[&NEW8LETTED Vol. 5, No.

2 International Trumpet Guild February, 1979

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Table of Contents
2 From the President
General News [
6 Trumpet Techniques in the Performance of Microtones by Zack D. Browning
8 Lead Player by William Whitworth
12 Book Reviews, Kim Dunnick, Editor
13 Music Reviews, Norbert Carnovale, Editor
22 Record Reviews, Alvin Lowrey, Editor
26 Recent Programs, Richard J. Perkins, Editor
27 Advertisements

1977-1979 Officers
President,: David R. Hickman, School of Music, University of Illinois, Urbana, IL 61801
Vice President: Edward H. Tarr, Oberer Rheinweg 7 1. CH4058 Basel, Switzerland
Secretary: Donald Bullock, Department of Music, Western Michigan University, Kalamazoo, MI 49008
Treasurer: Gordon Mathie, Crane School of Music, SUC, Potsdam, NY 13676
Past President: Lloyd Geisler, 3444 North George Mason Drive, Arlington, VA 22207

Board of Directors
David Baldwin, Charles Cohn, Louis Davidson. Timofei Dokshitzer. Bernie Glow, Charles Gorham, Knud Hovaldt.
Clifford Lillya, Robert Nagel. Carole Reinhart. Susan Slaughter, Don Smithers, Roger Voisin

ITG Journal & Newsletter Staff

Editor: Linda Anne Farr, P.O. Box 50183, Columbia, SC 29250
Assistant Editors:
David Baldwin, 589 Lincoln Avenue. St. Paul, MN 55102
A. Keith Amstutz, Music Department, University of South Carolina, Columbia, SC 29208
Clifford Warren, 304 Thunderbird Drive, Marshalltown, IA 50158
Associate Editors:
Artist-Members Section: Dennis L. Horton, Music Department, Central Michigan University, Mt. Pleasant, MI 48859
Book Reviews: Kim Dunnick, Music Department, Tennessee Tech University, Cookeville, TN 38501
Jazz Editor: George Hitt, Music Department, University of Minnesota. Duluth, MN 55812
Music Reviews: Norbert Carnovale, Music Department, University of Southern Mississippi, Hatticsburg, MS 39401
Recent Programs: Richard J. Perkins, Music Department, Anoka-Ramsey Comm. College. Coon Rapids, MN 55433
Record Reviews: Alvin L. Lowrey, 42 Great Oaks, Sherwood Park, Alberta, Canada T8A OV8
Advertisements Manager: Roger Sherman, Creative Arts Center, West Virginia University, Morgantown, WV 26506
Corresponding Editor: Michel Laplace, 48 rue Calmette, 37100 St. Cyr-sur-Loire, France
Deadlines for receiving information to be published are: December 1st (February Newsletter), March 1st (May Newtletter),
August 1st (October Newsletter); July 1st (Journal).
The ITG Newsletfer is published three times yearly, in February, May, and October; the ITG Journal is published each fall.
ITG memberships are arranged to run in units of one year (July I-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 U.S. $ by international money order or by a draft on a U.S. bank.)
Membership dues: $10.00 (students); $15.00 (regular members & libraries); optional air mail to members outside U.S.A. $4.00
Ideas and opinions expressed in this issue are those of individual writers and not necessarily those of the editors or the Interna-
tional Trumpet Guild.
The ITG Newsletter is an official publication of the International Trumpet Guild. ISSN: 0363-2857.
@ Copyright 1979 by the International Trumpet Guild. All rights reserved. Printed in U.S.A.
 From the President
ITG members will be excited to learn of new activities since my
last column. I think I can safely say that ITG is now completing
many projects, making the organization a viable part of our pro-
fession.
First of all, Dr. Harold Hines of Arizona State University in-
forms me that the 1979 ITG Conference programs are set and that
this year’s meeting looks to be the best ever. Where else could you
hear Claude Gordon’s loud pedal tones, Armando Chitalla’s delicate
piccolo playing, Frank Kaderabek’s huge orchestral sound, Lew
Soloff’s super jazz, the Canadian Brass Quintet’s humor, an all-star
studio trumpet section with lead player Bernie Glow, Ray Crisara,
Lcw Soloff, and Malcolm McNab, as well as learn about new trum-
pet designs and acoustics, teaching techniques, and medical
problems in four short days?! Please see the conference advertise-
ment within these pages for program details and student contest
information.
Robert Nagel, Music Commissions Chairman, has contracted
Norman Della Joio to write a multi-movement work for trumpet
and piano. This commission will be premiered during the 1979
Conference by Armando Ghitalla, Principal Trumpet of the Boston
Symphony Orchestra. (See article on Dell0 Joio.)
Stephen Jones, Trumpet Ensemble Commissions Chairman, has
contracted two new works for trumpet ensembles. A work by Jan
Bach will be prcmicrcd at the 1979 Conference and will be per-
formed by a professional group of Phoenix trumpeters. In 1980,
ITG will premiere a major work for large trumpet ensemble by
Karel Husa. The Arizona Trumpet Guild Chapter is planning to com-
mission a 1979 conference opening fanfare from Ronald LoPresti
to be premiered by its members.
Lastly. the 1979 ITG Conference will commission several short
arrangements for studio trumpet sections from well-known New
York studio arrangers. These will be performed during a session by
Bernie Glow. (It is hoped that copies of these arrangements will be
made available to conference participants free of charge.) All in
all. this will be a productive year for trumpet commissions!
We must apologize for the delay in releasing the record album
of Herbert Clarke performing his most well-known cornet solos with
Sousa’s band. There have been technical problems beyond our con-
trol. However, the album will soon be available at a substantial
discount through ITG mail orders and at the 1979 Conference.
We have three new ITG chapters since July: Missouri Trumpet
Guild (Dr. Betty Scott), Colorado Trumpet Guild (Mr. William
Pfund). and North Texas State University Trumpet Guild (Mr. John
Haynie). We now have a total of 22 ITG chapter organizations!
I want to strongly urge everyone to attend the 1979 ITG Con-
ference in Tempe. Arizona. May 30 - June 2. Plane fares are being
reduced and Amtrak rail service is excellent and very inexpensive.
The cost involved to attend such an enlightening and educational
meeting will surely be insignificant compared to the life-long know-
ledge and memories acquired. Our annual conferences are always
the “trumpet event” of the year and you will all want to be part of
it.
-David R. Hickman, President
2
General News
Boston Symphony Seeks Principal Trumpet :
The Boston Symphony Orchestra, Seija Ozawa, Music Diiector,
announces the vacancy of Principal Trumpet. Auditions will be held
in March of 1979’t”or employment beginning September 10, 1979.
Please send a one page typed or printed personal/professional re-
sume (as complete and comprehensive as possible-please include
telephone number) to: William Moyer, Boston Symphony Orches-
tra, Symphony Hall, 301 .Massachusetts Avenue, Boston, Ma. 02115.
(617) 266-1588.
7th Annual New York Brass Conference for Scholarships
This year’s New York Brass Conference will take place on April
6 - 8, 1979, at the Americana Hotel. 7th Avenue at 52nd Street in
Manhattan. Bernie Glow will be honored as the 1979 Giant of Brass,
joining other outstanding brass players so honored as Vincent Bach,
Harry Glantz, Renold Schilke, and William Vacchiano.
Featured performers will include The Forefront, Canadian Brass
Quintet, Urbie Greene, Per Brevig, The Wilder Duo, and Phil Smith
among others.
For more information contact: New York Brass Conference for
Scholarships, Attn: Dr. Charles Colin, Director, 315 West 53rd
Street, New York, NY 10019.
Susan Slaughter Master Classes and Recitals
Susan Slaughter, Principal Trumpet of the Saint Louis Sym-
phony Orchestra, is planning to do a limited number of master
classes and recitals during the period of April 30 through May 6,
1979. Other dates may also be available in January, February, and
March.
For further information contact: Susan Slaughter, 540 South
Geyer Road, St. Louis, MO 63122.
Ghitalla Master Class
Armando Ghitalla, Principal Trumpet of the Boston Symphony
Orchestra, will be in residence at the University of Kentucky to
present a series of master classes and a recital June 23-25, 1979.
For information w-rite: Professor Vincent DiMartino, School of
Music, University of Kentucky, Lexington, Kentucky 40506.
University of New Mexico Offers Graduate Assistantship
The University of New Mexico is seeking a graduate student to
perform with the Faculty Brass Quintet as second trumpet and assist
.
in applied instruction and/or coach chamber ensembles in the de-
partment for the 1979-80 school year.
For further information, please contact: Jeffrey Piper, Instructor
of Trumpet. Department of Music, The University of New Mexico,
Albuquerque, NM 87131. 505-277-5215.
Leblanc Announces New Trumpet
The G. Leblanc Corporation, Kenosha, Wisconsin, is proud to
announce the reintroduction of the legendary Martin “Committee”
trumpet. The new “Committee” is an all brass trumpet featuring
monel pistons, a one piece hand-pegged bell, and a micro-precision
drawn lead pipe. The bore size is ,460 inches (11 .SOmm), the bell
diameter is 4-l 3/l 6 inches (120.25mm), and the weight of the horn
is 2 tbs., 6 oz. (1064g).
An improved replica of the original Martin medium bore “Com-
mittee” trumpet, this exciting Martin creation combines a warm
lower and middle register with brilliant highs. The new “Commit-
tee” maintains a greater ease of blowing with no sacrifice of intona-
tion or sureness of control.
For further information regarding prices and delivery of the
“Committee” trumpet, contact your nearest authorized Martin
dealer or write to the G. Leblanc Corporation.
Pulitzer Prize-winning composer, Norman Dello Joio,
commissioned by ITG.
ITG Commissions First Major Work
The International Trumpet Guild is pleased to announce that it
has commissioned Pulitzer Prize-winning composer, Norman Dello
Joio, for its first major work. The multi-movement work for trum-
pet and piano will be premiered at the 1979 ITG Conference in
Tempe, Arizona on May 31 in an evening recital by Armando
Ghitalla, Principal Trumpet of the Boston Symphony Orchestra.
The work will be available shortly thereafter from Associated Music
Publishers.
Not just a composer, Dello Joio is an organist, conductor, and
educator. Born in New York City in 1913, he is a descendant from
three generations of Italian church organists. Instructed by his
father, who came to America in the early 1900’s to become organist
for Our Lady of Mount Carmel Church in Manhattan, Dello Joio
quickly showed remarkable musical aptitude. At 14 he was an
organist and choir director at the Star of the Sea Church on City
Island. Later he studied the instrument with his godfather, Pietro
Yon, the celebrated organist at St. Patrick’s Cathedral.
At the Juilliard Graduate School, Dello Joio concentrated on
composition. He then proceeded to Yale to work with Paul Hinde-
mith. Since then he has become a distinguished teacher himself: at
3
Sarah Lawrence College, the Mannes College of Music, and the
School for the Arts, Boston University, where he is currently Dean.
Norman Dello Joio has composed in practically all forms: sym-
phonic, choral, chamber, dance, and opera. His work for television
has been extensive, including Scenes from rhe Louvre, winner of a
1965 Emmy Award. His Variations, Chaconne, and Finale, pre-
miered in New York City in 1948 by Bruno Walter and the New
York Philharmonic, received the New York Music Critics Circle
Award as the Season’s outstanding new orchestral work. He won the
same award in 1960 for his opera The Triumph of St. Joan. Medita-
fions on Ecclesiastes for string orchestra brought him the Pulitzer
Prize of Music in 1957. He has received over 75 commissions among
which are ones from numerous universities, foundations, and artists.
His works have been performed by virtually every major orchestra.
many of them premiered by such groups as the Concord Band,
Philadelphia Orchestra, and the New York Philharmonic.
His continued success reflects the persistance with which Della
Joio has steered a course consistant with his personal beliefs. despite
the trends of fashion. “Many composers seem to change attitudes
according to what is stylish, or seemingly stylish,” he observes. “So
much of the time the result has been for me far removed from what
anyone can possibly digest from the ear alone.”
The composer’s Antiphonal Fantasy for organ, brass, and strings
was described by Carl Apone, April 27, 1967, in the Pittshwgh
Press as “a dashing, bracing composition, and the fine craftsmanship
of the Pulitzer Prize-winning composer is stamped on every mcasure.
The music abounds with energy, and has a language that is vital and
intelligent. A modern work, the musical language is readily accept-
able to all.”
The composer’s wide-ranging interests have prompted his partici-
pation in several federal programs. In 1964 the State Department
sent Dello Joio to Russia, Rumania, and Bulgaria on a cultural
exchange program. The following year the U.S. Office of Education
invited him to be on its Research Advisory Council, and later he was
the US. representative to the Festival of the Arts of This Century
in Hawaii. Dello Joio was also the Chairman of the Policy Commit-
tee for the Contemporary Music Project, which used a Ford Founda-
tion grant to place young composers in high school systems through-
out the nation.
Norman Della Joio’s music and his distinctive approach to its
cultural role have been aptly summarized by Edward Downes in
The Musical Quarterly (April, 1962): “Among established compos-
ers of serious music in this country, Norman Dello loio is outstand-
ing for an outgoing directness of expression and a simplicity of man-
ner, if not always of means, which have an intentionally broad
appeal. A strong melodic vein, rhythmic vitality, a relatively re-
strained harmonic vocabulary, an infectious brio and freshness of
invention are among the earmarks of his style.”
P; International Trumpet Guild ’
@I
, 1979 Conference ([$
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61
9 (9
May 30 - June 2,1979
g) A’nzona State University, Tempe t $?I
 tion, An American Te Deum, commissioned for the Bicentennial
Celebration by Coe College.
Karel Husa has conducted many world major orchestras such as
in Paris, London, Hamburg, Brussels, Prague, Stockholm, Oslo,
Zurich, New York, Boston, Washington, Cincinnati, Rochester,
Buffalo, Syracuse. Among numerous recordings-including his own-
he has made the first European disc of Bart6k’s Miraculous Man-
darin with the Cento Soli Orchestra in Paris.

Karel Husa Accepts ITG Commission The Wilder Duo Sets Concert Dates
Karel Husa, internationally known composer and conductor, has ITG member Robert Levy and marimbist, Gordon Stout, now
been commissioned by the International Trumpet Guild to compose known as The Wilder Duo, have scheduled the following concert
a major work for eight trumpets with optional tympani to be pre- dates:
miered during the 1980 ITG Conference. Dec. 16 -Midwest Band Conference (IL Chapter of the Percussive
He is a Pulitzer Prize winner in Music and the Kappa Alpha Pro- Arts Society Day of Percussion)
fessor at the Cornell University. An American citizen since 1959, Jan. 21 - Ball State University, Muncie, IN
Husa was born in Prague, Czechoslovakia, on August 7th, 1921. Jan. 29 - University of Evansville, Evansville, IN
After completing studies at the Prague Conservatory and later at Feb. 7 - Carnegie Recital Hall, New York City, NY
the Academy of Music, he went to Paris, France, where he received Apr. 7/9 - New York Brass Conference, New York City, NY
diplomas from the Paris National Conservatory and the Ecole Apr. 10 - Atlantic Christian University, Wilson, NC
normale de musique. Among his teachers were Arthur Honegger, Apr. 12 - Greensboro, NC (tentative)
Nadia Boulanger, Jaroslav Rldk$ and conductor Andre Cluytens. June 23 -
In 1954 Husa was appointed to the Cornell Faculty. In 1974 he July 15 - Tidewater Music Festival, Maryland
was elected an Associate Member of the Royal Belgian Academy of
The Wilder Duo is available for concerts, clinics, master classes,
Arts and Sciences and in 1976 received an honorary degree of Doc-
or workshops. For further information, contact: Chatham Musical
tor of Music from Coe College. Among numerous recognitions Husa
Associates, 20 Roosevelt Road, Chatham, NJ 07928 (phone 201-
has received the Guggenheim Fellowship, UNESCO and National
635-0852).
Endowment for the Arts awards, Koussevitsky Foundation com-
mission, Czech Academy for Arts and Sciences Prize and Lili Bou-
ITG Membership Growing
langer award.
International Festivals, orchestras, ensembles and soloists have In early January, Gordon Mathie reported that our membership
regularly been programming Husa’s compositions here and abroad. was as follows:
Recordings of his works have been issued on such labels as VOX, U.S. Professional 727
Everest, Louisville, CRI (Composers Recordings, Inc.), Grenadilla U.S. Student 590
and Golden Crest Records. U.S. Associate/Library 78 Total U.S 1395
His String Quartet No. 3 received the 1969 Pulitzer Prize, and Foreign Professional 159
the Music for frugue 1968 with over 4000 performances has become Foreign Student 86
part of the modern repertory. Another known work, the Apotheosis Associate/Library 14 Total Foreign 259
of fhis Earth, is called by Husa a “manifest” against pollution and
destruction. One of his recent works is the large choral composi- 1,654 Total Membership

