornell Drive, Plainview, New York
1 1803. Also available from: Festival Brass Players of New York:
Don Smithers, trumpet and William Neil, organ
280 Ninth Avenue, New York, N.Y. 10001) 104 pages, paper-
May 13-14 University of Wisconsin at Madison. Lecture and
bound. ($7.50)
Eichborn, Hermann. “Girolamo Fantini, ein Virtues des siebzehn-
May 16-l 7 University of Chicagb.. Lecture and concert.
ten Jahrhunderts und seine Trompeten-Schule.” (Reprinted
Edward H. Tarr and Bruce Dickey from Monarshefte fiir Mttsik-Gesclziclite: 1890) The Brass Press.
June 20-July 1 lndiana University at Bloomington. A special two- 1976. 27 pages, paperbound. in German. ($2.50)
week Baroque Brass Master Class for Baroque trumpet, cornetto, Farr, Anne. A Trumpeter k Guide to Orchestral E.xcerpts. W. R.
and sackbut players. (Dr. Gelvin, Summer Sessions, I.U., Bloom- Welch Publishing House. 1977. (Available from The Brass Press).
ington IN 47401) 32 pages, paperbound. (S3.00)
**Fox. Fred. Essentials of Brass Playirlg. Volkwein Brothers Inc.,
1974. (I 17 Sandusky Street, Pittsburgh, PA 1521 2) 64 pages.
Book Reviews paperbound. ($4.75)
Francoeur. Louis-Joseph. Diapason GCndrul de tous /es Instnr-
Kim Dunnick, Editor !7ze/lfs a Vent. (Reprint of 1772 edition published by Lauriers)
I Minkoff Reprint, 1972. 85 pages. hardbound. in French. (1 IO
The following is a list of books which have been received for
review. All books received will be listed in each issue of the Hickmann, Hans. La Trompette clans IY?gypte ancienne. (Rc-
Newslefter. Books will be selected from the Books Received list print of the 1946 edition published by I’Institut francais
for feature reviews. All ITG members are invited to participate as d’archiologie orientate. Cairo) The Brass Press. 1976. 75 pages.
reviewers. Please write to me stating your qualifications and area paperbound, in French. ($7.00)
of interest. Persons able to review non-English language books are Kastner, Georges. Manuel GPntfral de Musiqtre Militaire a I’Usuge
needed. A specific title may bc requested from the list helow. des Arm&es Franpises. (Reprint of the 1848 edition published
Reviewers should be prepared to sbbmit typescripts. by L’lnstitut de France. 1848) Minkoff Reprint. 1973. 410
Books for review and correspondence should be sent .directly pages: plus plates and 55 pages of music examples. hardbound,
to me at the following address: Kim Dunnick, ITG Book Review. in French. (I 70 FS)
Music Department, Tennessee Tech University, Cookevillc, Tcn- *King. Robert D. (compiler). Brass Players’ Guide: 1976-77.
nessee 38501. Robert King Music Co.. 1976. (1 12A Main Street. North Eas-
ton, MA 02356) 64 pages, paperbound. (S 1 .OO)
Books Received Robinson, Trevor. The Amateur IVbld Irlsfrzrmenf Muker. The
All books are English language unless otherwise indicated. University of Massachusetts Press. 1973. (Amherst. Massachu-
l indicates a review in this issue. f* indicates a review in the setts 01002) 1 I5 pages, hardbound. ($10.00)
October, 1976 Journul. Ruettigcr, Justin. T4niyrle of Tone Productiorl for Trumpef.
Altenburg, Johann Ernst. Essay 011 cln Introduction fo the Heroic Vantage Press, Inc:. 1976. (5 16 West 34th Street. New York:
al2d Musical Trumpeters’ and Kettledrummers Art. (Complete N.Y. 10001) 29 pages. hardbound. ($3.95)
English translation of the 1795 edition with an introduction
and critical commentary by Edward H. Tarr.) The Brass Press,
Book Reviews
1974. (148 Eighth Avenue North, Nashville, Tennessee 37203)
xix, 148 pages, hardbound. (SIO.95) I-lerbert L. Clarke. How I Became u Cornetist. (Reprint of the
Anderson, Paul G. Brass Solo und Study Muteriul Music Guide. 1934 edition published by Joseph L. I-luber) G. LeBlanc
The Instrumentalist Company, 1976 (1418 Lake Street, Evan- Corp., n.d. 74 pages. paperbound. (S 1.50: available only
ston, Illinois 60204) 237 pages, hardbound. ($1 I .OO) through local LeBlanc dealers)
Anonymous. MCthode de Serpent pour le service du culte et le This autobiography was first published in-its entirety by Joseph
service militaire. (Reprint of the 1814 edition publi&ed by Huber of St. Louis in 1934, that book consisting of a series of
autobiographical sketches written by Clarke for “Fillmore’s Musi- Trumpet Concerto in print and that the prices vary from $2.50
cal Messenger” and printed in serial form. The present edition was (Belwin-Mills) to $8.75 (Editions Billaudot).
published by the LeBlanc Corporation in the interest of music More than 18 pages (or 28%) of the catalog are devoted to
education. trumpet literature. There are, of course, sections for horn, trom-
The book includes a preface by Huber, a “Testimonial” from bone, baritone, tuba, brass quartets (4 pages), brass quintets
Clarke to Huber, short biographical sketches of Clarke and his (5 pages), etc. (There are approximately 150 entries per page.)
friend Frank Holton, and 74 pages of Clarke’s serialized auto- New issues of the Guide are admittedly issued at irregular inter-
biography. There are no illustrations or photographs, save for vals. Consequently, New Stock Lists are issued monthly and
the front and back covers of the book. cumulative Addenda lists are prepared when quantity warrants
Clarke begins the work with a description of his lineage and (about every six months).
place of birth at Woburn. Massachusetts. He tells of his early music It is the opinion of this reviewer that every brass player should
interests and training on various instruments, including violin and own a copy of Brass Players’ Guide (current issue). It is an indis-
ophicleide. (His father at first would not allow him to practice pensable tool for the student, teacher, music librarian, and music
the cornet, as he did not want him to belong to a band!) We are dealer. At the current price, the Guide is the best bargain around.
told in detail of the events surrounding Clarke’s eventual switch to (Certainly, the price is close to-or below-production costs, and it
and development on the cornet. His path to employment as a pro- is worth five times the current price.)
fessional musician is recounted with numerous diversions. Liber- It is not going too far to consider the Guide a veritable “Brass
ally sprinkled with anecdotes, the narrative continues up to the Music In Print.” It is logical, simple, functional, and practical.
point of Clarke’s joining the famed Gilmore’s Band in New York It can be useful to everyone, from a junior high school student
City in 1892. From this point only a synopsis of Clarke’s accom- to a music librarian at a major university. (S.L.G.)
plishments and honors is listed, and this synopsis stops around
1915, which is apparently when the original articles were written.
The biography of one of the greatest cornet players of all time
is no doubt of interest to all cornet and trumpet players. But this
book, written by Herbert L. Clarke himself, is not only interest- Music Reviews
ing, but enlightening and enjoyable reading as well. The produc- Norbert Carnovale, Editor
tion quality is good and the price indicates the edition is a service
and not a money making endeavor of the publisher. I recommend
the book for students and teachers alike. (K.D.) The following is a list of music which has been received for
review. All music received will be listed in each issue of the News-
letter. Editions will be selected from the Music Received list for
Robert D. King (compiler). Brass Players’ Guide, 1976-77. Robert review. All ITG members are invited to participate as reviewers.
