Contents

2 From the President; From the Editor; General News

7 Renold Schilke: Master Craftsman, Player and Teacher by H. M. Lewis
10 Trumpet Modifications and Repair: Valve Aligning by Clifford Blackburn
11 Studying With Maurice Andre by Stacy Blair
12 Why a Medical Column: a Prospectus by Leon J. Whitsell, M.D.
13 Music Reviews, Norbert Carnovale, Michael Tunnell, Editors
18 Book Revie.ws, Kim Dunnick, Editor
21 Record Reviews, Alvin L. Lowrey, Editor
24 Recent Programs, Richard J. Perkins, Editor

.
1979-1980 Officers
President: Donald R. Whitaker, School of Music, University of Wisconsin, Madison, WI 53706
Vice President: Raymond Crisara, 6601 Knollwood Cove, Austin, TX 78731
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: David R. Hickman, School of Music, University of Illinois, Urbana, IL 61801
Board of Directors
David Baldwin, Vincent Cichowicz, Louis Davidson, Allan Dean, Timofei Dokshitzer, Stephen Clover, Bernie Glow. Charles Corham. Joyce
Johnson-Hamilton, Knud Hovaldt, Clifford Lillya, Robert Nagel, Renold Schilke
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 5.5102
A. Keith Amstutz, Music Department? University of South Carolina, Columbia, SC 29208
Clifford Warren, Fisher Controls, CX Postal 711, 12200&n Jose DOSCampos SP, Brazil
Associate Editors:
Artist-Members Section: Dennis L. Horton, Music Department, Central Michigan University, Mt. Pleasant, Ml 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
Medical Editor: Dr. Leon J. Whitsell, 909 Hyde Street, San Francisco, CA 94109
Music Reviews: Norbert Camovale, Music Department, University of Southern Mississippi, Hattiesburg, MS 39401
Recent Programs: Richard J. Perkins, Music Department, Anoka-Ramsey Comm. College, Coon Rapids, MN 55433
Record Reviews: Alvin L. Lowrey, 23 Meadowood Crescent, Sherwood Park, Alberta, Canada, T8A OL6
Advertisements Manager: Roger Sherman, 176 Vernon Drive, Pittsburgh, PA 15228
Graphics Director: Jan Blankenship, 453 Tusculum Road, Nashville, TN 37211
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 Newsletter, August 1st (October
Newsletter); July 1st (Journal).
The ITG Newslerter 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 l-June 30) and include subscriptions to ITG publications. (Library subscriptions are welcome.)
Please make checks or money-orders payable to: International Trumpet Guild and mail to: Gordon Mathie. Crane School of Music, SUC.
Potsdam, NY 13676 U.S.A. (Payments from outside the U.S.A. should be made in 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 International Trumpet
Guild.
The ITG Newsletter is an official publication of the International Trumpet Guild. ISSN: 0363-2857.
0 Copyright 1980 by the International Trumpet Guild. All rights reserved. Printed in U.S.A.
 From the President
I’m very pleased to be able to tell you that Richard Burkart has
now completed the program for the annual ITG Conference to be
held at The Ohio State University, June 18-21, 1980, in Columbus,
Ohio.
Stacy Blair, who won the 1978 ITG solo contest, and was one of
the winners on the 1979 ITG solo contest, recently won the Maurice
AndrC solo contest, and will play the opening recital for us in
Columbus on June 18.
Carmine Caruso, noted New York teacher, will give a clinic-
lecture after lunch on June 18, followed by a session with the
Louisville Symphony Orchestra trumpet section.
In the evening, Dizzy Gillespie and his Quartet will be featured
in a concert.
Thursday will begin with a lecture by Dr. Leon J. Whitsell, M.D.,
and will be followed by a concert-lecture given by the New York
Cornet and Sacbut Ensemble.
After lunch, the mock orchestra auditions will take place, fol-
lowed by a lecture-demonstration by Arnold Jacobs on the physio-
logy of breathing.
That evening, Bo Nilsson will be featured in concert, followed by
a jazz session at the Holiday Inn.
Friday will open with the jazz solo contest, followed by a lecture
by Robert Eliason on early American brass instruments.
After lunch, there will be a concert-lecture by Bobby Shew,
accompanied by a lecture-demonstration by Wilfred0 Cardoso, from
Buenos Aires, Argentina.
The evening concert will be by the New York Brass Quintet,
followed by another jazz session at the Holiday Inn.
Saturday will start with the solo contest winners, and will be
followed by a concert-lecture by Ed Harkins on contemporary trum-
pet techniques.
After lunch, the Festival of Trumpets Concert will take place,
featuring ensemble pieces by Samuel Adler and Karel Husa, both
commissioned by ITG. This will be followed by a concert by Allen
Vizzuti, performing solos with piano and a jazz rhythm section.
The annual banquet will be that evening, followed by the
Canadian Brass Quintet performing their original opera “Horn-
smoke.”
There will be many interesting displays of trumpets, mouth-
pieces, music, etc., and I urge all of you to reserve those dates on
your calendar now.
ITG has been very fortunate to have recently received a gift of
$10,000 from Mrs. Cita Widmann, given in memory of her father,
Karl Kletsch, who was first trumpet of the Philharmonic Orchestra
of Munich, Germany. It is her wish that the money be used for the
purpose of awarding grants and scholarships to competition winners
and other worthy applicants pursuant to section 2c, of the ITG
Constitution. The Officers and Board will discuss how best to use
this gift, and details will be announced later.
Samuel Adler has completed his ITG commissioned ensemble,
having been scored for piccolo b-flat trumpet, two D trumpets, two
C trumpets, and two B-flat trumpets. Robert King will publish it,
and we are trying to have it available for you to purchase at the
Conference.
We have new chapters of ITG at the University of Massachusetts
at Amherst, Professor Walter Chesnut, advisor, and at the University
of Southern Mississippi at Hattiesburg, Michael Tunnell, advisor.
Welcome to both of them!
Finally, a short story to illustrate that we are fortunate indeed
to be able to live in this country, despite the obvious problems. My
wife and I recently traveled to Jamaica for a week’s vacation, and
while there, we heard a Boy’s Club Band from Montego Bay. I was
curious about the trumpets being used, as I heard some unusual
sounds, and I ended up spending the afternoon with the trumpet
section. I have never seen such a collection of battered, patched up
instruments in my life. Water keys were missing; there were holes in
the lead pipes, parts of two or three old trumpets had been welded
together, many mouthpieces didn’t match the receivers, the list
goes on and on. There was one copy of an old Arban book, and no
teachers. Considering the condition of the instruments, it was a
wonder they could play them at all. Yet, their spirit was excellent,
they were eager to learn, and they had a thousand questions about
the United States and music here. Makes one think, doesn’t it?
-Don Whitaker
From the Editor
Producing the ITG publications takes a great deal of time,
cooperation, and support from the editorial staff and they are to
be commended for their work this year, especially when deadlines
loom closer and closer. Special thanks go to our Graphics Director,
Jan Blankenship, and to Stephen Glover for sharing their expertise
in the publishing field. Both Jan and Steve have been a great help
in producing the quality publications to which we have become
accustomed. M. H. Lewis is also to be commended for his interview/
articles with Raphael Mendez, Roger Voisin and Renold Schilk’e.
The interviews were most informative and gave much insight into
the lives of these legends of our times.
Because of the special Herbert L. Clarke Memorabilia album,
additional copies of the February Newsletter were printed for
purchase by the membership. This issue as well as back issues of the
Journals and Newsletters will be available for purchase at the
Conference. This will be a good opportunity to complete or update
your set of ITG publications.
One important change in next year’s publications concerns
deadlines for receiving information. In order that you may receive
the Newsletters earlier in the publication month, all deadlines will
be moved up fifteen days as follows: October Journal (June 15),
October Newslefrer (July 15), February Newsletter (November 15),
and May Newsletter (February 15).
Members wishing to have manuscripts reviewed for 1980-81
publications are encouraged to bring them to the conference. Any
questions that might arise are more easily solved in person than by
mail. Masters theses, doctoral dissertations, and other research
papers dealing with relevant topics are welcome. Those who might
have specific topics in mind for articles should “ask first and write
later” so that topics will not be duplicated.
I hope that you are planning to attend the 1980 ITG Conference.
Richard Burkart and his committees have worked very hard to put
together another fine program of artist/faculty members. I am look-
ing forward to seeing you in Columbus.
-Anne Farr
General News
Cichowicz Presents Master Classes
Vincent Cichowicz, Professor of Trumpet at Northwestern
University, presented master classes at Georgia State University in
Atlanta on February 2, 1980, and at Rollins College in Orlando,
Florida, the following week. Both presentations covered basic per-
formance concepts and stylistic interpretations. Attention was also
given to the breathing process and its effect on tone quality.
Mr. Cichowicz will conduct a week-long master class at North-
western on June 23-27, 1980. See this issue for more information.
 ITG Accepts Donation
The International Trumpet Guild recently accepted a donation
of $10,000 from Mrs. Cita Widmann of The Plains, Virginia. The
money was donated in memory of her father, Karl Kletsch, former
principal trumpet of the Munich Philharmonic Orchestra. The dona-
tion will be established as a trust fund with guidelines established
for its use at the ITG Board meeting in Columbus. ITG would like
to express its appreciation to Mrs. Widmann for this generous
contribution to our organization.
Additional February 1980 Newsletters Available
Because of the special Herbert L. Clarke Memorabilia supple-
ment in the February, 1980 Newsletter, additional copies were
printed for purchase by the membership. The cost is $4.00 per copy
ordered, and must be prepaid.
Send check or money order to: Gordon Mathie, Crane School of
Music, SUC, Potsdam, NY 13676.
Continental Brass Congressat UWM
On June 13, 14, and 15, the University of Wisconsin-Milwaukee
will host the Continental Brass Congress.
The Continental Brass Congress is a celebration of brass playing
in America today-from jazz to chamber music-bringing together
some of the world’s finest brass players with teachers and students
in both clinics/master class discussion and performance. This Con-
gress is open to the public and is made possible by a grant from the
Vilas Foundation.
Guest artists include the United States Army Brass Quintet;
Clark Terry, jazz trumpet soloist with the UWM Stage Band, Frank
Puzzullo, director; Judy Plant, keyed bugle virtuoso performing
nineteenth-century period music with the UWM Wind Ensemble,
Thomas Dvorak, director; lecture/demonstration on “Embouchure
Trauma: An Ongoing Survey” by Patricia DesMarais; Harvey Phillips
on tuba; the Newberry Brass Quintet; and master classes and concert
by the American Brass Quintet.
The Congress registration fee is $10, which includes admission to
all lectures and performances. Daily admission price is $5 and indivi-
dual performance fee is $3.50.
On-campus dormitory accommodations are available and the
university campus area abounds with restaurants within easy walk-
ing distance.
For information, please contact Professors Wayne Cook or Barry
Benjamin, Department of Music, University ofWisconsin-Milwaukee,
Milwaukee, Wisconsin 53201.
Trumpet Master Class at Northwestern University
Master classes in trumpet will be presented by Vincent Cicho-
wicz at Northwestern University from June 23 to June 27.
Lectures, demonstrations, and instruction will be given cover-
ing fundamental concepts of brass performance, solo repertoire, and
orchestral excerpts. The purpose of the seminar will be to explore
the physical, psychological, and artistic requirements of trumpet
performance from the viewpoint of the performer, the student, and
the teacher. Areas such as practice-techniques, study materials,
repertoire, audition preparation, and ensemble techniques will be
explored.
Solo repertoire will include the Haydn and Hummel concerti,
and Hindemith Sonate. Orchestral literature will include the Sym-
phony Nos. 1, 3, and 5 of Mahler, Firebird and Petrouchka of
Stravinsky, Fetes of Debussy, Daphnis and Chloe of Ravel, Pictures
at an Exhibition of Mussorgsky, Tschaikovsky’s Symphony Nos. 4
and 5, and several shorter segments from compositions of Brahms,
Wagner, Prokofiev, and Respighi.
The classes will be open to all levels of ability, and will be per-
tinent to a wide range of performing capabilities. Classes will be in
Lutkin Hall beginning at 9:30 a.m. and ending at 12:45.
Those wishing to perform in the Master Class will be chosen by
tape audition. Tapes must be submitted by June 10 and should con-
tain the following: 1st movement of the Hummel Concerto, Fan-
fare from Leonore Ov. No. 2 by Beethoven, 2 solo passagesfrom the
Prelude to Parsifal by Wagner, and Ballerina’s Dance from Petrouch-
ka.
Tapes should be sent to Vincent Cichowicz, The School of
Music, Northwestern University, Evanston, IL 60201.
The 1980 Winter Olympics:
Two Trumpet Teachers Comment
In March, 1979 it was announced that the Crane School of Music
from the Potsdam, New York College of Arts and Science had been
chosen to provide all the ceremonial music for the 1980 Winter
Olympics. The Crane School was chosen because it was capable of
providing music for the opening and closing ceremonies, the
Ecumenical Service and the nightly awards ceremonies. The School
could also provide sixteen original compositions written by faculty
composers Elliot Del Borgo, Arthur Frackenpohl, William Maul
and Robert Washburn, as well as eighteen fanfares written by facul-
ty and student composers. Brock McElheran and Richard Stephan
were the conductors of the chorus and symphony orchestra that
performed at the opening and closing ceremonies; Rebekah Covell,
Anthony Maiello and Alan Woy conducted the bands and John
Schorge prepared the fanfare groups for the medals ceremonies.
Coordinator for the Crane Olympic project was Dr. Robert Gibbs
(a trumpet player).
The following are some recollections of the 1980 Winter Olym-
pics Games from the viewpoint of the brass players, as recalled by
ITG members John Schorge who, as Chairman of Performance
during the planning period, did most of the band and brass coordi-
nation, and Gordon Mathie.
Time. The amount of time invested in the preparation of the
1980 Winter Olympics was monumental: 38 national anthems to be
rehearsed, 18 fanfares to be rehearsed and memorized by the herald
trumpets and trombones, 3 compositions involving the chorus,
symphony orchestra and the herald trumpets and trombones, 3
compositions involving the chorus, symphony orchestra and the
herald trumpets to be prepared, etc., with most of the performances
to be outdoors during a Northern New York winter!
This was before the Olympics began! After the events actually
started, the students most heavily involved were the members of the
three bands and the fanfare brass. Most of the brass were traveling
to Lake Placid every other day, which meant leaving at approsi-
mately lo:30 a.m. and returning to campus at midnight or later.
At the same time, on-campus rehearsals continued for the closing
ceremonies, the timing of which seemed to change hourly. All of
this, of course, was in addition to maintaining normal class loads, for
neither the Music School or the College curtailed academic opera-
tions during the Games.
P&ying Conditions. In one word, awful. Much like life in a ser-
vice band, much of the Olympics rehearsal time was spent waiting
for stage, technical and mechanical problems to be solved, before
the actual playing could begin. This would be bearable except that
waiting was often done on the ice of the Olympic Arena or Mirror
Lake, in temperatures from 0 to 20 degrees, (Nothing acts a brass
player’s attention faster than standing in below freezing weather for
90 minutes, and then beginning a fanfare on high B-flat!)
Instruments. Students used their regular instruments except for
the woodwinds, who used plastic instruments, and the fanfare brass
players, who used Bach herald trumpets and valve trombones pro-
vided by the Selmer Company. Most of the brass players used
Giardinelli plastic screw-rim mouthpieces and Vivace cold weather
lubricants. During the testing period for the lubricants, John
Schorge’s wife Ann grew accustomed to opening the freezer to find
a trumpet reposing quietly or learning that John was late getting
home because he was testing instruments in the meat locker of a
local supermarket.
Students. Again in one word, terrific. The Crane students were
just great in their uncomplaining acceptance of schedules that went
awry, buses that didn’t arrive, not playing one entire piece because
a visiting artist went over his allotted time, long waits in the cold,
little sleep, lessons that in spite of their best efforts went from
shaky to tragic to funny. They were rewarded by the satisfaction of
a job well done and a once-in-a-lifetime experience. How can you
surpass performing for much of the world (even though ABC
seemed to view any coverage of serious music not involving moving
figures as dangerous), being conducted by the jubilant goalie of the
U.S. Hockey team (who also kissed the female director of the band),
receiving the Swedish hockey team’s goalie’s stick, having the TV
camera focused on your embouchure for 30 seconds, etc., etc.?
Our 600 students will never be the same. The faculty, particular-
ly the conductors, will never be the same. We all hope that the Dean
will hopefully allow us to enjoy our promised nervous breakdown
when the time can be spared.
Last week the Lake Placid Chamber of Commerce stated that
they would be happy to host the 1992 Winter Olympic Games.
For a brief moment the halls of the Crane School of Music became
very quiet. (Gordon Mathie, John Schorge, Crane School of Music,
Potsdam, NY)
29th International Music Competition
Open to Trumpeters
The International Music Competition, sponsored by the Broad-
casting Corporations of the Federal Republic of Germany, will be
held in Munich on September 2-19, 1980, and is open this year to
voice, viola, piano duo, trumpet, and wind quintet.
The Competition is open to musicians of all nationalities who
were .born in or between 1950 and 1963. Three monetary prizes of
6000, 4500, and 3000 DM will be awarded in the trumpet area and
all first prize winners will be invited to give concerts or to make
recordings for at least five West German broadcasting companies.
Three eliminatory tests will be held in all categories. Each com-
petifor must prepare.one work from each of the following groups,
totalling seven works. First test: 1) Haydn Concerto in E-flat and
2) one contemporary work of the competitor’s choice. Second test:
3) Ibert Impromptu (1959) Honegger Intrada, Hindemith Sonate
(1939), 4) FranFaux Sonatina, Martinau Sonatina, Bozza Rustiques,
Bozza Concertino, 5) one work of competitor’s own choice. Third
test: 6) Telemann Concerto in D major, L. Mozart Concerto in D
major, Fasch Concerto in D major (Ed. Musica Rara), Loeillet
Concerto in D major (Ed. Billaudot Paris), and 7) Tomasi Concerto,
Johvet Concertino (1948) and Addison Concerto (Edt Hieber,
Mtinchen).
The trumpet jury will consist of Werner Heider (Federal Repub-
lic of Germany), Chandler Goetting (U.S.A.), Philip Jones (Great
Britain), Petar Karparov (Bulgaria), Edward Tarr (U.S.A.), Pierre
Thibaud (France) and Fritz Wesenigk (Federal Republic of Ger-
many).
An entry fee of DM 50 must be received by July 1, 1980, and
will be refunded only if the applicant is not accepted. The fee
should be sent to: Bayerischer Rundfunk, Musikwettbewerb,
Account No. 81613, Bayerischer Veremsbank, Miinchen, BLZ
7000202 70.
For entry forms and further information, contact: International-
er Musikwettbewerb, Bayerischer Rundfunk, D-8000 Miinchen 2,
West Germany.
4
New York Brass Conference for Scholarships
The Eighth Annual New York Brass Conference for Scholarships
will be held on May 23-25, 1980, at New York’s Sheraton Center
located on Seventh Avenue in New York City. ITG Vice President,
Ray Crisara, will be honored during this year’s conference. Other
participants include the Empire Brass Quintet, Trombones de Paris,
Warren Vache, Slide Hampton, Marvin Stamm, Lew Soloff, Malcolm
McNab, Bernie Glow, Jon Faddis, David N. Baker, and William
Vacchiano. For more information contact: N.Y.B.C.F.S., 315 W.
53rd St., New York, NY, 212/581-1480.
Stravinsky Excerpt Book Being Considered
Boosey & Hawkes is now considering the publication of excerpt
books by some of their composers. The series would include trum-
pet, horn, trombone, and tuba books. The composers which Boosey
& Hawkes represents include Stravinsky, Copland, Bartok, B&ten,
Ginastera, and Strauss. All the compositions are under copyright,
and excerpt books have not previously been available. Their publica-
tion will be a major contribution to brass study repertoire.
You can help make these books available by writing to Mr. John
Pope at Boosey & Hawkes. Tell him of your interest in such publica-
tions, your needs and the needs of your students, and encourage
him to make these editions available as soon as possible.
Please contact: John Pope, Boosey & Hawkes, P. 0. Box 130,
Oceanside, NY 11572.
The First GrandCanyon Rim-To-Rim
Standard B-flat Trumpet Run
Is the marching band about to be replaced by the running band?
Perhaps it is, if an event started by two musician-runners catches on.
Trumpeters Stephen Chenette and Donald Macintosh gave what
must be one of the most unusual musical world premieres ever on
May 28, 1979, when they ran across the Grand Canyon in Arizona,
carrying trumpets and stopping at various places to play movements
of the Suite for Two Trumpets, written for the occasion by Cana-
dian composer Gary Kulesha.
Don is a lawyer and amateur trumpet player from San Francisco
who has run some forty marathons, with a best time of 2:50:19,
and has also run the Grand Canyon rim to rim twice on consecutive
days. Steve is the professor of trumpet at the University of Toronto
and a self-described “slow but determined back-of-the-packer” with
a marathon best of 4:23:27. Don and Steve had gone on runs to-
gether at the yearly conventions of the International Trumpet
Guild, and this year’s run was originally planned as a simple rim to
rim traverse of the Grand Canyon scheduled to take place two days
before the ITG conference in Tempe. But then Don heard about
two tuba players claiming a record for high altitude tuba duets by
playing on top of a mountain in Colorado. (It was not stated
whether they hiked or drove to the top by car, but one suspects the
latter.) Don and Steve decided that such a challenge could not go
unanswered; the honor of trumpeters demanded that something be
done to top the tuba players. Thus, the Grand Canyon Rim-To-Rim
Standard B-flat Trumpet Run was born.
There are various ways that one can lighten a trumpet: using a
mouthpiece made of plastic rather than brass, removing unessentials
like valve caps and finger rings, or even using a higher pitched, and
therefore smaller, trumpet. But Don and Steve decided that would
be cheating; the macho way would be to use standard large B-flat
trumpets with no alterations. In order to run with them, Don en-
cased his in a flexible knee support bandage and strapped that to
his back, while Steve put his into a soft case, known as a “gig bag,”
and ran a strap through the handles and around his shoulders. Next
to be decided was what two trumpeters should play in the Grand
Canyon. A transcription of the Grand Canyon Suite by Ferde Grofe
Uphill from Colorado River. Trumpets in authorized carrying posi-
rio?l.
seemed such an obvious choice that they decided against it, and
Steve commissioned Gary Kulesha to write his Suite for Two Trum-
pets: Grand Canyon Run, with movements named for the places
where they were to be played.
On the appointed day, Don and Steve started with a shivering
performance of the first movement, “Dawn, the North Rim,”
standing among snowbanks in the 8240 feet elevation at the head of
the North Kaibab Trail. The only audience for this performance was
a cousin of Steve’s who then drove the car 215 miles around to the
South Rim to wait for the completion of the run. As for the run-
ners, fourteen miles farther and over a mile lower they played the
Chenette and M&ntosh at “‘kiian Gardens”, prOy&tg“Indian Gar-
dens“!
second movement, “Phantom Ranch,” to the surprise and delight
of some early risers who had spent the night in cabins there. A mile
or two farther, standing on the footbridge over the river, with their
music held by a passing backpacker, they played the third move-
ment, “Colorado River.”
Now began the hard part. The chill of the North Rim was a dis-
tant memory, the temperature, even in the early morning, at the
bottom of the Grand Canyon was above 90”Farenheit, and the run-
ners had to regain almost a mile of elevation between the river and
the South Rim. Don charged ahead with a promise to wait for Steve
at Indian Gardens, while Steve realized that his part of the Grand
South Rim and the finish line!
_ (Continued on Page 27)
International Trumpet Guild
to promote communications among trumpet players around the world and to improve the artistic level
of performance, teaching, and literature associated with the trumpet