4

John Beer 1928-1978
On December 3, 1978, the trumpet profession lost one of its
respected members in the death of John Beer, Professor of Trumpet
at the University of Iowa. He was preparing to play a concert as
principal trumpet with the Tri-Cities Symphony.
Born on September 4, 1928, John Beer received the Bachelor of
Music degree in 1950 and the Master of Arts degree in 1951, both
from the University of Iowa. He then joined the U.S. Navy Band in
Washington, D.C., where he served as soloist and first trumpet until
1955. After leaving the Navy, he was Principal Trumpet of the At-
lanta Symphony Orchestra until 1960, concurrently teaching in the
Atlanta public school system. Since 1960 he had been professor of
trumpet at the University of Iowa, first trumpet of the Iowa Brass
Quintet, and principal trumpet of the Tri-Cities Symphony. He was
in much demand as a soloist, clinician and free-lance artist through-
out the country. A thoroughly versatile musician, he also enjoyed
great popularity in his frequent jazz appearances.
Many of Professor Beer’s former students hold important posi-
tions throughout the world. He was truly a unique individual, a
marvelous player and musician, and a good friend. Those of us who
came in close contact with him will forever feel his influence in our
lives.
-Dr. John D. Hill, Professor of Trombone, University of Iowa
John Beer Memorial Scholarship Fund
The John Beer Memorial Scholarship Fund has been established
at the University of Iowa. Those wishing to donate should make
their tax-deductible donation to “University of Iowa Foundation-
John Beer Scholarship Fund” and send to Alumni House, Iowa
City, IA 52242.
Don Ellis 1934-1978
Don Ellis, one of the outstanding jazz innovators of the 1960’s,
died December 17, 1978, of a heart attack. In addition to his
many jazz appearances, Mr. Ellis had performed as a guest soloist
with the New York Philharmonic Orchestra. In 1964-65, he was
the recipient of a Rockefeller grant as a creative associate at the
New York State University in Buffalo.
Equally weBknown as a composer, his works were performed by
the Los Angeles Philharmonic Orchestra, Stan Kenton’s Neophonic
Orchestra, and as motion picture film scores, most notably in The
French Connection. Mr. Ellis had been commissioned earlier in
December by ITG to compose a work for five trumpets to have
been premiered at the 1978 ITG Conference in Tempe, Arizona.
Austin “Bud” Brisbois 1937-1978
Austin “Bud” Brisbois, a highly accomplished studio trumpeter,
died June 2. He was a member of the first Board of Directors of
the ITG.
Learning to play trumpet at the age of twelve, Mr. Brisbois stu-
died diligently-and in 1958 joined the Stan Kenton Orchestra. After
two and one half years with Kenton, he moved to Hollywood.
His Hollywood credits were impressive. He played lead trumpet
with Henry Mancini for eight years and worked with the bands of
Quincy Jones, Billy May, Ralph Carmichael, Shorty Rogers and
Lionel Hampton. He performed on numerous film scores and in
the bands of TV shows, including Carol Burnett, Donny and Marie,
Rich Little, and Andy Williams.
He backed up many performers on recordings, such as Frank
Sinatra, Paul Anka, Stevie Wonder, Barbara Streisand, The Jacksons,
The Osmond Brothers, and other greats.
Recently, he had been living in Scottsdale, Arizona, spending
much of his time teaching trumpet, working with area bands and
helping AFM Local 586 with its Young Sounds program.
He had also been teaching at Mesa Community College, Mesa,
Arizona.
Joseph Hugh Wheeler 1927-1977
On October 11, 1977, the Galpin Society lost one of its worthy
members with the passing of Joseph Wheeler. Mr. Wheeler was a
Civil Servant by profession, and his hobbies included languages,
ballroom dancing, cricket, genealogy, and model railways. He was a
composer of some talent, and a non-academic player of any brass
instrument that came his way-as most did. He was knowledgeable
about trumpet history and had special interest in 19th century
instruments and their usage. He had written articles about the trum-
pet and always shared freely with other researchers.
His 31 completed works included a performing version of Mah-
ler’s Symphony No. 10 (performed once in the United States and
once in the United Kingdom), and Concertino for Clurinet and Or-
chestra (performed at Queen Elizabeth Hall, London, October 21,
1977).
Mr. Wheeler was a member of the Genealogical Society, Galpin
Society, and the Composers’ Guild. [The Editor wishes to thank
Eric Halfpenny, Leslie Lake, and The Galpin Society Journal XxX1.1
 Trumpet Techniques
in the Performance of Microtones
by Zack D. Browning
The microtone, an interval smaller than a semitone, has long
been a structural element of Asian music. Since the adoption of the
equal-tempered twelve-note scale, the structural utilization of the
microtone in Western music has been virtually ignored. However,
as a reaction to the increasing chromaticism of twentieth century
music, composers have returned to the microtone as a vital element
of Western music.
Composers have utilized microtones within various tuning sys-
tems. The context from which the specific interval of the microtone
is further defined results from these tuning systems. Equal tempera-
ment, the tuning system most commonly used by Western composers,
divides the octave into an equal number of parts, specifically twelve
semitones. Each semitone consists of 100 cents, the unit of interval
measure. Two semitones comprise a whole tone or 200 cents. The
most commonly used microtone, the quarter tone, divides the tone
(200 cents) by one-fourth, resulting in a 50 cent inflexion of the
given pitch.
Table one provides the definition in equal temperament of the
most commonly used microtones and their notation.
Table I
Division of Tone Cents Sharp Flat
Microtone
1. Quarter Tone l/4
t, 1/t +
2. Eighth Tone l/8 2.5 l/at f"J" l/8
3. Sixth Tone 116 33.2 t 4
6 6
4. Third tone 113 66.6 t 4
5. Unspecified
Just intonation and the Pythagorean tuning system provide al-
ternatives to the equal tempered tuning system. Tuning in just
intonation is based on the octave (2:1), pure fifth (3:2), and the
pure major third (5:4). The Pythagorean tuning system is based
only on the octave (2:l) and the pure fifth (3:2). The microtones
in table one, based on equal distances between semitones (100
cents), would need to be redefined according to the unequal inter-
vals between semitones created by the Pythagorean tuning system
and just intonation.
In September of 1965, at the request of Don Ellis, Arvid Walters
and Larry Armiriz developed the quarter tone trumpet at the Hol-
ton division of the C. Leblanc Corporation. The quarter tone trum-
pet consists of three standard valves plus a fourth additional valve,
which when depressed, lowers the pitch one quarter tone. The
method book, Quarter Tones, written by Don Ellis and published
by Harold Branch Publications, provides additional information
and examples for the four valved quarter tone trumpet.
The realization of microtones on the standard three valve
trumpet is achieved in two ways: (1) normal playing and (2) the
special preparation of the instrument. The use of mutes and the ad-
justment of slides to alter the trumpet’s length constitute the special
preparation method. However, in performance, this method proves
to be awkward and inferior when compared to the realization of
microtones in normal playing.
The performance of microtones in normal trumpet playing may
be produced by using the embouchure to “lip” the note to the
desired pitch or by using different valve combinations in conjunc-
tion with or without the first and third valve slides. The use of the
embouchure to “lip” the pitch to the desired microtone results in
inconsistent realizations of the designated interval and unavoidable
timbral inflections. Furthermore, the performance of microtones at
a moderate to fast tempo is virtually impossible using the embou-
chure technique.
The use of normal and alternate valve combinations, with or
without the first or third valve slides, provides the trumpeter with
the most comfortable and consistent method of microtonal per-
formance. The playing embouchure remains stable while microtonal
adjustments are made using different valve combinations. These
valve combinations will produce consistent results unless altered by
the first or third valve slides. The trumpeter, however, must learn
the resultant microtones produced by each valve combination in
order to implement this method. The following procedures were
constructed to measure in cents the resultant microtones of each of
the valve combinations of the trumpet.
Six trumpeters from the University of Illinois were provided
with all the available valve combinations between f-sharp and d”‘.
The Stroboconn was employed to measure in cents, plus or minus
the nearest tempered scale pitch, the resultant intervals. Each trum-
peter tuned with the Stroboconn to concert B-flat, which is an open
valve combination on the B-flat trumpet. (C trumpets were not
used.) Instructions were given not to alter the pitch produced by
the valve combinations in any way. Readings for each of the valve
combinations were recorded in plus or minus cents the nearest tem-
pered scale pitch.
The Stroboconn has an .05 error factor which remains constant
throughout the frequency range. However, certain error factors were
inherent in the process of recording the measurements. Lip fatigue,
especially in the higher register, the difficulty of sustaining a steady
4 pitch, and the inherent desire of the trumpeter to “lip” the pitch in
tune resulted in inconsistent readings for certain valve combinations.
However, by omitting the most inconsistent reading, an average
reading was obtained from the five remaining figures. The average
reading of the valve combinations which produced consistent data
were calculated using all six readings.
The average readings, measured in plus or minus the nearest
equal tempered scale pitch, were converted to flat pitches within the
descending chromatic scale. Each valve combination and its corres-
ponding pitch are notated in black as flat notes along the continuum
of 100 cents, which separates the equal tempered semitones. The
position of the black notehead provides the average measurement in
cents of the designated valve combination and its relationship to the
equal tempered semitones.
The average measurement of the overtone series. of the eight
possible valve combinations, expressed in cents plus or minus equal
temperament, constitute table two. The first valve combination was
found to be consistently flat in the low register and sharp in the
high register. For this reason two readings are presented for the first
valve.
Similar readings were taken to determine the pitch alteration
produced by the movement of the first and third valve slides. The
fust and third valve slides, used individually, lowered the pitch a
maximum of 50 cents. The first and third valve slides used simul-
taneously, lowered the pitch a maximum of 80 cents. Slide altera-
tion was not attempted for the valve combinations 0 and 2, for this
would prove awkward in actual performance. The results are shown
in the table of Microtonal Placement of Possible Trumpet Fingerings.
The examples given at the end of this article show the use ,of
microtones. Valve combinations and slide alterations, taken from
the previous information, are provided to illustrate the performance
procedure for these microtones. The numbers 1 or 3 indicate that
the first valve slide or the third valve slide must be extended in
order to obtain the designated pitch. It is hoped that these examples
6
 Table 2 will aid the trumpeter in the performance of microtones.
The addition of the microtone to the vocabulary of musical
Valve Average of Readings in Cents intervals has resulted in an expansion of the available pitches within
Combination of Overtone Series the octave. This expansion has created new structural relationships
between pitches which have been applied to other musical para-
0 +8 meters. Composers of the twentieth century who have employed
microtones in their music include Ben Johnston, Ezra Sims, Harry
2 -16
Partch, Julian Carillo, James Tenney, Charles Ives, John Eaton,
1 - 14 (low) +20 (high) Adrian Fokker, Alois Haba, John Cage, and Krzysztof Penderecki.
12 +19 The most consistent performance technique of microtones on
3 - 21 the trumpet is the use of the normal and alternate valve combina-
23 - 6’ tions, with or without the extension of the first or third valve slides.
This performance technique depends on the trumpeter’s knowledge
’ 13 +23
of the resultant microtones of all of the possible valve combinations.
123 +39 The development of the performer’s ability to distinguish these
microtonal relationships will not only result in the accurate per-
formance of microtones, but also the correct realization of all other
intervals.
*Valve combination 23 is extremely variable in intonation. Consult
[Zack Browning, 1303 East Pennsylvania Avenue, Urbana, IL
the following chart for individual pitch variations.
618011

Microtonal Placement of Possible Trumpet Fingerings

Cents 0 25 50 75 I lC)p

I I I
1
 bu

Example 1. measures 247-249 of Eonara for two trumpets, three trombones, and piano by Iannis Xennakis, showing quarter tones.
01967 by Boosey and Hawks. Used by permission.

03
:
% . :

Example 2. Measures 42-43 of Kryls for solo trumpet by Robert Erickson, Encinitas, Ca., unpublished manuscript, 1977.

Example 3. Measures 3 1-36 of the first movement of Heptade for trumpet and percussion by Andre Jolivet.
0197 2 by Gerard Billaudot. Used by permission. 03 03 .
:” : z3 : . 0:
. i 0 . 0 . : :

LJ
F-P- ff =====-w
-======
fff

Example 4. Measures 49-53 of Heptade showing quarter tone glissando. Senza r&ore

Gliss 1 out
c-- , Gliss3 . -
in out in out in

Example 5. Musical excerpts by the author, showing eighth tones.