King Music Co. (1 12A Main Street, North Easton, MA Please write to me stating your qualifications and area of interest
02356). 66 pages paperbound. (S 1.OO plus 25d postage) (baroque, jazz, contemporary, brass quintet, etc.). A specific edi-
If there is one name synonymous with all types of brass music tion from the list below may be requested. Reviewers should be
in the U.S., it must be Robert King. Through the years, King has prepared to submit typescripts.
developed the most comprehensive stock of brass music to be Music for review and correspondence should now be sent
found anywhere in the world. directly to me at the following address: Dr. Norbert Carnovale,
The present Guide represents what first began as King’s catalog ITG Music Review, Music Department, University of Southern
of his own company’s publications and later expanded to include Mississippi. P.O. Box 8 I. Hattiesburg, MS 39401.
music of all publishers which his firm now keeps in stock. (Robert
King Music Company editions now comprising a small portion of
the Guide.) Earlier Guides were prepared, in large part, by Robert Music Received
Corley who left King’s firm several years ago. The present guide
lindicates a review in this issue. ft indicates a review in the
has been thoroughly revised (for the first time in several years) by
October, 1976 Journal.
King himself making this issue, which is advertised as containing
over 10,000 entries, an improvement over the last.
Trumpet Solos and Ensembles
The Guide is divided into many categories by instrumentation.
This provides a quick checklist for any given genre. For example: Albrechtsberger, J.G. Concertino in E-flat a cinque. E-flat trum-
Trumpet Alone, Trumpet and Piano, Two Trumpets, Four Trum- pet and piano. Brass Press, 1972, $4.00.
pets & Piano, Six Trumpets, etc. (There are 29 classesof trumpet Anonymous - Edward H. Tarr and Stephen L. Glover, eds.
music.) There are a few changes in the classification system which The Moravian Brass Duet Book. Vol. I. Trumpets or horns.
I think are improvements: The old Trumpet & Piano Collections Brass Press, 1976, 56.00.
has been combined with the Trumpet & Piano section. The *Anonymous (Torelli school)-Edward H. Tarr. ed. Sinfonia a due
(various) old String Orchestra sections have been combined with trombe. Two D trumpets and basso continua (organ). Brass
the Orchestra sections. This is particularly helpful since the old Press, 1976, $4.00.
dichotomy was confusing when wind parts (even collu parte Bach, J. S.-Robert J. Powell, arr. Praise Our God. Festival Pro-
oboes) caused an edition to be classed as Orchestra. cessional from Cantata No. 1 I. “Lobet Gott in seinen Reichen.”
Entries are arranged alphabetically within ‘each class by com- B-flat trumpet and organ. Concordia, 1973, $2.00.
poser. Each entry also shows the arranger or editor (if any), pub- Barsham, Eve, arr. Shore’s Trumpet. Eight pieces for B-flat trum-
lisher (an address list of publishers is provided), title, and current pet and piano. Works by J. Clarke, Croft, Eccles, and Dun-
price. A new feature of the present Guide is the listing of all edi- combe. Boosey & Hawkes, 197 I, S 1.75.
tions of a given work with publisher and price. Therefore, it is Bergmann, Robert. Fanfares hdraldiyues. Three trumpets in B-flat
easily determined that there are nine editions of the Hummel or C or three natural trumpets. Leduc, 1973, $3.05 (parts only).
Bjelinski, Bruno. Serermde. B-flat trumpet: piano, strings and per- Marcello, B. - Stephen L. Clover and Paul Brage, eds. Soruzta.
cussion. Piano reduction. Universal Edition (Boonin). 1967, B-flat trumpet and piano. Brass Press? 1973, $2.00.
s 18.50. Mudge, Richard - Gerald Finzi, cd. and arr. Comerto No. 1.
Bozza, Eugsne. Graplrismes (Graphic Notations). Preparation for B-flat trumpet and piano. Boosey &r Hawkes, 1975, S2.25.
the readingof different contemporary musical graphic n,otations. Nagel, Robert, arr. The Soured of Trun~pets. B-flat trumpet trios
Unaccompanied t&npet. Lqduc. 1975, $2.30. for special occasions (Christmas, Easter, Thanksgiving. chorales.
Burger, D. E. Three Eyualifur Trumpets. Three trumpets. Ludwig,, patriotic). Lillenas (Belwin-Mills), 1974. $5.00.
1975: 55.00. Natra, Sergiu. Sotzatitza. C trumpet unaccompanied. Israel Music
Casanova, AndrC. Concerto. C and B-flat piccolo trumpet and Institute (Boosey & Hawkes). 1973> $4.00.
piano. Orch. score for sale. Parts for rent. Lcduc, 1970. piano Patterson, Paul. Trumpet Concerto. C trumpet and piano. Score
reduction, $6.60. and parts for rent. Josef Weinberger (Boosey & Hawkes), 1972,
Charpentier, Jacques, Concert ,2/o. 7. C or B-flat trumpet and $6.50.
strings. Score and parts for rent. Piano reduction. Leduc, 1976. Peaslee, Richard. Nightsongs. B-tlat flugelhorn and/or trumpet,
Cirone, Anthony J. Sorzata IVO. 2 for Trumpet and Percussiotz. harp, and strings. Boonin. 1974. Score and parts, S20.00
B-flat trumpet and percussion. Cirone Publications. 1973, $5.00. (Score only, S7.50). Piano reduction. $5.00.
Cohen, Sol. B. Gypsy Rot,iar?ce. B-flat trumpet and piano. Jack Petit, Alcxandre. compiler. Trumpet Duos and Trios. Works by
Spratt, 1962. J. B. Ganaye, EugPne Cools. and I-I. Kaiser. Four duos and two
Cope! David. BTRB. Theatrc piece for any brass instrument. Brass trios. Salabert, 1913, $3.50.
Press, 1974, $1.50. Pichaureau, Claude. .4ristoloclzos. C or B-flat trumpet and piano.
Defdye, Jean-Michel. Huit pre’ludes pour passer le temps: P&ides Avant garde. Leduc. 1974, $4. IO.
I et VIII. C trumpet and organ. Leduc. 1976. Pilss, Karl. Sotlate. B-flat trumpet and piano. Universal Edition
Defaye, Jean-Michel. Huit pr&des pour passer le temps: Prekdes (Boonin). 1962. $8.50.
/I et IV. B-flat trumpet and organ. Leduc, 1976. Poulenc, Francis. Eiffel Tower Polku. B-tlat trumpet (or two trun-
Defaye, Jean-Michel. Huit pre’ludes pour passer le temps: Pre’ltrdes pets) and piano. Salabert, 1975. $2.50.
III et VI. B-flat bugle and organ. Leduc, 1976. Purcell, Henry - Corliss R. Arnold, arr. and ed. Sonata for lB-f7atl
Defaye. Jean-Michel. l-luit prCludes potlr passer le te~~ps: Pkllrdes Tritrtlpet a7ld Orgarl, Concordia. 1967. $ I .75.