In recognition of the illustrious and

influential career of Renold Schilke,
and to his generous and artistic con-
tributions to the art of trumpet
1977-79 Officers
playing, the International Trumpet
President Guild proudly presents this plaque
David R. Hickman
School of Music
University of Illinois to
Urbana, IL 61801
Vice President
Edward H. Tan
Oberer Rheinweg 7 1
CH-4058 Base1
Switzerland
Secretary
Donald Bullock
Department of Music
Western Michigan University
Kalamazoo. MI 49008
Treasurer
Gordon Mathie
Crane School of Music
S.U.C.
Potsdam. NY 13676
Past President
Lloyd Geisler
3444 North George Mason Dr
Arlington, VA 22207
Board of Directors
David Baldwin
Charles Colin
and does hereby confer upon him a
Louis Davidson lifetime membership on the Board of
Timofei Dokshitzer
Bernie Glow Directors of the International Trum-
Charles Gorham
Knud Hovaldt pet Guild. This award presented on
Clifford Lillya
Robert Nagel
June 2, 1979 during the international
Carole Reinharr
Susan Slaughter
Trumpet Guild Conference at Arizona
Don Smithers
Roger Voisin
State University - Tempe.
 Renold Schilke :
Master Craftsman, Player, and Teacher
by H. M. Lewis
To most trumpeters today, the name Renold Schilke is synony-
mous with the finest trumpets being constructed, with innovations
in the trumpet-maker’s art which have resulted in improved intona-
tion and response in an instrument that, all too often, seems to be
cantankerous and deliberately difficult to play. Few realize that
before he became world-famous as a trumpet maker, Schilke was a
well-known performer on the instrument, first as a cornet soloist,
and then as a member of the trumpet section of the Chicago Sym-
phony Orchestra. Fewer still realize that he also enjoys a reputation
as a crack pistol shot, having been selected to compete on U.S.
Olympic pistol teams. His teachers have included many of the big
names in trumpet and cornet playing in this century: Eugene
Foveau, Alphonse Goeyens, and Herbert L. Clarke. One can say
without fear of contradiction that the trumpet world would have
been poorer without Renold Schilke. I was privileged to talk with
him on February 15 of this year, and the following conversation
resulted.
Lewis: Mr. Schilke, could you tell us a little bit about your
early life, your childhood, your parents and your
family?
Schilke: Well, from the start, I was born in 1910, June 3&h, and
was brought up in a family where the two older children
had died already, back in the days when they had pneu-
monia and no control over it. There were three other
youngsters left, my brother and two sisters. My mother
was the church organist and my father was a vocal soloist.
He sang whenever they needed a good tenor soloist for
the oratorios and things they would put on. So in the
beginning, my mother, being an organist and having an
organ in the house, had me singing with the organ, actually
before I could talk. The work went on in that fashion, and
when I was about 5 years old, my uncle brought me over
a recording of Herbert Clarke, and that was the beginning
of my love of the cornet and brass instruments.
Lewis: When did you actually start playing cornet?
Schilke: I was around seven years old.
Lewis: Where were you living at that time?
Schilke: Green Bay, Wisconsin.
Lewis: Who did you study with as a boy?
Schilke: My first teacher was Del Wright. He had been solo comet-
ist with the Marine Band and he had a stroke when he
was 29 years old. It paralyzed his right side, so he had to
give up playing professionally, because he had difficulty
manipulating his fingers and even walking. But he had a
wonderful background. I don’t know too much of his
background-just that he had been extremely well taught,
and had been a bandmaster from the time he was about
20 years old and cornet soloist all these years, and when
he had to transfer-to start using his left arm-why, he was
able to do some wonderful work.
Lewis: From what I can understand you have had a fairly active
career as a cornet soloist even before you were well into
your teens. Can you tell us something about that?
Schilke: Well, actually the first solo work that I did professionally
-I was eleven then-was on the Orpheum Circuit and that
meant traveling considerably during the year and as a
result my schooling had to be taken care of either by one
of my sisters or my mother who traveled with me. I con-
7
tinued from that point. It was about a year after that that
Frank Holton invited me to his factory to be soloist with
his company band. They had many very fine players in
the band at that time. In the day time I had the run
of the factory, and the old German workmen up there
said, “Well, if you play the instrument. you should be
able to make it,” so that was the beginning. I was just
past eleven years old. I started in, and they would not let
me use any part of the instrument that I did not make
myself. So that was a tremendous education that 1 got at
that time. Mr. Holton was a tremendous man himself. He
was one of the finest trombone players of the time. When
he saw any young material coming up he would do any-
thing in his power to boost it. I would say that was one of
the most effective changes in my life that particular sum-
mer.
Lewis: Weren’t you soloist with the Holton Band?
Schilke: Yes.
Lewis: I heard that they billed you as the “Boy Wonder Cornetist
of the World.”
Schilke: That was back in the Orpheum Circuit days. I was already
eleven but being a runt they billed me as “The Seven-Year-
Old Boy Cornet Wonder.” That’s the way they did it in
the old vaudeville days.
Lewis: You mentioned studying with Del Wright. Who were some
of your other teachers?
Schilke: There was Earnest Moore and J. Williams, and then I came
down to Chicago and I worked with Edward Llewelyn and
then Max Schlossberg. Well, even before Schlossberg,
actually in 1927, I was 17 years old then, I studied with
Herbert Clarke. That was right after he took the job as
conductor at Long Beach, California.
Lewis: Did you ever have a chance to play with Sousa’s Band?
Schilke: Only for a short time, and that was the year before he
died. I believe it was 1929 or 30. Those dates are a little
bit vague
Lewis: I understand that you had a chance to go to Paris and to
study with some of the outstanding teachers over there.
Schilke: Yes, that was later on and I worked with Foveau at the
Paris Conservatory, who was about the top at that time,
and for a very short time with Goeyens in Brussels, which
was the outstanding conservatory in Europe at that time.
Lewis: When was it that you made the switch from cornet to
trumpet?
Schilke: That was when I came to Chicago, the year after Sousa
died. Bachman’s Million Dollar Band and the Victor
Grable Band went out for two years and the two years
they attempted to do concert work were a failure. Now,
there could have been many things that caused that-the
depression had hit just then-and both of the years that
these men went out they had to be salvaged by the
union. They couldn’t pay the men off and the concerts
were very much failures. It was one of those drastic
changes in music. Previous to that time there had been
many concert bands that had been very successful but it
seems that without a doubt Sousa led the entire pro-
cession. He always made a very interesting concert, and
even though he did a very serious concert, the people
loved it. There was something in his approach to the way
 he put on a concert-well, people would do anything to
turn out for one of his concerts. Green Bay being my
hometown, for one particular event, the Packers had a
football game one Sunday afternoon and Sousa was
scheduled for a concert. They thought “We’ll make a pop
concert out of Sousa,” and gave tickets out at very low
prices and the concert sold out completely that day, but
not the football game. The football game was supposed to
be the high point in the life of Green Bay. I remember
one article in the Green Bay Press-Gazette said that Green
Bay was still a musical town. They still loved their music
in spite of the notoriety of the football team.
Lewis: When did you get involved in the Chicago Symphony?
How did that come about?
Schilke: Well, I started in playing with them intermittently from
about 1929 to 30. That’s when Llewelyn was still alive.
He conducted the Civic Orchestra which was Stock’s
student orchestra to train musicians for symphonic work.
A great tragedy happened in 1936 when Llewelyn made a
trip west with his wife and was killed in an automobile
accident on the way back from California. Walter Smith,
Max Schlossberg from New York and Llewelyn-all those
great trumpet players died in that particular year.
Lewis: That left quite a hole in trumpet playing fraternity.
Schilke: Yes, then I was given my regular contract with the Sym-
phony and that was the beginning of that.
Lewis: I understand also something that probably a lot of people
don’t know is that you have been very interested in ordi-
nance and, in fact, are a very fine pistol shot yourself.
Can you tell us a little about that?
Schilke: Well, actually my work with ordinance was largely small-
arms work and the fact that I had been on two different
Olympic pistol teams caused me to have quite a reputa-
‘tion at that time. The only time that it really took effect
was with the beginning of the war. I was working for
ordinance as a civilian employee developing the 30-caliber
carbine and for several years there, along with playing
with the symphony, I worked for them. Those years were
like a bad dream. In the morning I’d work for ordinance
and then during the day for the symphony and evenings
we had a concert, so there were long periods when I
would average possibly less than three hours per day
sleep. It was a bad dream as it was to many people in the
world.
Lewis: How long did you stay with the Chicago Symphony?
Schilke: All together the years that I had with them were 27 from
the first time I started with them until I finished and went
entirely into manufacturing. All during this time I had
been, of course, studying and developing the tooling for
instruments.
Lewis: When did you strike out on your own as a trumpet manu-
facturer?
Schilke: Well, that’s hard to say. Phil Farkas and I started out as
mouthpiece manufacturers and he developed his mouth-
piece and I made the tools necessary for manufacturing it.
I came out with a group of 7 mouthpieces to start with-
ones of certain people that I knew such as Mr. Llewelyn
and Max Pottag.
Lewis: When did you really get into the business of making trum-
pets?
Schilke: Well, as I told you, the first trumpet I made was back in
1921 when I worked at the Holton Company doing solos
at night with the band and working at the factory in the
day time. That was the first instrument I made and part
of the actual mechanical instruction in it. When it came
to the basics of brass that was done under Dr. Willie Aebi
8
of Burgdorph, Switzerland, and that’s the first time
anybody in America was introduced to manufacturing
instruments by controlling the intonation from the inside
of the instrument itself. That is, by changing the bore so
the pressure points, points of rarefaction, were used as
control points for the intonation so for any note on the
instrument, it was found that it could be sharpened or
flattened, whichever was desired.
Lewis: Well, certainly your trumpets are known throughout the
world for their good qualities in intonation and I’m glad
you brought that up. You’ve also been asked to help the
Japanese develop their lines of brass instruments. Could
you tell us a little bit about that?
Schilke: Well, as always the Japanese have gone abroad when they
felt they didn’t have the knowledge they wanted. It’s the
same as in the fourteenth century when they first intro-
duced silk to Japan. They brought people from China
to develop their product and finally their product was
superior to any other silk that was made in the world and
the same is in what they still refer to as China. It is much
finer quality than that that came from China and the
same is true that they were looking for a man to develop
the instruments of the brass family. Mr. Toro Kuribara
was the gentleman who first approached me from the
Nippon Gakki, which is the mother plant of Yamaha. I
answered his first letter saying that it was very interesting
and I was happy that they were starting a factory but as
far as I was concerned I had my own place to work with.
Then he wrote another letter which I answered much in
the same way, that I was too busy with my own work and
the third letter didn’t say much of anything, but he sent
the ticket and the expense money and said, “Please, take
this and we’ll pay all expenses and everything. Come
over and see what we are trying to do.” That was the
beginning of that, I did go over there at that time in the
spring of 1966.
Lewis: Certainly we know the Schilke trumpets have become
known world-wide. I have been interested to notice that
they are extremely popular in Europe. Has the rate of
exchange in the past few years affected your sales in that
area?
Schilke: No, I always have sold more instruments than I can make.
As far as Europe is concerned and Japan, Japan will buy
more instruments than the United States does and Europe
does the same, so the United States is actually about third
in instrument sales, but it is rapidly changing with the
drop off of instrumental factories, which is a very sad
situation in the United States. One factory after another
has disappeared. One of the other factories that I worked
with in the beginning was the Martin Company-that, of
course, is gone, and the Reynolds Company is gone, and
now the Olds Company. This is a sad situation because
that is exactly what happened to Europe. Europe, at one
time, furnished our best players. We got our best instru-
ments from Europe. Now Europe wants the players that
have been developed in the United States. More and more
of my students are going over every year, and not only in
the trumpet field. Other teachers will tell you the same
thing, like Mr. Farkas, who started about the same time I
did. He’lI tell you the same story-that the Americans
developed players, which by the way can be related back
to C. G. Conn. C. G. Conn started music in the schools
and that was the beginning of it until such a time that we
had by far the finest music in the schools of any country
in the world. Lynn Samms was the first “Music Man” in
the United States. They actually wrote the music for the
 comedy about Lynn Samms; he was the man who went
out into the schools with a set of instruments and
started an organization with one or two players in the
band, teaching the rest himself. After a period
of about three or four months, they would give a concert
and the parents, of course, would enjoy the playing of
their children and buy the instruments. Then he would
move on to another school and they would bring in an in-
structor. When music was first started in the United States
we had no music in the universities. We had to take our
professionals and give them teaching degrees in order to
get conductors to develop our bands in the schools. That
was a very interesting part of history I happened to be
part of.
Lewis: Is there anything that you would like to elaborate on now
in line with your work as a trumpet maker, trumpet play-
er, or trumpet teacher? Any philosophy you would like
to leave with us?
Schilke: Well, my entire life has been devoted to the development
of instruments for playing as well as manufacturing them
and anything that anybody does to help that has my full
approval and I’ll do anything at all to see to it that these
organizations are sponsored such as the ITG.
Lewis: One thing along the line, your role as trumpet maker and
innovator, just in the last few years, you’ve developed a
marvelous trumpet, 4-valve, E-flat, F, and G instruments.
I’m just wondering how that instrument has been ac-
cepted, since trumpeters in the past have tended to be
rather conservative about anything new.
Schilke: Well, as strange as it may seem the 4-valve, E-flat trumpet
was ordered first from me by Howard Snell at the London
Philharmonic and the majority of the first ones were ac-
cepted by England. The Opera has them over there.
Covent Garden Opera and all the other companies have
written me about how the sound of that instrument has a
much darker sound than any C or B-flat trumpets and
they enjoyed that very much. The conductors who came
to England from Europe always remarked on it and asked
about those trumpets, because they felt that that was
truly the sound of the old Schmidt trumpet much more
than anything else they had at present and that, of course,
was the instrument of Wagner and most of the conductors
up to the more modern ages.
Lewis: I think that you are the man that developed the idea of
the tuning bell trumpet. How did that come about?
Schilke: WelI, that was to, of course, eliminate any turbulent
points at the tuning slide. The first tuning bells I made
did not have any tuning slide located where they are now.
There was only the movement of the bell but then I did
put on a tuning slide merely for cleaning purposes, and
that was necessary, because without it too often they
would injure the instrument in the process of lcleaning.
Actually in the models of trumpets that I made, I think
it is 67 now. The different types range in piccolo trum-
pets from the C piccolo down to the B-flat and the A
piccolo and the G, F, and E-natural trumpets, which were
developed at first just for the Hummel and then Mr. Her-
Seth found it worked in the orchestra more places than
the other instruments. It’s one of his favorites now and
it goes all the way through. In other words, when I was in
the Symphony I had a B-flat trumpet, a not-so-good C
trumpet, and quite a bad D trumpet and as a result those
are the instruments that I was aiming at that needed so
much development, and that is what made life interesting
for me. At first I needed them for my own playing and
then I went ahead and worked on them and developed
them for the other trumpet players. It makes the job just
a little bit easier if possible.
Lewis: Your career both as a player and as a maker has spanned
a good part of this century - would you like to say a few
words about how concepts have changed, particularly
tone concepts?
Schilke: Concepts as far as the interpretations of musical sound-
personally I can refer back to certain periods when sounds
were slightly different. You take the sound of the brass
that we have today, I would say Mr. Herseth has a quality
of sound like Mr. Llewelyn and others that were in the
orchestra in the earlier days. It was highly approved of,
and they always worked to attain that quality for the
interpretation of the music that they had to play, and
other instruments have changed considerably more than
the trumpets as far as the quality of the sound is con-
cerned. For instance, the trombones-when I started in
with the Symphony, everybody was playing the Schmidt
trombone. Years before that, everybody also had the
Schmidt trumpet. By the time I was in the orchestra, they
all referred to Bessons or the development of the Bessons
in the trumpet field-the old French Bessons. It is strange
also, conductors come in and they demand a certain thing
but if they hear of something that is exceptional, they’ll
change their concept as to what their players will give
them. There are very few conductors that will arbitrarily
feel, “Oh, this has to be this or nothing else-this has got
to be this quality of sound.” Well, when they have men
come along that make a sound that sounds, for a particu-
lar number, more heroic, more melodic, or in anyone of
those fields, they will usually listen to that and approve
of it. I have heard that in so many cases. I played with,
I would say, practically all the conductors of our time
except the very new ones and I found them to be very
receptive to new ideas. New ideas of sound, if it enhances
the music that they are playing. After all, if you were to
play Debussy like you would perform Wagner or Bruck-
ner, it just would not fit.
Lewis: Personally speaking, I have a number of antique cornets
and I have noticed one of the most obvious things is that
they all tend to be very small bore by our standards, in-
cluding the Holton-Herbert L. Clarke model. Was this
more or less the standard in the early years of the cen-
tury?
Schilke: Well, they wanted a darker sound. A darker sound is pro-
duced with a smaller bore horn and a larger bell. If they
go to too large of bore then the sound becomes too
bright, too edgy. That is a concept that very few people
understand. For instance, like rotary valve instruments-
they have quite small bores, but the bells are quite large,
so they tit in, for instance, a Brahms symphony. The
quality of tone fits in beautifully.
Lewis: Just having a larger bore horn will not necessarily make
the tone darker. The bell has to get larger, too.
Schilke: j In fact, it will be just exactly the opposite. It will make
the tone brighter and make an edgier sound, and if I was
a player today I would avoid it because it would be too
much work to produce the variety of sounds that is de-
manded. I know Mr. Herseth does it very well on the large
bore C trumpet that he uses but at the same time all of
the other instruments are much smaller bore and in some
cases the sound itself comes out very much bigger. For
instance, the horn that is used for the Haydn and the
Hummel were taken from concepts and ideas from the
instruments of Haydn’s time.
 Trumpet Modifications and Repair:
Valve Aligning
by Clifford Blackburn
Your comments and questions about mechanical or physical
characteristics of the trumpet are welcomed. Because of time
limitations, all letters cannot be answered personally, but all will be
read and those that apply to most players will be commented on in
this column.
Please send all correspondence directly to: Clifford Blackburn,
Blackburn’s Music Services, 2303 Bardstown Road, Louisville, KY
40205.
* * * of new valve stems had been installed and one piston had been re-
Valve aligning is something that most trumpet players have
heard of and many have tried. It is the process of precise placement
of the ports of the piston in relation to the ports in the wall of the
cylinder of a piston valve instrument.
The minimum valve aligning job consists of adjusting the up and
down positions of the valve piston by means of varying thicknesses
of shims, The shims can be cork, neoprene, felt, metal or other
materials. This method is simple and easy to understand. If the pis-
ton .does not travel -far enough on the down stroke to align the
I. ports, small shims are usually ljlaced.between the valve stem and the
t. .
~~lingkr button. This raises the finger button and effectively increases
the stroke to align the ports. If the down stroke is too long, shim
pads are placed under the finger button and thus shorten the
stroke. The same type of procedure is followed on the up stroke by
altering the thickness of the felt shim.
A better, though usually more expensive, method of aligning
valves is the process of machining the parts that need altering (i.e.,
finger buttons, valve stems, valve caps or spring chambers), and then
installing stock felts and bumpers that are supplied by the manu-
facturer or a dimensionally equivalent part. This way, if you are a
thousand miles away from your repairman and notice your felts are
worn or compressed, all that is needed is the installation of new
stock felts and you’re back in business.
A part of valve aligning that is often overlooked is the side to
side motion or rotary motion of the piston. This is controlled by the
valve guides and the spring chamber and must be considered in the
complete job. A piston can have perfect up and down alignment
and still be way off on the rotary alignment. Many times this is
caused by worn valve guides, but from my experience, I have found
that manufacturers’ error is usually responsible for this problem.
The spring chamber is the part of the piston that contains the
spring and has the slots in which the valve guide moves. This cham-
ber is soldered to the piston itself and must be very accurately posi-
tioned so that the ports are in line when the valve guide is engaged.
The cure for a misaligned spring chamber is to unsolder it, reposi-
tion it and then resolder it. Again, the philosophy of this repair is
that it is better to alter the permanent part so that stock replace-
ment parts can be used.
One problem that can occur with this procedure of spring cham-
ber adjustment sometimes happens with plated pistons. The plating
can chip or distort due to different expansion rates between it and
the base metal and necessitate the replating of the piston. This can
cause the cost of a valve alignment job to increase and it is a deci-
sion that you, the player, must make. Is perfection in valve align-
ment your goal? My advice is to work closely with your repairman
and stay in contact with him while the work is being done so you
won’t have any surprises.
A good valve alignment job can be of great benefit to the.player,
but like players, the job is only as good as the craftsman who does
10
it. No matter what method is used-measuring with micrometers or
using mirrors-the person using the tools, through his knowledge
and his skills, controls the finished product.
The benefits of aligning the valves on a trumpet are numerous
and can be general or very specific in improvement. Instruments
that play stuffy are many times improved by valve aligning. Re-
sponse is usually improved and the feeling of solidarity in the sound
and evenness of tone production are also some of the most common
improvements.
There are some instruments that cannot be helped by aligning
the valves because their valves cannot be aligned. These instruments
are usually ones of older vintage that have had pistons replaced. One
instance that I was faced with in my shop was a Bach trumpet made
in New York. On this instrument the original valve stems are longer
than the new ones and the pistons themselves are different. A set
placed with a current product. Even after correcting the valve stem
problem, the new valve ports just would not align with the cylinder
ports. What was the solution? The player sold the horn to a retired
person who “played for the fun of it” and bought another trumpet
for himself.
Intentional valve misalignment is something that is new to me.
I have not played a trumpet with this type of alignment, nor have I
seen the work done, so I cannot recommend or condemn it. It is,
however, an interesting concept which is unique enough to have
been patented. An abstract of the patent disclosure was sent to me
along with a small advertisement by Mr. Don Novy, 1234 S. Quince
Way, Denver, Colorado 80231. Since it happened to correspond
with the topic that I was working on at the time I decided to in-
clude it in this article.
Mr. Novy’s explanation of how it works is as follows: “By acous-
tic induction: Certain discontinuities of bore in a cylindrical acous-
tical system produce an inductance in series with the existing im-
pulses. The alignment of valve ports used produces a system of
elliptically constricted apertures and displacements of bore within
the valves section of the air column which forms an offset, sectioned
Bare . a secondary back-bore, as it were, which reflects acoustical-
ly between the mouthpiece and horn barrier of the bell in series
with the standing waves at all frequencies; thus producing a more
immediate response . . . resulting in better playable intonation and
centering of pitch.” This is, of course, an acoustic explanation and
rather technical. As I understand it, the process is to misalign the
valves so that they create a series of offsets of varying severity which
according to Mr. Novy acoustically improves the instrument.
My gut feeling about this process, which I must say is also held
by most trumpeters, technicians, and acousticians whom 1 ques-
tioned, is that it could possibly be beneficial for certain players with
certain instruments, but that for most players and most instruments
of current design the best results are obtained by the smoothest and
most unobstructed bore possible.
I in no way want to discount Mr. Navy’s process. I just cannot,
with my present knowledge and experience, understand how or why
it would work-but I also don’t understand how electricity works,
and it’s helping to write this article.
In addition to valve aligning I feel I must comment on what
seems to be a growing trend in the world of trumpeters-especially
among students. It is the idea that through modifications to the
instrument or through buying another instrument, or through get-
ting a new mouthpiece that one will find the pot of gold at the end
of the rainbow, or will have the range of Maynard Ferguson, or
sound like Adolph Herseth and on and on. No modification will do
any good until the instrument has been practiced enough for the
modification to be noticed. For the ultimate, equipment and player
should be matched. But there is no substitute for hard work and
diligent practice. Once this has been learned then is the time to start
tailoring your equipment for the way you play.
 Studying With Maurice Andre
By Stacy Blair