8
Example 6. Musical excerpts by the author, showing sixth tones.
Example 7. Musical excerpts by the author, showing third tones.
Lead Player
by William Whitworth
At a dance several years ago in the Midwest, Stan Kenton gave
his band the downbeat for the final chord of a tune, then turned to
smile at the audience, with both his arms dramatically outstretched.
He held the smile and the chord a little longer than usual-for may-
be eight or ten seconds. Just as he turned toward the band and
brought his right arm down to signal the cutoff, his first-trumpet
player at the time, a gifted musician named Al Porcine, passed out,
slumped in his chair, and fell over backward. Another Kenton trum-
pet player, Buddy Childers, had a similar experience one night in a
small New Jersey town. “It was at the beginning of the job, during
the band’s theme, ‘Artistry in Rhythm,’ ” Childers recalled recently.
“I was playing a high D, which isn’t that high. as trumpet parts go,
but I had to hold it for four incredibly slow bars. Suddenly, I
blacked out, and the next thing I knew I was on the floor on m y
back, with m y horn still at m y mouth, and Stan was leaning over the
sax section, peering at me.”
Blacking out is hazardous enough, but something worse hap-
pened to Porcine during another performance with the Kenton
band, at the Paramount Theatre in New York. As Porcine huffed his
way through a loud, demanding passage, he suffered an abdominal
rupture, or hernia-the sort of injury men sometimes get from lift-
ing something heavy. At an outdoor concert near Reno a couple of
summers ago, a trumpet player named John Glenn Little felt a terri-
ble pain in his neck and back while he was playing a loud solo
passage. After the concert, it was discovered that he had slipped two
discs in his neck; he was in the hospital for a week, and was warned
not to play the trumpet for a year. Many professional trumpet
players in New York complain of leg aches after an especially
rough day in the recording studios, and some of them have suffered
for months at a time with strained lower-back muscles. Clyde
Reasinger, a trumpet player in Los Angeles, is so wary of the horn
that he stays in constant training for his daily bouts with it-he
01969 The New Yorker Magazine, Inc. Used by permission.
9
neither drinks nor smokes, and he devotes an hour a day to yoga
and isometric exercises. Ten years ago. after conducting a series of
tests with the instrument, an English physician and an American
trumpet player suggested in the British Medical Journal. only half
facetiously, that it might be a good idea to equip trumpet players
with pressurized pilot suits. As all this may indicate, playing the
trumpet is hard work. It is generally agreed, in fact, that the trum-
pet is more taxing physically-especially when played in the upper
register and at great volume-than any other commonly used instru-
ment.
Trumpet players amaze themselves. Playing the instrument really
well requires such an unlikely. combination of manual dexterity,
musicality, and physical strength that once a man learns to do it, he
just can’t get over it. Trumpet players often feel themselves to be
men apart, like members of a secret society. While a saxophone
player’s best friend might be a piano player or a drummer, a trum-
pet player’s best friend is likely to be another trumpet player. To a
saxophone player a trumpet player is merely a musician, but to
another trumpet player he’s something wonderful-a trumpet player.
Hearing a saxophone player or a pianist play a difficult passage may
give a trumpet player intellectual or emotional pleasure, but when
he hears a trumpet player play a difficult passage his aesthetic plea-
sure is accompanied by the sort of delicious physical thrill that a
football fan gets from seeing a big guard crash through the blockers
and tackle the quarterback. “He’s a real brute,” a trumpet player
will sometimes say approvingly of another trumpet player. It is not
so much the soloists who are admired this way as it is the “lead”
trumpet players-the men who play the first-trumpet parts in the
four- and five-man trumpet sections that are employed in the
recording studios of New York and Hollywood, in the network-tele-
vision staff orchestras, in the Las Vegas casino orchestras, and in the
few remaining big jazz and dance bands. The lead players are re-
garded as an elite because of the difficulty of the job they must per-
form. To oversimplify it, some trumpet players play with taste but
not enough strength, and others have the strength but lack the taste.
The lead player must have both. He must be able to play constantly
in the upper register-the most treacherous and tiring range of the
horn-while providing an interpretation of the arrangement that will
be definitive for the rest of the brass section and sometimes for the
whole orchestra.
Though there are hundreds of professional trumpet players in
the country and dozens of talented trumpet soloists, there are only
a handful of real lead players. Among the names frequently included
in this category by arrangers and conductors are Porcine, Childers,
John Audino. Ray Triscari, Ernie Royal, Snooky Young, John
Frosk, Al DeRisi, Ray Crisara, Mel Davis, and Bernie Glow. None
of these men is more highly regarded as an all-round lead player by
the lead players themselves than Glow, a bald, bearded, exceptional-
ly cheerful man of forty-three. who travelled with the Artie Shaw
and Woody Herman bands during the nineteen-forties and has
worked in the New York recording studios since the early fifties.
Other trumpet players speak of Glow with admiration and some-
times with awe. “Bernie is the Big Daddy of us all,” Frosk, who
plays lead trumpet with the N.B.C. “Tonight Show” band, said
recently when Glow’s name came up in conversation. “He has en-
durance. taste. accuracy, an incomparable sound-everything.”
Trumpet players tend to defer to Glow in quiet but flattering ways.
If five first-rate trumpet players, including Glow, have been hired
for a recording session, Glow normally finds when he arrives at the
studio that the other players. without any instructions from the
arranger, have sat down behind Parts 2 through 5. leaving the first
part for him. “When you see the Boss coming, you move over,”
one of the trumpet players explained at a recording session several
months ago. This deference has not made Glow arrogant. He is
bowled over by how well so many of his colleagues play. Mention
one of them to him and he will invariably say something like “Oh,
what a fantastic player /ze is.” or “Now, he’s something really spe-
cial.”
Ouiside the music business, almost no one has ever heard of
Glow, but nearly everyone has heard him play, without knowing it.
He has recorded more than any dozen recording stars put together.
The only way an American can be sure of getting through the day
without being exposed to Glow’s playing is to avoid movies, tele-
vision shows, television commercials, radio commercials. phono-
graphs. jukeboxes. discotheques, and radio disc-jockey shows of
all types-jazz. pop, moodmusic, Latin, rock, and rhythm-and-blues.
At a conservative estimate, Glow has recorded a thousand tunes
every year for the past sixteen years. He has worked with Frank
Sinatra. Aretha Franklin. Moby Grape. Peter Nero, Tony Bennett,
Sarah Vaughan, B. B. King, Wilson Pickett, Ella Fitzgerald, Dizzy
Gillespie, Teresa Brewer. Artie Shaw. Woody Herman, the Rascals.
Patti Page. the McGuire Sisters, the Four Seasons. Billy Eckstine.
Kay Starr, Tito Puente, Mel TormC, Buddy Greco, Perry Como, Al
Hibbler, Wes Montgomery, Miles Davis, the Lovin’ Spoonful,
Dionne Warwick, and just about everyone else who has recorded
extensively in New York. Glow has also recorded hundreds of radio
and television commercials-or jingles, as the sound tracks for com-
mercials are called in the business-for most of the soft-drink,
cigarette, airline, and automobile companies. If Glow had done
nothing but jingles, that would be enough to keep the sound of his
trumpet constantly in the air. Most people haven’t heard Woody
Herman’s “Lemon Drop,” but has anyone escaped “Pepsi Beats the
Others Cold”? Recording sound tracks for movies and television
shows has occupied a relatively small part of Glow’s time over the
years. because most of the movie work is in California, and because
working on television shows is not as lucrative for musicians as jin-
gle dates are.
Glow is a free-lance performer. Unlike the gracious free-lance
literary life. which consists, to a great degree, in sitting in bars and
restaurants and talking about what one isn’t writing, the free-lance
music life is gruelling. Most weekdays, Glow arises at 7 A.M.-an
10
hour at which it is unnatural for musicians to be conscious. This is
so he will be able to drive in to.Manhattan from his home, in Great
Neck, where he lives with his wife, Gail, and three teen-age daugh-
ters, in time for his first recording date of the morning, normgiy
around nine or ten o’clock. He is likely to have’s session from 9
A.M. to noon, another from 2 P.M. to 5, and another from 7 P.M.
to 10. On a fairly relaxed day recently, he recoided a single with a
pop group called Jay and the Americans from noon to three. at the
O-Da studios, on West Fifty-fourth Street; did a cigarette jingle
from four-thirty to six-thirty, at the Six West Recording studios,
on West Fifty-seventh Street; and recorded part of a jazz album with
the arranger and orchestra leader Gary McFarland from eight to
eleven, at the A & R Recording studios, ‘on West Forty-eighth
Street. Counting the time he logs on the expressways, he often puts
in a thirteen- or fourteen-hour day. This is almost as rough a sche-
dule as he kept during his road days, though the circuit he travels
now is much smaller than the Herman band’s tias. Glow seldom has
to stray below Thirtieth Street or above Fifty-seventh now, since
most of the recording studios are in midtown Manhattan. He is
active enough to keep an agent or a booker busy in his behalf, but
things aren’t done that way in the studio business. Anyone who
wants to hire him for a record date just calls Glow’s answering ser-
vice in the city a week or so in advance and leaves a message. (New
York musicians who don’t have steady jobs and can’t break into the
studio field may have to go out and look for their work. Every
Monday, Wednesday, and Friday afternoon, they gather by the
thousand in the Roseland Ballroom, on West Fifty-second Street,
where the leaders of pickup bands hire them for dance jobs.) One of
the impressive things about Glow, or any other top studio musician,
as he moves from record date to record date every day, is the seem-
ing casualness with which he handles his varied assignments. Glow
makes his rounds as matter-of-factly as a telephone repairman or a
plumber, leaving behind him a trail of perfectly played trumpet
parts. There is never a chance for rehearsal, except for the few run-
throughs at the recording session itself. The musicians are expected
to walk into the studio cold, sight-read the music, and make the
record, with a minimum of fuss. An entire album is usually recorded
in three three-hour sessions.
Almost half of Glow’s working time these days is taken up by
jingle dates, and the percentage is about the same for the other
leading studio players in New York. It is one of the curiosities of
the present-day music business that men like Glow, who have spent
their lives mastering their instruments, find themselves progressing
from Woody Herman and Tony Bennett to Chevrolet and Pepsi-
Cola. This may be less a case of the musicians’ debasing their art
than of the advertising agencies’ upgrading their commercials. The
musicians take the jingle work because it pays well, of course, but
they don’t feel that they’re slumming; jingle scores are often as
demanding as any they encounter elsewhere. As the name implies,,
a jingle was once almost an afterthought in a commercial-a musical
accompaniment that tinkled along unobtrusively behind the visual
and spoken message. Today, when the United States seems literally
crazed with music, advertising agencies want more originality in
their jingles, and it is only a small exaggeration to say that in search
of it they are looting all of American music, from jazz through elec-
tronic to hard rock. This is a development of the past five or six
years. Jingles are now played by the best musicians, sung by the big
pop vocalists and groups, such as Petula Clark and the Fifth Dimen-
sion, and written by name composers-men with established reputa-
tions in other fields, such as Chico Hamilton, the jazz drummer and
composer; Sid Ramin, who arranged the music for’the stage and
movie productions of “West Side Story”; and Nelson Riddle, who
has arranged and conducted numerous Sinatra albums an.d is onk of
the leading conductors on the West Coast. Many men of this calibre
work part time or even full time for what are known as jingle houses
-the production companies that oversee the writing, arranging, and
recording of jingles. The president of one of the biggest jingle
houses-MBA Music, Inc., in New York-is I. J. Johnson, who is an
arranger and composer and one of the great trombone soloists in
the history of jazz. This is almost, but not quite, the equivalent of
J. Walter Thompson’s having, say, Norman Mailer as copy chief.
Naturally, with such classy talent producing the jingles, they are
recorded with some care. It isn’t unusual for a jingle producer to
keep ten or fifteen musicians in a studio for three hours in order
to get a perfect recording of a single thirty-second sound track.
When Glow gets bored during such a repetitious session, he can con-
sole himself with the thought of his paycheck. The pay scale for
jingles is forty dollars an hour, plus $13.33 for every twenty min-
utes after the first hour. If the player has to double on the date-
that is, play another instrument in addition to his regular one-the
scale is fifty-two dollars an hour, plus $17.33 for every twenty
minutes beyond one hour. Glow, like most other trumpet players in
town, doubles on flugelhorn and piccolo trumpet (a small-bore
horn that produces a brighter sound in the high register), and some
of the reed players double on four or five instruments. In addition
to this basic scale, there are payments for various reuses of a jingle
recording-with, for instance, a new vocal track or a new film. The
pay scale for work on network television shows is $13.42 an hour,
and the pay scale for ordinary recording is eighty-five dollars for the
minimum call of three hours, plus royalties. At these rates, a busy
trumpet player in New York can make more than fifty thousand
dollars a year.
If it seems strange, in this age of guitars, that there is a big de-
mand in the record business for trumpet players like Glow, there is a
simple explanation: The so-called big band, a form of musical en-
semble that was invented in the nineteen-twenties, is not dead. The
big band is supposed to have died in the late nineteen-forties. and
its funeral has been widely publicized. What actually died then was
the era of the tmue/ling big band (though some of the best of the
travelling bands of that time have survived to the present, and
though some enormously successful travelling bands were born after
the era had supposedly ended). As an ensemble form. the big band,
or some variant of it, not only is alive but is pervasive in American
music. The big-band sound-basically a brass ensemble playing in a
jazz-oriented manner-is heard on almost every television show, in
hundreds of commercials, in all big night clubs of the Copa or Las
Vegas variety, behind all pop singers, and, increasingly, on rock and
blues records. This is so for at least two very practical reasons. First,
the sound of the big-band ensemble is showy. If Johnny Carson or
Jackie Gleason came onstage backed by a quartet, the effect would
be hollow and dowdy; instantly, the atmosphere would be that of a
budget-minded afternoon show for housewives. Second, the big
band does great things for the staple of the entertainment business,
the vocalist. Aretha Franklin, Ray Charles, Frank Sinatra, and Peggy
Lee would sound good in any setting, but with emphatic, percussive
big bands behind them they sould wonderful.
All this means steady work for Glow, because, in general, the
most important men in the big-band ensemble are the drummer and
the lead-trumpet player. The loss of a soloist or a good section
player will damage the ensemble, but the loss of a strong drummer
or a strong lead-trumpet player will destroy it. During a break in a
jingle session recently at the Fine studios, in the Great Northern
Hotel, on West Fifty-seventh Street, Glow, prompted by a friend,
talked about the requirements of his profession.
“First of all, the lead player has got to be able to play the instru-
ment with a good, big sound.” Glow said. “He’s got to have a good
high register. He’s got to have endurance. Above all, I think, he’s got
to understand what a melody line means when he plays it-whether
it’s supposed to mean something syrupy and Guy Lombardo-ish or
supposed to be something gentle or something swinging. A first-
11
trumpet player’s job is to look at a piece of paper and make it sound
like music. It’s a piece of paper with black dots on it, and of itself
it’s not music, and if it’s played by the wrong people it’ll never be
music. It’s a matter of interpretation. There are dozens of trumpet
players in New York who can play as high as I can. or higher. Or
who can play as strong as I can-though, in all frankness, there are
very few guys in town who can play as strong as I can for as long as
I can. I never-reach a point where my lip is so tired that I just can’t
play anymore. But what you have to do is play music. Some people
play the trumpet instead of playing music. There are players who
are technically marvellous but get so wrapped up in playing techni-
cally marvellously that they ignore the fact that the only purpose in
playing that well is to play music. The playing of the instrument is
not the end. To me, that’s the basic difference between a great musi-
cian and a good one. There are musicians in New York who do pret-
ty well because they never hit clams-you can’t put anything in
front of them they can’t play. They have all the qualifications. But
they just don’t have any musical sense. They never sound as if they
understand what they’re playing. They play it pcrt’cctly. but somc-
how it just doesn’t add up. All those perfect notes don’t add up to a
song.
“Beyond this, there’s a certain attitude that’s nccexuy for the
lead player-toward the men he’s working with and toward the lead-
er. A man can’t be a good lead player if the fellows he’s working
with don’t respect him. If they don’t respect him. they’re not yoin::
to codperate. and you can’t browbeat people into playing music.
Music is not that sort of animal. You shouldn’t ordinarily have to
say a word to the other guys if the muTic is fairly well written. They
should listen to you and play with you. Your interpretation ic dc-
finitive. Of course. sometimes the music is not plain cnou;h. Or
sometimes arrangers will mark phrasing on the music that turns out
to be the opposite of \vhat is required to make it tit with the rhy-
thm section. When this happens. the lead player will ignore the
markings, and nine times out of ten the arranger will look up and
say, ‘Get, thanks. Beautiful. It’s just what 1 had in mind.’ ”
Worrying about such niceties as making one’s pcrt’ect notes add
up to a song is a luxury of the few. Most people who try to pla)
the trumpet find that their problems with it are as much physical
as musical, the instrument evidently having been designed for mayi-
mum discomfort, annoyance, and pain to the player. With a sensible
instrument such as a clarinet or a saxophone. the sound is produced
in part by the vibration of a reed. But in the case of the trumpet.
the player must vibrate his lips, which arc tightly pursed and then
buzzed against a metal mouthpiece. During lonf performances. thu
muscles of the lips and face tire, and the lips may eventually give
out and refuse to buzz. Playing in the high register of many instru-
ments is largely a mechanical matter-pressing a different key OT
combination of keys, for instance. To play in the trumpet’s high
register, the player must press his lips tighter and tighter together
as he ascends, and provide more and more air pressure, supported
by his diaphragm and by muscles in his back and elsewhere. This
pressure further tires the mouth, and cdn also bring on leg and back
aches. If the pressure is incorrectly applied, from the abdomen in-
stead of the diaphragm, it can apparently cause a hernia. Normally.
though, it will produce nothing worse than dizziness and blackouts
-the phenomenon discussed in the March 14, 1959, issue of the
British Medical Journal, in the article by the late Dr. E. P. Sharpey-
Schafer, who was a professor of medicine at St. Thomas’s Hospital.
in London, and Maurice E. Faulkner, a professor of music at the
University of California in Santa Barbara. “The effects [of playing
the trumpet] on the circulation,” they wrote, “ are those of a for-
midable Valsalva maneuver [a hard nose-blow with the nostrils and
mouth blocked] ; peripheral venous valves shut and blood accumu-
lates distal to them. The effective cardiac-filling pressure. stroke
output, and mean arterial pressure fall off rapidly. After about 7
seconds the slight rise of arterial pressure indicates onset of reflex
constriction, which persists, after cessation of blowing, during the
overshoot. Since the brain is not protected by venous valves the
supply pressure across it falls so that the cerebral blood flow may
become inadequate during the period of blowing. More usually diz-
ziness or blackout is maximal immediately on rcleasc of intrathora-
tic pressure _”
Dr. Sharpcy-Schafer. who made the observations while I:aulkner
played the horn, rcportcd that Faulkner reached a moutfl pressure
of a hundred and sixty millimetres of mercury (about three pounds
per square inch) while playing a high D. It would have been interest-
ing if hc had made similar measurements during a performance by a
“commercial’‘-that is. a jazz or dance-band-player, such as Pro-
fessor 1:aulkncr. In the past twenty or thirty years, the commercial
players have extended the range of the trumpet far beyond its text-
book limits: today they play in a register that the legitimate player
would ncvcr attempt, and with a brute force that he would never
attempt, and with a brute force that hc would never employ. The
range of the standard l&llat trumpet was once considered to be
roughly from the 1: sharp below the staff to the high C above the
staff. Commercial players are now elpcctcd to be able to play 1:~
and Gs abort the high C all day, and some of them occasionally
will play a~ high as the double C (an octave above high 0. and even
beyond. Trumpet playing has taken on ;I more atlllctic quality than
ever. with each gcncra~ion of players pushing the limits upward,
like runner< or pole-vaullcrs thooting for new records.
Glow’c preparation for this ctrenuour profession was literall?
perfect. Hc began his study of the trumpet. at the age of nine, with
hIa\ Schlossbcrp. who was then the foremost trumpet teacher in
this country and perhaps in the world. His second teacher. after
Schlossbcrg’s death. was Ilarry Glantz. one of the great orchestral
trumpet players. who played under Toscanini in the New York
Philharmonic and the N.B.C. Symphony. and his third teacher was
Nat Prafcr. another great orchestral player. Glow’s career was
planned in some detail by his rnatcrnsl grandfather. Sam Finkcl.
who had been a musician in Europe and then in the Yiddish theatre
in New York. Without consulling either the boy or his parents.
‘Mr. I:inkcl announced one day that Bernie would be a musician-
specifically . a first-trumpet player in 3 symphony orchestra. Glow’s
father, who was in the millinery busincsa. was not musical. but he
didn’t object, and neither did Glow himrclf. “In my family, 1 was
not asked. I was told.” Glow says. Luckily for him. his grandfather
had known Schlossberg in Europe. and was able to persuade the
great man. who had settled in New York around the turn of the
century. to take Glow on as a pupil. Schlossberg, ill and only a few
months aw;ly from death. had not been accepting beginners; his
students were advanced players, many of them members of major
orchestras. “It was funny.” Glow said recently. “I was a nine-year-
old kid. and I’d come out of my lesson and there would be one of
the guys from the Boston Symphony waiting his turn.” For the
first two weeks of his studies, Glow was not allowed to touch the
trumpet. Schlossberg would let him do nothing but learn to set his
lips correctly and make a sound with the mouthpiece. This was to
insure that his embouchure. or position and use of the lips. would
be perfectly formed: it was. and to this day Glow is grateful for this
careful beginning, which he regards as the foundation of his present
strength as a player. Glow was as bored by practicing as the next
young musician, but his grandfather saw to it that he put in an hour
a day on the horn. To impress upon the boy the desirability of play-
ing things correctly. Mr. Finkel would call attention to any mistakes
that Glow repeated by whacking him on the shoulder with a black-
board pointer.
The Bronx. where Glow grew up, and Brooklyn. where he often
played as a high-school musician. seem to have been rich in musical
talent during the thirties and forties. Glow played in teen-age bands
12
then with a number of boys who were to become famous jazz musi-
cians, including Stan Gctz. the tenor saxophonist; Tiny Kahn, the
drummer; Shorty Rogers. the trumpet player and arranger; and
George Wallington. the pianist. In this fast company, Glow took his
turn at improvising jazz solos-without much success. he now
thinks. But he already knew that his real interest was playing lead
in a section. He had made that decision during long afternoons at
the Fiesta Danceteria. at Forty-second and Broadway, where he
Jleard Snooky Young play lend trumpet with the Jimmy Lunceford
band. and at the Paramount Theatre. where he heard Billy Butter-
field with the Benny Goodman band. The soloists in these bands
impressed Glow, but the sound of the lead-trumpet players, soaring
above the brass sections, gave him chills.
Glow was precocious. At the age of sixteen, immediately after
his graduation from high school, he became the lead-trumpet player
with the Richard Himber Orchestra, and spent his first year on the
road. At eighteen, he was with Xavier Cugat and then with Ray-
mond Scott, playing a daily show on C.B.S. radio. At nineteen, he
was playing lead with Artie Shaw, and at twenty with Boyd Rae-
burn. At twenty-three-an age at which some musicians have barely
begun to travel-he retired from the road. This was in 1949, after
more than a year with one of the best large jazz groups in history,
the Woody Herman band that was known as the Second Herd. For
the next four years, Glow worked around New York in Latin bands,
on radio shows. in theatres, in night clubs, and on weekend dance
jobs. Though he didn’t think of it as such. this was the last phase of
his education for the studio business. By the time Glow was twenty-
seven, he not only was technically accomplished but was also
schooled in a greater variety of musical styles than many trumpet