Vet VII. B-flat cornet and organ. Leduc. 1976. Purcell. Henry - Wesley Ramsay, ed. Trl,r7fper Aria. B-flat trum-
Farrell, Graham. Two Revival Preludes (Rock of Ages: What a pet and organ (or piano). Brass Press. 1975, 9 I .50.
Friend Ll/e Have in Jeslrsl. B-flat trumpet and organ. Galaxy, Richardson, Norman. arr. Si.u Illore Trutllpet Tutles. B-flat trumpet
1976, $4.00. and piano. Works by Tclemann. J. Clarke. Heron. Stanley,
Fitzgerald, Bernard. Ballad. B-flat trumpet or flugelhorn and Alcock, and Greene. Boosey & Hawkes. I97 1: S3.00.
piano. Southern (S.A.). 1976, $2.00. Schibler, Armin, Konzert, Op. 68. C trt!mpet and piano. Universal
Frdngaix? Jean. Le Gay Paris. C trumpet solo: flute. 2 oboes. 2 Edition (Boonin). 1967. S4.75.
clarinets, bassoon, contrabassoon and 2 horns. B. Schott’s, 1975. Sheppard, C. James. IVirfrf Loops .?. C trumpet tlnaccompanied.
Geehl, Henry E. Concertstiick. B-flat cornet and piano. Boosey & Avant garde. Boonin: 1976. $3.50.
Hawkes, 1907. 1976. S2.00. Shinn. Randall. I;i~se Bagatelles. C or B-tlat trumpet unaccom-
Greene, Maurice and William Boyce - Edward H. Tarr, etl. and panied. Smith, 1976: $3.50.
arr. A Suite of Trumpet Voltmraries. Two (or one) D trumpet(s) Shinn. Randall. Soliloquy at/d Dialog~re. C trumpet and piano.
and organ. Brass Press, 1976, $2.50. Smith. 1974, 64.00.
.Handel. George Frederic - James Ode, trans. Three Arias fo/ Sollberger, Harvey. Iron Moutttairl Sorlg. B-flat trumpet and piano.
Trumpet and Voice. “Let the Bright Seraphim.” “Destro dall‘ Two performance scores provided. Columbia Univ. (Galaxy).
empia dite.” and “Alle voci del bronzo guerricro.” D trumpet. 1974> $4.00.
soprano, and piano. Brass Press. 1976, $4.50. l Sommerfeldt, @istein. Eleg?:. Op. 27. C trumpet and organ. Norsk
Hertel, 1. W. - Edward H. Tarr. ed. Trutnpet Concerto No. I i/z Musikforlag (Oslo), 1973, S2.75.
E-flat Major. E-flat trumpet and piano. Part for B-flat piccolo Spargo. Robert B.’ Air atId Marcll. B-tlat trumpet and piano.
trumpet included. Brass Press. 1976, S4.50. Providence. 1972. %I .25.
Hertel: Johann Wilhelm - Edward H. Tarr. ed. Dop/,elXmrzert. +*Street. Allan. fior~dir~o. B-flat trumpet and piano. Booscy d
E-flat major. E-flat trumpet and oboe solo, strings. and basso Hawkes. 1970. S2.00.
continua. Score. B. Schott’s, 1972. Szokolay, SBndor. Cotlccrto. C trumpet and piano. Orch. score for
Honegger: Arthur. bztrada. C trumpet and piano. Salabert: 1947. sale. Parts for rent. LedtIc. 1973. piano reduction. S7. IO.
53.50. l Tartini, Giuseppe ~ Jan Bacll, arr. Concerto irl D. Piccolo A trum-
Hummel. J. N. - Edward I-1. Tarr. cd. Cotlcerto a trornba priuci- pet and band. Ron Modell. 1976, S50.00.
pale. E trumpet and piano: parts for E: B-llat. and C trumpet Telemann, G. P. - arr. Peter Wastall & Derek I-lyde. Suite No. I.
included. Universal Edition (Boonin), 1971, S5.50. B-flat trumpet and piano. Boosey & Hawkes. 1974. S2.25.
Jones, Philip and Alan BoLlstead? eds. Essential Repertoire fo, Telemann, G. P. - arr. Peter Wastall &: Derek Hyde. Suite No. 2.
Trumpef. Excerpts from operas and orchestral works arranged B-flat trumpet and piano. Boosey & Hawkes. 1974. S2.25.
for trumpet and piano. Composers include Bach, Beethoven: Vachey, I-l. Bagatelle. B-flat or C trumpet or B-flat cornet or bugle
Mozart, Bizet, Berlioz, Wagner, Kodaly, et aI. Universal Edition and piano. LedtIc. 1976. $2.30.
(Boonin), 1963. Van Vactor, David. Five t‘t//des /br Tmttzpet. Concert etudes.
Koch, Johannes H. E. Five Itztradas and C/liJrde.Y on I%-tcr tlnacconi(,anietl. Roger Rhodes. 1975. $3.00.
f~ymns. C trumpet (or oboe) and organ. Concordia, 1963. $2.75. Vinter, Gilbert. Blazon. First movement from “The Trumpets”
Little, Lowell: camp. and ed. Great Duets, Level I. Pro Art, 1976, (cantata). Eight cornets (2 E-flat: 6 B-flat). Score and parts.
$2.00. Bournc, 1974. $8.00.
Luening, Otto. htroductiorl and Allegro. C trumpet and piano. Walker. Richard. Cotrcert Piece. B-flat trumpet and piano. Fema
Peters, 1972, S3.50. (.CresccnJo), 1975, $3.00.
Ward, Michael and Norman. Sierra Morena. B-flat cornet and Mixed Ensembles
piano. Jack Spratt, 1967.
Bennett, Richard Rodney. Commedia IV. Brass quintet. C trum-
Wolff, S. Drummond, arr. Baroque Composers of the “Chapels
pets, horn, tenor trombone, and tuba. Novello, 1975, $10.00..
Royal. ” For organ. Two optional B-flat or C trumpets and tim-
Burger, D. E. Five Bicinia for Trumpet and Trombone. B-flat
pani. Works by J. Clarke. Green. Purcell, Boyce, Blow and
trumpet and trombone. Ludwig, 1975, $3.00.
Handel. Concordia. 1969, 13.50. Conversi, Girolamo - W. Richard Shindle, trans; Paul Wallace, arr.
Wolff, S. Drummond, arr. Baroque Suite for Organ. Two optional Three Canzonas from Canzoni alla Napolitano. Two B-flat
B-flat trumpets and timpani. Works by Holborne, Vivaldi, Pur- trumpets, horn, trombone, tuba (trombone or baritone). Lud-
cell, Telemann, Corelli, and D. Gabrieli. Concordia, 1968. $2.00. wig, 1975. $5.00.
Wolff, S. Drummond, ed. and arr. hlusic of Jubilee. Organ and Egk. Werner, Divertissement. Flute-piccolo, 2 oboes, 2 B-flat clari-
optional B-flat or C trumpets and timpani. Works by Lully, nets, B-flat trumpet, 2 horns and 2 bassoons. B Schott’s, 1975.
Bach, Purcell, Corelli, Torelli, and Manfredini. Ceremonial pieces Fischer, J. C. F. - A. Schwadron, arr. Two Pieces for Brass
for “joyful occasions.” Parts for B-flat and C trumpets. Concor- Quartet. B-flat trumpets. horn, and trombone (baritone). Pro-
dia, 1974, S4.00. vidence, 1972, $3.00.