Mr. Andre is a marvelous instructor because he lets nothing play the passage this way:
slip by. He is an artist with the highest level of musicianship I have
ever seen. He can sing like a singer and play as smoothly as a violin-
ist. 1 believe that this is due to his recording experience and from
playing all the trumpet repertoire and many transcriptions. He has
recorded over 110 albums of which I have over 65. He will be
releasing the Arban 14 Characteristic Studies in a couple of years
so you can see he does most of the technical works as well as the
baroque, classical, romantic and contemporary works for trumpet.
Mr. Andre gave three master classes at the International Con- I must say that I learn my music from recordings and I have had the
tours in June, 1979, and he revealed some secrets that he and the advantage of listening to Andre’s smooth tonguing as well as that of
French players use. For instance, many trumpet players get dry other artists of our time. Andre suggests that we tape ourselves in
when performing because of stage fright and nervousness. The practice to catch these minor details of phrasing and so forth. This
type of teaching relates to my two former teachers, Bill Owens of
French players have a remedy for this. They rub a little lemon juice
Abilene, Texas, and Leon Rapier of the University of Louisville.
between their thumb and forefinger before they go on stage and
In the previous passage I did a little ornamentation from the
if they get a dry mouth so that their tonguing suffers, they will
written B-flat to the A which is like this:
rub this lemon juice in their mouth, moistening the mouth more
than it previously was. This aids them in continuing the piece they
were playing.
Andre has another secret that he uses on the Brandenburg Con-
certo No. 2. I have learned that he uses many alternate fingerings on
his Selmer B-flat piccolo, particularly with his fourth valve. On the Andre states that it is all right to add a few ornaments here and
Brandenburg, he pulls his fourth valve slide all the way out and in- there in the music as in the baroque era, but he limits the orna-
stead of playing the high concert g”’ first and second or third valve, mentations. He states that the trumpet has the ability to sustain
he plays it with the fourth valve. It is this passage: pitches while the harpsichord must use ornamentation to extend the
duration of its sound.
It used to be that American trumpet teachers were pleased with
just the notes but since more players can get the notes, the teachers
are concentrating on phrasing and articulation. For instance, if a
passage is written all tongued, Andrz suggests that you slur two and
Actually I use the third valve for this g”’ because it works fairly tongue six or tongue two and slur four.
well for my Selmer piccolo, but as always, it is up to the individual
and to the trumpet.
Another alternate lingering which Andre uses is the first line E-
flat. Instead of playing 2-3 he plays 14. Now let me explain this.
Instead of the regular fourth valve slide on his piccolo, he has placed
a first valve slide in the fourth valve position. So when you play
open to fourth valve, it lowers it a step instead of a fourth which the
normal fourth valve slide does. This works for many alternate linger-
ings. For example, the fourth line d he plays fourth valve instead of
In the Michael Haydn Concerto in D Major, which I will record
first valve which is normally flat. In the Telemann Concerto in D, he
in March, Andre emphasizes the breath control in the passage that
plays the final high f”’ fourth valve instead of first valve which puts
leads to the high written b”’ on the B-flat piccolo. He says the pas-
it surprisingly very well in tune and which for me with the Louisville
sage must be played in only one breath.
leadpipe it works very well.
Andre has also worked on the Arban studies and many Charlier
and Bousquet etudes, and he mentioned to me that he used to
practice the Arban Characteristic Studies eight hours a day when he
was attending the conservatory back in the 1930’s. He states that he
would spread the practice out during the day and, as my former
As I said before, Andre lets nothing slip by. There are a few teacher Bill Owens would recommend, we should rest as much as
passages that I have played the normal way and I play the first note we play. For example, if we play for twenty minutes we should rest
too short. I normally play a passage this way: fifteen to twenty minutes before we play again. Consequently, this
rest period during our practice would enable us to practice longer
and build our endurance.
I am also pleased that Andre advocates a lot of soft playing.
Normally we tend to play too loud all the time. The opening trill at
the beginning of the second movement of the Hummel Concerro
should be very soft and Andre also plays the second movement of
the Albinoni Concerto in D Minor very softly.
These are just a few things I have learned from Mr. Andr6 during
this year and consequently I have set very high goals for myself.
Andre suggests that I play the first note more legato. He emphasizes I will never cease to try to improve my playing ability as long as I
this legato tonguing, which is very good in my opinion. He would live.
11
 Why a Medical Column:
by Leon J. Whitsell, M.D.
In starting a medical column for ITG publications, two major
purposes may be served. First, the original publication or reprinting
of major research reports on anatomical, physiological, or pathologi-
cal factors in relationship to trumpet playing. Where this research is
highly technical, some abridgement, abstraction, or paraphrasing
into less technical language may be appropriate, possibly with addi-
tional editorial commentary. Second, selected questions on medical
topics of sufficient general interest may be directed to this column
for more-or-less technical review, discussion, or even advice. In both
cases, it is my intention to consult other medical and paramedical
experts, whenever necessary to insure the greatest possible accuracy
and practical value to ITG members.
Several significant original research reports have already ap-
peared as feature articles in previous ITG publications, such as
Dr. Keith Amstutz’s “A Videofluoroscopic Study of the Teeth
Aperture, Instrument Pivot, Tongue Arch and Their Influence on
Trumpet Performance,” and Dr. David Dibbell’s “The Incompetent
Palate: A Trumpeting Disaster.” Both of these were previously pre-
sented as original research at ITG annual meetings.
At last year’s Conference in Tempe, Arizona, Ray Crisara gave a
vividly detailed and highly personal description of his own encount-
er with Bell’s palsy and the course of his subsequent, fortunately
complete, recovery. At the same meeting Richard C. Giangiulio pre-
sented a review of The Role of Orthodontics in Correcting Certain
Embouchure Problems. The number and diversity of the questions
which followed these presentations suggested that a column in ITG
publications devoted to medical problems having a special effect
on trumpet playing might be of general interest.
Another detailed report, “EMG Potentials of the Sternocleido-
mastoid Muscle During Trumpet Performance,” by W. Alexander
Henderson, which discussed some research carried out on 18 parti-
cipants at the annual meeting in Tempe, has already been published
in the ITG Journal. Along these same lines it would be interesting to
make a simple correlation study of collar size, height, body weight
and age in a large group of trumpet players as compared with a
matched group of non-musicians from the general population. A
larger collar size in trumpet players would be predicted on the basis
of the specialized functions and expected physical development of
the sternocleidomastoid and other supportive and anchoring muscle
groups in the neck which contribute to trumpet performance.
Some of the topics with medical aspects which may be discussed
in future issues might include how to deal with stage fright, causes
and prevention of blackouts, the value of a daily exercise program
and practice routine, cold sores on the lips, playing while having
headaches, and/or high blood pressure, effects of medications and
other drugs on performance, etc. Recently, certain medical centers,
such as the St. Francis Memorial Hospital in San Francisco, have
developed specialized departments of “Sports Medicine.” It is my
intention that this column serve as a model for a future multi-
disciplinary subspecialty which may be known as “Music Medicine.”
The potential usefulness of such an approach is underscored by the
often misleading or even erroneous advice frequently given to
trumpet players by poorly informed physicians and dentists.
Certain general principles with medical/health aspects are well
known to top level trumpet players, and these have been stressed in
the writings of famous teachers. For example, Johann Altenburg
wrote in 1795 as the First item On the Requirements and Duties of
a Pupil: “Aside from obedience to his teacher, which I take for
granted, a pupil must: (1) possess a healthy body, a good chest and
lungs, a mouth suitable for a (trumpet) embouchure, firm teeth, and
an agile tongue” (pp. 114-115, English Translation by Edward H.
Tarr, The Brass Press, 1974).
12
A Prospectus
More recently Charles Colin in his book, The Brass Player (1972)
repeatedly stressed the need for attention to general health. For
example, he commented, “Since our body is the true instrument,
common sense dictates that it must never be abused, but rather
strengthened constantly through sound practice habits. Nature has
given us only one body and it is irreplaceable; we cannot substitute
parts. If we fail to take care of this true equipment, the best
teachers and the best equipment in the world will never help us
play.” (p. 34).
The absolute importance of a regular minimum in the mainten-
ance of basic skills has been more and more stressed in the develop-
ment and widespread use of such daily exercise programs as those of
Ernest Williams, Roger Voisin, and Max Schlossberg. In addition
to offering a diversified daily practice program, Louis Davidson
(Trumpet Techniques, 1970, 1974) has included discussions of such
problems as “good days” and “bad days,” dealing with nervousness
in performance, the value of “warmingdown” after a strenuous per-
formance, and the minimal time required for maintenance of skills
in daily practice sessions.
It is apparent from these few examples from the available trum-
pet literature that the top level performers and teachers have already
given much thought and attention to the critical need for a high
standard of mental and physical fitness in all players. It will be my
aim to develop a forum for the discussion of a variety of medical
topics having wide general interest for trumpeters, as well as arrang-
ing for the reprinting of suitable basic research studies, as indicated
above.
All readers of the ITG publications are urged to send questions
or detailed accounts of personal medical experiences which might
be a basis for discussion in future issues of the ITG Newsletter or
Journal.
References
Altenburg, Johann Ernst. Essay on an Introduction to the Heroic
and Musical Trumpeters’ and Kettledrummers’ Art, for the Sake
of a Wider Acceptance of the Same, Descn’bed Historically,
Theoretically, and Practically and Illustrated with Examples,
Halle, Joh. Christ. Hendel, 1795. Complete English Translation
by Edward H. Tarr. Nashville, Tenn. The Brass Press. 1974, xvii,
148 pp.
Amstutz, A. Keith. A Videofluoroscopic Study of the Teeth Aper-
ture, Instrument Pivot and Tongue Arch and Their Influence on
Trumpet Performance. ITG Journul Oct. 1977, p. 25.
Colin, Charles. The BrassPlayer (A Text). Including Vital Brass Notes
(A Text) and The Art of Trumpet Playing (A Text). N.Y.,
Charles Colin, 1972, 160 pp.
Davidson, Louis. Trumpet Techniques. Rochester, N.Y., Wind
Music, Inc., 1972,63 pp.
Dibbell, David G. The Incompetent Palate: A Trumpeting Disaster.
ITG Journal, Oct. 1977, p. 37.
Giangiulio, Richard C. The Role of Orthodontics in Correcting
Selected Embouchure Problems. ITG Journal, Oct. 1979, p. 20.
Henderson, W. Alexander. EMG Potentials of the Sternocleidomas-
toid Muscle During Trumpet Performance. ITG Journal, Oct.
1979, p. 30.
Schlossberg, Max. Daily Drills and Technical Studies for Trumpet.
N.Y., M. Baron Co., 1965,58 pp.
Voisin, Roger. Daily Exercises for Trumpet. N.Y., International
Music Co., 1963,9 pp.
Williams, Ernest S. l?te Secret of Technique-Preservation. N.Y.,
Charles Colin, 1946, 16 pp.
 Music Reviews
Norbert Carnovale, Michael Tunnell, Editors
The following is a list of music which has been received for
review. AU 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 qualification and area of
interest (baroque, jazz, contemporary, brass quintet, etc.). Review-
ers should be prepared to submit typescripts.
Music for review and correspondence should be sent directly to:
Dr. Norbert Carnovale, ITG Music Review, Music Department,
University of Southern Mississippi, P.O. Box 5081, Hattiesburg, MS
39401.
Music Received
Trumpet Solos and Ensembles
Archer, Violet. Little Suite. B-flat trumpet & piano. Leeds Music,
1979, $3.00.
Campbell, Thomas. Ragged Diversion No. I. B-flat trumpet & piano.
Kendor, 1979, $2.00.
Cohn, Allan. Contemporary Etudes. Treble clef instruments. Charles
Cohn, 1979, $3.95.
Corelh, Arcangelo-MarieClaire Alain, ed. Sonate en Lu Majeur.
B-flat or C trumpet & organ. Billaudot, 1978, $7.75.
Ellis, Frank N. Trumpet Trip. B-flat trumpet & piano. Kendor,
1979, $2.50.
Goedicke, Alexander-Stephen L. Clover, ed. Concert Etude, Op.
49. B-flat or C trumpet & piano. Brass Press, 1979, $2.50.
Mas, Jacques. Danses. B-flat or C trumpet & piano. Billaudot, 1979,
$3.50.
Pezel, J.C.-Edward H. Tarr, ed. Sonata No. 75. C Trumpet, Bas-
soon & Basso Continuo (Organ). (Edward H. Tarr Series: No. 19)
The Brass Press, 1980, $5 .OO.
Schuman, William. XXV Opera Snafches. B-flat trumpet unaccom-
panied. Merion, (Presser) 1979, $2.50.
Stahlberg, Heinz-Gunther Gursch, arr. Virginia-Blues. B-flat trum-
pet & orchestra. Monteferro-Verlag, 1977.
Uber, David. Petite Rhapsody for Trumpet. B-flat trumpet & piano.
Kendor, 1979, $3.75.
Wastall, Peter, ed. Baroque Music for Trumpet. B-flat or C trumpet
& accompaniment (organ, harpsichord, strings, oboes, or con-
tinuo). Boosey & Hawkes, 1979, $4.50.
Chamber Music
Gattermeyer, Heinrich. Tanze aus nnh und fern. Brass quintet.
Doblinger, 1979.
Handel, Georg Friedrich-Rolf Schweizer, arr. Musik FLir Blech-
blliser. Brass Ensemble & Timpani. Bsrenreiter, 1979, $10.00.
Methods and Studies
Hickman, David R. Music Speed Reoding for Melodic Instruments.
Wimbledon, 1979, $9.50.
Reviews
Marie-Claire Alain. Suite Facile. B-flat or C trumpet & organ. Billau-
dot, 1978, $7.75.
MarieClaire Alain’s Suite Facile is adapted from the music of
Frangois Campion. Eight short pieces are arranged for trumpet and
pipe organ in a manner which reminds one of the Heroic Music of
Telemann. Most of the pieces are in the key of D major but the
trumpet writing does include pitches which are not found in the
overtone series of the natural trumpet in D.
13
The technique and range demands made upon the trumpeter are
moderate. The keyboard realization is not difficult and would be
suitable for harpsichord. Suite Facile is a charming work which
would be ideal for recitals or religious functions.
Ample opportunity exists for ornamentation by the performers.
The use of the D trumpet is recommended with parts for trumpet in
C and B-flat included in the publication. (Ritchie Clendenin, Cali-
fornia State University, Fresno)
Andre Ameller. Arlequinade. Brass quintet. Leduc, 1977, $3.75.
Arleguinade consists of six stylistic miniatures. While less de-
manding than much recent French literature, enough subtleties are
present to arouse some interest in performance.
In the introductory movement, a quartet consisting of trumpets,
trombone, and tuba is utilized in a sensitive chorale statement. An
appropriately titled tune labeled “Gay” follows. Idiomatic writing
for each instrument is present here, with triple tonguing in the
trumpets, and downbeat accentuations for the tuba. The delicate
march effect is further enhanced by after beats in the horn and the
resulting “oom-pah” sound.
An interesting rhythmic effect is achieved in the fourth move-
ment, “Imprevu,” by the use of hemiola, while the addition of
Wa Wa muting in the trumpets and trombone creates new color.
The closing number in the quintet is a spritely march. and in this
writer’s opinion, the best of the bunch. Beginning with a subdued
ostinato in the tuba, the other voices enter until full climax of
volume and tonality are achieved.
As for technical demands in this work, few are apparent. The top
parts are scored for trumpet in C, with a solid c”’ required of the
first player. As is typical in French brass writing, the tuba line at
times lingers in an uncomfortably high range. While the part is
playable on tuba, some risk is present, and consequently, it seems
that a quintet featuring two trombones would be most appropriate.
Due to the brevity of each movement (ninety seconds being the
longest), thematic and tonal development is sufficiently limited to
make the piece inappropriate for recital use. However, Arlequinade
may be helpful when introducing this style to a young ensemble,
and when, as in children’s concert presentations, concise statements
in diverse styles are needed. (Gary Barrow, University of Southern
Colorado, Pueblo)
Bill Bay. Mel Buy’s Trumpef Method, Vols. 1 & 2. Mel Bay Publica-
tions, 1978, Vol. I-$2.00, Vol. II-$2.50.
These two volumes are this publisher’s version of the standard
beginner and intermediate method books. They are laid out in the
usual way, beginning with the notes g’ and c’ as whole and half
notes and progressing, by means of exercises, songs, and studies of
varying lengths, (usually a minimum of 4 to a maximum of 32
measures) so that by the end of Vol. I the student should be able to
negotiate two octaves (g to g”), seven major keys, and various
rhythmic difficulties involving, among other things, 6/8 time, six-
teenth notes, and eighth-note syncopation. Vol. II adds two more
major keys, all nine of the relative minor keys, lip flexibility studies,
finger dexterity studies, some very good long tone studies, and other
etudes and songs, again of progressive difficulty. The range is ex-
tended to b-flat”. These studies compare with others such as
Rubank and Universal; in fact, their more contemporary outlook,
especially in the syncopation sections, may make them slightly
superior. Vol. I is suitable for individual or class instruction; Vol. II
for individual instruction.
Both books contain some editorial lapses, the most obvious be-
ing in Vol. I where on page 20 we are introduced to b-flat and told
that we are in the key of “F (major is assumed), but find that the
only song used to illustrate this is not in “F but in the mixolydian
mode built on c; and where on page 26, intervals are misnamed:
the study labeled “Major Second” contains two different minor
seconds, the study labeled “Major Third” contains some minor
thirds, and the study labeled “Perfect Fourth” contains one aug-
mented fourth. These errors, and the few others that occur, are
minor and should in no way deter anyone from using the books.
A more serious deficiency, however, is one common to all the
beginning trumpet methods 1 am familiar with. This deficiency is
the inadequate thought and attention given to embouchure forma-