players encounter in their whole career. From 1953 on. as his re-
putation grew in New York. he began to be called frequently for
record dates and for such television jobs as “The Milton Berle
Show. ” “The Perry Como Show,” and the “Tonight Show.” He and
Dot Severinsen. the virtuoso trumpet player who now leads the
“Tonigllt Show” band, quickly came to be regarded as the succes-
sors to the top men in the previous generation of studio players.
Despite his success, Glow has let his grandfather down, in a way,
since Mr. Finkel’s dream was that Glow would grow up to be a
symphonic player. Glow is unrepentant for having strayed into jazz
and studio work. “It’s really been fun,” he says. “I’m a guy who’s
making a good living doing something he’d rather be doing than
anything else in the world.” He still remembers the sting of the
blackboard pointer, though, and he rarely misses a note.
[Editor’s nore: Mr. Glow will appear at the 1979 ITG Concerence.]
Book Reviews
Kim Dunnick, Editor
Al1 books received will be listed in the Newsletter. Books will be
selected from the Books Received list for feature reviews. All ITG
members arc invited to participate as reviewers. Please write to me
stating your qualifications and area of interest. Persons able to re-
view non-English language books are needed. Reviewers should be
prepared to submit typescripts.
Books for review and correspondence should be sent directly to
me at the following address: Kim Dunnick, ITG Book Review,
Music Department, Tennessee Tech University, Cookevillc, Tennes-
see 38501.
Books Received
Bate, Philip. The Trumpet and Trombone, 2nd edition. W.W. Nor-
ton. 1978. 262 pages, hardbound. (S 18.95)
Gottschick, Anna Martina. ,Musica 1979. (An illustrated calendar
for 1979; English translations by Peter and Marina Brauscombe.)
Barenreiter-Verlag Kassel, 1978. (1 SDM)
McGuffey, Patrick. A Trumpeter’s Approach to the Orchestra. B&M
Publications (P. 0. Box 15847, Green Hills Station, Nashville,
TN 37215), 1977. 154 pages, paperbound. ($12.00)
Book Review
Anna Martina Gottschick. Musica 1979. Barenreiter-Verlag Kassel,
1978. (15DM)
Though not a book, the beautiful 1979 calendar recently re-
ceived by this column for review is certainly worthy of mention,
This calendar, 26cm x 29cm (about 10% x 11% inches) consists of
26 reproductions of paintings or drawings by various artists depict-
ing some area of music. About half the reproductions are in color;
half in black and white. The days of the month are not arranged in
the conventional method of stacking the weeks on each other.
Rather, each picture is either framed on either side vertically or
underlined horizontally by 14 days. Thus every two weeks you re-
move one page (they are already perforated for this purpose), to
reveal a new work accompanied by the next fourteen days. On the
back of each picture is a paragraph in German, translated also into
English and French, concerning the work and its artist.
This calendar is very awkward to use if you need to know a date
several weeks or months ahead or ago, and has no little boxes where
you can write in your coming engagements. ‘However, if you were
passed over this Christmas by Snoopy or J.R.R. Tolkien calendars,
this one would make a very handsome addition to your wall. (KD)
Music Reviews
Norbert Carnovale, Ediior
The following is a list of music which has been received for re-
view. .A11 music received will be listed in each issue of the News-
letter. Editions will be selected from the Music Received list for
feature review. All ITG members are invited to participate as re-
viewers. Please write to me stating your qualifications and area of
interest (baroque, jazz, contemporary, brass quintet, etc.). RC-
viewers should be prepared to submit typescripts.
I would like to thank Linda H. Moore, a graduate student at
the University of Southern Mississippi, for her assistance in pre-
paring this column.
Music for review and correspondence should be sent directly
to me at the following address: Dr. Norbert Carnovale, ITG Music
Review, Music Department. University of Southern Mississippi,
P.O. Box 81, Hattiesburg, MS 39401.
Music Received
Trumpet Solos and Ensembles
Applebaum. Stanley. Descriptive Duets.Vol. 11. Charles Colin. 1956.
Bush, Irving. Four Fanfares for All Occasions. 4 trumpets of unspec-
ified pitch. Wimbledon, 1978.
Cheetham. John. Concoctions. Solo trumpet. Tenuto (Theodore
Presser). 1978. $2.50.
Dorsam, Paul. Phantasy. B-flat trumpet & piano. Kleppingcr-Pfaff,
1977, $3.00.
FreSq, Tibor. Skladba. C trumpet & piano. Panton, 1969.
Hardt, Victor H. Rhapsodic Interlude. B-flat trumpet & band.
Dedicated to Renold Schilke. Piano reduction, Charles Colin,
1965, $1.50.
Jirko, Ivan. Koncert. C trumpet & orchestra. Score & parts for rent.
, Piano reduction, Panton, 1975.
13
Lethbridge, Lionel, arr. & cd. A Verdi Solo Album. B-flat trumpet
or trombone or bassoon & piano. Oxford University, 1977,
$6.50.
Lewis, Robert Hall. Monophony VII. C trumpet. Doblinger, 1977.
Lucas, Marie Lute. Five Quartets. 4 B-flat or C trumpets. Billaudot
(Theodore Presser), 1976, $5.50.
Nikodemowicz, Andrzej. Three Nocturnes. C trumpet & piano.
PWM Edition, 1969.
Pauer, Jilii. Koncert. B-flat trumpet & orchestra. Score & parts for
rent. Piano reduction, Panton, 1975.
Peeters, Flor-Bryan Goff, trans. Aria. B-flat trumpet & band. Edi-
tion Peters, 1977.
Purcell, Henry-Jean Thilde, ed. Suite en ut. B-flat trumpet & organ.
Maurice Andrt Collection. Billaudot (Theodore Presser), 1976,
$3.50.
Rautavaara, Einojuhani. Tarantara’. Solo B-flat trumpet. Edition
Fazer (Magnamusic-Baton), 1976, $3.00.
Stanley, John-Bram Wiggins. arr. Trumpet Tune. B-flat trumpet 8:
band. Oxford University (NY), 1977, $25.00.
Stoelzel, G.H.-Jean Thilde. ed. Concerfino en mi mineur. B-tlat
trumpet & orchestra. Score & parts for rent. Maurice AndrC
Collection. Piano reduction, Billaudot (Theodore Presser); 1977,
s3.75.
Stoelzel, G.H.-Jean Thilde. ed. Concerto en si-flat. 13.flat trumpet &
orchestra. Score & parts for rent. Maurice AndrC Collection.
Piano reduction, Billaudot (Theodore Presser), 1976, $3.75.
Stoelzel, G.H.-Jean Thilde, ed. Concerto en ut Is-flat trumpet &
orchestra. Score & parts for rent. Maurice Andr6 Collection.
Piano reduction, Billaudot (Theodore Presser). 1976, $3.75.
Stoelzel, G.H.-Jean Thilde. cd. Sonate en re. B-flat trumpet &
orchestra. Score & parts for rent. Maurice Andr’e Collection.
Piano reduction, Billaudot (Theodore Presser). 1977, $3.75.
Tchaikovsky, Peter Ilich-David R. Hickman. arr. Danse Aiapolitaine
(from “Swan Lake”). B-flat trumpet & piano. The Brass Press.
1978, $1.50.
Williams, Ernest S. Ternecula Waltz. B-tlat cornet or trumpet &
piano. Charles Colin, 1946.
Methods and Studies
Colin. Charles. Advanced Lip Flexibilities. Complete. including Vol.
I, II. & III. Charles Colin, originally published in separate ~01s..
1941, this edition: 1972, S6.00.
Decker, Charles. Intermediate Serial Studies for Trumpet. Dedicated
to Vincent Cichowicz. Kendor. 1978, $4.00.
Kase, Robert. 21 Studies in Style and Interpretation. Southern (SA).
1977, $3.50.
Nagel, Robert. Trumpet Studies in Contemporary Music. Belwin.
1975, 52.50.
Schaub, Heinz. Let’s P/a>> the Trumpet. Billaudot (Theodore Pres-
ser), 1976, $5.00.
Stamp, James. Warm-ups & Studies. Trumpet, cornet. or fluegel-
horn. BIM Editions, 1978.
Stevens, Thomas. Changing Meter Studies. Trumpet. flute, clarinet.
or other treble clef instruments. BIM Editions, 1978. $7.00.
Chamber Music
Gabrieli, Giovanni-Gary Olson, arr. Hodie Chrisrus natus est. Brass
quintet & organ. Canzona. 1978, $6.00.
Leontovich, Mykola-Gary Olson, arr. Carol of the Bells (based on
the Ukrainian carol “Shchedrik”). Brass quintet. Canzona, 1977,
$5.75.
Mancini, Albert, arr. Concert Highlights. (Collection includes works
by Mancini, Meyerbeer, Stravinsky, Rossini, & Wagner). 3 B-flat
trumpets & trombone. Charles Colin, 1964.
Matsj, Joika. Concerto Triplice. C trumpet, horn, trombone, &
chamber orchestra. Score & parts for rent. Piano reduction,
Panton, 1976.
Ordunio, Doug, trans. Three Madrigals (from “The Triumphs of
Oriana”). Brass quintet. Wimbledon, 1978.
Thiele, Siegfried. Intrada. 3 B-flat trumpets & 3 trombones. Fried-
rich Hofmeister (Alexander Broude), 1977, $6.50.
Music Reviews
Niels Viggo Bentzon. Sonata. B-flat trumpet & piano. Hansen (Mag-
namusic-Baton), 1970, $8.50.
The reviewer’s first introduction to the music of Niels Viggo
Bentzon was through a recording of his Chamber Concerto for ele-
ven instruments, Op. 52. written in 1948 for clarinet, bassoon, two
trumpets, double bass, three percussion and three pianos; and
Symphonic Variations, Op. 92, written in 1953 for full orchestra.
Both of these works. as well as the Sonata for trumpet and piano,
Op. 73, exemplify the masterful writing of this formidable Danish
composer. The trumpet writing in the Chamber Concerto shows the
composer’s understanding of and admiration for the instrument.
The Sonata further exemplifies his keen awareness of the capabili-
ties of the trumpet.
The first movement of the trumpet sonata is in ABA form with
the final A section being an exact repeat of the first 29 measures in
the same key. This is the only weak aspect of the movement. It
would have been more interesting had the final section begun in a
different tonal center. The trumpet part is moderately difficult
containing rapid scale and arpeggio passages and double tonguing.
The accompaniment, as one would anticipate of such a brilliant
pianist as Bentzon, is quite pianistic and compliments the trumpet
part beautifully. The meter is essentially 6/8 with an occasional
5/8 and 7/8 appearing.
The composer’s penchant for the piano is even more evident in
the second movement. The movement is a beautiful “Adagio”
which, after a piano introduction of six measures, contains an es-
pressive lyrical line for the trumpet supported by a florid piano
passage. This is followed by a section indicated “Tempo rubato”
with the two instruments playing reversed roles. The movement
closes with a return to the original lyrical line of the trumpet but
in a tonal center a perfect fifth lower and in 3/2 meter rather
than the original common time.
In my opinion. the third movement is the weak movement. It
is more simply written regardin, 0 form, testure, and melodic treat-
ment. Beginning in 6/8 meter, there is much usage of mixed meters
with a great emphasis on S/8. The movement ends with an unac-
companied trumpet solo except for two nicely placed staccato
piano chords. one of which occurs with the trumpet’s final eighth
note.
The overall style of the piece has some of the Stravinsky-Hinde-
mith influence of Bentzon’s works from the late 1940’s to the early
1950’s. Much of Bentzon’s work is “neo-classic” in form and mildly
dissonant, but tonal. Since the edition reviewed was the version
for trumpet in B-flat, perhaps there is one for trumpet in C. All in
all, the Bentzon trumpet sonata is an excellent piece. Other brass
chamber works by the composer include Trio. Op. 82, for horn.
trumpet, and trombone; Sonata, Op. 47. for horn and piano; and
Sinfonia Concerrante for violin, clarinet, viola, cello. brass, and tim-
pani, Op. 100. Range: g to b”. (Richard Burkart, The Ohio State
University, Columbus).
Heinrich Biber. Sonata II 7. 6 C trumpets, timpani, & organ. Dob-
linger (Associated Music Publishers). 197 1, $9.80.
I highly recommend Biber’s delightful Sonata a 7 in this new
edition by Nikolaus Harnocourt. 1 first became acquainted with this
music white browsing through Jarmil Burghauser’s collection of Old
14
Czech Fanfares published by Artia, Prague, Czechoslovakia in 1966.
In the Burghauser edition the original key of C is transposed to B-
flat and the continua part is realized for three trombones. This use
of a trombone section along with a Baroque organ provides an ex-
cellent realization and tends a greater acoustic dimension to Biber’s
music.
Curiously, Burghauser has seen fit to change the title to read
simply Intrada; and certainly the piece fits into such a category. The
material is straightforward. dignified, and possesses a processional
character. Biber has provided us with “appropriate ceremonial music
for all occasions.” Such festive musicwill be enjoyed at dedications,
convocations, weddings, birthdays, and any other concerts.
The music itself is a showcase for the trumpets. All parts are of
equal importance and difficulty. Performers must take care not to
compete with one another in order to discover which is the best.
This is not a “battle” piece but a wonderfully integrated piece for
six virtuosi.
As usual in Baroque trumpet music. the style alternates between
fanfare-like arpeggios and florid, spun-out scale passages. Because of
the highly imitative nature, care should be taken to match tone and
articulations as well as dynamic levels. The imitation reaches its
creative peak at the end of each section with a glorious ascent to
the high c”’ by each soloist at one quarter beat intervals. Splendid
stuff indeed!
Mr. Harnocourt, true to the recent scholarly approach, does not
provide dynamic indications or, for that matter, any editorial addi-
tions. The second section must begin softer dynamically in order to
rebuild to the final flourish. The tempo should remain stately and
dignified. Performance practices of the nineteenth and twentieth
centuries have no place in this music. The cut time must be realized
in four and be presented with a maestoso feeling. A fast tempo
matches player against player and the piece turns into a free-for-all.
Many trills abound throughout. Correct execution of these orna-
ments is essential to a successful performance. Please, comrades,
these trills were lip trills. How quickly can you perform a beauti-
fully measured lip trill? Ornamentation is meant to enhance the
beauty of the music and should not exist solely as an effect. Too
often trills sound like buzz saws and jar the listener abruptly. Slow
them down and everyone will enjoy them more.
This little sonata provides an excellent opportunity for students
to develop ensemble techniques that cannot be acquired through
individual practice. Blend, balance, similarity of attack and release,
as well as intonation, can only be acquired within an ensemble. This
context is most beneficial when involving substantial musical litera-
ture. For this reason alone. every serious trumpeter should explore
the works of Biber and his contemporary Paul Vejvanovsky. From
an ensemble standpoint, the piece is invaluable and you get truly
marvelous music at no extra charge.
Range: g to c“‘. (Gene Young. Oberlin Conservatory of Music,
Oberlin, Ohio).
Cesar Bresgen. Der Benzenawer. 3 C trumpets, 3 trombones, percus-
sion, & organ. Doblinger (Associated Music Publishers), 1976.
Der Benzenawer by Cesar Bresgen was written in 1971 for three
trumpets. three trombones, organ, timpani, and percussion which
consists primarily of snare drum with cymbals being used only on
the last chord of the piece.
After an introduction consisting of an opening solo statement by
the first trumpet and a majestic chordal entrance by the full organ,
the first part of the piece consists of brief contrasting statements
alternating between the organ and brasses supported by timpani
rolls. This pattern is followed throughout the piece with the organ
becoming more predominantly soloistic, although there are brief
moments when the full ensemble plays tutti.
The style is homophonic and major-minor triadic with the
brasses being chordal and rhythmic and the organ taking up the
toccata style with brilliant scale passages. The key fluctuates be-
tween F major and C major, beginning with F and ending with C.
The brass parts are simple technically with moderate written ranges,
although the first trombone part is written in tenor clef in the
score. Because of its dia’tonic chordal brass/toccata organ contrasts
it would be very effective in a church or a very live hall perform-
ance. The score is in concert pitch. (Richard Burkart, The Ohio
State University, Columbus).
Lucia Dlugoszewski. Space Is A Diamond. B-flat trumpet. Margun.
1977, $8.00.
I approach the review pf Lucia Dlugoszewski’s Space Is A Dia-
mond with ambivalence. I consider myself a proponent of new
music and have attempted to study and perform this music at every
available opportunity. I have had the good fortune to play, conduct,
and discuss works by the leading composers of our time: notably
Zenakis, Davidovsky, Crumb, Globokar, Babbitt, Carter, and Mes-
siaen, to name but a few. I feel that young composers must be
encouraged to compose through performance and a supportive atti-
tude by performing musicians. It is, therefore, that I reluctantly
proclaim Space Is A Diamond a piece of artsysraftsy trash.
Everything about this piece from the printing to the perform-
ance explanations reeks of the pretentious “Look what I’ve done,
isn’t it wonderful?” phase of self congratulation so prevalent in the
late sixties. Mute changes are color. coded, expression markings are
poetic, “Quite soft, like gusts of delicate rain,” and even playing
techniques are discussed, indicating the composer’s preference of
execution. The performer is brainwashed into believing that he is
about to experience a truly overwhelming. cosmic magnificence.
Alas, when all is said and done, we must listen to what has been
so eloquently discussed. I perceive no compositional ability in this
piece, and aside from the gimmicks described by the composer as
“many new ways of playing the trumpet,” there is little or nothing
to warrant the interest of a discriminating audience.
Part one is a simple three-part expression consisting of pianissi-
mo glissandi in the extreme upper register, a super loud highf”‘,
and four descending staccato passages. According to the perform-
ance notes “Virtually all extreme high note passages are to be per-
formed softly with the valves slightly depressed.” These “notes”
proceed to discuss the way in which the aperture must function in
order to play in the extreme high range. Are we not aware. as
trumpeters, as to the method of sound production employed to
perform in all registers? After reading such material, I, like the
valves, am slightly depressed.
Traditional notation along with limited pitch content comprise
the unimaginative second section. I am reminded of the words
issued by that great Bohemian composer. “For what?”
The third section is a classic example of a piece that looks great
on paper. Angular leaps, sudden dynamic contrasts, and extensive
use of the technical capabilities (and incapabilities) all serve to
influence one into thinking that the work really has something to
say. Unfortunately. the voice remains mute.
The rest of the piece contains nothing new and seives only to
expose the presumptuousness of the composer. For all of its %ew
techniques”: i.e.. high register glissandi. whistle tone? bubble tone,
etc.. the work is boring acoustically. After the novel sound pro-
duced by these devices is assimilated, the critical ear demands some-
thing more musically substantial.
Perhaps this is exactly what h2s. Dlugoszkwski wants when she
describes “The line flowers into a variety ‘of oscillations-until it
reaches a new concentration of tautness and finally severs itself so
that a fragile hanging bridge spans the silence of the ear.” The
composer won a Tompkins Literary Award for poetry in 1947.
I believe that award was well deserved.
15
My admiration of Gerard Schwarz continues to grow. New music
must be played to be understood or misunderstood and few. if any.
players could perform Space Is A Diamond. His collaboration with
Ms. Dlugoszewski should stimulate others to compose innovative
music for the trumpet. As for this work, it does not work. The slick
packaging and the devoted presentation of Mr. Schwarz far outvalue
the parcel.
Recording: Nonesuch H-71275, by Gerard Schwarz. Perform-
ance time: circa 10:30. Range: pedal C-sharp to h-flat”‘. (Gene
Young, Oberlin Conservatory of Music. Oberlin, Ohio).
Cirolamo Fantini. A Modern Edition of Girolamo Fantini’s Trumpet
Method (1638). W. Ritchic Clendenin and William R. Clen-
denin. Empire Printing Company. Distributed by University
Book Center “On the Campus.” Boulder CO 80309, $1 1 .OO
postpaid.
This 170-page book is an effort to supply modern trumpeters
with an edition, in English translation and modern notation. ot
Fantini’s important Mode per irnparore II so,rare di Tromho. Unfor-
tunately, aside from the cover and title page. there is no further
explanation, background information. or editorial commcntar)
given. The second page provides a l‘acsimilc of the title page of the
original 1638 edition, this bein,~7translated on the following page.
The remaining preface pages (iv-viii) give us Fantini’s portrait (as
in the original) and English translations of the two laudatory poems,
Fantini’s dedication to the Grand Duke of Tuscany. and his two
paragraphs of instructions to his readers. These pages. :IS well as
most verbal material within the music (titles. tonguing syllables,
measure numbers) are in typescript. Comparison of the‘Clendenin
team’s translations of 1:antini’s preface can be made with those that
already exist (e.g., Smitt;crs. 1973;Tarr, 1975).
The musical portion of the te\t follows faithfully the order
presented by Fantini, and. of course, comprises the bulk of both
this edition and the original. The transcriborc have wisely limited
the clefs to two in the modern edition. as opposed to the various
C clefs employed in the original publication to avoid the use ot
ledger lines. The notation is in a hurried hand unguided by any
sort of straight edge. and this frequently causes legibility problems.
Editorial annotations are few. but the original meter signatures
appear above those that replace them. Titles of the military signals
are translated in brackets. and the tonguing $yllablc< arc Eiven a
guide to pronunciation. Phonetic symbols would have been more
accurate than the supposedly equivalent sounds with anglicizcd
spellings (“tay-gay” for te-ghc, “Teentah” for tinta, etc.). Instead.
the guide words tend to confuse even more than the original spell-
ings (e.g., “ahtkahvahlloh” tries to apply the stop between two
like consonants, but comes where I’antini uses two separate words.
a cavallo, without doubling the c).
There arc a few questionable solutions to some of the puzzling
rhythmic problems of the original edition, and likewise, some trans-
lation problems (e.g.. Ughetto as “toast to victor!;“). The continua
realizations are inconsistent. and would be more authentic as simp-
ler, four-part textures. Numerous additional difficulties in the
modern edition include: 1) a layout apparently restricted by the
demands of margin requirements. causing impossible page turns
for most of the pieces with accompaniment; 2) interpolated first
and second endings which are more confusing than the original
repeat markings (see, for example, Balletto detto dell0 Spada);
3) misinterpretations of Fantini’s intent and failing to recognize
printer’s errors (e.g., the last measure of the first system in the
trumpet duet dettu de1 Gucciordini was mistakenly repeated in the
original edition and should be extracted); 4) no list of critical revi-
sions (albiet, an extensive one will be required); 5) no page coor-
dination or cross reference between the two editions (the reader
must rely on tables of contents, occurring in the back of both
editions, to make comparisons): 6) few clear distinctions between
separate pieces: 7) frequent. inappropriate “divisions” in the
accompaniment along with rapid shifts from one to three parts in
the right hand, the result often not very musically satisfying (see
Sonata detta de1 ,Yero, for example); 8) no editorial performance
advice or markings. according to either modern or historical prac-
tice. The legibility factor has already been mentioned. but it is parti-
cularly evident where thin beams for eighth-. sixteenth-. or thirty-
second-note groups merge with the lines of the staff. Otherwise,
these beams are a plus, for the original edition was printed with
separately flagged notes. Another redeeming feature of this book is
that it is spiralbound. allowing it to lie flat on a music stand (making
those lightning page turns easier to accomplish).
The biggest drawback of the Clendenins’ modern edition is the
lack of any critical commentary beyond the translation of Fantini’s
own introductory text. This might be explained by cost limitations
of a private printing, but surely a page or two of background and
instructions could have been added. Without it, the potential useful-
ness of this book as a companion to the available facsimile editions
is severely limited. Having been occupied with a similar project for
a number of years, 1 can appreciate the time and effort involved,
and I am pleased that someone else has also recognized the need
and taken an interest in providing for it. (Henry Meredith, Univer-
sity of Western Ontario, London. Canada).
Girolamo Fantini. hfodo per imparare a sonare di tromba (1638).
Facsimile reprints. The Brass Press, 1978. Soft-bound minia-
ture study score, $3.50. Hard-bound, full-sized, including as
an appendix a complete English translation and commentary
by Edward Tarr. $20.00.
Bravo. Brass Press! As a Baroque trumpet enthusiast, whose
original soft-bound volume (Brass Press. 1972) is becoming rather
dogeared. I am pleased to have both new editions of this facsimile
reprint. Published originally in 1638, Fantini’s method is the first
known printed trumpet tutor, and contains the first trumpet solos.
The handy size of the “study score” volume makes it ideal for
quick reference and practical use. The result of a brainstorm of
Stephen Glover, it is printed at 50% reduction in size. This means
that the pages in this soft-bound, 6%“x8%” volume appear a fourth
the size of the original, with surprisingly little loss in readability.
An added benefit is the fewer page turns necessary, since two pages
of the original are printed on both sides of each page in this reduced
format. Also, because half the number (44 rather than 88) of pages
of lighter weight paper is used, this reprint lies flatter on the music
stand for those who are able to play directly from the original nota-
tion. .4nother advantage of the miniature score version is the price.
Now easily affordable to anyone. 1 have found it useful as a text in
Baroque trumpet seminars. (The complete English translation is
available separately as Method for Learning to Play the Trumpet,
and it may be purchased for $1.50.)
The hardbound version is a scholar’s delight. At last a sturdy,
library quality. collector’s edition is available. and at a reasonable
price. There is also an added bonus of an appendix containing an
introduction and a complete English translation with commentary
by Edward Tarr. 1:ormerly published by The Brass Press in a separ-
ate booklet in 1975. this appendix is informative with only a few
errors. Tho cstent of Fantini’s use of the clarino register is under-
stated (“he remained in a much more moderate range in the pieces
with trumpet and bass. ascending only to a”.“). Fantini used b”,
however, in Balletto detto dcllo Spada and il Passi. Balletto detto
il Lunati ascends several times to high c”’ and the short Balletto
detto il Strasoldo uses one c“‘. There are many other examples of
pieces with bass in which the trumpet rises above the a” (pieces
named: Petrucci, Squilletti, Porroni, Cavalca, Albizi. Zozzi. Gondi-
and this capriccio has been recorded by Edward Tarr. Guerrini,