Wolff, S. Drummond, ed. and arr. Suite for Organ from the French Horovitz, Joseph. Music Hall Suite. Brass quintet. Novello, 1969,
Baroque. Two optional B-flat or C trumpets and timpani. Works $9.00.
by Delelande, Leclair, Aubert. Dandrieu, Mouret, et al. Concor- McCabe, John. Rounds for Brass Quintet. C trumpet, B-flat trum-
dia, 1973, $2.15. pet, horn, trombone, and tuba. Novello, 1968, $5.75.
Wuorinen, Charles. Nature’s Concord. C trumpet and piano. Peters. Prentzel - Edward H. Tarr, ed. Sonata. C trumpet, bassoon, and
1972, $4.50. basso continua (organ). Brass Press, 1975, $3.50.
Zbinden, Julien-Franqois. Concertino, Op. 6. C trumpet and string Purcell. Henry - George P. Masso, arr. Suite from “Bonduca”for
orchestra with drums. Piano reduction. B. Schott’s, 1959. Brass Quintet. Providence. 1968. $4.00.
Zehm, Friedrich. Canto e Rondo. B-flat trumpet and piano. Scheidt. Samuel - Paul Thomas, ed. Four Symphonias. For two
B. Schott’s, 1969, $2.20. treble instruments (strings, woodwinds, or brass), bass instru-
Zimmermann, Bernd Alois. Konzert. C trumpet and orchestra. ment (cello, bassoon, or trombone). and basso continua.
B. Schott’s, 1976. Figured bass realized. Concordia, 197 1.
Zipoli, Domenico - Jacques Charpentier, ed. Aria. C or B-flat Uray, Ernst Ludwig. Suite. Four movements, published separately
trumpet and organ. Leduc. 1972, $3.05. (See following entries).
Suite: 1. Preludio lieto. Five B-flat trumpets, three trombones,
tuba, and percussion. Blasmusikverlag Fritz Schulz, 1975.
Suite: 2. Introversion. Two C trumpets and five trombones.
Methods and Studies
Blasmusikverlag Fritz Schulz, 1975.
Suite: 3. Intermezzo lirico a quattro. Two C trumpets and two
Concone, Giuseppe - John F. Sawyer. trans. Lyrical Studies for trombones. Blasmusikverlag Fritz Schulz, 1975.
Trumper. Blair Academy Series. Brass Press. 1972, $3.25. Suite: 4. Hymnische Musik. Eight C trumpets, four trombones,
Getchell, Robert, ed. Learning Unlimited Solo Cassette Series. tuba, percussion. Blasmusikverlag Fritz Schulz, 1975.
B-flat Trumpet with Piano. Intermediate Level. Cassette in- Wunek. Friedrich K. Vier Grotesken. 2 flutes, 2 oboes, 2 clarinets,
cluded. Performed by Charles Geyer. Hal Leonard. 1976. 2 horns, C trumpet, 2 bassoons. and percussion. B. Schott’s,
$12.95. - I976.
Hickman, David. The Piccolo Trumpet: Duets, Etudes, Orches-
tral Excerpts. Tromba, 1973, S5.00.
Learning Unlimited Cassette Series: Let’s Play Trumpet. Level Music Reviews
One. Cassette included. Hal Leonard? 197 I.
Learning Unlimited: Let’s Play Trumpet, Level Two. Individua- Anonymous. Sinfbniu a 2 Trombe for 2 D trumpets and basso
lized Audio-visual Band Series. Cassette included. Hal Leonard. continua. Edward H. Tarr Series: No. 5. Edited and Arranged
1971. by Edward H. Tarr. The Brass Press, 1976. ($4.50)
Longinotti, Paolo. Studies in Classical and Modern Style. Twelve Very little original Baroque music exists for the combination of
etudes. International, 1962, S 1.75. two trumpets and organ. Almost the entire repertoire consists of
McNeil. John. Jazz Trumpet Techniques. Valve technique and a few pieces by Pezel and LBwe, an anonymous Sonata a due
articulation. Studio, 1976. trombe (available only in a Xerox copy of the original parts), and
Motycka, Arthur. Modern Method Jar Advanced Trumpet. Warm- the Sinfonia u 2 Trombe. Any addition to the literature is wel-
ups, articulation studies. and “Grand Etudes.” Ludwig. 1970. come to a trumpeter trying to plan a recital of music for trumpet
$3.50. and organ, but this publication is particularly welcome.
Ronka, Ilmari. Starting Correctly on the Trumpet or Cornet. The Sinfonia a 2 Trombe is in the standard four-movement
Complete method, incorporating Books I and 2. Group or indi- sonata da chicsa form (Grave-Allegro-Grave-Allegro), and the
vidual instruction. Herco (Spratt). 1959, $2.25. two trumpets play in all of the movements, Both trumpet parts
Roselieb, Alan D. Legato Etudes for Trumpet. Based on the have a range ofa’ to d”’ (concert pitch), and the high tessitura and
Vocalises of Giuseppe Concone, Opus 9. Intermediate range. long phrases, particularly ii the last two movements, make the
Roger Dean! 1976. choice of piccolo trumpets !‘or the performance of this work the
Spera, Dominic. Learning Unlimited Jazz Improvisation Series logical one (that is. if one /s not going to try fq,r authenticity and
Blues and the Basics. B-flat trumpet/clarinet.:Cassette included. tisc natural trumpets).
Hal Leonard, 1975. Tarr has suggested the’ deletion of two measures in the last
Thibaud, Pierre. Techniques nouvelles de la trompette. Accom- movement which wotI,ld enhance the playability of the piece, and,
panying text also available in English. Leduc, 1975, $2.30. since those two ‘measures simply involve the repetition of a

previous measure (if the two measures are left in, one winds up registers of the trumpet is necessary for an artistic performance
playing the same melodic material four times in succession)? of this work. The technical demands are small-mainly that of a
nothing is lost in terms of the musical structure of the work. In sure attack at a soft dynamic-but the interpretive demands are
fact, the movement may very nearly be unplayable without the high, as seen in the 2% line cadenza. Control of the breath for long
cut, because at that point the first trumpet must play for ten mea- phrases is essential.
sures continuously-the first seven and one-half measures on one A young organist should be able to handle the accompaniment.
breath! Other than a few of these long phrases in the third and Although the organ part is far from simple, it presents no diffi-
fourth movements, and a liberal sprinkling of high d”‘s in both culties in terms of reach, pedal technique, or counterpoint. Regis-
parts, the Sinfoniu u 2 Tronzbe is very playable. tration has been suggested by Peder A. Rensvik. Sommerfeldt’s
A rather interesting figure occurs in the last movement. where, choice of harmonies is an interesting balance of dissonance (2nds
in the 2nd, 3rd, 26th and 27th measures, the two trumpets play a and 7ths) and consonance (major and minor triads).