tion and development. On pages 2 and 3 of Vol. I is a series of
rather deceptive pictures demonstrating Mr. Bay’s ideas on how to
hold the instrument and how to form the embouchure. He charac-
terizes the horn angle demonstrated here (figures 3, 4 and 5) as
having a “slight downward slant” (emphasis his), however, the plane
of the bell is 3 to 5 inches lower (it seems to vary in each photo)
than the plane of the head. Such an angle is, in my opinion, to
undue pressure being put on the top lip, a condition which most
experts agree should be avoided. And the photographs demonstrat-
ing how to form the embouchure have deceived even the author.
The first photo (figure 6) shows the lower part of the face in a
relaxed position; the second (figure 7) shows the embouchure for-
mation. He states that in order to make the formation the corners
have been tucked in while the centers have remained relaxed. He
fails to state that the teeth have been opened and the jaw brought
forward. The next two photos (figures 8 and 9) show the embou-
chure first with a visualizer and then with the mouthpiece. In both
these pictures, the corners are slightly lower than the position
shown as the correct formation (figure 7), and in the photo with the
mouthpiece the jaw has obviously closed and receded. This can only
be most confusing to the student. Which photo should he emulate?
Indeed, should he precisely emulate any? And what should he do if
his jaw and teeth formations are drastically different from those
pictures?
The basic (though unstated) assumption in this method as in
other methods, is that within certain vague limits any embouchure
set-up that is “natural” can be made to work. This assumption is
unique to brass teaching. The woodwind teacher does not assume
that the student will “naturally” place the reed correctly on the
mouthpiece, the keyboard instructor does not take it for granted
that the student will “naturally” use his hands in the proper way;
certainly the string teacher doesn’t assume that the “natural” bow-
ing technique will suffice. In each of these cases certain mechanical
and/or muscular techniques and disciplines must be learned. The
same is true of brass playing. The jaw must be disciplined to hold
a certain position; the lips must be aligned properly and trained to
resist air. And the sooner these practices are begun, the better. The
first lesson, of course, is best. What we need at this point are not
more method books, even ones so otherwise commendable as these,
but an embouchure guide, well thought out, rational in its approach,
and suitable for beginners. (Bill Moriarty, Flushing, NY)
Bill Bay. Mel Bay’s Jazz Trumpet Studies. Mel Bay Publications,
1979, $4.95.
Bill Bay. Mel Bay’s Trumpet Improvising Workbook. Mel Bay Publi-
cations, 1979, $4.95.
Here are two quite good books designed for the secondary
school stage band trumpeter. The first volume covers, briefly but
thoroughly, most of the problems in phrasing, rhythm, and articula-
tion the student is likely to encounter in his stage band experience.
A wide variety of the stylistic idiosyncrisies of the genre at many
different tempi and in several meters are touched upon, using stu-
dies that are short (8 to 16 measures) and melodically not unin-
teresting. The section on rock rhythms is especially welcome and
well done, while the several exercises and studies designed to help
14
develop a controlled vibrato are among the most precise I have seen.
There are, also in .the first book, twenty or so studies covering the
special effects (lip trills, shakes, glisses, smears, etc.) required in
stage band performance; the diacritical markings used in this section
are those designated as standard by the National Association of
Jazz Educators. The range is what one might expect to find in a
typical stage band arrangement; c”’ and d”‘s are written, and the
final two pages of the trumpet studies consist of range studies
ascending tog”‘.
Approximately the last third of the studies and all of the work-
book will be of use primarily to those who wish to develop impro-
visation skills. Studies on all of the most commonly encountered
chords and their scales are included: the dominant seventh, minor
seventh, minor seventh flat five, diminished and augmented chords.
and scales, the blues scale, the most common modal scales, and the
most common minor scales used in jazz playing. There are also
sections on the blues form (several sets of blues changes are in-
cluded), on the various commonly used chord patterns for bridges,
and on so-called turn-arounds.
Considerable emphasis is placed upon ear-training with the
instrument, or “playing by ear.” This is done in a manner designed
to challenge but not to frustrate. (Learning to “play by ear” can, for
some, be a most discouraging process in its earlier stages.) A short
one or two-measure figure is written; the student is told to play this,
then to play the figure “by ear” in the other eleven keys, the key
signatures of which are written out in the order of the cycle of
fourths. He may then be required to improvise, using the newly
learned material, on a longer given chord sequence, or to create his
own similar short motifs and reproduce them in the other keys.
A great portion of the workbook follows this excellent pattern.
The one major deficiency in both books is the almost total dis-
regard of the source music. These exercises and studies, as useful
as they are, should in no way be thought of as a substitute for the
music of Parker, Young, Gillespie, Armstrong, Brown, Coltrane,
etc., for it is only through highly analytical listening to the vital
recordings of these musicians that the young trumpeter can come to
some understanding of what jazz performance is all about. Mr. Bay’s
very orderly presentation could have provided an ideal guide to such
listening, for, as each new element was introduced, suitable record-
ings could have been suggested, with a more comprehensive list of
recordings at the end of each section. It should not be assumed that
music educators will be sufficiently informed in this field to provide
the necessary guidance.
Even with this rather serious omission, however, these books
contain so much material, suitable for use by high school students
and in an easy-to-grasp form, that I do not hesitate to recommend
them. (Bill Moriarity, Flushing, NY)
Bernard Fitzgerald. Gaelic Suite. B-flat trumpet and piano. Theo-
dore Presser, 1979, $4.95.
The Gaelic Suite is a three-movement piece. The first movement
is entitled “Procession” and, as could be expected, is march-like.
The middle section of the movement is marked sostenuto and pro-
vides a nice contrast to the beginning and ending sections.
The second movement, in simple ABA form, is marked andante
and is the strongest musically of the three movements. The use of
the straight mute in the middle section is questionable, and in this
reviewer’s opinion is not necessary.
The third movement, “Gigue, ” is in 6/8 and is technically the
most difficult of the three movements. There is a “dead” spot in
measures 72 and 73 where the trumpet and piano seem to stop
moving for no apparent reason.
This work is not too difficult, but care should be used when re-
commending it to a young student. Although the range is moderate,
a fair amount of endurance is needed. The second movement re-
quires control, and the young student will need to have developed a
certain amount of finger dexterity to play the third movement.
The piano accompaniment is fairly easy, and the music is clear
and well-marked. As far as this reviewer could tell, the score con-
tains no mistakes.
In the past Bernard Fitzgerald has given us some fine transcrip-
tions that have become standard pieces of literature for the young
trumpet player. His original compositions have not been of the same
caliber, however, but usually serve as good training pieces. Gaelic
Suite would seem to fit into this latter category. Range: d’ to a”.
(David G. Ritter, West Texas State University, Canyon)
Hans Leo Hassler-Bernard Fitzgerald, ed. Suite. Brass quintet.
Theodore Presser, 1979, Score and parts-$8.00.
Paul Peuerl-Bernard Fitzgerald, ed. Suite. Brass quintet. Theodore
Presser, 1979, Score and parts+$8.00.
Bernard Fitzgerald, a leading educator, composer and arranger,
has transcribed two suites for brass quintet from secular vocal music
of two seventeenth-century composers, Hans Leo Hassler (1564-
1612) and Paul Peuerl (c. 1570-c. 1624). Like many other endeavors
by Fitzgerald, these suites are prepared primarily for performances
by high school students. The editor has succeeded in choosing music
that is both suitable and appealing to young brass players. The indi-
vidual movements contain few technical problems and a pre-
dominating homophonic texture. Range is conservative. This musi-
cal style is especially appropriate for it provides the kind of musical
experience in which performers can concentrate on the development
of important ensemble concepts such as tonal blend, balance and
individual intonation. Performances of either suite are suitable for
many occasions including community events, church services or
solo-ensemble festivals.
In addition, these suites provide an excellent representation of a
musical style which is not always evident in the experience of young
brass players. In these vocal adaptations the editor has added dyna-
mic marks, slurs and expressive terms which help to ensure correct
stylistic interpretation. Fitzgerald also provides information in the
preface of the score concerning locating the original music. The
reader is encouraged to consult the original manuscript to discover
where editorial marks have been added and especially to view the
relationship between text and music. It must be noted that one edi-
torial omission is evident in the third movement of the Suite by
Peuerl which may cause difficulties for the performers. A tempo
designation of half note equals 88 is given for the entire movement.
While this may be correct for the section in duple meter, the final
division in triple time would be too slow if this tempo marking is
followed. Evaluation of the text and meter of the original copy
reveals a proportional relationship in which a half note of the sec-
tion in duple meter is equal to a dotted whole-note in the section in
triple meter. Therefore, the following designation should be placed
above bar thirty-four in the score and in the player’s parts: half
note equals dotted whole note. (Ronald J. Toering, Luther College,
Decorah, Iowa)
Modest Mussorgsky-Elgar Howarth, arr. Pictures at an Exhibition.
Brass ensemble. Chester (Magnamusic-Baton) 1979, $18.00.
Elgar Howarth, arranger, composer, and trumpeter with the
Philip Jones Brass Ensemble, has arranged Mussorgsky’s Pictures at
an Exhibition for large brass ensemble. It is one of the Just Brass
publications, directed by Philip Jones and Elgar Howarth, available
through Chester Music. The sole U.S. agent is Magnamusic-Baton,
Inc. of St. Louis, MO. Full score and parts are available on hire from
the publishers. The work has been recorded by the Philip Jones
Brass Ensemble on Argo ZRG 885.
The work is scored in C, and for the following instruments: 1
piccolo B-flat trumpet, 1 E-flat trumpet, 3 C trumpets, 1 flugel-
horn, 4 horns, 3 trombones, 3 tubas, and assorted percussion.
Straight mutes are required for all trumpets and flugelhorn, and
mutes for horns and first trombone are needed as well.
15
The five promenades, as indicated by Mr. Howarth. were the first
to be scored. The first begins with solo flugelhorn, establishing a
more mellow character than one is accustomed to hearing. However.
the movement proceeds in the rather traditional brass chordle style.
The arranger includes explicit directions on balance, articulation,
and blend throughout not only this promenade, but the entire work
as well. The third and fifth promenades are approached in much the
same style as the first, which is typically full. rich. and chordal in
structure. The second and fourth. however, present difficult control
and balance problems. The very delicate. piano sections scored for
the B-flat piccolo, E-flat, and C trumpet, will prove problematic not
only in blending, but also particularly with regard to intonation.
The “Tuilerie Gardens” presents the most difficult technical
passages thus far in the work. Beginning with a delicate articulated
E-flat trumpet solo, this 16th note figure is dovetailed between high
trumpets, horns, euphonium, and flugelhorn. The rather quick tem-
po and off-set entrances create difficult ensemble maneuvers. The
B-flat piccolo is required to make high Cf-sllarp”‘), quick entrances
following periods of rest, adding to the problematic sections.
“The Ballet of the Chicks in their Shells” will prove to be the
most technically challenging of all the movements. Scored for
trumpet trio at first (B-flat piccolo. E-flat, and C trumpet), the tem-
po viva, in addition to the multitude of grace notes. will require
attention by the most advanced players. The control necessary to
perform the tremolos and trills in the trio section will also prove
quite demanding. A similar tremolo section is found in “With the
Dead in a Language Dead.”
The sixteenth triplet figures in the Andante moss0 section of
“Baba Yaga,” are distributed throughout the score, requiring metri-
cally precise performance. Wide interval leaps in the high trumpets,
tremolo and flutter tonguing for horns. and double tonguing for
most instruments are other technical considerations. The-alternating
of two sixteenths followed by an eighth, and an eighth followed by
two sixteenths is an awkward figure in the horns and trombones.
The scoring for “The Great Gate of Kiev” is, as one would
expect, full, forte, and quite exciting. The B-flat piccolo, as in pre-
vious movements, is frequently given isolated fragments of support-
ing melody, making such entrances difficult. The fast sixteenth runs
present the most challenging technical and ensemble problem of the
movement.
In movements such as “The Old Castle” and “The Great Gate of
Kiev,” Mr. Howarth has shown unusual, interesting, and effective
methods of expression. However, the most delicate of passages, as
in the second and fourth promenades, and the string-like tremolos
in “The Ballet of the Chicks,” present demanding technical and
musical dilemmas. Not only will performers be musically taxed, but
physical endurance will be a major factor. A successful performance
of this work will require dedicated rehearsal. excellent technical
control, and indepth understanding of its many musical intricacies.
It is recommended for only the most advanced brass ensembles.
(Rick Chapman, Baylor University, Waco, TX)
J. Pierpont-David Baldwin, arr. ‘Twas the Brass Before Christmas-
Garland 5 (Jingle Bells). Brass quintet. G. Schirmer, 1978,
$7.50.
David Baldwin’s arrangement of Jingle Bells is one of a series of
Christmas carols published by G. Schirmer entitled ‘Twas fhe Brass
Before Christmas. The series includes duet, trio, and quintet arrange-
ments of traditional carols by Mr. BaIdwi,n, who is a member of the
music faculty at the University of Minnesota.
This version of Jingle Bells is for brass quintet with the optional
use of piccolo trumpets in the final ten measures. The treatment of
the carol is unusual with a musical quotation from Brahm’s First
Symphony found in the middle of the piece. The carol melody is
manipulated by Mr. Baldwin to display his compositional expertise
and knowledge of the brass instruments. A rousing ending featur-
ing the piccolo trumpets is a highlight of the work. The humorous
qualities of Baldwin’s Jingle Bells remind one of Andrew Kazdin’s
excellent arrangement for brass sextet of 7%e Twelve Duys of Christ-
mas
Mr. Baldwin’s quintet arrangement is moderately difficult and
would be an excellent choice as an encore selection for programs
presented during the Christmas holiday season. (Ritchie Clendenin,
California State University, Fresno)
Ernest Sachse-Franz Herb& ed. One Hundred Studies. G. Schirmer,
$4.00.
Certainly a standard in the study of transposition for trumpet
teachers and students alike is the One Hundred Studies by Ernest
Sachse. The method consists of a series of rather short exercises,
which are etude-like in nature, as they tend to repeat the same rhyth-
mic or melodic idea within each exercise. Alternation of lyric and
articulated styles occurs throughout the study.
Beginning with exercises based on scales in rather simple rhyth-
mic patterns and keys, the player is asked to transpose the particular
exercise into a number of typical trumpet transpositions (C, D, E-
flat, F), with an occasional D-flat or G-alto included. Frequently, a
variety of articulations is noted for each exercise. Mr. Sachse
chooses to base a great majority of these exercises on arpeggiated
figures, with additional emphasis placed on wide intervallic leaps.
Such methods, coupled with a variety of rhythmic ideas, are espe-
cially helpful in learning transposition.
In playing the first few studies of this book, one will notice the
maintenance of a single key center, with slight variances. However,
key areas become much more removed in later studies, changing
rapidly from one area to another, and creating difficult transposing
maneuvers. The studies are, with few exceptions, graduated in terms
of degree of difficulty. Though no metronomic markings are given,
a majority of studies are to be played with quick tempos (Allegro,
Presto), giving ample opportunity for multiple tonguing. The use of
ledger lines below the staff, in certain examples, further complicates
the study.
Sachse’s One Hundred Studies is not an interesting book from
which to play or teach. The beauty of the study lies in its efficiency.
The exercises are straightforward, well written, and are excellent in
presenting demanding transposition studies. It is strongly recom-
mended for college level students, and makes an outstanding supple-
mental study for anyone frequently employing transposition. The
range of this study, for C trumpet, and for the final transposed pitch,
is e to d”‘. (Rick Chapman, Baylor University, Waco, TX)
Heinrich Schlitz-Bernard Fitzgerald, arr. Motet (Es 1st erfichienen
[sic]). Brass quintet. Theodore Presser, 1979, $5.95.
Orazio Vecchi-Bernard Fitzgerald, arr. Madrigal (E tra Verdi arbu-
scelli) Brass quintet. Theodore Presser, 1979, $4.95.
These two five-part vocal works have been arranged for the
standard brass quintet of two B-flat trumpets, horn, trombone, and
tuba. They are printed separately, each with a score (using written
rather than sounding pitches for the horn and trumpet parts) and a
set of parts. Both pieces are quite simple and are apparently aimed
at high school level groups. Estimated durations are indicated on the
scores as two minutes, forty seconds for the Vecchi Madrigal and
three minutes, 15 seconds for the somewhat faster-moving Schiitz
Motet. The parts for the motet are printed on both sides of a single
sheet, requiring a turn. Those for the madrigal fit onto one side of a
single page.
The “Editor’s Note” for each piece is far too general and too
abbreviated to satisfy this reviewer, especially when, brief as it is,
it contains the wrong or incomplete information! For example:
“Es ist erfschienen [sic] is from Symphoniae Sacrae, Part I which
consists of twenty settings of Latin texts, . . .” Immediately, one
wonders how the German title can be categorized as Latin! The
16
source, in fact, is not Symphoniae Sacrae but Geistliche Chor-music