16
Elce, Cioli, Riccardi, Gherardesca, Capponi, Monte, Strozzi-nearly
one fourth of all the pieces with bass!). After the statement by
Fantini, “If at the beginning of the book. ‘do’ is printed underneath
C, let it be so,” the translator footnotes the comment: “At no place
in the Fantini method has the translator found the single syllable
‘do’ underneath a C or any other note.” The beginning of the musi-
cal notation is page 7, of course, and, sure enough, under C” in
Fantini’s table of pitches of the trumpet, we read do, and Fantini
may even have been an innovator in the switch from the use of
ut in our modern solfege system.
It was the original facsimile of this important work that thrust
The Brass Press into the limelight seven years ago. The previous
facsimile (Milan, 1934) was on several library shelves, but not in the
hands of many trumpet players and teachers. Since the 1972 edi-
tion, there has been increasing interest in the musical and pedago-
gical aspects of Fantini’s work and its implications for baroque per-
formance practice as applied to the trumpet. The resurgence of early
brass performance on reproductions of original instruments is also
coincident with this interest. Now Fantini’s trumpet method is avail-
able in two more, and two very useful. varieties. One or the other
or both are a must for the serious trumpeter. (Henry Meredith,
University of Western Ontario, London, Canada).
Carl Friedrich Christian Fasch-Klaus Hofmann. ed. Triplekonzert in
E. Trumpet, oboe d’amore, violin, strings, & continua. Carus-
Verlag, 1976.
Only the full score was received for review. so there can be no
comment on the parts. Because it is a separate publication, one
assumes that parts are available and that the edition is for practical
use.
Carl F. C. Fasch (1736-1800) was the son of Johann Friedrich
Fasch and a colleague of C. P. E. Bach at the court of Frederick the
Great. He served in various capacities in ‘Berlin from the age of
twenty to his death, shortly before which he ordered his own
manuscripts which pre-dated his development as a highly self-critical
composer of vocal music to be destroyed. Consequently, most of his
instrumental output does not survive today
The present concerto possibly dates from around 1775, and this
first edition is based on a set of non-autograph parts in the Biblio-
thkque du Conservatoire Royal de Musique in Brussels labelled
“Concerto/par/Clarino Concertato/Violino Concertato/Oboe d’A-
more Concertato/Violino Primo/Violino Secondo/Viola/e/Basso.”
The editor explains in his notes (printed both in German and in
English) that the parts are riddled with obvious errors. and that he
therefore has been forced to reconstruct the composer’s original
intentions by comparing analogous passages and by making “con-
jectural amendments.” He then presents some examples of his
reconstruction process. but, regrettably, he does not include any list
of revisions. One trumpet passage he discusses is not corroborated
by looking at the score, so he must have notated the alteration
directly on the part, which is not available for review.
Regarding the music, the three solo instruments provide an un-
usual contrast in timbres and tessituras, but oddly enough, the
reviewer finds the combination fairly successful. This composition is
not for trumpeters who shy away from the elder Fasch’s trumpet
concerto in D! Placed in an ideal key for the oboe d’amore in A
(E major), the work demonstrates that the art of clarino-register
trumpet-playing was far from dead, even into the last quarter of
the eighteenth century. The range is from e’ tofsharp”‘, which puts
it only one half step away from the infamous Brandenburg Concerto
,?io. 2. Of the three fsharp”‘s required (all in the first movement),
one is articulated without preparation as the first note of a phrase,
another occurs in a grace note among sustained (e”‘s and d-sharp”‘s,
and the third occurs in the cadenza concertato also surrounded by
long e”‘s and d-sharp”‘s. High e”‘(c”’ for the baroque trumpet in E)
is approached by an octave leap in the opening statement (against
two violins and no bass!, measure 29), and appears with alarming
frequency after that.
The trumpet plays in all three movements of the concerto. The
opening duple “Allegro” is a cheerful, well-crafted sonata-rondo in
mature classical style. The slow, but ornate “Affettuoso” which
follows is quite lovely. However, the trumpet again enters at forte
rising quickly to high e”’ against piano upper strings (it is not
known whether these dynamics are original or editorial). There are
more high e”‘s than I wish to count in this movement, and in the
last movement, too, with many approached by octave leap. The
final “Allegro” is in 3/8, where the eighth-note must be treated as
the basic duration. Otherwise, the sixteenths and thirty-seconds will
be much too fast.
This concerto would require superb mastery if played on the
baroque valveless trumpet. The lightness demanded by the teature
suggests a piccolo trumpet in A or C (possibly tuned down to B-
natural) to do the job. It is fascinating that a mixed ensemble piece
involving trumpet with the proportions and difficulty of the second
Brandenburg concerto could bc conceived, albeit in a different com-
positional style, nearly two generations later. Perhaps C. F. C.
I:asch’s intense interest in counterpoint. displayed frequently in this
concerto, inspired him to imitate the work of J. S. Bach. He cer-
tainly must have had access to a capable trumpeter if the work were
ever performed! A sensible feature of Fasch’s Triplekonzert, which
will hopefully enhance modern performances of the work, is the
fact that the trumpet part does not require long stretches of playing
and allows for plenty of rest. (Henry Meredith, University of West-
ern Ontario, London, Canada).
Stan Friedman. Solus. Unacc. trumpet. The Brass Press, 1978. S3.00
Solus, a four-movement work by Stan Friedman, is a straight-
forward representation of today’s solo techniques as applied to the
trumpet. I welcome this endeavor to the solo trumpet repertoire
and recommend it to all performers who are seeking to enrich their
humdrum recital programs. Player and audience will enjoy Solus
equally.
The first section, “Introduction, ” is, naturally enough, introduc-
tory in nature. The style is melodic and quiet, hinting at the pyro-
technics the trumpet is capable of producing. Beware, for the overly-
dramatic approach will spoil the basically calm mood of this section.
Only as the end is approached should the music become more ex-
citing in its presentation. A proper interpretation prepares both
artist and audience for the nervous, anxiety-prone second move-
ment.
A muted staccato prevails throughout the second section which
is marked appropriately, “Furtively.” The harmon mute is em-
ployed to enhance further the apprehensive mood. The notation is
free, reflecting the atmosphere desired, and accelerandos and ral-
lentandos are indicated through banding, a most common. present
day notational device. There is a moderate use of slide extensions to
alter pitch and, grateftilly, little application of the overused, hack-
neyed WAH. The movement is effective and indicates that music
does not have to be technically impossible to be successful.
The weakest moments of the piece occur in the third section
which is marked “Scherzando and Waltz.” I would prefer that
attempting to be cute, funny, or mildly sarcastic in music be re-
stricted to the likes of a Stravinsky, Poulenc, or Peter Schikele.
Corny little waltzes are delightful in L’Histoire du soldat but do not
make it in Solus.
We now come to a very important point, and that is the slow,
seriously lyrica and contrasting section that does not appear! The
inclusion of such a section is mandatory, especially after subjecting
the audience to such folly as was found in Section III. I realize that
the type of writing desired here places the greatest demands upon
17
the creative ability of a composer; however, avoiding taking appro-
priate measures indicates a cop-out. Come on, Stan. Revise your
piece and show us your lyrical side!
To conclude. Solus offers a fanfare. This is an unusual, although
not unprecedented manner of terminating a piece. Winfried Zillig’s
long out-of-print Serenade I for eight brass instruments (Universal
Edition, do you hear me?) employs a magnificently effective fanfare
in conclusion. Aaron Copland’s massive third symphony is another
such grandioso example.
Friedman’s “Fanfare” is somewhat less pretentious. For starters,
the second valve slide is removed for the entire movement, thereby
creating an “immediate muting effect.” It is the composer’s inten-
tion to produce a tone with a “timbre similar to that of the cor-
netto.“To that I reply, “Why not use a cornetto?”
At any rate, the “Fanfare” is fun to play and could be inter-
preted as a tongue-in-cheek homage to Mahler. Specific fingerings
are indicated for “false tones” as well as for the final pedal tone.
All explanations are clear and well-presented except for the term
“doodle tongue” found at the top of page 8. Have I missed a signi-
ficant articulation during my schooling and professional career? If
someone out there can elucidate, please, I’m willing to learn.
All in all, Solus is a delightful piece, very accessible and well
within the ability of good college players. The range is moderate,
pedal b-flat to d-flat ‘I’ with a judicious use of the upper register. The
technical passages are workable and no severe endurance demands
exist. I anticipate Solus becoming a familiar entrke on tomorrow’s
recital programs. The dedication is to Sydney Mear. (Gene Young,
Oberlin Conservatory of Music. Oberlin, Ohio).
Giovanni Gabrieli-Gary Olson, arr. Hodie Christus natus est. Brass
quintet & organ. Canzona. 1978. $6.00.
This work by Gabrieli has been arranged by Mr. Olson in a very
straightforward manner. The two contrasting groups in this setting
are the brass quintet (two B-flat trumpets. French horn, trombone,
tuba) and organ. Olson’s arrangement is well done in that he does
not lose the “tori spezzati” flavor of a typical Gabrieli composition
and the contrast of organ and brass quintet is not only one of
beauty but of historical origin. This arrangement would be ideal for
a church service during the Christmas season and is simple enough
for performance by a high school group of brass players. The organ
part is also well within the technical grasp of most church organists,
and rehearsal time needed for the ensemble should be minimal. A
nice performance alternative for the quintet is to drop the tuba part
an octave. This tends to add a little more foundation to the sound
of the brass group without conflicting with the pedal part of the
organ or sounding muddy. Although well worth the effort. this idea
may be a bit difficult for a high school tuba player and probably
should be reserved for a college performer OI professional.
All things considered, this arrangement of Hodie Christus natus
est is a welcome addition to the brass quintet repertoire and is also
a means of introducing good music to the younger brass performer.
(Ed Niedens, University of Tennessee, Knoxville).
George Frederic Handel-James Ode, trans. Three Arias. D trumpet
& bass voice. The Brass Press, 1977, $5.00.
This is the second volume of Handel arias transcribed by James
Ode, professor of trumpet at Ithaca College, New York. The fist
(The Brass Press, 1976) featured three arias for soprano voice with
trumpet obbligato, including “Let the Bright Seraphim,” which un-
fortunately is so often performed without trumpet. The present set
contains three arias for bass voice and trumpet: “The Trumpet Shall
Sound” from Messiah. “Gig risonar d’intorno al campidoglio io sen-
to” from Ezio, and “Thou Art the King of Glory” from the Dettin-
gen Te Deum Dr. Ode’s notes for this volume are identical to those
for his first volume, but they are well organized, if general. He does
list the original manuscript sources, which were examined during
1972 in the British Library. The edition comes with only one score
for both accompanist and singer, but there is a separate D trumpet
part, with the first two arias neatly contained on opposite sides of
a double sheet, and the third printed by itself on one side of a
separate single page. The score puts the trumpet in the key of D, as
was Handel’s practice to indicate the use of a D trumpet. The part,
however, is transposed to C, which makes it easier to adapt to
modern or baroque trumpet in D or piccolo trumpet. The keyboard
score (organ. or harpsichord plus cello, would be preferable to
piano) is arranged from the orchestral parts.
“The Trumpet Shall Sound” disappointingly provides only the A
section of the aria. The 57-bar B section is omitted, and the ensuing
da cape of the A section would be more unlikely without it. The
full aria is. of course, very long, but as it is presented in a solo edi-
tion, perhaps it should at least give the performers an opportunity
to expand the piece of desired. On a solo recital, there is less of a
problem of endurance for the trumpeter; he gets to rest during the
B section, and he does not have to pop out the high d”’ of the
second measure of the chorus which immediately follows this aria in
a complete performance of Messiah. Also, the baroque practice of
ornamenting both solo parts in the da cape is negated. Singers
familiar with traditional publications of this well-known aria will be
shocked every time they come across the word “incorruptible.”
The way its syllables arc placed under the notes, it uses the entire
phrase, where “be rais’d” is normally repeated to precede it. The
accent, therefore. falls on “ti” (its weakest syllable) which gets a
full quarter note on the first beat coupled with melodic emphasis
as well. Though this is a typical example of Handel’s occasional
clumsiness in English declamation, there is no comment about it in
the introductory remarks or in a footnote. This was how it appeared
on the original manuscript, and perhaps even on early publications
of the work, but it should have been editorially adjusted to better
serve the text. Other minor text errors include improper syllabifica-
tion: “my-ste-ry” should be “my+ter-y,” even if singers render it
correctly the first way. The eye must recognize the word before the
singer can place the consonants effectively for clear articulation. It
would be quite confusing to read “The-tru-mpe-tsha-Ilsou-nd.”
The second aria is a welcome bonus. and it is given in its entirety,
necessitating the da cape. From the little-known opera Ezio, it sup-
plies a refreshingly varied trumpet part and charming interplay with
the bass voice.
The more familiar “Thou Art the King of Glory” from the De?-
tingen Te Deum omits the 21-bar conclusion in which the full SATB
chorus enters, along with two more trumpets and two oboes. As a
separate concert piece, this would be more interesting if the text
were not totally given away in the title, and if the original ending
could be incorporated in the conclusion somehow.
The combination of trumpet with voice is a marvelous one, and
my experience has been that inclusion of such pieces enhances any
program. 1 am glad to see these Handel arias isolated in a separate
collection dedicated to this combination. Written ranges for D trum-
pet. by aria, are: c’ to g”, c’ to a”, c’ to a”. (Henry Meredith,
University of Western Ontario, London, Canada).
Robert Kase. 21 Studies in Stvle and Interpretation. Southern (SA),
1977. s3.50.
21 Srudies is an effort to give trumpet students a better insight
into various styles encountered in the trumpet repertoire. The Iyri-
cai style of playing is the one most often illustrated. in that at least
seven of these studies exhibit this style. One characteristic common
to these lyrical studies is the use of slurred leaps of wide intervals.
In contrast to the more lyrical style, two of the studies are in a
flashy. bravura style, and number nine, entitled “Russian,” begins
with a motive similar to one from the Arutunian Concerto. Twelve-
tone writing is used twice in the book, and other studies, although
18
not treated serially, show modern concepts. Rhythm is emphasized
twice: once in a 5/S meter study, and once in a changing meter
study. Still another style illustrated is the Baroque style, shown in
two studies implementing long phrases and typically ornate clarino
writing. Study number eight, entitled “Cork Jester,” begins with an
opening motive similar to that of the third movement of the Bach
Brandenburg Concerto No. 2. Other studies deal variously with
cornet style, march style, problem tonguing, difficult intervals, and
power; one study is devoted exclusively to problems encountered in
cadenzas.
The level of difficulty in these etudes makes them appropriate,
in terms of technical demands, for young college players. To be-
come schooled in these styles to any degree, however, other
materials would be preferable. With the precedent set by standard
etude books such as those by Brandt, Charlier, and Goldman, and
with the newer books such as those by Andri, Naget, and Stevens,
there is little room in the better etude repertoire for 21 Studies.
Range: g-gut to d”‘. (Michael Tunnell, University of Southern Mis-
sissippi, Hattiesburg).
Greg Kerkorian, arr. Giligia. B-flat cornet, trumpet, or treble clef
baritone, & piano. Lake State, 1978, $1.50.
Giligia is a traditional Armenian song arranged for B-flat trumpet
and piano. It is neither difficult (grade 11 of VI), nor long (about
one minute and twenty seconds). There are two ideas presented in
this solo in 6/8 meter. After a short piano introduction, a show
theme of twelve bars is followed by a faster one of eight measures.
Then follows a nearly literal repeat of these two phrases, and here
the piece ends. The main interest in the work is derived from the
d-sharp/c-narural patterns used to approach the harmonic minor
cadences in E. With a range of d-sharp’ to g”, the piece can be an
effective work for younger players. The triplet figures in the faster
section can sound “flashy” at a moderate tempo or above, even
though the fingerings are not difficult. The work might make a good
contest piece for junior high players, if the duration is not prohibit-
tive. (D. Kim Dunnick, Tennessee Technological University, Cooke-
ville).
Lowell Little, ed. Studies for Artistic Performance, Part 1. B-flat
trumpet, B-flat cornet, or fluegelhorn. Pro Art, 1978, $2.50.
. Studies for Artistic Performance, Part 2. B-flat
trumpet, B-flat cornet, or fluegelhorn. Pro Art, 1978, $3.00.
This collection of 35 studies is arranged into a major/relative
minor sequence. This arrangement is a splendid idea. The relative
minor often is neglected and is seldom found adjacent to major
material. Alas, the etudes themselves are a disappointment. My
biggest gripe is that very few etudes provide rhythmic contrast. A
study utilizing dotted eighth and sixteenth notes is usually con-
structed entirely of dotted eighth and sixteenth notes. These studies
are no exception. A rhythmic stagnation occurs and the student is
lulled into poor time habits. Rushing or dragging are common
practices when no rhythmic variation is presented. Such studies
should be played only with a metronome, and only then with the
primary concern being rhythmic stability. Lack of rhythmic varia-
tion also does not develop good sight-reading proficiency. The play-
er concentrates only on the pitch material and does not concern
himself with any other aspect of musical expression. We have here
Arban once removed.
The Little studies lack melodic invention and I fail to under-
stand what aspect of “artistic performance” they are intended to
develop. The harmonic construction is suspect, and I find them
rather silly. Their merit is due to the fact that new basic tonal exer-
cises are presented to the young player. There is a woeful lack of
minor studies, and I am glad these studies have found their way
into print. The range is no problem and seldom ventures above the
staff. (All the better to transpose, my dears.) The young player will
be challenged by keys such as c-sharp and f-sharp. The editing is
well done. Many dynamic contrasts occur and there is a nice sam-
pling of accents, crescendos, and diminuendos. These volumes con-
tain many slower sections and these are indeed a welcome commo-
dity.
All of the material is curious enough to warrant a read-through.
If the player is willing to fork over $5.00 for the two volumes, he
might find a few enjoyable moments. (Gene Young, Oberlin College,
Oberlin, Ohio).
Marie Lute Lucas. Five Quartets. 4 trumpets of unspecified pitch.
Billaudot (Theodore Presser), 1976, $5.50.
This group of five short movements comes from the Jean-Pierre
Mathez collection, The B~QSSInsfnments, which the editor states
is “intended primarily for instructional purposes.” An examination
of several compositions from this collection reveals that the intent
has not been solely the publication of more and more pages of
notes which fit within the confines of certain range and technique
limitations. Rather. the limited demands upon the performer ap-
pear entirely coincidental. The level of difficulty is given as-“3&
intermediate,” and is fairly accurate-junior high or high school.
The titles of the individual movements have programmatic in-
fercnccs which are more-or-less borne out in the music: Attaque.
Dcfaite, Cahrioles. Berceuse. and Fanfare. Although the top trum-
pet part is generally higher and more difficult than the fourth, an
attempt has been made to treat all parts equally, with the melody
passing from one part to another. The .melody is often unaccom-
panied or sparsely accompanied, necessitating a performance style
that is mature and bold for a student. A strict chordal homophonic
style is seldom used.
The musical ideas are stated, imitated, and recapitulated, but are
seldom developed to any great extent. However, when compared to
that prcat m3ss of I‘ training material” for cornet quartet from the
1940’s and 195O’q. this composition is a considerable improvement
musically. Recommended.
Rests arc ample and evenly dispersed and all tessituras are within
the staff. Endurance should be no problem in any part. Ranges-
1 st : h-fsharp"; 2nd: b-f”; 3rd: a-f-sharp”; 4th: g-e”. Dura-
tion: 7% minutes total. (Bryan Goff, Florida State University,
Tallahassee).
.I. C. Pezel-Edward H. Tarr and bke ijst, ed. Six Sonatinas in C.
Two trumpets & continua. The Brass Press, 1977, $10.00.
Johann Pezel (1639-1694) was a Stadtpfeifer in Leipzig more
than a generation before the famous Gottfried Reiche. The six
sonatinas for two trumpets and continua contained in his Bicinia
Variorum Imtnrmer~torutn (1674) demonstrate that Pezel may have
been every bit as good a trumpeter as Reiche. for they contain some
brilliant writing which demands a superb command of the clarino
register, including accuracy. endurance, breath control, finesse, and
secure “lipping” of notes outside the harmonic series (h-natural’ and
c-sharp”, usually at cadences), from both trumpeters.
This publication is the first modern edition to include all six
trumpet sonatinas in one volume. Of the 75 bicinia in the original
publication (of which number 75 is theSonata for trumpet, bassoon,
and continua). these six for two trumpets comprise numbers 69
through 74, and are so numbered in The Brass Press edition. The
other modern edition was published by Musica Rara. with Numbers
71 and 74 in one volume (1969) and Numbers 69, 70, 72, and 73
together in another volume (197 1).
The principal advantage of The Brass Press edition is the presen-
tation of the two trumpet parts in score form, allowing each trum-
peter to see what the other is playing. Two copies of the duet parts
are included, and can be placed side by side to avoid the page turns
19
in the last four pieces. This will be impossible, of course, if a stereo
effect is desired which separates the two players. Perhaps Nos. 72
and 74 could have been compressed somewhat to fit a double-page
format without turns. but it is obvious that the parts were printed
by extracting them from the full score. Indeed, the only mistake I
found in the edition (the second flag is omitted from the sixteenth
.note beamed to a dotted eighth in bar 15 of No. 69. trumpet 2)
occurs on both score and parts. Perhaps because the parts were not
separately engraved explains the weak imprint in the review copy on
page 5 of the parts (No. 70). An advantage of the proportional
spacing of the score, however. is that it provides ample room should
the performers wish to sketch in qome ornamentation.
A separate violone part is included, but this is perhaps not
necessary if the keyboard instrument is.an organ. Complying with a
Stadtpfeifer’s usual penchant for the instiument. the reviewer has
found bass sackbut to be an excellent substitute to reinforce the
continud part if played on harpsichord, especially when baroque
trumpets are employed. The editors also suggest cello, viola da gam-
ba. bassoon, and trombone as bass instruments. If modern trumpets
are used, I recommend piccolo trumpets in A, B-flat, or C, to en-
hance the desired lightness.
All six sonatinas are fairly short binary movements alternating
duple and triple meters. Both trumpeters are required to possess
equal ability in the clarino register. The first trumpet part ascends to
high d”’ only price, after a long. breath-taking (literally!) phrase
in No. 71,, but the second player must play high c”’ with almost
the same frequency as the first. And where his tessitura lies a third
lower, in harmony with the first trumpet. the second trumpeter
makes up for it by having somewhat fewer rests (e.g.. No. 74).
Edward Tarr. with Bengt Eklund and George Kent, has recorded
four of the P,ezel sonatinas (Nonesuch H-7 1290), and it is precisely
the two that arc omitted which arc less rewarding musically. No. 73
is quite an exercise in accuracy across wide leaps (first section) and
rapid, repetitive passage work (second part). but it remains just that
-an exercise. Likewise. No. 72 is rather boring harmonically and
redundant melodically.
Considering the thorough notes, which include a fllcsimile of the
clarino primo part to Sonatirla :Vo. 69 and a careful revisions list;
the virtually error-free printing, easy to read on heavy stock; and
the single-volume completeness, with duet parts rather than single-
line separate parts: the modern edition of The Brass Press is the best
buy. (Henry Meredith. University of Western Ontario. London.
Canada).
Valentin Rathgeber-Erhard Nowak, ed. Concerto in C-Dur, Op. 6.
Ivo. 19. Trumpet, strings. & continua. Carus-Verlag. 1976.
An obscure concerto by a Benedictine monk who lived from
1682 to 1750, this is the first modern edition of the nineteenth of
twenty-four ‘concertos in Rathgeber’s Opus 6, ClleZys Sonora. It is
based on a set of parts in the Zuerich Zentralbibliothek which were
printed in 1728. The original title. “Concerto 19. a 2 Violinis. 1,
Clarinet0 vel Lituo Solo Es. C. Obligato cum Organ0 et Violon-
cello,” leaves us in doubt as to the precise solo instrument Rathge-
ber had in mind. The editor has suggested chalumeau, clarinet,
trumpet, or horn in high C. The first movement contains several
b-natural’s occurring on the beat. and one prominent a’. which
indicates the instrument intended was perhaps not a baroque trum-
pet. However, the mysterious chalumeau is not specified, and 1728
is a ‘bit early perhaps for the clarinet to handle other technical