series of consecutive seconds (Example I). This is not a mistake, Elegy would be an appropriately quiet piece for a worship
but a variation of the so-called “Corelli clash” (Example 2). service of any kind. It is a bit short (3% minutes) for use in a solo
popular in instrumental music around 1700. recital, but it might work well for a studio recital. As with other
As is always the case with Brass Press publications, the printing publications from the presses of Norsk Musikforlag, this work is
is clear and easily readable. Tarr has provided a good critical com- no exception to the high quality of editing, printing, and binding
mentary, along with a list of editorial revisions, and a facsimile of this reviewer has seen. Regarding 6 as the most difficult level, this
the first trumpet part has also been provided. Although Tarr has piece could be classed at level 3. (David L. Jackson: Union College)
added cadential trills to some of the cadences (no ornaments at
all were provided in the original). the performer might want to Giuseppe Tartini, (arr. for piccolo A trumpet and band by Jan
go a bit further in that direction, since most of the cadences in Bach). Concerfo in D. Ron Modell, 1975, Available from:
the piece could have cadential trills added quite easily. The Ron Model], Music Dept., N.I.U., DeKalb, IL 601 15. ($50.00)
cadence pattern shown in Example 3 appears quite frequently, Piccolo trumpet enthusiasts have been excited to find the
and the performers might also wish to add double appoggiature to Tartini Concerto in D available with band accompaniment. The
the final note of the cadence, as in Example 4. The organ part has work has been a popular recital piece and makes an attractive addi-
been realized in a simple. easily playable, thoroughly authentic tion to a band program as it employs the A piccolo trumpet. is
style. substantial in length (about IO minutes), and displays the range.
technique, and endurance necessary for an effective solo presenta-
Example I Example ? Example 3 Example 4 tion. The arranger, Jan Bach, is a faculty member of the music
composition department at Northern Illinois University, DeKalb,
and does an excellent job of transcribing the work. Ron ModelI?
the producer and publisher of the arrangement, is the faculty
trumpeter at NIU.
There is one nit that probably should be picked, however. and Bach has edited the solo part of Tartini’s Cotlcerto to match
that is the lack of a separate sustaining bass part. particularly since the performances of Maurice Andre rather than the published edi-
the original set of parts included both an organ part and a bass tion with piano accompaniment (Thilde arrangement). Scoring
part (marked “Violone”). Although the Basso Continuo part in
seems a bit heavy due to doubling problems in the tutti passages
the score is marked “Organ/Double Bass.” no separate part for the
although the instrumentation thins when the trumpet enters. Bach
double bass is provided. This may produce something of a problem,
is careful to avoid heavy brass writing (except horns) and leaves
if the use of a double bass is desired, although one of the per-
most of the accompaniment. including all of the second move-
formers could copy the part from the organ score without too
ment, to the woodwinds. The manuscript parts are neatly copied
much trouble. It might also lead to a return to the Baroque
and the solo trumpet part is written (in the correct octave) for
custom of having the bass player read his part over the organist’s
piccolo A trumpet. A full score is provided although the copy is
r&i&d and a bit dim.
But the lack of a separate double bass part is a minor flaw in an
One has to feel disappointed to find that for the purchase price
otherwise outstanding offering; the Si/?fi)jli(l a 2 Trotrjbe is a sig-
of $50.00 there is only a xerox score and xerox set of parts with
nificant contribution to the published literature for trumpet(s)
only one copy per part! Even though it might be wise to use a
and organ. Although the high tessitura and long phrases of the two
trumpet parts will probably limit its use to mature players, the reduced band for the accompaniment. this seems too expensive
Sinfoniu should make its appearance on many programs of music for sixty pages of Xerox copies. (Perhaps it is of some comfort
for trumpet and organ, providing a variance in texture that should to remember that many rental works cost about the same and
prove welcome to the audience. But aside from a simple variance the music has to be sent back.)
in texture, the Sirzforzia should prove popular simply because it is Despite the high cost of the Tartini Concerto many trumpet
brilliant and heroic-in short, the sort of thing an audience expects soloists will be interested in this transcription for piccolo trumpet
from trumpets and organ. (H.M. Lewis, College of the Ozarks) and band. Hey Ron. how about the Vivaldi Concerto for Two
Trumpets or Albinoni’s Suitzt ll^larc Concerto? (David R. Hickman)
&stein Sommerfeldt. E[egJ>, t)p. 27. C trumpet and organ. Norsk
Musikforlag, Oslo, 1973. Available from: Wilhelm Hansen,
Musik-Forlag, Kobenhavn: AB Nordiska hlusikf0rlaget,
.Stockholm; .I. & W. Chester Ltd., London; and Wilhemiuna
Musikverlag, Frankfurt A.M. In the United States the work is
available from Robert King Music Company and other fine
music stores for about S2.75. C trumpet range: g-u”.
E/egJJ is a lyric piece for the young trumpet player. One must,
however, approach this music with respect, for a command of all
Quintet No. 1; Vittorio Rieti: Incisioni; Eugene Bozza:
Record Reviews Sonatine; Leonard Bernstein: Fanfare for Bima.
David R. Hickman, Editor Contemporary American Music
(with Iowa Brass Quintet - John Beer and Robert Levy,
trumpets: Paul Anderson, horn: John Hill, trombone; Robert
The following,is a list of recordings which have been received Yeats, tuba)
for review. All recordings received will be listed in each issue of Composers Recordings, Inc.: CRI SD 29 I
the Newsletter. Records will be selected from the Records Re- William Mayer: Brass Quintet; six miniatures; other works
ceived list for feature review. All ITG members are invited to parti- (without brass).
cipate as reviewers. Please write to me stating your qualifications New York Brass Quintet - ContempoTary American Music
and area of interest (baroque, jazz, contemporary, brass quintet, (New York Brass Quintet - Robert Nagel and Allan Dean,
etc.). A specific recording from the list below may be requested. trumpets; Paul Ingraham, horn; John Swallow, trombone;
Reviewers should be prepared to submit typescripts. Thompson Hanks, tuba)
Records for review and correspondence should now be sent Composers Recordings. Inc.: CRI SD 302
directly to me at the following address: David Hickman, ITG Edward Miller: The Folly Stone; other works by Pleskow,
Record Review, Music Department. University of Illinois, Urbana, Tower, Yarden (without brass).
IL 61801. Contemporary Brass Quintet - Computer Music
(Contemporary Brass Quintet - Elin Frazier, Daniel Orlock,
Records Received Edward Curenton. Robert Moore, Jonathan Dornblum. con-
ducted by Roman Pawlowski; University of lllinois Contem-
Feature albums are listed by artist. Albums containing several porary Chamber Players)
non-trumpet works (such as those by CRI) are listed by title. Composers Recordings, Inc.: CR1 SD 3 10
l indicates a review in this issue. John Melby: 91 Plus 5: Lejaren Hitler & Robert Baker: Com-
American Brass Quintet puter Cantata.