mit 5. 6. und 7 Stimmen . . . published in partbooks as opus 11 in
Dresden in 1648! Two modern editions of this collection of 29
motets exist: Heinrich Schiitz-Complete Works, Vol. 8, ed. Philipp
Spitta, Breitkopf & Htitel; 1889 (reprinted 1971); and New Edition
Complete Works, Vol. 5 (International Heinrich Schiitz Society),
ed. W. Kamlah, BLenreiter, 1965. Apparently Fitzgerald used both
modern editions. In both, as in the original, Es ist erschienen die
heilsame Gnade Gottes appears as the third motet of the set and is
intended for performance on Christmas Day. Spitta prints the
SSATB score in the original clefs, with a figured Bussus Generalis
line below the voice parts. In the Kamlah edition, the upper three
parts are notated in treble clef and the tenor part in modern tenor
clef (octave below treble). The motet has also been transposed up
one step, with a new key signature of one sharp, making it an easy
task to transcribe B-flat trumpet parts from this edition. This edi-
tion also employs the old German type in the text throughout, and
Fitzgerald obviously mistook the German s for an fin transcribing
the title!
Schiitz’s music itself has undergone some strange transforma-
tions to become the arrangement for brass quintet. The bass voice
part has been dropped an octave in most passages to accommodate
the tuba. This is understandable, though it leaves the spacing very
wide in places. Occasionally single notes will keep their original posi-
tion on the staff, thereby spoiling the contrary motion intended by
the composer (e.g., bars 90-91). Also, and without justification, the
trombone will take over some of the bass parts, creating some clum-
siness in its own rendition of the tenor part and making it tricky for
the tuba to re-enter (e.g., meas. 27-31, 98-100). From two equal
soprano parts, Fitzgerald seemed bent on distinguishing between
first and second trumpet by switching given parts in such a way as
to frequently destroy the composer’s intent (e.g., meas. 39-52,
60-65)! A chance to create the equal trumpet parts often sought in
brass quintet music was therefore botched by over-arranging. Slur
marks supplied by the arranger generally have no relationship to
declamation in the original (e.g., the opening motive slurs the two
quarter notes originally sung as ist and er-), but perhaps text was not
important in a motet. It is therefore incongruous to find two quar-
ters tied across the barline in Tpt. 2 (meas. 55-56) because the ori-
ginal had a half note on one word while the first trumpeter rearti-
culates his two quarter note c’s (separate syllables in the original).
This sudden fidelity to the original now looks like a mistake, as
though either the tie should be removed from Tpt. 2 or added to
Tpt. 1. Still on the subject pf textual underlay, some lovely effects
are missed because Fitzgerald “simplified” repeated eighth-note
figures, originally necessitated by the declamation, to single quarter
notes (e.g., meas. 4-5, 12-14, 73-75). The rhythm of measure 86,
Tpt. 2, is a mistake (should be two half notes tied independently to
the previous and succeeding bars).
The Vecchi Madrigal suffers many of the same ailments. The
three-sentence “Editor’s Note” at least gives the correct modern
source (more completely, it is: Torchi, Luigi, ed. L’Arta Musicale in
Italia, Vol. II, Ricordi, 1897, pp. 247-252), a collection of late
16th-century vocal works by such composers as Marenzio, Gastoldi,
and the GabrieUis. The Torchi edition prints the canto and quint0
parts in treble clef, the alto in mezzo soprano clef, the tenore in alto
clef, and the basso in tenor clef, so the original tessitura is quite
high. This makes the octave transposition of the bass line for tuba
even more obvious. Fitzgerald transposed the entire madrigal down
a whole step, using the top two parts, as written, for his B-flat trum-
pet parts. Again, he interchanged the original top parts frequently to
keep the second trumpet part lower than the first at all costs. The
same lack of concern for the text is evident here as well with in-
appropriate slurring. Measure 69 contains a harmonic error in the
arrangement: the second beat should be an F major chord, not d
minor, with written d” and g” respectively in the trumpets, and c
 and fin the trombone and tuba parts. The first beat should also be
a rest for all but Tpt. 1. To detail these “corrections” should have
been the editor’s job, not the reviewer’s! Indeed, to list all the
unnecessary changes Fitzgerald made would likely take as much
paper as each entire score. The question is not so much what?, but
why? He could have been much more faithful to the original sources
and thereby musically improved the product for his intended pur-
pose!
These two brass quintets exhibit the symptoms of so many of
the editions, transcriptions, and arrangements published today for
trumpet and brass. While we can be indebted to Mr. Fitzgerald, and
several others like him, for bringing to our attention some worth-
while early music through such methods, we ought to be disappoint-
ed by their lack of respect for the intent of the original composer,
and certainly by fundamental errors. He and others have been guilty
of perpetrating a faulty concept of early performance practice to
name one by-product of poor editing or arranging. And failing to
properly credit the source or to explain, even in a general way,
what changes were made, displays a laziness or carelessness that is
inexcusable to this reviewer. When I believe that I have spent more
time, energy, and careful consideration writing a review than the
editor. has spent in providing the arrangement in the first place, I
am justified in feeling cheated! Whether or not Mr. Fitzgerald
actually did the arranging himself, he (along with his publisher)
must take responsibility for the product. Three or four centuries
from now, when Mr. Fitzgerald’s Trumpet Concerto is unearthed
and transcribed for 3 bellophones, harpola, and knzoon, I hope
that he would be happy with the result, were he to hear it!
Now back to general observations. The reviewer would possibly
employ both arrangements with his university or professional
quintets as warm-up pieces to establish intonation, blend, and
balance. In programming, they would perhaps be more suitable for
church services than for the concert stage. The technique demanded
suggests use by high school level groups, and the pieces could cer-
tainly be helpful to train younger players to listen for pitch and
tone quality, to observe contrapuntal interaction of the parts (that
which has not been tampered with, at least!), to grasp style, and to
achieve unified phrasing. A word of warning about the Vecchi
Madrigal in such use, however: the horn part has a high tessitura as
it rises frequently to writtenf’ with several extended passages above
c”. In this piece, it would have been useful if the flip side of the
horn part had been printed with the part transposed for a third
trumpet in B-flat though principally in F major, Fitzgerald has
scored this with two flats. Written ranges for each part are: trumpet
I, g’ - u”; trumpet II, d’ - g”; horn, c’ - f ‘; trombone, e - f; tuba,
C - g. A passage for second trumpet and horn (bars 11-13) is indica-
tive of the opportunities to check pitch and balance, providing as it
does a lovely chain of extremely audible difference tones.
Harmonically more interesting, the Schiitz Motet on the other
hand is scored with one too few flats by modern standards, as the
work employs mostly g minor and B-flat major tonalities. (For each
piece, Fitzgerald merely copied, or transposed from, the original
modal signatures, duplicating necessary accidentals.) Perhaps a bit
more comfortable for high school students, ranges for the Schlitz
Motet are: both trumpets c’ - g”; horn, b-flat - d”; trombone, A . f;
tuba, C - f. There is a rather sudden cross-relation between the
trumpet parts in bar 93, which seems to work either way @“-sharp,
or c-nutural as printed in trumpet I).
Both publications are on middle-weight paper that would permit
a distracting double image on the Motet for players using wire
stands where light might come from behind. The review copy of the
score to the Schiitz was somewhat smeared and had apparent ink
spots, streaks, and finger prints. This reviewer would not pay more
than $2.50 for either piece although suggested list prices marked
inconspicuously on the lower left-hand corners of the back covers
17
double this figure at least. (Henry Meredith, University of Western
Ontario, London, Canada)
G.P. Telemann-Jean Thilde, ed. Concerto en Re No. 2 pour rrom-
pette et orchestre. B-flat trumpet & piano. Billaudot (Theo-
dore Presser), 1978, $7.25.
This concerto, though stylistically very light, provides a level of
difficulty typical of the “Collection Maurice Andre”; that is, this
arrangement is obviously intended for the player who knows his
way around the piccolo trumpet.
Some of the passages of the outer movements require a great
deal of lip and finger agility while the second demands that the
performer sustain very long, beautiful phrases. Range goes no
higher than written en’.
In my opinion, the value of these editions to trumpeters could
be greatly enhanced if the publisher would only provide musical/
historical text and original, unornamented versions for study with
each of their publications.
Although the music and tine transcribing make an attractive
edition, it contains little that could justify performing it in lieu
of one of the standard trumpet works of the period or other
transcriptions in this series. (Wayne A. Baughman, Mexico City
UNAM Philharmonic and National Conservatory, Mexico)
G.P. Telemann-Jean ThiIde, ed. Concert en Re. 3 B-flat trumpets,
3 trombones, and tuba. Billaudot (Theodore Presser), 1977,
$15.75.
This three movement brass piece is a very well done transcription
of good music. The first movement sets virtuoso trumpets against a
comparatively simple trombone/tuba accompaniment, the second is
an aria for the solo trumpet, and the third pits the trumpets against
the low brass in brilliant, imitative style.
The first trumpet part is very demanding in tessitura and endur-
ance and would best be performed on something other than the
B-flat or C trumpet. The second and third trumpet lines are demand-
ing also, but more because of some awkward interval work. The low
brass are generally relegated to simple, chordal accompaniment in
the first and second movements, though in the third the musical and
technical demands are almost equal with those of the trumpets.
This publication has two apparent deficiencies which detract
substantially from its overall usefulness. First of all, public perform-
ance is discouraged because the publisher has not provided the
necessary musical and historical information essential for an intelli-
gent interpretation. I find this a particularly annoying omission that
is all too common with reorchestrations in general and Billaudot edi-
tions in particular. For example, this score’s indications demand a
very brilliant, idiomatic brass style, while the nature of the musical
lines suggest that the work was originally scored for string ensemble.
If this were known to be the case, some performers might take issue
with the style dictated by Mr. Thilde (though in all fairness, it
sounds convincing when played as indicated).
Secondly, this arrangement is limited with regard to its pedago-
gical usefulness at the colIege level. It is not a piece that would hold
the interest of four good low brass players because their parts are
not as interesting nor as challenging as those of the trumpets. With
a large ensemble the arrangement would not work because doubling
the trumpet parts would not sound clean due to the difficult inter-
val work.
One possible use for this piece would be as the final work on an
individual or group recital at the college or professional level. It
would be (at $15.75) only a fair addition to an already complete
brass music collection, though I feel that a version for three trum-
pets and organ would work much better. (Wayne A. Baughman,
Mexico City UNAM Philharmonic and National Conservatory,
Mexico)
 Book Reviews
Kim Dunnick, Editor
All books received will be listed in the Newslefter. Books will be
selected from the Books Received list for feature reviews. All ITG
members are 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, Cookeville, Tennes-
see.
Books Received
Sherman, Roger.’ The Trumpeter’s Handbook. Accura Music, 1979,
$24.95.
Young, Gene. Embouchure Enlightenment. Tromba Publications,
1977, $7.00.
Book Reviews
Robert E. Eliason. Early American Brass Makers. (Brass Research
Series: No. 10, Stephen L. Glover, Editor). Nashville, Ten-
nessee: The Brass Press, 1979. Softbound. ($6.00)
Authored by one of the featured lecturers at our upcoming 1980
ITG Conference, this 56-page reference book provides interesting
information both for the brass instrument collector and for anyone
who seeks more knowledge of the mechanical development of our
present-day brass instruments. Few would realize that during the
last century the United States could boast a flourishing musical
instrument industry, many of whose manufacturers contributed sig-
nificantly to the design and efficiency of brass instruments.
Dr. Eliason is certainly wellqualified to cover the subject. An
active brass performer (tuba, ophicleide), he is curator of musical
instruments at the Henry Ford Museum in Dearborn, Michigan, an
institution which specializes in “Americana.” (He even bears a
striking resemblance to Abe Lincoln, which complements his period
image when the occasion arises). Among his numerous other publi-
cations on the topic are: Keyed Bugles in the United States (1972),
a booklet put out by the Smithsonian Institution and resulting from
his postdoctoral fellowship there in 1970-71; The D.S. Pillsbury
Collection of Brass Instruments (1972), a descriptive catalogue of
many of the instruments on display at the Henry Ford Museum;
“The Road from Dash to Bach: Landmarks of Brass Instrument
Making in the United States” (Selmer Bandwagon, No. 69); Graves
& Company: Musical Instrument Makers (Dearborn, Michigan: The
Edison Institute, 1975); and “Brasses with Both Keys and Valves”
(Journal of the American Musical Instrument Society, Vol. II, 1976,
pp. 69-85).
The present softbound book, measuring 8% x 11 inches, is at-
tractively designed and replete with illustrations, mostly photo-
graphs of extant examples of instruments, but also facsimiles of
lgth-century prints, music, title pages, programs, ads, letters, bills,
patents, and catalogues. Of the five American makers who Eliason
feels made the greatest impact in the period roughly from 1840 to
1875, Samuel Graves (1794-l 878) is omitted because of the above-
mentioned separate book dealing with Graves and Company. The
other four makers are presented chronologically according to the
approximate dates that they entered into brass instrument manu-
facturing. An Appendix lists all known instruments by these four
makers, photos of many of which appear with the text.
Also a musician, composer, jeweler, and violin maker, Thomas D.
Paine (1812-1895) probably started making brass instruments be-
fore 1840, influehced by the suddenly popular brass band move-
ment. Paine made the most lasting improvement of the makers dis-
18
cussed with his invention of string linkage for rotary valves, still
used on French horns today. Though the first patent (No. 12,628)
was granted to someone else in 1855, and Dodworth claimed the
invention of string linkage in his Brass Band School (1853), instru-
ments by Paine show both prototypical and fullydeveloped applica-
tions of this idea as early as 1847. In 1848, Paine patented (No.
5919) a unique rotary valve which, by means of a central windway,
required only a 45degree turn instead of the usual 90degree turn.
Thomas Paine apparently returned to full-time watchmaking around
1855 when other makers exceeded the quality of his brass instru-
ments, but he soon turned to violin making as well.
J. Lathrop Allen (1815-c. 1905?) set up shop as a musical instru-
ment maker in Sturbridge, Massachusetts about 1838. He moved to
Boston in 1842, and to Norwich, Connecticut in 1845, returning to
Boston in 1852, following his invention of the Allen rotary valve.
This valve was longer, but much smaller in diameter, due to an ob-
long chamber connecting flattened windways of the valve tubing.
Despite the distortion of the tube shape and bore within the valves,
Allen valves possessed the advantages of short action and quiet
operation and thereby retained their initial success for several years.
They were frequently copied by other manufacturers. Allen moved
again to New York after the Civil War and worked there until 1872.
E. G. Wright (1811-1871) was a master craftsman of the keyed
bugle and made nine of the ten signed American presentation instru-
ments known. He began building brass instruments in the late
1830’s and experimented with combining valves and keys. An in-
teresting example survives in the Henry Ford Museum-an E-flat
overshoulder bugle with three rotary valves and five keys whose
holes correspond to positions of keys 8-12 on American 12key
bugles.
The longest section of the book deals with Isaac Fiske (1820-
1894), famous for his experiments to eliminate restrictions in the
bore and to produce a quicker valve action. A musical instrument
maker in Worchester, Massachusetts from 1842 until he sold his busi-
ness to C.G. Conn in 1887, Fiske secured the services of Matthew
Arbuckel as leader and soloist of Fiske’s Cornet Band for three
years (1857-1860), enough time to bring national attention to his
instruments.
Of particular interest to this reviewer was the description of
Fiske’s patent (No. 59204, issued October 30, 1866) to protect,
among other improvements, his roddriven rotary valves. Advantages
included shorter, more direct, and vertical motion. Eliason points
out that Joseph Higham of Manchester, England had patented a
similar arrangement nine years earlier (British patent 123, June 19,
1857) and reproduces the drawings for that patent. This reviewer
owns an instrument, however, which dates a full seven years earlier
than the Higham patent but has a design very similar to the Higham
diagram. It is a pistondriven rotary valve cornet by Robinson &
Bussell of Dublin, c. 1850. Four photographs of the instrument
accompany this review for benefit of purchasers of the book and of
others interested in early valve mechanisms. Lyndesay Langwill’s
Index of Musical Wind Instrument Makers (1977, p. 148) gives
1843-1852 as the dates for Robinson & Bussell. and quotes an ad-
vertisement in Musical Times, 1850 of a Patent Serpentine Valve
Cornopean by the firm. Succeeding from 1853 was “Professor
Henry Bussell, Professor of Music, Music Publisher and Pianoforte
Warerooms.” Predecessors were Robinson, BusseU & Robinson
(1836-1843), who also published sheet music such as “ ‘Tis the Last
Rose of Summer” which can be seen in Photo C.
A close look at the inscription on the bell of the Robinson &
BusseU cornet (see detail, Photo D) reveals that an owner’s initials,
JDG (?), have been engraved on top of the original words, some of
 (A) Left- and (B) right-hand vfews of comet by Robinson CcBussell,
Dublin, c. 1850. (C) Shown with sheet music to “ 7% the Lust Rae
of Summer” published by Robinsoq Bussell & Robinson, c. 1836.
1843. (D) Detm’l of the bell. Note how, beneuth the superimposed
initials, fragments of the originally inscribed “SERPENTINE)