demands of the piece. If a “clarineto” (the term originated as a
diminutive of clarino) was meant to substitute for the trumpet. the
rest of the piece certainly satisfies the idiom. The editor’s suggestion
of a high horn comes possibly as an attempt to find an equivalent
to the ancient Roman Lituus mentioned in the title.
Actually, the work is quite playable on a baroque trumpet. 2nd
presents no problems on a modern one. The brief. three-movement
composition opens with a brisk duple Allegro trumpet tune in the
strings, and (as was observed in the Fasch) the entrance of the trum-
Pet is accompanied only by the two violin parts (no bass). The
middle Adugio in 3/4 omits the trumpet, while the closing Allegro
in 2/4 begins with the trumpet’s statement of a motive very similar
to the main theme of the first movement. Triplet eighth-note figures
become a prominent feature as well. The editor has supplied a third
violin or viola part which enhances the texture, particularly as the
first violin often doubles either the trumpet or the second violin or
both. He also admits rewriting the second violin part to give it more
independence, but includes no list of critical revisions to allow US to
check the original against it. Besides the doubling, a compositional
weakness (the editor’s?) is the juxtaposition of the single solo voice
and a pair of violins in thirds answering the solo.
Rathgcber’s Concerto No. 19 is quite pleasant and certainly
not too difficult for a novice on baroque trumpet or on the higher
modern trumpets. Range (C trumpet): c’ to a”. (Henry Meredith,
University of Western Ontario, London, Canada).
Albert Reiter. Musik fiir Blaser. 3 B-flat trumpets, 2 E-flat horns,
treble clef baritone, 2 trombones, & tuba. Doblinger (Asso-
ciated Music Publishers), 1972, $10.25.
Albert Reiter’s Musik fiir Blow- does not possess the redeeming
quality of the Waldemar Bloch Purtitu. This piece seems to be no
more than a student composition deserving a C-minus grade. There
is no melodic inspiration, little rhythmic interest, negligible har-
monic invention and most distressing of all, it is not particularly
enjoyable to play.
The piece is divided into five sections with only tempo indica-
tions (in German) to suggest character. The sections are quite short
and consequently, provide no opportunity for thematic develop-
ment, or, for that matter, development of any sort. A feeble at-
tempt at the ABA form is presented in the second mini-movement,
but the other parts sorely lack organizational unity.
As with the Partita, the saving grace of the piece is that it offers
a departure from “arrangements” played so often by junior high
brass ensembles. The piece is scored for nine players, all with in-
dependent parts. The young musicians encounter 3/2, 4/2, and
alternating 3/4 2/4 meters, many tempo changes, continuous varia-
tion of articulation (staccato, legato, accents, slurs), and many
dynamic indications.
The ranges are very moderate for all instruments and never ven-
ture beyond the middle register of the respective instruments. For
the ambitious middle school brass group, this piece will be a wel-
come addition to an appalling list of musical atrocities. (Gene
Young. Oberlin College, Oberlin, Ohio).
Thomas Stevens. Changing Meter Studies for trumpet, flute, clari-
net. or other treble clef instruments. BIM Editions, 1978,
$7.00.
Thomas Stevens is currently co-principal trumpet with the Los
Angeles Philharmonic Orchestra and has distinguished himself by
performing, commissioning, and recording new music for trumpet.
Many of his numerous recordings and publications have become
classics and serve as valuable assets to the modern trumpeter.
Cl?anging Meter Studies, as the introduction to the work states,
consists of twenty-one etudes designed as practical exercises dealing
in multiple meter changes. The studies are specifically intended as
preliminary etudes leading to Stevens’ Contemporary Studies
(Billaudot, 1976).
This method is a welcome teaching device for the student learn-
ing multiple meters. For most students the only available way to
learn multiple meters is by practicing studies consisting of wild
intervallic leaps, puzzling rhythms, and use of extreme registers, all
of which can often lead to total frustration. The Stevens studies
20
are not technically difficult, thus enabling the student to concen-
trate on learning meter changes rather than on mastering technique.
Neither does the range pose any grave problem as the majority of
each exercise lies in the middle register (b’ to b”).
The book begins with a page of examples that instructs the stu-
dent how to “. correctly connect juxtaposed meter.” Conducting
symbols (A u u) are utilized to delineate duple and triple meters
and/or duple and triple subdivisions. The twenty-one etudes which
follow the introduction are divided into regular shifting patterns of
meter (etudes l-14) and irregular shifting patterns (etudes 15-21).
Large meters (seven or more) are not used since they are felt to be
nothing more than combinations of small meters. Common subdivi-
sions remain constant throughout each study as a rule; complex sub-
divisions are avoided. The most frequently used subdivision is the
eighth note, but the sixteenth note and quarter note are used in
several etudes.
At first glance the $7.00 price for the collection may seem rather
outrageous, but BIM Editions has kept a high standard of printing
and paper, a trait that is rapidly disappearing among many pub-
lishers due to rising costs of materials and other publication ex-
penses.
Changing Meter Studies is an excellent collection of etudes and
is especially welcome since trumpet methodology is almost devoid
of teaching materials of this genre. Along with Odd Mefer Etudes by
Everett Gates (Fox Publications) and Contemporary Etudes by
Robert Nagel (Belwin Mills), Changing Meter Srudies could provide
the student not only with a good skill in counting multiple meters,
but also with a tine sense of stylistic performance practice for much
of the music of the twentieth century. (Jeffrey Piper, The Univer-
sity of New Mexico, Albuquerque).
G. H. Stoelzel-Jean Thilde, ed. Concerfino en mi mineur. B-flat
trumpet & orchestra. Score & parts for rent. Maurice Andre
Collection. Piano reduction, Billaudot (Theodore Presser),
1971, $3.75.
The Concertino in E Minor by G. H. Stoelzel is a part of the
popular Maurice Andre collection and is originally for trumpet and
orchestra but has been reduced for piano by Jean Thilde. The Con-
certino is in three movements: Allegro, Lento, Allegro, and is
approximately six minutes long.
The orchestral reduction is well done by Thilde and this reviewer
suggests that the piano part might be performed also on harpsichord
with a basso continua playing the well-defined bass line. The pro-
blem with this arrangement that tends to plague many of the Thfide
works is that the tessitura for the B-flat instrument tends to be high,
especially in the last movement. In this section, the trumpet hovers
around the note c-sharp”‘. The obvious problem with endurance at
this point would be a factor for an immature or young performer
to consider and in my opinion tends to remove this piece from the
level of the performer of average ability to that of the performer
with little or no problems with endurance or range.
I might suggest that the piece be performed on a higher pitched
trumpet which would ease the problem of security in the third
movement somewhat. The piece could be performed nicely on a D
trumpet or a B-flat piccolo trumpet. It would seem preferable that
one or both of these transposed parts be included with the piano
part, especially in a piece of this difficulty.
The Concertino is a beautiful piece and is well worth the $3.75
as an addition to the library of the college educator or the profes-
sional performer. Range: g’ to d”‘. (Ed Niedens, University of
Tennessee, Knoxville).
Ernst Ludwig Uray. Konzert. C trumpet & piano. Doblinger (Asso-
ciated Music Publishers), 1976.
This interesting concerto in three movements is about fourteen
minutes in length. It is a rather light-hearted, tonal work with
abruptly shifting tonalities. The first movement, indicated ‘Lac-
cented, with Straussian vitality, ” is essentially an ABA form. A
delightful movement to play, it begins with a rather stately, quasi-
fanfare opening in 4/4 time followed by a playful scherzo-like 6/8
section. The return to the “A” section is followed by a brief coda
referring to the 6/8 section, and the movement closes with a de-
clamatory statement of the opening measure by the trumpet.
The second movement;marked “Andante,” is somewhat of a
dirge-like folk song. In D minor in the beginning, the theme passes
through the keys of F minor, C major, and A minor before returning
to D minor. Melodically, it creates a relaxed, easy-going mood.
The third movement, titled “Rondo-Pasticcio,” is set in a
medium tempo (quarter note equals 112). The melodic development
in the movement is based upon interval relationships in material
found in the second movement, the successively descending inter-
vals of the second and third. There is a great deal of use of chroma-
tic scales, chromatic sequences, and repetition, and for that reason
it is the weak movement. There are also a number of printing errors
in the solo parts (the edition for trumpet and piano supplies both a
B-flat and C trumpet part). Meter changes are omitted in the B-flat
part and the piano part in measures 55 and 57. There are incorrect
meter indications in measures 71. 73, 75, and 77 in the B-flat part.
Meters are shown incorrectly in the C trumpet part in measures 73.
75 and 77. The piano part shows the correct meters. Both parts
have one less thirty-second note in measure 95 than does the solo
line in the piano score.
Overall, the concerto has merit particularly in the first two
movements. The accompaniment, arranged by the composer, re-
quires an accomplished pianist to perform. Range (B-flat trumpet):
h to c-sharp”‘. (Richard Burkart, The Ohio State University.
Columbus).
Waldemar Bloch. Partifa. 4 B-flat trumpets & percussion. Doblinger
(Associated Music Publishers), 1969. $10.00.
The first work greatly reflects the brass works of Johann Pezel,
particularly in the use of small dance forms such as Gaillarde, Sara-
bande, and Canarie. 1 find that the style and tempo terms are con-
tradictory and confusing. For example, the lntrada is marked
‘Vivace”; The Gaillarde is “Allegro Molto”: The Canarie is “Molto
Vivace” and suggests that the music be played at breakneck speed.
What little musical merit that the piece offers is destroyed imme-
diately by over-zealous tempi. My suggestion is to disregard the
Italian indications and to select a reasonable tempo more suited to
the style of each form. The lntrada then could assume a proces-
sional character, and the other sections would reflect the dance
rhythms they were named for. The trumpet writing is simplistic and
straightforward, and therefore is valuable for young players eager
to get together and play something other than the tripe associated
with the trumpet quartet. The range is moderate; the rhythms con-
ventional; and the harmony basic with an occasional curious twist:
i.e., the wrong-note school of composition. The percussion parts are
within the grasp of high school players with only a xylophone solo
in the way of mallet challenge.
Endurance should not be a problem and there is an obligatory
independence of parts. Everyone is important.
For the practice of style, blend, intonation, and ensemble, I re-
commend this piece for the young player. It is unpretentious and
often delightful. Have fun! (Gene Young, Oberlin College, Oberlin,
Ohio).
Weber-Edward Tarr and Harry H. Hall, ed. Sonatas Nos. 1, 2, 3 &
4. 2 trumpets & 2 trombones. The Brass Press, 1977, $6.00.
Weber-Edward Tarr and Harry H. Hall, ed. Sonafas Nos. 5, 6, 7, &
8. 2 trumpets & 2 trombones. The Brass Press, 1977, $10.00.
Brass quartet literature is fairly scarce, but original literature for
“cylindrical” brass quartet is even harder to find. Leave it to
21
Edward Tarr and his associates to unearth some charming, if ob-
scure, eighteenth-century pieces to enrich our repertoire in this
respect. Both volumes of a series of “Eight Sonatas for Two Natural
Trumpets and Two Trombones by Weber,” from the archives of the
Moravian Music Foundation, are now available from The Brass Press.
Besides the music, each volume offers the same six pages of notes on
the historical background of the works, along with facsimiles (a bill
for musical instruments, c. 1783. and the manuscript first trumpet
part to Sonata No. 1) and photographs of a horn and of the bell
section of a trumpet, both in the Wachovia Museum of Old Salem,
and both inscribed “IOHANN IOSEPH SCHMIED MACHTS IN
PFAFFENDORF 1784.”
The copious notes tell us about the Moravians and their settle-
ments in America beginning about 1740. They brought with them
their Bliiser-Char. which carried on in the seventeenth-century
Stadtpfeifer tradition, providing music for a variety of occasions.
(Two functions of the “trombone choir” which remain to this day
are the Easter dawn Resurrection proclamation and the announce-
ment of the death of a church member). Some of these occasions
were secular celebrations, and the present volumes are companions
to the earliest extant Moravian secular pieces (c. 1772), a collection
of trumpet or horn duets including marches and dance pieces, pub-
lished as The Moravian Brass Duet Book (The Brass Press, 1976; a
second volume is scheduled to be released in 1979). On the facsimile
of the Tromba Prim0 part to the first sonata, we see the small
title “8 Sonaten die Weber,” which is the only identification for
these pieces. Who the composer was, and why the sonatas appear
only in Salem, still remain a mystery. The first pages of each of the
four manuscript part-books are labeled Tromba Prima, Tromba
Secondo, Tenor, and Basso. In addition to the notes, the editors
have thoughtfully provided a bibliography along with a list of revi-
sions for each set of pieces.
Though the original exists only in separate parts. The Brass Press
provides only full scores, yet includes five copies of these, one for
each performer and one more for a conductor, if necessary. In the
first set (nos. l-4). this poses no problem because the pieces are
quite short. On the contrary. each player has the advantage of ob-
serving what the others are doing. Each piece fits neatly onto one
side of a double page, with Sonata No. 2 on the reverse of Sonata
No. 1, and likewise Numbers 3 and 4 together. Unfortunately, due
to the greater length of the individual pieces of the second volume
(nos. S-8), a page-turn problem is created by the full-score format,
though the problem is minimal (one turn per piece) and the 1 S-page
booklet is sturdy. A sensible solution would be for two players to
share two booklets placed across two stands in a way which elimi-
nates the turn.
The first sonata is the only one in the key of C, and for no appa-
rent reason. All the others are in D, with parts for D trumpets
written in C, presumably as in the original. The first four pieces all
possess a simple formal structure: a short adagio introduction is
followed by a binary allegro of contrasting meter. Several composi-
tional. weaknesses occur in each of the sonatas, but they are offset
by many beautiful moments.
The first trumpet player might enhance the stark introduction of
Sonafa .No. 2 by improvising some fills during the rests between the
chords. Without explanation. the original parts specify two horns,
instead of trumpets, for this sonata. The editors claim that the oc-
tave transposition required for horns would obscure the musical
intent. On the other hand, the music is reminiscent of a Handelian
“hornpipe” in the 3/4 Allegro movement, replete with “horn fifths”
and hemiola figures. and having a much simpler, homophonic tex-
ture overall. One place which might support the use of horns is mea-
sures 20-23 where the second part, if played on horn, provides a
dominant pedal below more active trombone parts.
Speaking of horns: it would be entirely possible to employ a
horn in lieu of the first trombone in a performance of these sonatas,
thus adapting them to the more usual modern brass quartet instru-
mentation. The hornist would have to transpose from the bass clef
trombone line, however, as no separate substitute part is provided.
The last four pieces are on the whole more challenging than the
first set. especially for the first trumpeter. Nos. 5-8 are also some-
what more musically satisfying. possessing greater harmonic and
melodic interest. All arc substantially longer than the first four
sonatas (from 40 to 62 measures in length as opposed to 24 to 39
measures). Nos. 5 and 8 present estendcd adagio introductions in
triple meter, preceding their binary duple allegros. Nos. 6 and 7
dispense altogether with the slow introduction and plunge headlong
into energetic virtuosity.
In both volumes. all but Sorzato ,Iro. 4 employ some disturbing
unisons in the trumpet parts. These might well be taken alone by
the second player to allow the first player to rest, especially if more
than one piece is performed together. Indeed. an effective way to
program these sonatas is to form a suite of two or three of them, or
intersperse them among other pieces. I have found Nos. 3 and 4
make a nice pair, ending with the rollicking 6/8 of No. 4. Perhaps
either No. 6 or 7 could be followed by No. 5 or 8, with the slow
movement of either of the latter serving as a middle “movement”
bridge connecting the two binary allegros.
Both volumes of Moravian brass quartets are typical of the \r’ork-
manship of The Brass Press, and, considering the historical notes and
the multiple copies of the music on heavy paper, they are well
worth the price. These sonatas will. of course, sound best when
played on natural trumpets and sackbuts. The range of the first
trumpet parts in the first volume is not excessive (No. 1 ascends to
written b-flat” on C trumpet; No. 2 and 4 to written g” on D trum-
pet; and No. 3 to written a”; with the lowest notes being written
c’ in all cases). The second volume demands a secure high register
for the first trumpet player, who must ascend to written c”’ several
times (variably by leap or step) in all four pieces. and to high d”’
twice by lcap of a sixth in Sonata ~VO. 6. Meanwhilte, the tessitura
of the second part remains virtually unchanged from volume one.
I would recommend D trumpets, or, preferably, piccolo trumpets, if
thcsc sonatas are played on modern instruments. Though genera1 use
may be somewhat limited, university colleg~um directors may
breathe a sigh of relief to know that baroque trumpeters and sack-
but players in their ensembles can go off by themselves to prepare
some original literature for their instruments. (Henry Meredith,
University of Western Ontario, London, Canada).
Record Reviews
Alvin L. Lowrey, Editor
The following recordings have been received for review. All
recordings received will be listed in each issue of the Newdefter.
Records will be selected from the Records Received list for feature
reviews. All ITC members are invited to participate as reviewers.
PIcase write. stating your qualifications and area of interest
(baroque, jazz. contemporary. brass quintet, etc.). Reviewers should
be prepared to submit typescripts.
Records for review and correspondence should be sent directly
to me at the following address: Alvin L. Lowrey. ITG Record Re-
view, 42 Great Oaks. Sherwood Park. Alberta T8A OV8, Canada.
Records Received
Maurice Andrh - Simphonies, Fanf&es et Carrouzels Royaux (Splen-
deur des Cuivres, Volume III)
(Gilbert Coursier, Georges Barboteu. horns; Le Collegium
Musicum de,Paris. Roland Douatte, conductor)
22
*Crit&re: SCRD 5177 (61 Avenue du Maine, 75014 Paris,
France)
Charpentier: Marche de Triomphe
Lalande: Simphonies pour les Soupers du Roy
Lully: Carrouzel de 1686
Mouret: Premikre Suite-Fanfares pour des trompettes,
timbales, violons, hautbois, basson et basses; Deux-
i&me Suite pour desviolons, hautbois et cars de chasse.
*Although this release was received for review, please be ad-
vised that it is out of print. It was available in the U.S. on
Music Guild (MS-l 15) which is also out of print. It has been
re-issued in France on Musidisc (RC 800).
Ilan Eshed - Golden Israeli Trumpet
(I.B.A. Recording Orchestra. M. Wilensky. S. Cohen, con-
ductors)
CBS: 82749 (Distributed by CBS Records, Ltd., P.O.B. 681,
Tel Aviv, Israel)
Abramowitz (Cnspi): A Trip to the Desert
Amariglio (Zorman): In my Beloved Countr)
Barkani (Zorman): Walk in the Meadow
Caspi: The Dove: Noah
Highman (Zorman): Like a Wildflower
Pick (Shrem): I Rcmembcr You
Shemer (Wilensky): City in Snow
Turel (Winternitz): I Will Talk to You
Wilensky: When Blossoms Bloom
Yidov (Caspi): White Days
Mario Guameri - Concerto for Trumpet and Bassoon
(David Breidenthal, bassoon; Los Angeles Group for Contem-
porary Music, William Kraft. conductor)
Crystal: S 352 (P.O. Box 65661, Los Angeles. CA 90065)
Hindemith: Concerto for Trumpet. Bassoon and String
Orchestra
Wolpe: Piece for Solo Trumpet and Seven Instruments
(clarinet, horn. two violins. cello. bass, and bassoon)
Chihara: The Beauty of the Rose is in its Passing (solo
bassoon, two horns, harp and percussion).
Thomas Hartog - Festliches Konzert fiir Trompete und Orgel
(Martin Weycr, organ)
Pelca: PSR 4057 1 (Pelca Schallplatten; Musikverlag zum Pcli-
kan. Bellerivestrasse 22, CH-8034 Zurich, Switzerland)
J.S. Bach: “Kommst du nun, Jesu _“, BWV 650
A. Correa Braga: Bathalhu de 60 Tom
.I. Clarke: Suite in D (excludes the Rondeau and Hornpipe)
Krebs: Two Chorale Preludes (“Liebster Jesu, wir sind
bier”; “Wachet auf! ruft uns die Stimme”)
Telemann: Suite in D (includes the first six pieces of
“Heroic Music”).
(Plus three works for organ alone).
David Hickman - Sterling Brass
(Daniel Perantoni, tuba; Contemporary Chamber Players of
Illinois, *Paul Zonn! **Edwin London, conductors)
Crystal: S 394 (Recital Series)
*Hackbarth: Double Concerto (solo trumpet/fluegelhorn,
solo tuba, two flutes, clarinet, clarinet/soprano saxo-
phone, bassoon. four horns. two basses. piano, three
percussion)
**Powell: Nocturnes-Midnight Realities (unaccompanied
tuba), Transitions (solo tuba, flute, oboe, E-flat clari-
net, bassoon, violin, trumpet, trombone, bass, piano,
two percussion).
Georges Jouvin - Trompette d’Or, “Disco Fever”
(Hit “Jouvin” No. 34)
Pathe Marconi/EMI: 2 C 064-16134 (2 Rue Emile Pathe,
78400 Chatou, France)
Berger: Viens Je t’emmene
Calvi: Ecoute, La Trompette Chante .
Fran9ois/Bourtayre/Roda Gil: Alexandrie, Alexandra
Grosz/Goussaud: La Garonne
Jouvin/Malakina: MBlodie-Disco
Jouvin/Moutet: Disco-Fever; Show-Man Disco
Morricone: El Mundial
Revaux/Billon: J’ai Oubli6 de Vivre
Scott/Wolfe: It’s a Heartache
Valery/Albertini: Emmene-moi Danser ce Soir
Voulzy/Souchon: Bubble Star.
Miroslav Kejmar - Koncerty pro fesfovk n&troje
(Praisk? Kormorni Orchestr, FrantiTek Vajnar, conductor)
Supraphon: 1101879 G
M. Haydn: Concerto No. 2 in C
Telemann: Concerto in D.
(Also concertos for trombone by Albrechtsberger and
Wagenseil).
Miroslav Kejmar - [Concertos by] Matxj and Doma&ck$
(Komorni Orchestr Prassky’ch Symfoniki, JiTi B~lohl&ek,
conductor)
Supraphon: 1101466 G
MatEj: Concerto for Trumpet and Chamber Orchestra
(Also a concerto for horn and an overture by DomGlickj?.
Phillip McCann - Brass Band Bemer Oberland
(Phillip McCann, solo cornet; Branimir Slokar, solo trombone;
Brass Band Berner Oberland, Markus S. Bach, conductor)
Claves: D 811 (Claves Schallplatten, CH-3600 Thun, Switzer-
land)
Langford (arr.): My Love is like a Red, Red Rose (cornet)
Staigers (Mushcroft): Carnival of Venice (cornet)
Windsor: Alpine Echoes (cornet)
(Also three pieces for brass band, three pieces for trom-
bone and a solo for alphorn).
Mount Royal Brass Quintet - Music by Scheidt, Bach, Ewald,Amold
and Jones
(James Thompson, Robert Gibson, trumpets; Nona Talaman-
tes, horn; Richard Lawton, trombone; Ellis Wean, tuba)
McGill University Records: 77004 (Distributed by Almada
Corporation of Montreal; also available directly from
McGill University Records, 555 Sherbrooke Street West,
Montreal, Quebec H3A lE3, Canada - $5.95 plus $1.00
postage and handling - Canadian currency)
Arnold: Quintet
J. S. Bach: Contrapunctus I (from The Art of the Fugue,
BWV 1080)
Ewald: Quintet in B-flat minor. Op. 5
K. Jones: Passacaglia and Fugue
Scheidt: Canzon “Bergamasca”.
Heiner Rausch - Meditationsmusik fiir Trompete und Orgel
(Herfried Mencke, organ)
Pelca: PSR 40611
Albinoni/Giazotto: Adagio in g
Hingeston: Fantasia for Trumpet and Organ
Homilius: Chorale Prelude, “Komm, Heiliger Geist, Herre
Gott”
Vejvanovsky (Mencke): Sonata a 4 in g
(Also a work for organ by Liszt).
Gerard Schwan - Sonorous Explorations
(Gerard Schwarz, Edward Carroll, Norman Smith, trumpets;
Robert Routch, horn; David Langlitz, tenor trombone;
David Taylor, bass trombone; Lucia Dlugoszewski, per-
cussion; G. Schwarz, conductor)
CRI: SD 388 (Composers Recordings, Inc., 170 West 74th
Street, New York, N.Y. 10023)
Dlugoszewski: Tender Theatre Flight Nageire (three trum-
pets, horn, tenor and bass trombones, percussion).
(Also works for alto saxophone and piano and for hand-
bells by Curtis Curtis-Smith).
Thomas Stevens - Botuba
(Roger Bobo, tuba; Robert DiVall, Irving Bush, Malcolm
McNab, Anthony Plog, Mario Guarneri, trumpets; David
Duke, William Lane, Todd Miller, George Hyde, Arthur
Briegleb, horns; Robert Henderson, conductor)
Crystal: S 392 (Recital Series)
Reynolds: ‘Signals” for Trumpet, Tuba and Brass Choir
(five trumpets and five horns).
(Also five other works for tuba).
Record Reviews
Rolf Quinque - Concertos pour Trompette
(Camerata Rhenania. Hanspeter Gmir, conductor)
Sonopresse: UM 64027 (Sonopresse MFM, 35 rue Gabriel-
P&i, 92130 Issy-les-Moulineaux, France)
Telemann: Concerto in D
Richter: Concerto in D
Torelli: Concerto in D
Hummel: Concerto in E.
Rolf Quinque, the world famous teacher in Munich, plays major
works of our repertory beautifully on this record. On the Telemann
concerto, however, he does not have the quality of tone of Helmut
Schneidewind. Quinque has often recorded the Richter concerto
(he discovered it), and this is a good rendition. However, the present
author prefers the smooth playing of that work by Ivo Preis (mem-
ber of the FISYO Symphony Orchestra and jazz soloist in Prague
studios), who is known for his high register. In the famous Torelli
concerto, it is unacceptable that Quinque (like Thibaud, Hardy and
too many others) plays the violin part of the Andante on the trum-
pet. Quinque has a beautiful sound in the Hummel concerto, played
here without a cadenza.
This recording is a must for American players wanting to know
the German style of trumpet playing. (Michael Laplace, Tours,
France)
Bamberg Brass Quartet - Blaeserquartett Bamberg
(Horst Werner, Karl Schuster, trumpets; Willibald Sollner,
Hans-Giinter Liebich, trombones)
Colosseum: Colos SM 613 (Colosseum Schallplatten Toen-
bander, Bayernstrasse 100, 8500 Nurenberg, West Ger-
many) DM22.-
Anonymous: Intrade
J. S. Bach: Chorale, “Was mein Gott will”
Couperin: Rondeau
Dandrieu: Rondeau
A. Gabrieli: Ricercar del sesto tuono; Ricercar del duo-
decimo tuono
G. Gabrieli: Canzon seconda; Canzon terza; Canzon quar-
ta
Handel: Festlicher Ruf (arrangement of “Gridiam, grid-
iam tutti” and “Gavotta” from Atalanfa)
Lully: Air
Maschera: Canzon No. 7; Canzon No. 8