(John Eckert and Gerard Schwarz, trumpets; Edward Bird- New York Brass Quintet - Contemporary Music
well, horn; Arnold Fromme, trombone; Robert Biddlecome. (New York Brass Quintet. various groups)
bass trombone; with Jan DeCaetani, mezzo-soprano) Composers Recordings. Inc.: CR1 SD 323
Nonesuch: H-7 1222 Donald Erb: Three Pieces for Brass Quintet and Piano; Robert
Charles Ives: From the Steeples and the Mountains. Song for MacDougall: Anacoluthon: A Confluence; works by Bassett,
Harvest Season, Chromatimelodtune. Alvin Brehm: Quintet Edwards.
for Brass: Henry Brant: The Fourth Millennium; Peter Phil- American Brass Quintet - Contemporary Music for Percussion and
lips: Music for Brass Quintet. Brass
The Annapolis Brass Quintet (America]! Brass Quintet, percussion ensemble)
(David Cran and Haldon Johnson, trumpets: Calvin Smith. Composers Recordings. Inc.: CR1 SD 327
horn: David Kanter, trombone; Robert Posten, tuba) Irwin Bazelon: Brass Quintet; Bazelon: Propulsions (for per-
Crystal Records: S202 cussion).
Ingolf Dahl: Music for Brass Instruments; J.S. Bach: Fuga IV; Czechoslovak Brass Orchestra - Marches by John Philip Sousa
various Baroque works. (Rudolf Urbanec. conductor)
Annapolis Brass Quintet - Quintessence Nonesuch: H-7 1266
(Robert Suggs and David Cran. trumpets; Calvin Smith, horn; J.P. Sousa: The Stars and Stripes Forever. The Gladiator, The
Tim Beck, trombone; Robert Posten. bass trombone) Liberty Bell, Sempre Fidelis, The Thunderer, etc.
Crystal Records: S 206 Gerald Endsley - Music for Trumpet
Jindrich Feld: Quintette; Walter Hartley: Orpheus: Wilke Ren- (with Samuel Lancaster, piano 8; organ. and Stuart Steffen.
wick: Dance; J.S. Bach: Contrapunctus VII; D. Speer: Three soprano)
Sonatas; Francis McBeth: Four Frescoes; other works. Clarino Recordings: SLP IO06
The Berlin Brass Quintet J .B.L. Arban: Fan tasie Brilliante? Carnival of Venice: Shadwell:
(Michael Kringel and Arno Lange. rotary-valve trumpets: Theme and Variations; Endsley: Chant: Purcell: A Song With
Wolfgang Hagen, bass trumpet; Ernest Giehl, trombone; Trumpet, A Fifth Song.
Gerhard Vellmerk, tuba) The Forefront - Incantation
Crystal Records: S20 I (Bobby Lewis. George Bean, Art Hoyle, Russ Iverson, trum-
Malcolm Arnold: Quintet; Ludwig Maurer: Scherzo & Lied: pets with Rufus Reid? acoustic bass and Jerry Coleman, per-
Karol Rathaus: Tower Music: various Baroque works. cussion)
Brass Quartet of Berne Forefront Records (1945 Wilmette Ave.. Wilmette, IL 60091)
(Francis and RenC SchmidhB’usler, trumpets; Branimir Slokar Bobby Lewis: Incantation, Wilderness, La Casa Del Forefronte,
and Hanspeter Zehnder. trombones. Side two of this record- Reverberations: Joe Dale)?: Quartet; Les Hooper: Frump
ing is devoted to the Slokar Trombone Quartet.) Trump: Arthur Lauer: That Which Has Vanished, Pergrine?
Claves: D70l Aberrations.
Purcell: Music for Queen Mary II: Gervaise: 6 Branles: Pozajic: Gabrieli Souata and Canzoni
Skica; Bog&r: Three Movements. (Pierre Polin. 1st Trumpet: Andre-Jean Fournier, 1st Horn;
*Cambridge Brass Quintet - Plays Five Works Jean Douay, I$t Trombone: Harmonie de Chambre de Paris
(Robert Pettipaw & Peter Chapman, trumpets;Michael Johns, ~ Florian Hollard, conductor)
horn; Norman Bolter, trombone: Gary Ofenloch, tuba) Arion: 90612 (Dist. by Peters International, Inc., 619 W. 54th
Crystal Records: S204 St.. N.Y.C. 10019)
Daniel Speer: Sonata in G, Sonata in C; John Huggler: Brass Giovanni Cabrielli: Sonata XX a 22: 8 Canzoni
David Hickman - Concertos for Trumpet and Orchestra Charles Dodge: Extensions for Trumpet and Tape; works by
(with Colorado Philharmonic Orchestra, Walter Charles and Dodge, Arel, Boretz.
Carl Topilow, conducting) New York Trumpet Ensemble - A Festival of Trumpets
Clarino: SLP 1005 (Gerard Schwarz, director; Allan Dean, Mark Gould, Thomas
A. Arutunian: Concerto in A-flat; G.P. Telemann: Concerto in Lisenbee, Raymond Mase, Louis Ranger, Lee Soper, John
D; J.M. Molter: Concertos Nos. 1, 2. Ware, trumpets)
*David Hickman - Music for Trumpet and Orchestrq Nonesuch: H-7 1301
(with Festival Chamber Orchestra, Legh Burns, conductor, Biber: Sonata a 7 in C, Sonata in C, Sonata for Two Choirs;
Stuart Steffen, soprano) Pezel: Sonatinas Nos. 61, 65, 62, 66; J.M. Molter: Symphony
Clarino: SLP 1009 in C; Scheidt: Canzona; other works.
J.S. Bach: Brandenburg Concerto No. 2; J.B.G. Neruda: Con- Gerard Schwarz - A Baroque Trumpet Recital
certo in E-flat; A Scarlatti: Aria from Endimione and Cintia; (with Leonard Sharrow, bassoon; Albert Fuller, harpsichord)
Edward Hoffman: Four Miniatures. Nonesuch: H-7 I274
Knud Hovaldt - Trumpet Concertos Maurizio Cazzati: Sonata in D; G.B. Fontana: Sonata No. 10
(with Scandinavian Philharmonic Orchestra, Ib Glindemann, in e; B. Marini: Sonata in d; G.P. Telemann: Air for Trumpet;
conductor) other works.
Mark Records: MC 1530 (1518 South 7th St.? Moorhead, Minn. Gerard Schwarz - Comet Favorites
56560) (with William Bolcom, piano)
Ib Glindemann: Trumpet Concerto; Joseph Haydn: Concerto in Nonesuch: H-7 1298
E-flat. Herbert L. Clarke: From the Shores of the Mighty Pacific,
Philip Jones Brass Ensemble - In Switzerland Sounds From the Hudson, The Bride of the Waves, The De-
(Philip Jones, Elgar Howarth, Michael Laird, John Miller, butante; Frank Simon: Willow Echoes; J. B. Arban: The
trumpets; Ifor James, horn; John Iverson, Roger Brenner, Carnival of Venice; others.
David Purser, Raymond Premru, trombones; John Fletcher, Gerard Schwarz - The New Trumpet
tuba) (with Ursula Oppens, piano)
Claves: DPf 600 Nonesuch: H-7 1275
Joseph Horovitz: Music Hall Suite; Howarth: Carnival of Peter Maxwell Davies: Sonata; Lucia Dlugoszewski: Space is
Venice; Howarth: The Cuckoo; various arrangements. a Diamond; William Hellermann: Passages1.3 - The Fire.
Loche Brass Consort - Contrasts in Brass Branimir Slokar - Baroque Music for Trombone and Organ
(James Watson, Crispian Steele-Perkins, Malcolm Hill, An- (with Heinrich Gurtner, organ)
drew Hendrie, trumpets; James Stobart, conductor) Claves: LP D 507
Unicorn Records: RHS 339 (HNH Distrib., P.O. Box 222, G.F. Handel: Sonate in g; A. Vivaldi: Sonate No. 1 in B;
Evanston, IL 60204) G.P. Telemann: Concerto in B.