I CORNO. ” are visible. (Inrtmment and music from the Henry Mere:
dith collection. Photos by Harold Fiske.)
19
the letters of which are clear enough to ascertain that it once said
“SERPENTINE/CORNO:‘, corroborating the 1850 ad. Certainly
the instrument’s tubing travels a snakelike path. Fiske’s own ads
claimed his arrangement’s “improvement consists in the wind pas-
sage: The wind continues in one direct course and is not reversed,
which makes a great difference in the quality of tone and the ease
with which it is produced,” but this is so only with the E-flat cornet
in open position. With all three valves depressed, the air would pass
through at least seven major bends of tubing, while on both the
Higham and the Robinson & Bussell cornets there is a minimum/
maximum of six bends. It would seem that the earlier instruments
succeeded in maintaining a consistency in the number of turns,
“thus rendering the valve tones as pure as the open or natural tones”
(as was said of one of Fiske’s cornets). The Irish cornet is perhaps
even better designed than the Higham, with one less sharp turn,
three (valve slides only) rather than four. It also possesses an inter-
esting feature which permits the interchange of the first two valve
slides, should the player prefer the system of 1st valve/half-step,
2nd valve/whole-step (our present system was not yet standard). It
stands in modern C as pictured (original crooks and mouthpiece
missing), but the valve slide lengths demand a crook at least to
modern B-flat (high pitch A) for proper intonation. As Eliason con-
jectures, Fiske’s use of string linkage was more practical than the
mechanical means of the Manchester and Dublin models. Side pres-
sure on the bottom of the rod has taken its toll on the third piston
of my Robinson & Bussell cornet. The shaft has broken off just
above the pivot joint where it was attached to the rotor. All the
same, it is interesting to see who indeed invented what, and to com-
pare relative merits of various design features.
This is precisely the value of Eliason’s book. It collates existing
data and pleads for such comparisons and filling in of gaps. Indeed,
Robert Eliason would be delighted to hear from anyone who might
find another presentation keyed bugle, or an earlier example of
string linkage, or whatever. Like Lyndesay Langwill’s Index, this
project could blossom into quite an undertaking as more informa-
tion about American makers comes to light. But if an expanded
second edition were to be published, we must buy up existing
copies of the first. (On the other hand, I hesitate to inspire too
much interest in this field: although my own collection numbers
over 300 instruments, it contains as yet no instruments by Paine,
Allen, Wright, or Fiske.) Dr. Eliason’s book should be on the shelf
of every collector, and it certainly can be useful to brass teachers
who want a more complete knowledge of the evolution of modern
brass instruments. Early American Brass Makers would even be
helpful to general music teachers and musicologists who wish to
delve into the capabilities of instruments following the industrial
revolution and the effects the developments must have had on 19th-
century orchestration and composition. Even today our brass instru-
ment manufacturers are still trying to solve some of the same me-
chanical problems that confronted these four makers over a century
ago!
Early American Brass Makers contains a few minor errors includ-
ing a grammatical slip on p. 7, a reference to Fig. 3 under Fig. 6
when in fact Fig. 2 is meant (and in the first printing Fig. 27 pre-
cedes Fig. 26). Juxtaposition of close-up details with photos of the
complete instruments from which they were taken would have been
more meaningful (e.g., Fig. 2 and 6 should have been together, as
should Fig. 4 and 11). The text is well written and often entertain-
ing. Several redundancies occur, but this can be viewed as an at-
tempt to make each chapter a separate entity (indeed, at least one
was developed from a single article). The title for the second chapter
lists both Allen and Wright, which promotes some confusion. Occa-
sional inconsistencies are noticeable, but it is difficult to connect
such a scattered array of facts always into smooth-flowing prose.
The value of the book is that it collects existing information while
leaving the door open to new findings such as those presented with
20
this review. Considering today’s normal prices, this book is well
worth $6.00! (Henry Meredith, University of Western Ontario, Lon-
don, Canada)
Robert D. Weast. Keys to Natural Performance for Brass Players.
Des Moines, Iowa: The Brass World, 1979. 67 pp., softbound.
($6.95)
This textbook with musical examples incorporates elements of
Zen philosophy into brass playing. In the “natural performance”
of which Mr. Weast writes, the goal is achieved by having the con-
scious thoughts of the performer focused on the desired musical
result rather than on the various physical processes involved in
playing. Mr. Weast deals with the roles of the conscious and sub-
conscious mind in controlling the various activities of the body
necessary for performing on a brass instrument, and gives both ad-
vice and exercises for putting the principles into practice.
In the decades of the 1950’s and 1960’s. brass teaching and
study seemed to be directed toward finding out how and why brass
playing happened-the physiology of wind instrument playing. The
hope was that when the performer understood, intellectually, the
actual mechanics of playing, he could then direct himself to shed his
bad habits, play properly, and perform beautifully ever after.
Mr. Weast’s earlier book, Brass Performance, An Analytical Text’,
was part of this searching, and it described technical aspects of brass
playing in great detail.
The bright hope dimmed, however, when players had to face
the fact that merely understanding what was supposed to happen
did not necessarily mean that it would. Theories of playing were
altered on the basis of studies that were done, but, while it is cer-
tainly better to give oneself correct, rather than incorrect, instruc-
tions on how to play, ingrained habits of response don’t cease to
exist just because we ask them to. The muscular activity of brass
playing is extremely complex; for example, there are twenty-four
groups of muscles involved in respiration2, and the detailed actions
of some of the intercostal muscle are still not understood by
anatomists.3 Not only that, the conscious mind does not receive
detailed sensory information on much of what is going on while
playing, so the performer who tries to control his playing with his
intellect is asking for trouble.
The problem is to get the body to do what the conscious mind
wants, and the solution is to use mental imaging. The conscious
mind tells the subconscious what to do by picturing the result that
is desired, while leaving it up to the subconscious to figure out how
to do it and send the proper instructions to the necessary muscles.
This is an approach to performance which has been gaining popu-
larity for some years. A slim volume, Zen in the Art of Archery4,
was one of the early books in English on this topic. Arnold Jacobs
spoke of it in relation to brass playing in an interview in The Instru-
mentalists, and it is discussed in some detail in “Zen and the Art of
Horn Playing”6, in Brass Bulletin. The popularity of The Inner
Game of Tennis7 is so great that it has been released in paperback.
Mr. Weast presents his information clearly, in an attractive and
easily read format, and the musical examples are well chosen. Each
section begins with a principle, followed by a supporting statement
from scientific literature, commentary, good and bad examples,
analogies with other physical skills, and practice instructions. The
musical examples are graded in difficulty, with Phase I being play-
able by beginners. The Preface and first section, titled “The Musical
Connection,” set forth the basic principles of mental imaging, and
they alone are worth the price of the book. Subsequent sections on
chromaticism, repetition, warm-ups, strength and endurance, ac-
curacy, and learning through analagous experience are clear and
valuable. I would judge that high school students could understand
the book on their own, while younger students might need some
extra help from a teacher.
The musical examples given are drill forms, and Mr. Weast offers
a recommended supplementary list of music which emphasizes lyri-
cal playing. I wish that he had included some material of this type
in the book, and also wish that he had stressed more explicitly the
desirability of incorporating interesting and appealing music into
one’s practice. It is easier to focus on the desired result, rather than
the process of playing, when one’s artistic instincts are stimulated
by beautiful music.
There are some points on which I disagree with Mr. Weast (are
there ever two brass players who can agree one hundred percent?),
and where it seems that he is at variance with his own principles. In
sections five and six, he advocates establishing mouthpiece pressure,
lip tension, and internal air pressure slightly before the actual start
of the tone. This causes the attention to be on the direct control
of musculature in the crucial instant just before starting the sound,
and can divert the mind from picturing the sound exactly as the
performer wants it. It is certainly possible to get an acceptable
attack with pre-pressurized air held back by the tongue, but it is
not uncommon that students using this method get a heavy and
rough attack, unnecessary tension in the throat, or set up an isome-
tric contraction of the inspiratory vs. the expiratory muscle groups,
which interferes with the freedom of air flow. There are many tine
players who have found that it is possible to get good results with
no pre-pressurization of the air.
In section seven, Mr. Weast suggests that the performer give very
detailed attention to varying the mouthpiece pressure while ascend-
ing and descending. The Zen approach would be to let it happen
without focusing on it. In section four, he gives some exercises in
which he recommends that the mouthpiece be left on the lip during
rests, but studies have shown that muscles to which the flow of
blood was artificially reduced did not develop as rapidly or as fully
as did muscles with a normal blood supp1y.a
Overall, I welcome Mr. Weast’s new book as a valuable addition
to the literature for trumpet, and I plan to use it with my own
students. (Stephen Chenette, University of Toronto, Ontario, Cana-
da)
Notes
1 Robert D. Weast, Brass Performance: An Analytical Text
(New York: McGinnis and Marx, 1961).
2 Lyman Spicer Judson and Andrew Thomas Weaver, Voice
Science (New York: AppletonCenturyCrofts, 1942),
3 E.J.M. Campbell, E. Agostoni, and J. Newsom Davis, The
Respiratory Muscles: Mechanics and Neural Control, Second
edition (Philadelphia: W.B. Saunders, 1970).
4 Eugen Herrigel, Zen in the Art of Archery, translated by
R.F.C. Hull (London: Routledge and Kegan Paul, 1953).
5 Bill Russo, “An Interview with Arnold Jacobs,” 7’he Instru-
mentalist, XXVII, No. 7 (February, 1973), p. 28-80.
6 Jeffrey Agrell, “Zen and the Art of Horn Playing,” Brass
Bulletin, Volumes 22, 23, and 27.
7 W. Timothy Gallwey, The Inner Game of Tennis (New York:
Random House, 1974).
8 Peter V. Karpovich, Physiology of Muscular Activity, Sixth
edition (Philadelphia: W.B. Saunders, 1965), p. 31.
Record Reviews
Alvin L. Lowrey, Editor
While an editor could monopolize a review section, ideally a
broader range of viewpoints should be presented by more volunteer
reviewers. An open invitation has been extended in each Newsletter
for ITG members to participate as reviewers. Between the distribu-
tion of the October, 1979 issue and the deadline for the May, 1980
issue (March 1) only a handful of members responded to the invita-
tion. Although several recordings have been distributed to those
requesting specific albums, no reviews have been received in time
for this issue.
Previous volunteers are again invited to request specific albums
for review. Presumably, we shall have a diversity of viewpoints for
presentation in the October, 1980 issue. Please note the deadlines
listed on the front cover and keep in mind that the review editor
must be allowed time to read and edit the reviews (and correspond
with the reviewer if necessary after editing) prior to the deadlines.
(Also consider the time element of both Canadian and U.S. mail
service.)
Correspondence concerning record reviews should be addressed
to: Alvin L. Lowrey, ITG Record Review Editor, 23 Meadowood
Crescent, Sherwood Park, Alberta T8A OL6, Canada.
RecordsReceived
American Brass Quintet - Flays Renaissance, Elizabethan and
Baroque Music
Raymond. Mase, John Aley, trumpets; David Wakefield, horn;
Ronald Borror, tenor trombone; Robert Biddlecome, bass
trombone
Delos: DMS 3003 [digital stereo]
J.S. Bach: Contrapunctus III; Contrapunctus IX from The Art
of the Fugue, S. 1080
Coperario (John Cooper): “Al Primo Giorno”; Fancie a 5
Dowland: Volta
A. Ferrabosco II: Almayne; Dovehouse Pavan
A. Gabrieli: Ricercar de1 sesto tuono from Madrigali e ricercari ri
4 (1589)
G. Gabrieli: Canzon per sonare prima ii 5 from Canzoni e Sonate
(1615); Canzon per sonare B 4, “La Spiritata” [No. l] from
Riverii’s Canzoni per sonare con ogni sorte di stromenti .
(1608); Canzon per sonare 5 4, No. 4 from Raverii’s Crnzo-
ni.
Holborne: The Widowes Myte (Galhard No. 62 from Pavans,
Galliards, Almains, and other short aeirs . . [ 15991)
Morley: Joyne Hands (instrumental setting of canzonet, “See
Mine Own Sweet Jewel”)
Scheidt: Battle Suite (Intrada; Courant; Gailhard Battaglia from
Paduana, Galliarda, Couran ta, Allemande, In trada, Canzonet-
to. . . [16211)
Simpson: Allemande
Speer: Sonata zu 4 Stimmen; Sonata for 2 cornetts and 3 trom-
bones
StSrl: Sonata
Weelkes: Why are you ladies staying; Hark, I hear some dancing
Aquitaine Brass Ensemble (1’Ensemble de Cuivres d’Aquitaine) -
Cuivres “Belle Epoque” - L’Age d’Or du Kiosque a Musique
Ren6 Perinelli, Pierre Laffitte, Jean-Franfois Dion, Bruno
Riva, trumpets/cornets; Jean-Jacques Dion, Jean-Michel
Fourquet, trombones; Bernard Poulet, bass trombone;
Franck Spodar, tuba; Patrice Guillon, percussion; Michel
Fuste-Lambezat, director
Syrinx: 7902-015
Bratton: Isabelle [P. Laffitte, cornet solo]
 Hamel: Perles de Cristal [R. Perinelli, cornet solo]
Labole: Pinson et Fauvette [R. Perinelli, J.-F. Dion, cornet soli]
Lohmann: Bayerish Polka [J.-J. Dion, trombone solo]
Lust: Quadrille des Lanciers ,[R. Perinelli, cornet solo]
Metra: Les Roses [J.-F. Dion, comet solo]
Reynaud: Merle et Pinson [P. Laftitte, B. Riva, comet soli]
Siebert: Three Jolly Sailormen [J.-F. Dion, P. Laffitte, B. Riva,
comet soli]
Leon Bix Beiderbecke - Giants of Jazz
Time/Life Records: STL-JO4 (P3 14778)
Side 1: (1924-27) Copenhagen; Big Boy; My Pretty Girl;Clarinet
Marmalade; Singin’ the Blues; Ostrich Walk; Riverboat Shuf-
fle
Side 2: (1927) I’m Coming, Virginia; Way Down Yonder in New
Orleans; For No Reason At All in C; Three Blind Mice; Blue
River; In a Mist; Clementine (From New Orleans)
Side 3: (1927) Wringin’ and Twistin’; Humpty Dumpty; Krazy
Kat; There Ain’t No Land Like Dixieland to Me; At the Jazz
Band Ball; Royal Garden Blues; Jazz Me Blues
Side 4: (1927) Goose Pimples; Sorry; Cryin’ All Day; Since My
Best Girl Turned Me Down; Three Blind Mice; Changes
Side 5: (1928) Lonely Melody; Mississippi Mud; Dardanella;
From Monday On; Sugar; ‘Tain’t So, Honey, ‘Tain’t So;
That’s My Weakness Now
Side 6: (1928-30) Because My Baby Don’t Mean “Maybe” Now;
Louisiana; Louise; I Like That; China Boy; Bessie Couldn’t
Help It
Walter Chestnut - Music for Trumpet and Organ
Walter Chestnut, trumpet; Ernest May, organ
AFKA Records: SK 4634
J. Clarke: The Prince of Denmark’s March (Rondeau)
Handel: “Verdi Prati” from Alcina
Hovhaness: Prayer of Saint Gregory
Krebs: “Wachet auf, ruft uns die Stimme”
Mouret: Sinfonies de Fanfares (Rondeau; Air; Fanfare)
H. Purcell: Trumpet Tune (in C)
Stanley: Voluntary in D
Stolzel: “Bist du bei mir” (attributed to J.S. Bach, S. 508)
Telemann: Air de trompette
Viviani: Sonata Seconda per Trombetta sola in C
‘Duke’ Edward Kennedy Ellington - Giants of Jazz
Time/Life Records: STL-JO2 (P3 14729)
Side 1: (1926-28) East St. Louis Toodle-oo; Creole Love Call;
Black and Tan Fantasie [2 renditions] ; Black Beauty; Jubi-
lee Stomp; Yellow Dog Blues
Side 2: (1928-32) Hot and Bothered; The Mooche; Shout ‘Em,
Aunt Tillie; Ring Dem Bells; Mood Indigo; Rockin’ in
Rhythm; It Don’t Mean a Thing (If It Ain’t Got That Swing)
Side 3: (1933-35) Baby, When You Ain’t There; Bugle Call Rag;
Merry Go Round; Harlem Speaks; In the Shade of the Old
Apple Tree; Merry Go Round [a second rendition] ; Truckin’
Side 4: (193640) Clarinet Lament (Barney’s Concerto); Echoes
of Harlem (Cootie’s Concerto); Caravan; I Let a Song Go Out
of My Heart; Sophisticated Lady; Jack the Bear
Side 5: (1940) Ko-Ko; Concerto for Cootie (Do Nothin’ Till You
Hear from Me); Cotton Tail; Never No Lament (Don’t Get
Around Much Any More); Harlem Air Shaft; In a Mellotone;
Warm Valley
Side 6: (1941-56) Take the “A” Train; I Got It Bad and That
Ain’t Good; Perdido; C Jam Blues; Rockabye River; Jeep’s
Blues
David Hickman - Baroque Consort
David Hickman, James Ketch, Michael Chunn, Ray Sasaki,
trumpets; Thomas Siwe, timpani; William Neil, organ
Crystal: S 702
Albinoni: Sonata in C (originally Sonata in F for violin and
22
continua, Op. VI, No. 5)
J.S. Bach: Chorus Nos. 1 & 7 from Cantata NO. 63, “Chrisfen,
&et diesen Tog” [4 trumpets, timpani and organ] ; Sinfonia
from Easter Orulorio, S. 249 (3 trumpets, timpani and
organ]
J.S. Bach/Gounod; Ave Maria
Malotte: The Lord’s Prayer
Telemann: Heldenmusik (La Majest6; La G&e; La Vaillance; La
TranquiUit6; L’Armement; L’Amour; La Vigilance; La Gail-
lardise; La Douceur; La G&nCrosite; L’EspCrance; La R6jouis-
sance)
Miroslav Kejmar - [Music by] Josef MaGj/Ivo JWsek
Miroslav Kejmar, trumpet; Mile!! Petr, horn; Zdengk Pulec,
trombone; Musici de Praga, VladimEr Vaek, conductor
Panton: 11 0456
Matzj: Trojkonzert pro Trubku, Lesni roh a Pozoun, s pruvodem
komornlho orchestru (Triple concerto for trumpet, horn and
trombone with chamber orchestra)
Jirssek: Partita [Performed by the Harmonia Wind Ensemble of
the Czech Philharmonic]
New York Brass Quintet - New York Brass Quintet
Robert Nagel, Allan Dean, trumpets; Paul Ingraham, horn;
John Swallow, trombone; Thompson (Toby) Hanks, tuba
Crystal: S 210
Jan Bach: Laudes (Reveille; Scherzo; Cantilena; Volta)
Leclerc: Par Monts et Par Vaux (La colline aux epilobes; Sous-
bois; Jeux de la Lienne; La chapelle dans les pins; Danse de la
Follerie)
Persichetti: Parable for Brass Quintet
Prague Brass Instrument Soloists (P&t{ Zesi!ovi S6liste) - [Music
by] JiiiPauer
PraZFti gesiovl S6liste: Miroslav Kejmar, Stanislav Sejpal,
trumpets; Stanislav Suchsnek, horn; Zdenkk Pulec, Ludkk
Bortl, trombones; plus other artists: ZdenEk Tyl’sarovi, Bed-
iich TylSarovi, Rudolf BerLnek, horns; Vgclav Hoza, tuba;
Ji$ Pokornj;, Petr Adamec, piano
Panton; 8111 0045
Pauer: Charaktery pro zest’ov? kvintet (Characters for brass
quintet); SlepiEE SerenLda (Chicken Serenade for 3 horns);
Trombonetta [Z. Pulec, trombone; Petr Adamec, piano];
Trompetina [M. Kejmar, trumpet; J. Pokorng, piano];
Tubonetta [V. Hoza, tuba; J. Pokorny’, piano]
Record Company Addresses
AFKA Records: distributed by BKM Associates, P.O. Box 22,
Wilmington, MA 01887 [Record submitted by the soloist]
Crystal Records, Inc., 2235 Willida Lane, Sedro Woolley, WA 98284
Delos Records, Inc., 855 Via de la Paz, Pacific Palisades, CA 90272
(distributed by Supersounds, Ltd., 2210 Wilshire Boulevard /
Suite 315, Santa Monica, CA 90403)
Panton, Ricni 12, 118 39 Praha 1, Czechoslovakia [Panton records
submitted by ITG member, Quido Fiser, ul. 2 petiletky 2a/444,
73601 Havirov 1, Stromovka, C.S.S.R.]
Syrinx (distribution unknown) [Syrinx recording submitted by the
President of the Guilde Francaise des Trompettistes, Rene Peri-
nelli. The address for GFT is Siege Social: L’Horizon Chateau
set-10, Boulevard de la Gaye, 13009 Marseille, France. The ad-
dress for the Aquitaine Brass Ensemble is: Bernard Poulet, Secre-
tariat, Grand Theatre, 33000 Bordeaux, France.]
Time/Life Records, Time & Life Building, Chicago, IL 60611. (dis-
tributed in Canada by Time-Life Records, P.O. Box 160, Toron-
to, Ontario MSC 2J2.) [$29.95 plus shipping and handling -
U.S.; $24.95 plus shipping and handling - Canada] (These
recordings are available from Time/Life Records for lo-day free
trial.)
 &cord Reviews
In the absence of reviews submitted by other ITG members, I
would like to present an overview of some of the records previously
listed.
The albums in the Time/Life Giants of Jazz series have not
actually been received by ITG as review copies. They were supplied
only on a tenday free trial basis, and I felt that these albums were
meritorious enough to include (since they are not likely to appear in
the Schwann catalogue). Although a very small percentage of my
personal library consists of 78 r.p.m. records, I do have numerous
78’s of Duke Ellington, Glenn Miller, Woody Herman and Stan
Kenton. Using some of these old cuts for comparison, I can assure
you that the Columbia Special Products division has produced some
superior restorations with reduced distortion and surface noise re-
sulting in better fidelity. The recorded selections were chosen with
the assistance of the following consultants: John S. Wilson, jazz
critic of 7ke New York Times; Michael Brooks, CBS Special Pro-
ducts; Stanley Dance, author, producer and jazz critic; and Richard
Spottswood, Musicologist and jazz collector. The selections are
excellent choices, and in their chronological sequence present a
most enjoyable journey through jazz history and the developmental
progress of the individual artist’s style. Each album is accompanied
by a biographical booklet (approximately 50 pages each) which
includes an 8% in. x 8% in. color portrait (print), some other
excellent photographs and complete personnel information about
each selection.
The cornet and trumpet players included in the “Satchmo”
collection are: Howard Scott, Elmer Chambers, James Tate, Homer
Hobson, Otis Johnson, Henry Allen, Ed Anderson, Harold Scott,
Zilner Randolph, Elmer Whitlock, Jack Hamilton, Leslie Thompson,
Shelton Hemphill, Louis Bacon and Bobby Hackett.
The comet and trumpet players included in the “Duke’s” col-
lection are: Bubber Miley, Louis Metcalf, Arthur Whetsol, Freddy
Jenkins, Cootie Williams, Charlie Allen, Rex Stewart, Wallace Jones,
23
Ray Nance, Shelton Hemphill, Francis Williams, Taft Jordan,
Harold Baker, Cat Anderson, Willie Cook, Clark Terry and (IIerbie
Jones?).
Other cornet and trumpet players included in the “Bix” collec-
tion are: Fred Farrar, Ray Lodwig, Herman (“Hymie”) Farberman,
Henry Busse, Charles Margulis, Eddie Pinder, Harry Goldfield and
Andy Secrest,
There is an added bonus with the purchase of the first album-
a free book (368 pages), Who’s Who of Jazz, compiled by John
Chilton.
Also in my own collection are some 78’s of Herbert L. Clarke,
and by comparison, I can assure you that the ITG-sponsored album
of Clarke performances (Crystal: S 450) is an improvement of
fidelity. (Although the improvement is not as dramatic as the Time/
Life series, the Crystal album is nonethelessbetter than the original
78’s.) The biographical notes and bibliography compiled by Gerald
Endsley are extensive and comprehensive. Surely, all ITG members
will want to own this album of authentic interpretations of Clarke
solos.
Speaking of old cornet repertoire, may I recommend Gerard
Schwarz’s three cornet albums, Cornet Favorites (Nonesuch: H-
71298), Cousins (Nonesuch: H-71341) and Turn of the Century
Cornet Favorites (Columbia: M 34553). [The Cousins album was
reviewed by Cliff Warren in the Newsletter, Volume 4, No. 3.1
Yet another album of delightful nostalgia is the one just recently
submitted by Rent?Perinelli, president of the French Trumpet Guild.
L’Age d’Or du Kiosque 2 hfusique presents unfamiliar cornet reper-
toire 3 la Arban with lots of triple tonguing (and some tremendous
pedal tones played by PerineUi). The Aquitaine Brass Ensemble also
programs renaissance, baroque and contemporary music in their
live concerts. Judging from this album, one might conclude that
they are France’s counter-part to England’s Philip Jones Brass En-
semble and Canada’s Canadian Brass. And. . . I recommend all their
respective recent releases. (Pictured below)
However, I hasten to add, while the Canadian Brass recordings
produced by C.B.C. (listed in the Newslefter, Volume 6, No. 1) were Recent Programs
listed alphabetically by title, if one listens to these albums in
their chronological sequence, musical growth can be heard evol- Richard J. Perkins, Editor
in their chronological sequence, musical growth can be heard evol-
ving into ensemble maturity and homogeneity of style. Of those A limited number of recent programs presented by ITG members
C.B.C. albums, I would recommend the two concerto recordings will be published in ITG Newsletters. Members should now send
(CBC: SM 264 and SM 328) and the Unexplored Territory record programs directly to the Programs Editor. Solo appearances with
(CBC: LM 453) over the others. While virtually all the Philip Jones bands and orchestras, solo and group recitals, and brass quintet pro-
records on Argo are superlative, especially fun are the Diverfimento grams will all be considered for publication. Programs by student
album (Argo: ZRG 851) and the Philip Jones Brass Ensemble In ITG members are most welcome. All programs and correspondence
Switzerland album (Claves: DPf 600 - released in the U.S.A. on should now be sent to: Richard J. Perkins, ITG Program Editor,
HNH: 4037). Music Department, Anoka-Ramsey Comm. College, 11200 Missis-
The recording industry is always trying to improve their pro- sippi Blvd., Coon Rapids, MN 55433. (Programs cannot be re-
ducts. Three recent attempts have included direct-to-disc, digital turned.)
recording and 45 r.p.m. long play records. Although ITG has not yet
received the Canadian Brass direct-todisc recording (Umbrella: 5), Leonard N. Allman, trumpet
reports are that it is an incredible tour de force. The digital record- Fanfare for St. Edmundsbury - Britten
ing of the American Brass Quintet (listed in this issue) is also a re- Ach, es bleibt in meiner Liebe - Bach
markable album. The American Brass Quintet plays with their Suite - Wuensch
usual vitality and verve, and the digital recording process conveys a The Hollow Men - Persichetti
realism in recorded sound that is unprecedented. High speed record- Two Scenes - Plog
ing has always been preferable in tape recordings and 45 r.p.m. re- Four Symphonias - Scheidt
cordings have long been in existence, but long-playing 45 r.p.m.
David Baldwin, cornet
records are among recent attempts to improve fidelity of recorded
Mount Union College, g/14/79
sound. Ironically, the first 45 r.p.m. record received by ITG for
Le Secret - Gauthier
review is that of the U.S. Naval Academy Drum and Bugle Corps
Facilita - Hartmann
(Richardson Records: RRS-9). Ironically? Nevermind prejudice or
The Southern Cross - Clarke
lack of patriotism . . . I decided to listen with an open mind, but
Willow Echoes - Simon
this recording was just too real . it sounded exactly like a live
The Volunteer - Rogers
drum and bugle corps blaring away with the usual intonation and
Variations on a Song: The Beautiful Snow - Arban
ensemble problems. (At least, each side of a 45 r.p.m. record is
Napoli - Bellstedt
shorter than a 33-l/3 r.p.m. disc!) This album is for drum corps
aficionados only - not for would-be converts. Frederick A. Beck, trumpet
Since it is impossible to review all the records received for Mansfield State College, 1 l/2/79
review, I have often thought of placing stars or asterisks by superla- Prayer of Saint Gregory - Hovhaness
tive recordings in the “Records Received” listings. However, this has Concert Etude - Goedicke
become increasingly unfeasible because I would likely recommend The Hollow Men - Persichetti
around 90% of the records listed most recently. (It might be easier Sonata - Stevens
to place an “X” beside records that I would not recommend . . Vocalise - Beck
but 1 do not relish such a negative approach.) 1 would therefore like Vocalise - Ravel
to encourage ITG members to patronize the record companies who Sonata - Purcell
have submitted promotional review copies. I also call upon more Sonata - Gabrieli
ITG members to volunteer to review records to vindicate or contra-
David Burkhart, trumpet
dict my blanket appraisal of the records received. (A.L.L.)
Jerusalem Symphony Orchestra, 12/6/79
Concerto No. 1 for Piano, String Orchestra and Trumpet
Obbligato - Shostakovich