23
 Merulo: Canzon No. 5
Pezel: Intrade, S. 72
Reiche: Sonatina
Schein: Allemande
The Bamberg Brass Quartet was formed in 1968 by members of
the Bamberg Symphony. Trumpeters Horst Werner and Karl Schust-
er use rotary-valved trumpets thus contributing to the typically Ger-
man qound that this ensemble produces.
The first side of this album is devoted to six of the 4-part canzoni
from the Alessandro Raverii (Rauerij) collection, Canzoniper sonare
(1608), plus the two ricercari by Andrea Gabrieli. Of the six
canzoni, the three by Gabrieli are very familiar through numerous
recordings. but the canzoni by Merulo and Maschera are premier
recordings. While two of the three premiered canzoni are played in a
very smoothly flowing legato style (Nos. 5 and 8) and the other
(No. 7) is played in a moderately marcato style, the rest of the per-
formances tend to be rather barbaric with extremely short staccati.
A superior counterpart to this recording is the Venefian Brass
Album by the brass sections of the Los Angeles Philharmonic and
San Francisco Symphony (Avant AV-1007) which presents twelve
canzoni from the Raverii collection (4-part: Nos. 2, 6, 9; 5-part:
Nos. 20, 21, 23: 8-part: Nos. 24, 26. 28, 29, 30, 32) plus the same
two ricercari by Andrea Gabyieli. The 4-part canzoni on this
recording are played by two trumpets, bass trumpet and contra-
bass trumpet (all with piston valves). Another interesting compari-
son for ensemble timbre and interpretation is the Berlin Brass Quin-
tet recording (Crystal S 201) which includes the four 4-part canzoni
by Gabrieli (from the Raverii collection) performed by two trum-
pets. bass trumpet. trombone and tuba (all with rotary valves).
Side two of the Bamberg recording includes the short works by
Reiche, Pezel and Schein plus the transcriptions of works by Han-
del, Couperin, Lully, Dandrieu and Bach. Except for the poorly
executed mordents and trills in the Couperin transcription, there is
no other ornamentation on the entire record. Although this record-
ing is not commendable, it may prove interesting for those who wish
to make stylistic comparisons. (A.L.L.)
Harmonie de Chambre de Paris - Gabrieli: Sonata and Canzoni
(Pierre Polin, trumpet: Andr&Jean Fournier, horn; Jean
Douay, trombone; Florian Hollard, conductor)
Arion: ARN 90612 (Distributed by Peters International Inc.,
619 West 54th Street. New York. New York 10019 and
in Europe by CBS Disques, 3 rue Freycinet, Paris. France
as Arion ARN 38160)
G. Gabrieli: Sonata XX a 22;Canzon septimi tona a 8 (No.
2); Canzona quarta 2 4: Canzona h 12; Canzona in
echo ‘a 12; Canzona prima a 5; Canzon primi toni ii 8;
Canzona seconda j 4; Canzon duodecimi toni 1 8.
This album, previously available in Europe (Arion ARN 38160).
was issued in the U.S. in 1975 by Peters International. The 5-part
canzona and the 22-part sonata are from the post-humous collec-
tion, Canzoni e Sonate (1615); the two 4-part canzoni are from the
Raverii collection, Canzoni per Sonare . (1608); and the three 8-
part canzoni for two choirs are from the Sacrae Symphoniae (1597).
The two 12-part canzoni for three choirs are from separate undated
manuscripts located in the Landesbibliothek in Kassel, West Ger-
many.
While this recording has some palatable scoring by Florian
Hollard, the trumpets are too blaringly sirident. the horn timbre is
unbefitting, and the trombones sound insipid. Hollard utilizes
choirs of brass, double-reeds and strings: the 4-part canzoni are
played by two trumpets. horn and trombone; the 5-part canzona is
played by three trumpets, horn and trombone; the 8-part canzoni
involve brass choir versus string choir; and the 12-part canzoni are
with brass vs. double-reeds vs. strings. The 22-part sonata is divided
into five choirs: two trumpets, two horns and two trombones;
24
strings; two horns, trombone and bass trombone; oboe, two English
horns and bassoon; strings and organ. While the canzoni have all
been previously recorded by brass ensembles, this is the premier
recording of the 22-part sonata.
Some recordings that offer interesting comparisons are per-
formed by the Jean-Frangois Paillard Orchestra (Erato STU 70925),
the Helga Weber Instrumental Ensemble and Heinrich Haferland
Gamba Quartet (Candide CE 31062), the Collegium Musicum of
Radio Vienna (Musical Heritage Society MHS 998), and the exciting
(but uncharacteristic) renditions by the brass sections of the Phila-
delphia Orchestra, the Cleveland Orchestra and the Chicago Sym-
phony (Columbia MS 7209). The finest recording, however, is the
album by the Edward Tarr Brass Ensemble and the Gabrieli Consort
La Fenice (Columbia MS7142). (A.L.L.)
Locke Brass Consort - Contrasts in Brass (Music for Brass and Per-
cussion from Four Centuries)
(James Watson, Crispian Steele-Perkins, Malcolm Hill, An-
drew Hendrie, trumpets; Gordon Carr, Peter Civil, John
Pigneguy, Anthony Burke, George Woodcock, horns;
James Ketchen. Thomas Winthorpe, tenor trombones;
Leslie Lake, bass trombone and tenor tuba; John Smith,
bass tuba; John Jeffrey, John Tolansky, Kevin Nutty,
Peter Greenham, percussion; Rodney Newton, timpani;
Leslie Lake, director; James Stobart, conductor)
Unicorn Records: RHS 339 (Distributed in the U.S. by:
HNH Distrib., P.O. Box 222, Evanston, Illinois 60204.
Distributed in Europe by: Transatlantic Records Ltd.,
86 Marylebone High Street, London WlM 4AY,
England.)
Buxtehude (King): Fanfare and Chorus
F. J. Haydn (Lake): March for the Prince of Wales
Grieg (Emerson): Funeral March
Kauffman: Music for Brass (four movements)
Tcherepnin: Fanfare
Barber: Mutations from Bach
Carr: Prism for Brass (three movements).
The Locke Brass Consort was originated as a quintet in 1966 by
brass players from the Guildhall School of Music, the Royal Aca-
demy of Music and the Royal College of Music. It has since grown
into a full-sized orchestra! brass section that specializes in presenting
lecture-recitals for young’audiences. This album was recorded at the
Rosslyn Hill Unitarian Chapel in London during 1975 and includes
three transcriptions and four briginal compositions for brass. (Per-
cussion is utilized in all but the Kauffmann work.)
Robert King’s arrangement from Buxtehude’s cantata, “Ihr Lie-
ben Christen,” is played somewhat too boisterously. Leslie Lake’s
re-scoring of Haydn’s march transforms clarinets into high trumpets,
bassoons into trombones and a serpent into a tuba; this version may
prove more interesting to brass players than the original, but the
high trumpets sound too forced with a slightly pinched tone quality.
Grieg’s “Funeral March.” originally in A-minor for piano, has been
variously arranged for military band, for brass octet and for orches-
tra; the present version by Geoffrey Emerson ,is in B-flat minor and
is interpreted with appropriate solemnity. (This work was also
recorded in 1972 by the Philip Jones Brass Ensemble on Argo ZRG
731.)
Samuel Barber’s work based on various harmonizations of the
plainsong. “Christe, du Lamm Gottes, ” is a profoundly reverent set
of variations which can be inspiring but seems too ponderous as
performed by the Locke Brass Consort. The other three works by
Leo Justinus Kauffman, Alexander Tcherepnin and Gordon Carr are
exciting premier recorded performances of twentieth century music
for brass. These three premiers, alone, make the recording worth-
while. (A.L.L.)
London Brass Players - Baroque Fanfares and Sonatas for Brass
(Philip Jones, John Wilbraham. Michael Laird, trumpets;
John Iveson, Alan Hutt. Roger Brenner, Gerard McEl-
hone, Evan Watkin, Colin Busby. Harold Spain, Derek
James, trombones; James Blades, timpani; Joy Hall, cello;
James Merritt, double bass; Christina Clarke. soprano;
Margaret Cable, alto; Hubert Dawkes, organ; Joshua
Rifkin, harpsichord & conductor)
Nonesuch H-71 145 (Nonesuch Records, 665 Fifth Avenue,
New York, New York 10022)
Hammerschmidt: Sonata super “Gelobet seist du Jesu
Christ”; Sonata super “Nun lob mein See1den Herren”
Loewe: Capriccio No. 1; Capriccio No. 2
Massaino: Canzona B 8
Pezel: Bicinium No. 71; Bicinium No. 74
Speer: Three Fanfares; Sonata (trumpet and three trom-
bones); Sonata No. 1 (three trombones); Sonata No. 2
(three trombones); Sonata (four trombones)
While many Nonesuch recordings are licensed re-issues of Euro-
pean releases, this disc is a Nonesuch original dating from 1967.
Harpsichordist, conductor and musicologist Joshua Rifiin has been
responsible for numerous excellent Nonesuch recordings of unfami-
liar music. For example, the two capriccen by Johann Jacob Loewe
van Eisenach. as edited by Rifkin, were first published by Musica
Rara in 1968 (a year after this recording); and the two bicinia by
Johann Pezel were not published until 1970 (again, by Musica Rara,
but edited by Robert Paul Block). On the other hand, Daniel
Speer’s “Sonata” for trumpet and three trombones was published in
1966 by the International Music Company (edited by Keith Brown).
Even so, most of the works on this record were edited by Rifkin.
and none had been previously recorded.
The three fanfares by Speer are originally for six trumpets and
timpani, but are played here by three trumpets and three trom-
bones. The canzona by Tiburtio Massaino is from the Raverii collec-
tion, Cunzoni per sonare . . . (1608). and is for eight trombones
with organ. The two sonatas by Andreas Hammerschmidt are for
solo voice, two trumpets, four trombones and continua. Of course,
the Loewe and Pezel pieces are for two trumpets and are accom-
panied in this performance by harpsichord and cello.
Although the trumpets sound a bit harsh and the trills are not
distinctly executed, the trombones generally play with a more con-
sistent style and more homogeneous tones. While this album was
one of the most interesting brass recordings in the late 1960’s,
Nonesuch has since produced better quality performances; and like-
wise. Philip Jones has produced several more exciting brass ensemble
performances (on Argo records). In fact, the Philip Jones Brass
Ensemble recording, Golden Brass, (Argo ZRG 717) includes a
superior rendition of the Massaino “Canzona” for eight trombones.
(A.L.L.)
London Gabrieli Brass Ensemble - Royal Brass Music
(Edgar Riches, Michael Hinton. John Wilbraham, trumpets;
Richard Hill, David Biddulph, tenor trombones; Peter
Harvey, bass trombone; Ashley Wall. tuba)
Nonesuch: H-71 118 (The catalogue number listed in the ITG
Newsletter, Vol. 3. No. 2, was the monaural number, H-
1118.)
Dart (ed.): Suite from the Royal Brass Music of King
James I (Anonymous: Almande; Harding: Almande;
Farnaby: Almande; J. Bassano: Fantasia; A. Bassano:
Pavan; Guy: Almande)
Locke: Music for His Majesty’s Cornetts and Sackbutts
(Air, Courante, Allemande, Courante, Allemande.
Saraband)
G. Gabrieli: Sonata pian’ c forte
25
Tromboncino: “Sara ford ripres’ il pensier mio”
Anonymous: Lauda
Schein: Padouna
di Lasso: Adoramus Te Christe
Holborne: Five Pieces (Galliard, The Choice, As it fell on
a Holy Eve, The Fruit of Love, The Fairy Round)
The Royal Brass Music album was originally recorded in London
by Pye Records and released in France (Mode STMDINT 9.408);
then Nonesuch acquired the right to produce it in the Western
Hemisphere in 1966.
The three suites included are from Oxford University Press pub-
lications: the Locke “Music” is edited by Anthony Baines while the
“Royal Brass Music” by various composers and the Holborne
“Pieces” are edited by Thurston Dart. (Holborne’s pieces are also
published by Musica Rara in a complete collection of 65 five-part
pieces which date originally from 1599: the pieces from the Oxford
edition are numbers 46, 59. 64. 58 and 63 in the Musica Rara edi-
tion.) The anonymous “Lauda” is taken from a painting by Vittore
Carpaccio; Bartolomeo Tromboncino’s piece is a transcription of a
vocal frottola; Orlando di Lasso’s work is originally a motet: and the
pavan by Johann Hermann Schein was intended for a consort of
krummhorns.
Gabrieli’s “Sonata pian’ e forte” is originally for eight parts (two
choirs: coinetto and three trombones versus viola and three trom-
bones) played here presumably by two trumpets and two trombones
versus four trombones (the extra trombonists are not identified).
The “Royal Brass Music” is for six parts-variously for three trum-
pets and three trombones or for two trumpets and four trombones
with the fourth trombone part likely played on tuba. The Locke
and Holborne pieces are appropriately played by two trumpets and
three trombones, while the remaining transcriptions are played only
by trombones.
The trombone ensemble performances are generally dull and un-
inspired. The brass sextet is overbearingly raucous, and the ensemble
is frequently ragged. The quintets are somewhat less offensive and
yet incorporate some uncharacteristic accents that create an incon-
sistency of dynamic line, and the trumpeters’ trills are frantically
blurred. (The Locke “Music” has been recorded in 1974 on Argo
ZRG 717 by the Philip Jones Brass Ensemble in a different sequence
with very refined and creative Baroque improvisations.)
The Gabrieli “Sonata pian’ e forte” contains balance problems
that tend to obscure the moving counterpoint at times. Also there
are occasional anticipatory crescendi and diminuendi rather than
sharply delineated dynamic contrasts. The last ten measures are
noticeably slower, and there is an unorthodos crescendo on the
final chord.
If my severe criticism were to cause this record to warp and curl
up in its jacket, there would be no great loss! (A.L.L.)
Gabriel Masson Brass Ensemble - Renaissance Music for Brass
(unidentified personnel includes four trumpets and four
trombones)
Nonesuch: H-71 111 (The catalogue number was erroneous-
ly listed in the ITG Newsletter, Vol. 3, No. 2 as H-71 1 1.)
M. Franck: Intrada II
Scheidcmann: Praeambulum in F; Canzona in F
Schiitz: Motet, “Herr, wenn ich nur dich habe”
Stoltzer: Four pieces from “Otto Tonorum Melodiae”
Attaingnant: Two Galliards
Adson: Three Courtly Masquing Ayres
G. Gabrieli: Canzon I. “La Spiritata”
A. Gabrieli: Ricercare IX de1 duodccimo tono
Frescobaldi: Canzon quarta
Banchieri: Four Fantasie over0 canzoni alla francese
This Nonesuch recording, released in 1966, was originally
recorded in Paris by Club Franpais du Disque (CFD 367). Aside Selection from The American Brass Band Journal - Friederich
from the canzoni by Giovanni Gabrieli and Girolamo Frescobaldi Two Lyric Pieces - Converse
and the ricercare by Andrea Gabrieli, the remaining works on this Forms Flights of Fancy - Diemente
album were premier recordings. To my knowledge. only the “Fan- Ensembles - Heussenstamm
tasia sesta” by Adrian0 Banchieri has been subsequently recorded Three Salutations ~ End
by any other group. The work entitled “Fantasia sesta in eco
movendo un registro” on the Masson recording is simply called Paul Dorsam, trumpet
“Fantasia in echo” on a recent recording by the Philip Jones Brass Virginia Commonwealth University 1 l/7/78
Ensemble (Argo ZRG 717). Concert Piece - J. Guy-Ropartz
The intrada by Melchior Franck comes from his A’eue Musi- Concerto - Bond
caliscl~e /rrtrade?r (1608). The two works by Heinrich Scheidemann Introspection One ~ Dorsam
are from an organ tablature dating from 1657. The motet by Hein- Concerto - Hummel
rich Schiitz is from the second part of Musikalische Exequien
Kim Dunnick, trumpet
(I 636). The four pieces by Thomas Stoltzer arc examples of instru-
Tennessee Technological University 1 l/14/78
mental music in the motet style based on the eight modes (the four
Quiet City - Copland (Copland conducting)
included here are: 1. Dorian; 2. Hypodorian; 7. Mixolydian: 3.
Phrygian). The two galliards are from the famous publisher Pierre Dennis Ferry. trumpet
Attaingnant’s collection of Dancevies performed in ABA sequence. Orchestre de la Suisse Romande
The airs (Nos. 9. 1 and 2) by John Adson are from his Courtl?l Guest Recital 1 l/29/78
Masquirzg AJzres composed to 5 and 6 parts (1611). The fantasie Concerto in E-flat - Haydn
(Nos. 1, 6 11 and 21) by Bunchieri are from a collection re-pub-
lished in 1603. Harold E. Krueger, trumpet
Aucustana CoIleKe
While the personnel is not identified on the Nonesuch release.
Faculty Recital ;0/15/78
the trumpet playing is very solidly sonorous with extremely incisive
Fanfare for St. Edmundsbury - Britten
articulation reminiscent of some of Maurice Andre’s earlier record-
Ballad - Fitzgerald
ings. In fact, 1 have formerly attributed this recording to Maurice
Sonata ~ Viviani
.4ndrC (forgive me if I am wrong). In spite of the very pronounced
Air and Four Variations in B-flat - Handel
and detached marcato style, the trumpet playing is nonetheless cap-
Canzona - Badings
tivating: ho\vever. it is most difficult for the North American ear
Sonata - Telcmann
to become accustomed to the French trombonists’ small-bore tim-
bre. blatant fortes and fast vibrato. Since Gabriel Masson is a trom- Alvin L. Lowrey, trumpet
bonist, it may bc assumed that he is performing on this recording. University of Alberta
It is with mixed feelings that I regard this recording. (A.L.L.) Faculty Recital 1 O/l O/78
Concerto in B-flat minor, Op. 41 ~ Goedicke
Concerto in E-flat minor - Pakhrnutova
Recent Programs Concerto in A-flat Major - Arutunian