Buxtehude: Fanfare and Chorus; J. Haydn: March for the The Splendor of Brass
Prince of Wales; Grieg: Funeral March; Gordon Carr: Prism (Collegium Musicum of Paris, Roland Douatte, conductor,
for Brass; Barber: Mutations from Bach; other works. with Maurice Andre, trumpet)
London Brass Players - Baroque Fanfares and Sonatas for Brass Nonesuch: H-7 109 1
(Philip Jones, Michael Laird, John Wilbraham, trumpets; Telemann: Ouverture in D (Tafelmusik); other works.
Joshua Rifkin, conductor) Thomas Stevens - Music For Trumpet with Thomas Stevens
Nonesuch: H-7 1145 (with Zita Carno and Ralph Grierson, piano; Mario Guarneri,
Speer: Fanfare; J.J. Loewe: Capriccios No. 1 & 2; Pezel: Bici- Roy Poper, trumpets; Los Angeles Brass Society, Robert
nium Nos. 74 & 7 1; other works. Henderson, conductor)
London Gabrieli Brass Ensemble - Royal Brass Music Crystal Records: S36 1
(Edgar Riches, Michael Hinton, John Wilbraham, trumpets) Stravinsky: Fanfare for a New Theater; Carter: Canon for
Nonesuch: H-l 118 Three; Hindemith: Sonata; Chou We&hung: Soliloquy of a
Matthew Locke: Music for His Majesty’s Cometts and Sack- Bhiksuni; Lewis: Monophony VII; Budd: New York No.5.
butts; Giovanni Gabrieli: Sonata pian e forte; Johann Thomas Stevens - Hovhaness
Schein: Padouna; Anthony Holborne: Five Pieces; other (with Crystal Chamber Orchestra, Ernest Gold, conductor)
works. Crysial Records: S800
Gabriel Masson Brass Ensemble - RenaissanceMusic For Brass Hoyhaness: Prayer of Saint Gregory, Avark The Healer; &hers.
(personnel not listed) Edward H. Tarr and Robert Bodenroeder - The Art of the
Nonesuch: H-7 111 Baroque Trumpet
John Adson: Three Courtly Masquing Ayres; Gabrieli: various (with the Consortium Musicurn, Fritz Lehan, conductor)
works; M. Franck: lntrada II; H. Schutz: Motet “Herr, wenn Nonesuch: H-7 12 17
ich nur dich habe’l; other works. G. Torelli: Sonata; P. Franceschini: Sonata for 2 Trumpets;
Modern Instrumental Music M.A. Charpentier: Marche de triomphe, Second air de trom-
(Ronald .Anderson, trumpet, University of Illinois Con- pettes; Altenburg: Concerto for 7 trumpets; J.F. Fasch: Con-
temporary Chamber Players) certo 3 8 for Trumpet and Strings; other works.
Composers Recordings, Inc.: CR1 SD 321 Edward H. Tarr - Baroque Masterpieces for Trumpet and Organ
Rolv Yttrehus: Sextet; Herbert Brun: Gestures for Eleven; John (with George Kent, organ; Bengt Eklund, trumpet; Helmut
Heiss: various works. Boecker, bassoon)
Music for Computers, Electronic Sounds, and Players Nonesuch: H-7 1279
(Ronald Anderson, trumpet, and various groups) Maurice Green & William Boyce: Suite of Trumpet Voluntaries
Composers Recordings, Inc.: CR1 SD 300 in D; Prentzel: Sonata in C; Pezel: Sonata in C; Purcell:
Voluntary for Organ; Stanley: Suite of Trumpet Voluntaries and has become an active performing ensemble primarily con-
in D; other works. certizing in the New England area. The members of the quintet are
Edward H. Tarr - Baroque Masterpieces for Trumpet and Organ symphony performers. having played with the Boston, Buffalo,
Vol. 2 Boston Opera, and Portland (Maine) Symphony Orchestras.
(with George Kent. organ: and Bengt Eklund. trumpet) The selection of music on this recording offers the listener fine
Nonesuch: H-7 1290 ensemble performances on two works which need more public
G.B. Viviani: Sonatas Nos. 1 & 2; G. Fantani: Sonatas NOS. attention: the Huggler and the Rieti. The quintet does not lack in
3 & 8; G.P. Telemann: Air de trompette; Pezel: Sonatinas technical proficiency. but this reviewer did not sense the binding
Nos. 1 & 2; other works. unity that is apparent in more experienced groups such as the New
Edward H. Tarr - Trumpet Concertos York Brass Quintet and the American Brass Quintet. This seems
(with Consortium Musicum. Fritz Lehan, conductor, with to be substantiated particularly in the Bozza Sonatine. In inter-
Helmut Hucke. oboe) preting the work, tempi decisions. especially in movements one
Nonesuch: H-7 1270 and three, do not display spirited instrumental interplay but rather
J.N. Hummei: Concerto in E; L. Mozart: Concerto in D; J.W. more of an uncontrolled vitality.
Hertel: Double Concerto in E-flat. The wprks by Speer and Bernstein add a nice variety and di-
To Thor Johnson With Love m&nsion to this well-conceived album. The members of the Cam-
(Patrick McGuffey. solo trumpet with organ: brass quintet. bridge Brass Quintet have added a new recording to the brass
woodwind quintet, string quintet, members of the Nashville ensemble discography which displays virtuosity and energy. All
Symphony Orchestra and the Peninsula Festival Orchestra) brass players should enjoy this album. (James E. Ketch)
This recording is available (only) through contributions of
$10.00 or more to: Thor Johnson Memorial Scholarship David Hickman - Music for Trumpet and Orchestra
Fund, 1805 W. End Ave., Nashville, TN 37202 or Penin- (with Stuart Steffen. soprano: Pamela Endstey. flute: James
sula Music Festival. Pioneer School, Ephraim, WI 542 1 I. Maurer. violin: Tom Barry, oboe; and the Festival Orchestra
Telemann: Air de trompette; Hovhaness: Prayer of St. Greg- conducted by Legh Burns)
ory; Purcell: Trumpet Tune; Clarke: Trumpet Voluntary; Clarino Recordings: SLP 1009
other works for brass, strings. woodwinds. (Live perform- J.S. Bach: Second Brandenburg Concerto; Edward Hoffman:
ances) Four Miniatures for solo trumpet; Scarlatti: Aria from
Antonio Vivaldi Endimione and Cintia; J.B. Neruda: Concerto in E-flat.