Stephen A. Coyne, trumpet

California State University, 8/10/79
Sonata - Kennan
Divertimento for Brass Sextet - Salzedo
Sonata - Fantini
ROLFSMEDVIGNEWPRINCIPALTRUMPET
Sonata - Viviani
WITHBOSTONSYMPHONYORCHESTRA Fantasia - Hingeston
Suite in D Major - Handel
Paul Dorsam, trumpet
William Carey College, g/24/79
Rolf Smedvig, trumpeter with the Empire Brass
Trumpet Tune - Clarke
Quintet and former trumpeter with the Concerto - Bond
Boston Pops, has been appointed principal Trumpet Tune - Clarke
trumpet with the Boston Symphony Orchestra. Sonata - Purcell
He replaces Armando Ghitalla, who is retiring. Ralph T. Dudgeon, trumpet
First Unitarian Church, San Diego, Calif. g/16/79
Choralsonate Nr. 3 - Karlsen

24
 Chroma IV - Ott Praise to the Lord - arr. Parker
Revival Prelude for Trumpet and Organ - Farrell Sonata in D for 2 Trumpets - Franceschini
“The other voices of the Trumpet” - Pinkham Marche Triomphale - Vierne
Sonata - Hovhaness Sonata Sancti Polycarpi - Biber
Three Pictures of Satan - Hutcheson Now Thank We AU Our God - arr. Parker
“Sun” from Three Songs for High Voice - Bissell
Kenneth Hufford, flugelhorn, saxhorn, posthorn
PoBme He’roique - Dupre
Tucson Museum of Art, Tucson, AZ, 9123119
Two Pieces from “Heroic Music” - Telemann Jeffrey Piper, trumpet
Aria - Handel University of New Mexico, 10/3/79
Concerto - Neruda Brandenburg Concerto No. 2 - Bach
Posthorn Serenade - Mozart Concerto for Bassoon and Trumpet - Hindemith
Concerto - Albrechtsberger
Prelude to Act 11, “Don Pasquale” - Donizetti Jeffrey Piper, trumpet
University of New Mexico, 2/14/80
The Soldier’s Chorus from “Faust” - Gounod
Caprice - Turrin
Reflections - Hufford
Sonata - Franceschini
The Old Castle from “Pictures at an Exhibition” - Mussorgsky
Solus - Friedman
The Entertainer - Joplin
Sonata No. 7 - Speer
Somewhere - Bernstein
Cousins - Clarke
Richard E. Jorgenson, trumpet Night Songs - Peaslee
Arkansas State University, l/29/80 Animal Ditties - Plog
Concerto - Hummel
Randall G. Reyman, trumpet
If Thou Be Near - Bach
Fort Hays State University, Hays, Kansas, 2/18/80
Solus - Friedman
Sonata - Viviani
Aubade - Lesur
Let the Bright Seraphim - Handel
Pas de Deux - Cushing
Chorale Preludes - Krebs
The Tender Sonia - Semenoff
Marches Heroiques - Telemann
Air de Bravoure - Jolivet
Sonata in C for Trumpet, Bassoon, and Continuo - Pezel
Capriccio - Pascal
Jesu, Joy of Man’s Desiring - Bach
Kenneth Kronholz, trumpet Sonata - Albinoni
Florida State University, 12/2/79
Terry Sawchuk, trumpet
Concerto No. 3 - Telemann
Northern Illinois University, 10/25/79
“Auf, auf, mit Hellem Schall” - Bach
Sonate - Hindemith
“Dein Wetter zog sich auf von Weitem” - Bach
Concerto in D - Telemann
“Wacht auf, ihr Adern und ihr Glieder” - Bach
Fanfare for Two Trumpets - Plog
Fanfare for a New Theatre - Stravinsky
Times Op. 39 for Solo Trumpet - Campo
Concerto for Bassoon and Trumpet - Hindemith
I Remember Clifford - Golson
Sonata for Horn, Trumpet, Trombone - Poulenc
Oleo - Rollins
Kenneth Kronholz, trumpet
Michael Lynn Thomas, trumpet
Florida State University, 2/17/80
University of Tennessee, l/28/80
Quatre Variations - Bitsch
Proclamation - Bloch
Sonate - Hindemith
Concerto - Haydn
Polyphony for Solo C Trumpet - Whittenberg
Concerto - Vivaldi
Concerto - Arutunian
Concerto - Pakhmutova
Brian Lamkin, trumpet
Donald Tison, trumpet
University of Louisville, 1 l/8/79
Peabody College, Baltimore, Md., 1 l/18/79
Concerto - Tartini
Allemande - Gervaise
Concerto - Neruda
Concerto - Mozart
Concertino - Jolivet
Canzon P 2 - Spiegler
Concerto - Arutunian
Sonata No. 1 - Baldassare
Kevin A. Lane, trumpet Konzert in e-moll ~ Telemann
Tennessee Technological University. 2/3/80 Concertino - Albrechtsberger
Elegy - Sommerfeldt Prelude - Bach
Suite - Gibbons Theme with Seven Variations - Richardson
Trumpet Solo - Sacco Be-Bop - Gillespie
Suite - Bonneau Danza Alegre ~ Burke
Music for Five Trumpets - Reynolds
Henry Meredith, trumpet
The United Brass Ensemble-First St. Andrew’s United Church, Michael TunneU, trumpet
London, Canada, 1 l/4/79 University of Southern Mississippi, S/2/79
Feierlicher Einzug - Strauss Cantata No. 5 1 - Bach
A Canticle of Exultation - Wapen Septet - Saint-Sa&ns
Canzon Noni Toni 5 12 - Gabrieli Divertimento - Blather