Richard J. Perkins, Editor Douglas B. McClure, trumpet

University of Kansas
A limited number of recent programs presented by ITG members Senior Recital 12/2/78
will be published in the IVewsletters. Members should now send Sonata - Viviani
programs directly to the Programs Editor. Solo appearances with Concerto for Trumpet. Bassoon and Orchestra - Hindemith
bands and orchestras, solo and group recitals, and brass quintet Sonata - Kennan
programs will all be considered for publication. Programs by student Henry Meredith, baroque and modern trumpets
ITG members are most welcome. All programs and correspondence Detroit, Michigan - S/4/78
should now be sent to: Richard J. Perkins, ITG Program Editor, Suite No. 1 of Trumpet Voluntaries - Stanle)
hlusic Department. Anoka-Ramsey Comm. College. 11200 Mississip- Suite in D - Handel
pi Blvd., Coon Rapids. MN 55433. (Programs cannot be returned.) Sonata 14 in g minor - Vejvanovsky
Sonata in C ~ Albinoni
Wayne E. Andrus, trumpet Sonata ~ Viviani
Somerville Public Schools
MaIdin. Masq. 1 l/19/78 Henry Meredith, trumpet
Sonata ~ Purcell London. Ontario 5/21/78
Heroic hlusic - Telemann The Trumpet Shall Sound - Handel
Sonata in D - Gabricli Sonata in D ~ Purcell
Arioso: Vesti La Giubba - Leoncavallo
Henry Meredith, trumpet
Badinage - Bozza
Mount Allison University 7/78
Scherzo - Valse ~ Mihalovici
Concerto for Trumpet, 2 Oboes and Continuo - Telemann
Concert Etude - Goedicke
Quel the dice - Bassani
Composers Brass Quintet De Torrente - Aldrovandini
Newport Harbor Lutheran Church lo/22178 Veni Consolator - S.P. Damian
Introductions - Korte Gehet qu seinen Tore” ein - Telemann
The Star Spangled Banner - Smith Trumpet Voluntaries - Stanley
The Battle of Trenton - Hewitt Sonata No. 22 - Pezei
Cousins - Clarke Jazz Etude - Haddad

26
 Canzona prima a 5 L Gabrieli
Motet - Brahms
Brass Quintet No. 1 - Frackenpohl
. &ys to
Henry Meredith, baroque trumpet
YQiitural Terformance
Ebenthal, Austria 8/78 By ROBERT D. WEAST
Cantata No. 5 1 - Bach “‘To reach the fullness of yourpotential. . . ” This is the
. Concerto - Albinoni primary objective of this new music book. This treatise
Sonata a 5 - Schmelzer of text and music goes beyond the concept of “correct”
3 Sonatinas for 2 Clarini - Anonymous embouchure, breathing and tonguing and into the realm
3 Fanfares - Neukomm of correct and automatic response through progressive
Sonata - Fantini
conditioning.
Marcia fur die Arche - C.P.E. Bach Chapter format: Principle, Supporting statement. Commen-
Ein schoner Aufzug - Bartolomaus Riedl tary, Converse. Example, Analogy, Procedure. Music studies.
Polonaise, Choral, & Quatricinium - Altenburg Contents: The Musical Connection; Chromaticism: Key to
Sonata for 2 Trumpets and Strings - Franceschini Correct Response: Repetition: Key to Consistency: Timing and
Cqordination; The Pressurized Air Column: Mouthpiece Pressure:
Sonata “Sancti Mauritii” ~ Vejvanovsky The Warm-Up; Strength and Endurance; Awareness Performance:
The Growing Edge of Development; The Aural Image: Learning
Henry Meredith, barbhue trumpet Through Analogous Experience.
Detroit Art Institute 9/17/78 Keys to Natural Performance combines the best in brass
Veni Consolator - S.P. Damian pbdagbgy with relevant studies in physiology and psychology.
Ach, es bleibt in meiner Liebe - Bach Text and full pages of music studies. treble and bass clef. $6.95
plus 554 postage.
Quel the dice - Bassani
Sonata L Fantini
Air de trompette - Telemann The Brass World reprints. we have been deluged by requests
for this periodical. In one binding: Volumes 1. 2 and 3. $12.95
Sound Fame ~ Purcell ’ plus 556 postage.
Mio Tesoro; Con vote festiva - Scarlatti
New Mexico Brass Quintet q Keys to Natural Performance 0 The Brass World, Vols. 1,2,3
University of New Mexico 10/26/78
Order f’“m:
Canzon a 5 super “0 Nachbar Roland” ~ Scheidt
The Brass world, Box 1.98, Drake University, Des Moines, Iowa
Fancy No. 1 - Ravenscroft 50311
i ..
Fantasia Upon One Note - Purcell
Quintetto per Ottoni -Dubrovay
Laudes - Bach
Children of the Dancing Valley - Mauldin -
Divinity for Harpsichord and Brass Quintet - Brant
Four Swiss Folksongs ~ Howarth
.TRLlM.PET
I MUSIC
NEW FOR 1978 .,
‘Anthony -PIog, trumpet /
California State University, Northridge by
Faculty Recital I O/l 3/78 PAUL DORSAM
Sonata - Albinoni
/ Phantasy . . . . . . . .. . . . . . . . $3.00
Sonata No. 3 - Fantini
Improvizational Episodes 1 Davis for C trumpet and piano
Sonata ~ Kennan editor’s copy of trumpet part in B-flat (Sod)
Sonata No. 3 - Gabrieli
Toccatina Canonica.. . . . .. . . . . . $3.00
Cocktail Etudes - Davis
for three trumpets or
Interbalances IV for Trumpet and Narrator - Childs
two trumpets and trombone
Sonata - Stevens
Michael Tunnell. trumpet Espressivo Giocoso . . . . . . ., . . . , . . . $5.00
University of Louisville for three trumpets
Graduate Recital l/15/78
Scherzo Vivo. . . . . . . . . . . . . . . . _ . $4.00
Brandenburg Concerto No. 2 - Bach
for three trumpets
Concerto - Haydn
Let The Bright Seraphim - Handel Rondo Royale. . . . . . . . .. . . . . . . . . . $5.00
Michael Tunnell, trumpet for three trumpets
University of Southern Mississippi
Divertimento Mexicano. . . . . . . . . . . . . . . $5.00
1 Graduate Recital 1 I/8/78
for four trumpets
Concerto - Mozart
Sonata No. 6 - Fantini Please add 504 per order for postage.
Sonata No. 8 - Fantini
Times - Campo Kleppinger-Pfaff Music Co.
Capriccio - Blum Publi$er,of Music l Books l Records
. Haroutiun - Hovhaness ,:’
-308 N. Laurel Street, Richmond, Virginia 23220
Legend’- Enesco. ..

27