(Accademia Instrumentalis. Cjaudio Monteverdi-Hans Hirsch. Occasionally one hears the comment. usually emanating from
conductor, with Gerd Zapf and Miroslav Kejmar, trumpets) European sources. that America has produced no modern day
Claves: D 602 trumpet soloists. While this represents a somewhat overstated case
A. Vivaldi: Concerto for Two Trumpets: other works (without there is at least a certain amount of validity to such an observa-
trumpet). tion. The economics of the music business. as it exists in the
Edgard Varese United States, has certainly played no small role in determining
(Contemporary Chamber Ensemble - Arthur Weisberg. the direction trumpeters have taken in pursuit of careers as musi-
conductor, Allan Dean, Ronald Anderson, Thomas Lisenbee, cians. and the edticational institutions have resppnded in kind,
Louis Ranger, trumpets) providing training relevant to the existing job market. Even in
Nonesuch: H-7 1269 this year. 1977 A.A., (After AndrC) the major U.S. booking
Varese: Offrandes. Octandre, Integrales, Ecuatorial. agencies and/or their clients arc reluctant, at best. to engage trum-
pet soloists. a painful truth which many trumpeters refuse to
Addresses of Record Companies accept. Indeed, many of those with aspirations for solo careers
Clarino Records are available from RKS Disc Distributors, 1283 have usuaIIy found themselves performing for other trumpet
South Gaylord, Denver, Colorado 80210 players rather than for general music audiences. This is regrettable
Claves, CH-3601, Thun. Switzerland [Claves extends a special offer because unless more trumpeters are able to reach the general con-
to all ITG members. For a limited time, all Claves records may cert-going public they will, most likely. continue to exist in: and
be purchased for $7.00-postage paid. It is advisable to write perpetuate, what the Swiss sociologist Alfred Willener refers to as
directly to Claves for complete information before ordering- the “brass ghetto.“‘.
be sure to mention that you read about the offer in the ITG Enter David Hickman, one of a group of young Americans
Newsletter.] determined to change all of this. Keeping in mind his ability and
Composers Recordings Inc., 170 W. 74 St., New York, NY 10023 commitment. and ‘further. considering the fact he is represented
Crystal Records, P.O. Box 65661, Los Angeles. CA 90065 by a major artist management firm, he may welt succeed in estab-
lishing himself as a major concert artist.
This recordiiig. made in 1974, followed a brilliant recital per-
Record Reviews
formance at the 1973 National Trumpet Symposium in Denver,
Cambridge Brass Quintet Plays Five Works Colorado. Here one finds not only a seemingly effortless Branden-
(Robert Pettipaw and Peter Chapman. trumpets: Michael h!lrg. but one in which the trumpet is appropriately balanced with
Johns. horn: Norman Bolter. trombone; Gary Ofenloch. the other solo instruments, which is no small task for any trum-
tuba) peter to achieve. The Neruda work? originally for corn0 di caccia.
Crystal Records: Stereo S104 finds Hickman at his best, and the performance is probably worth
Daniel Speer: Sonata in G; Sonata in C; John Huggler: Quintet the price of ttiti album itself. It is drie”marked by immaclitate exe-
for Brass Instruments No. 1 : Vittorio Rieti: Incisioni - Five cution. beautiful phrasing, a very relaxed. yet consistent, under-
Engravings for Brass; Eugene Bozza: Sonatine; Leonard lying rhythmit $ulse.kand a general- pacing of the work which sug-
Bernstein: Fanfare for Bima. gests not only an a’ttention to detail but a.musicianly knowledge of
The Cambridge Brass Quintet has been in existence since 1965 the structure of the work as.a whole a very mature perform-
ante from one so young. (It should be noted here that for those glossy prints. The most practical print size is 5 by 7 inches, how-
purists objecting to the trumpet being used in the performance of ever, other sizes are acceptable. Do not write on photos; type or
a work intended for the corn0 di caccia one cannot ignore the print all information on a separate sheet of paper and tape to the
English musicologist Thurston Dart’s contention that the original back of each photo. Be certain to identify all persons and give the
of what eventually was included by J.S. Bach as the second in his date and place where picture was taken, if applicable. Avoid the
Brandenburg series was also intended for such a horn!) This is the following: groups of more than ten people, cluttered backgrounds,
first recording .of the Neruda and Musica Rara has published Hick- and dark backgrounds. Slides are not acceptable. Color prints
‘man’s arrangement of the work for trumpet and piano. reproduce poorly.
It has been noted by some trumpet watchers that Hickman’s The Editor cannot be responsible for returning photos, but will
style represents a carbon, copy of AndrC’s. To be sure, the master’s make every effort to return them if the sender’s name is attached
influence is very much in evidence here, but one should bear in to the back of each photo and a return request is made when they
mind this is a very young performer. The vintage Hickman is a are submitted.
thing of the future. In the premiere recording of Hoffman’s unac-
companied work.he is very niuch hisown man, and this, more than Coming Events
any other piece on the album could give the listener a clue as to
ITG members should send announcements of future recitals and
what will evolve into his ultimate personal performance style.
solo appearances. Please type all information in the following
All in all, this is a recording worth hearing, and a career definite-
order: Your,name and name of accompanying person or group;
ly worth watching. (Thomas Stevens)
month, day, year of performance; place of performance; and spon-
Please supply as much additional information as applicable.
Instructidns to Contributors Posters and other printed announcements of concerts will usually
not be acceptable.
General Information
The Editor cannot acknowledge receipt of materials unless the
sender includes a stamped, self-addresied postcard with the ship- A limited number of recent programs presentkd by ITG mem-
ment. Thirty to sixty days are required to evaluate articles sent for bers will be published in facsimile. Members should note the
consideration. hlaterials (such as theses arid dissertations) which following when submitting programs for publication: Send two
are of obvious value will be returned to the sender. However, the copi’escof each .program. Programs printed on white paper are pre-
Editor cannot be held responsible for lost materials. ferred, it may be impossible to reproduce programs printed on
Because issues in the ITG Journal will be available for a number other colors of paper. (If other colors of paper are used, ask your
of years, articles accepted for publication may no1 be published printer to supply two copies on white paper.) Usually only pro-
in any other periodical. fessionally printed programs can be reprinted in the Newsletter. If
a number of programs have been presented at your institution, the
Typescripts trumpet teacher should have programs retyped in the format
Typescripts should be doublespaced with one inch margins on shown in the present Newsletter-as submitted by the University
all sides, and the author’s name, address, and phone number, of Illinois. PrograIns ‘cannot be returned.
should appear on the first page.
The three most common problems encountered in typescripts Publications Received and Reviews
involve the use of capital letters, italics, and music symbols. Please A list of all publications received will be published periodically.
note the following when typing: Do not capitalize words like Records, books, and music will be selected from the Publications
sonata, concerto, or trumpet unless they are part of a specific title. Received list for review. Announcements and/or reviews will be
Do not use a lower case “B” for a musical flat sign or a “#” for a made 0nl.y for materials received.
musical sharp sign; always spell out sharp, flat, and natural. Under-
line only the main title of compositions. It is not necessary to
underline (or capitalize) instrumentations such as: “for trumpet,
oboe, piano, and percussion”. The following are examples.
Incorrect. He played a Bb trumpet to play Haydn’s Concerto
in Eb.
Correct: He played a, B-flat trumpet to play Haydn’s’ Concerto
in E-flat.
‘Incorrect: eb, f#, a natural, ab”’
Correct: .e-flat, f-shaip, a-natural, a-flat”’
Incorrect: He wrote five Sonatas for Trumpet, but the Concerto
for Trumpet, Oboes, and Strings is best,
Correct: He wrote five sonatas for trumpet, but the Concerto
for trumpet, oboes, and strings is best.
For further information consult A Manual of Style (Chicago
University Press) and Demar Irvine’s W-jting About fiiusic. (Wash-
ington University Press).

For optimum results photographs should be black and white