25
 Encounters III - Kraft Aria - Handel
The Unanswered Question - Ives Renaissance Dances - Susato
Nachtwandler - Schoenberg Four Lyric Pieces - Grieg
Quintet - Arnold
Michael TunnelI, trumpet Two Swiss Tunes - Howarth
University of Southern Mississippi, 1 l/l 9/80
Teddy Trombone - Fillmore
Concertino - Albrechtsberger
Fanfare For The Common Cold - P.D.Q. Bach
Concertino - Jolivet Contrapunctus I - Bach
Intrada - Ketting Trois Chansons - Debussy
Fantaisie and Variations on The Carnival of Venice - Arban Quintet No. 3 - EwaId
A.S.U. Brass Quintet Two Songs - LennonMcCartney
Arkansas State University, 11/14/79 Semper Fidelis - Sousa
Par monts et par vaux - Leclerc The Mansfield Brass Quintet
Quintet - Ewald Mansfield State College, 1 l/l l/79
Brass Quintet - Fredrickson Quintet - Holmboe
The Canadian Brass Rag - Rathburn Quintet - Ewald
The Brass Ring Variations - Childs
Ursinus College, Souderton, PA, l/16/80 Canzon Bergamasca - Scheidt
Fanfare from “La Peri” - Dukas Junk Man Rag - Roberts
Die Blnkellngerlieder - Anonymous New Mexico Brass Quintet
Fancies, Toyes and Dreams - Farnaby University of New Mexico, 1 l/18/79
Quintet No. 2 - Ewald Canzon Aechiopican - Scheidt
Paul Bunyon Suite - McPeek Sonata - Dodgson
Liturgy for Brass Quintet - Zucker Concertare 1 for Brass Quintet and Percussion - Reynolds
Porgy and Bess Suite - arr. Gale Four Anonymous Part Songs - Hinterbichler
Suite for Brass Quintet - Ultan
The Chestnut Brass Company
Four 20th C. Dances
Ricks College, Rexburg, Idaho, l/30/80
Dance - Renwick
Harlem Rag - Turpin
Polka - Shostakovich
Jelly-Roll Morton Suite - Morton
Valse Ridicule - Calvert
Offrande - J. SelmerCollery
Struttin’ Downtown - Green
Saint Paul’s Bicycle - Lockwood
Rondeau - Mouret The Northern Brass Quintet
St. Anne’s Fugue - Bach University of Northern Iowa, 1 l/20/79
Quintet No. 3 - Ewald Three English Keyboard Pieces - arr. Cruft
Rockaway Quickstep - Knaebel Music for Brass Instruments - Dahl
Yellow Hair’d Laddie - Eaton Scherzo - Cheetham
Wood-up Quickstep - Holloway Three Madrigals - Gesualdo
Sunflower - Joplin Variations sur une chanson de canotier - Childs
Chestnut Rag - Krush Variations on a Negro Folk Song - Schmidt
The Composers Brass Quintet Stacy Blair, trumpet
Loyola Marymount University, 11/15/79 Youth Performing Arts Center, Louisville, KY, l/6/80
Toccata from “Orfeo” - Monteverdi Concerto - Arutunian
Canzona per sonare no. 2 - Gabrieli Concerto in E-flat - Haydn
Canzona Bergamasca - Scheidt Concerto in d minor - Albinoni
Three Pieces - Pezel
Selections from “Die Kunst der Fuge” - Bach H.M. Lewis, trumpet
Suite No. 4 - Friederich Arkansas Music Educators Association, Pine Bluff, AR, 2/23/80
Suite for Brass - Southers Polonaise (1823) - Kueffner
Brass Quintet - Tautenhahn Konzertstiick - Stollberg
Quintet No. 3 - Ewald Concertino (187 1) - Sachse
Dance - Renwick Fantasie and Variations on The Carnival of Venice - Arban/
Goldman
The Composers Brass Quintet
Temple Israel, Long Beach, Calif., l/27/80 Andrew Glowaty, trumpet
Introductions ~ Korte Northern Illinois University, Senior Recital, 2/26/80
Canzona Bergamasca - Scheidt Canon for Three (In Memorian Igor Stravinsky) - Carter
Rondeau - Mouret Concerto - Arutunian
Contrapunctus IX - Bach Design Times Four (Life) (1979) - Glowaty
Cousins - Clarke Sonata in D - Torelli
Quintet No. 1 - George 4’33” - Cage
Chick Corea Suite - arr. Charpie Quintet: III. Con Brio - Arnold
West Side Story - arr. Mangione Amen (1980) - Glowaty
A. Keith Amstutz, Linda Anne Farr, trumpets
Jerusalem Brass Quintet
South Carolina Chamber Orchestra, 3/3/80
Ezry Gallery, Jerusalem, 11/10/79
Concerto for Two Trumpets - Manfredini
26 (Continued on Page 28)
General News-Grand Canyon Run (Continued) New Pinkham Work Premiered
Canyon Run would not be aU running. Indian Gardens finally came, Daniel Pinkham’s Serenade for solo trumpet and wind ensemble
and this time the trumpeters played not only for backpackers but was premiered by the Harvard Wind Ensemble with Rolf Smedvig,
also for mule train riders taking a mid-morning rest. The final four principal trumpet of the Boston Symphony Orchestra, as soloist,
and one half miles of trail go up 3000 feet, and when Steve got out, and Thomas Everett, Director of Bands at Harvard, conducting.
twenty-three and one half miles and some eight hours after starting, The work, dedicated to the late Harvard Professor of Music
he found Don dressedand relaxing on a chair in front of their cabin. Walter Piston, was commissioned by the Harvard Band as part of its
The two runners then decided that the final movement, “Journey’s 60th anniversary celebration. The Band received assistance in the
End, The South Rim,” could best be performed after hot showers, commission from the Harvard Music Association and Office of the
a good meal, and a night’s sleep. Arts.
Where will it aB lead? Next year a brass quintet run across the
Grand Canyon? A dixieland band running the Mardi Gras Marathon Helmut Wobisch Dies
in New Orleans? A string quartet in the Boston Marathon? Who Helmut Wobisch, principal trumpeter in the Vienna orchestra,
knows? The ground rules are laid out: runners carrying standard died recently.
instruments and playing appropriate music (preferable especially
composed or arranged for the event) in at least four separate loca- Conference Scholarships to Be Awarded
tions. (Steve Chenette, University of Toronto, Ontario, Canada)
Students at the high school, college, and graduate level have been
auditioning this spring for tuition scholarships to the 1980 Inter-
national Trumpet Guild Conference to be held at Ohio State
ITG Membership Demography University. The scholarships are being sponsored by the Interna-
tional Trumpet Guild and the following: Boosey & Hawkes, The
U.S. Members Texas. ............. 80
Alabama. ........... Brass Press, Broad River Press, Inc., Giardinelli Band Instruments
13 Utah .............. .4
Co., Inc., King Musical Instruments, Inc. (2), Leblanc (2), Leduc,
Alaska .............. 1 Vermont ............ .6
Arizona. ............ 49 The Ohio State University School of Music and Tromba Publications.
Virginia. ............ 54
Arkansas ............ 24 Washington. .......... 12
California .......... 113 West Virginia. ......... 28 The Canadian Brass to Celebrate 10th Anniversary
Colorado. ........... 55 Wisconsin. ........... 54 With Concert at Carnegie Hall April 22
Connecticut .......... 36 Wyoming. ........... .4
Delaware. ........... .4 Puerto Rico ........... 1
District of Columbia ..... .3 TOTAL. .......... 1,871
Florida ............. 65
Georgia. ............ 38
Hawaii ............. .4 Non-U.S. Members
Idaho. ............. .9 Argentina. ............ 1
Illinois ............ 125 Australia ............ 24
Indiana. ............ 61 Austria ............. 17
Iowa .............. 32 Belgium. ............ 10
Kansas ............. 21 Brazil. ............. .2
Kentucky ........... 34 Canada. ........... 109
Louisiana. ........... 13 China .............. .3
Maine. ............. .9 Czechoslovakia ........ .3
Maryland. ........... 53 Denmark ............ .7
Massachusetts ......... 54 England. ............ .5
Michigan. ........... 66 Finland. ............ .7
Minnesota ........... 60 France ............. 25
Mississippi ........... 18 Holland. ............ 19
Missouri ............ 62 Hungary ............ .2
Montana ............. 1 Iceland ............. .3
Nebraska. ........... 20 Israel .............. .3
Nevada. ............ .7 Italy. .............. .l
New Hampshire. ....... .l Japan. .............. 1
New Jersey. .......... 45 Mexico ............. .2
New Mexico .......... 16 New Zealand. ......... .2
New York .......... 116 Norway. ............ 11 The Canadian Brass will celebrate their tenth anniversary with a
North Carolina ........ 29 Poland .............. 1 concert at Carnegie Hall Tuesday, April 22, at 8 p.m. Their program
North Dakota ......... .4 Scotland ............ .2 will feature works by J. S. Bach, Handel, Gabrielli, and Rimsky-
Ohio ............. 104 South Africa. ......... .3 Korsakov, among others.
Oklahoma ........... 23 Sweden. ........... .54 Tickets priced from $10 to $4 on sale at the Carnegie Hall box
Oregon ............. 19 Switzerland .......... 10 office or call Carnegie Charge 247-7459.
Pennsylvania. ........ 125 Uruguay ............ .2 The Canadian Brass, composed of two trumpets, Frederic Mills
Rhode Island ......... 12 USSR. ............. .3 and Ronald Romm; a French horn, Graeme Page; a trombone,
South Carolina ........ 22 West Germany. ........ 15 Eugene Watts; and a tuba, Charles Daellenbach, play on gold-plated
South Dakota ......... .8 Yugoslavia ........... .l instruments specially designed and crafted by Renold Schilke of
Tennessee .......... .49 TOTAL. ........... 348 Chicago and made by Yamaha.

27
 Moving?
Please use this form to notify us of any change of address. Allow six weeks for processing.

NEW ADDRESS: OLD ADDRESS:

Name) Name)

TAddress) IAddress or attach old mailing label)

Mail to: Gordon Mathie, Crane School of Music, SUC, Potsdam, NY 13676

Recent Programs (Continued)

Vincent DiMartino, trumpet
University of Southern Mississippi, Guest Recital, 1 l/9/79
THE INTERNATIONAL TRUMPET GUILD Concerto in E - Hummel
Symphony in C Major - Molter
Fanfare for St. Edmonsbury - Britten
wishes to thank the following firms Concerto for Seven Trumpets and Timpani - Altenburg
for sponsoring student tuition scholarships The University of Minnesota Brass Choir
to the 1980 Conference to be held David Baldwin, Director, 11/18/79
First Suite in E-flat - Hoist/Herbert
at The Ohio State University:
The American Brass Band Journal (1853) - Friedrich
Old Dog Tray March
March - My Old Kentucky Home
Boosey & Hawkes The Signal March
LilJy Lee
The Brass Press The Jewel Waltz
Broad River Press, Inc. Ellen Bayne Quick-Step
Pictures at an Exhibition - Mussorgsky/Howarth
Giardinelli Band Instruments Co., Inc.
, David Baldwin, trumpet
King Musical Instruments, Inc. (2) University of Minnesota, Faculty Recital, 10/23/79
,
Sonate - Hindemith
, Leblanc (2)
Concertino: Mvt. I - Kaminsky
1 Leduc Fantasie and Variations on a Cavatina - Arban
Concerto in D - Stoelzel
The Ohio State University School of Music The Last Days for Horn and Tuba - Baldwin
Three Songs for Brass Quintet - Lennon/McCartney/Baldwin
Gordon Mathie, John Schorge, trumpets
h Crane School of Music, 12/9/79
Concerto for Two Trumpets - Vivaldi

28
Gregory Whitaker, trumpet The Brass and Percussion Sections of The Orchestra of Illinois
The New England Conservatory of Music 2128179 Richard J. Daley Center, Chicago, IL S/29/79
Three Sonatines for Two Clarini - Anonymous Fanfare for the Common Man - Copland
Sonata - Torelli Canzon XIII - Gabrieli
Canzon IV - Gabrieli
Charles E. Wiiett, Jr., trumpet Canzona per Sonare No. 2 - Gabrieli
Kent State University, Kent, OH, Senior Recital S/27/79 Divertimento - Husa
Fanfare for St. Edmundsbury - Britten Sonata for Six Trumpets and Tympani - Biber
Sinfonia con Tromba - Torelli Trumpet Voluntary - Clarke
Concertino - Kaminsky Three pieces from the“Water Music” - Handel
Sonate - Hindemith
Sonata for Horn, Trumpet and Trombone - Poulenc Braas da Chiesa
Concerto - Tomasi Trinity Lutheran, Souderton, PA 5/l 3/79
Cantata: Su le sponde de1 Tebro - Scarlatti The American Brass Band Journal - Friederich
Willow Echoes - Simon Quintet No. 2 - Ewald
Glad Rags for Brass Quintet - Frankenpohl
Dale A. White, trumpet Battie Suite - Scheidt
University of Colorado, Boulder, CO 3/l 8/79 Fancies, Toyes and Dreames - Farnaby
Concerto - Neruda
Divertimento for Trumpet, Trombone, and Piano - Blather The Composers Brass Quintet
Suite in D Major - Handel Los Angeles, CA 5/l 2179
Legend - Enesco Introductions - Korte
Music for Five Trumpets - Reynolds Air pour Trompettes - Bach
Contrapunctus I - Bach
Ellis Workman, trumpet Fugue from Violin Sonata No. I - Bach
Rochester Symphony Orchestra, Rochester, MN 4/7/79 Quintet No. 3 - Ewald
Concerto - Fasch Showcase Five - Humphries
L’Histoire du Soldat - Stravinsky Ensembles for Brass Quintet - Heussenstamm
Henry Meredith, trumpet Suite Frangaise - Bozza
St. Aloysius Church, Detroit, MI 6/21/79 DaCamera Brass Quintet
Suite from Musique Heroique - Telemann Ball State University 3/14/79
Csnzona Second0 detta la Bernardinia - Frescobaldi Die mit Tranen saen - Schein
Chorale Prelude “Gott der Vater wohn uns bei” - Krebs Quintet No. 2 - EwaId
Prayer of Saint Gregory - Hovhaness Assumpta est Maria - Byrd
Sonata in D Major - Purcell Sonata - Purcell
Voluntary in C Major - Stubley Suite for Brass Quintet - Reynolds
Sonata Seconda per Trombetta Sola (1678) - Viviani La Rose Nuptiale - Lavallee
Suite in D Major - Handel
Eclectic Brass
Watkins Glen Brass Quintet Lakefield College, Lakefield, Ontario 5/l 7/79
Watkins Glen, NY 4/l/79 Fanfare “La Peri” - Dukas
Polka - Shostakovich Air pour les Trompettes - Bach
Air for Trumpets - Bach Revecy Venir du Printans - Le Jeune
Cassazione for five voices - Petrovics Music Ha11Suite - Horovitz
Three Pieces - Maurer La Rose Nuptiale - Lavallee
Little Brown Jug - Rosenthal Quintet - EwaId
Es ist ein Ros’ entsprungen - Brahms Centone No. II - Fux
Quintet - Ewald Le Petit Negre - Debussy
The Entertainer - Joplin Lassus Trombone - Fillmore
This Old Man March - arr. Nagel Rondeau - Mouret
Dance - Renwick
St. Anne’s Brass Consort
St. Anne Church, Pittsburgh, PA S/9/79 Faculty Brass Quintet
Voluntary on Old Hundredth - Purcell Texas Tech University, Lubbock, TX 2/27/79
Three Pieces - Petzold Fanfare “La Peri” - Dukas
Suite from the Monteregian Hills - Calvert Sonata ?I 5 no. 20 - Buonamente
Two Trumpet Tunes and Ayre - Purcell 3-4-S - Fleming
Two Bach Chorales - Bach Music for Brass Quintet - Beach
Introductions for Brass Quintet - Korte Concertino for Wind and Brass Quintets - Washburn
Two Pieces - Holborne The St. Louis Post-War Reconstruction All Brass Band
Three Fugues - Pachelbel East St. Louis, IL S/28/79
Hymnal Variants - Pascuzzi Die BinkelsPngerIieder - Anonymous
The Athens Brass Quintet Sharagan and Fugue - Hovhaness
University of Georgia 5/l/79 Sonata for Horn, Trumpet and Trombone - Poulenc
Air Pour Les Trompettes - Bach Two Fugues - Bach, Vivaldi
Quintet - Arnold Morgenmusik - Hindemith
Scherzo - Cheetham Music for His Majesty’s Sackbuts and Cornetts - Locke
Sonatine - Bozza Symphony for Brass Quintet - Ewald
Three Salutations: II - End The Easy Winners - Joplin
29
Oxford Brass Quintet
Miami University, Oxford, OH 4/26/79
Two Pieces - Brade
Contrapunctus IX - Bach From the M A R IE-CLAIRE ALAIN
Divertimento for Brass Quintet - Husa
Gladiolus Rag - Joplin
Trumpet Collection
16th Century Carmina - Anonymous for Trumpet and Organ
Quintet - Arnold
Jazz Etude - Haddad &! Marie-ClaireAlain
SUITE FACILE (on Themes of Francis Campion) $7.75
Georgia State University Brass Quintet
Atlanta, GA 4123179 de*! Arcan elo Core/Ii
SONATE% C MAJOR ..,, ,..........., ,, 8.75
Sonata from Die BLnkelsHngerIeider - Anonymous SONATEin A MAJOR 7.75
Suite for Brass Quintet - Reynolds
Fancies, Toyes, and Dreams - Farnaby 4#I! Geor FridericHandel
CONCERTOin F MAJOR .,...................... 8.75
Suite No. 1 for Brass Quintet - Schmidt SONATEin F ._...., 10.75
Contrapunctus IX - Bach
Jew! Jim&z (76th Century)
Jerusalem Brass Quintet BATALLA ,_....., 7.25
Khan Theatre, Jerusalem, Israel 6/l 7/79
GiambattistaMartini
Rondeau - Mouret ELEVAZIONE................................, 6.50
Canzona Bergamasca - Scheidt SONATAAL'POSTCOMMUNIO.................... 6.00
Alleluia, Alleluia - Byrd
Fantasia B 5 - Coperario Gear/( fhi/ip~ Telemann
12 M A CHES EROIQUES 15.75
Suite of Renaissance Dances - Susato
Contrapunctus IX - Bach Johann GottfriedWalther
CONCERTOin G MAJOR .., 8.00
EXCELLENTFORUTURGiCAL
USE.
Availablefrom your favoritedealer,or direct from DEPT.PTPX
THEODORE
PRESSERCO. l Bryn Mawr,PA19010

INTERNATIONAL TRUMPET GUILD 1980 CONFERENCE

JUNE 18 - 21, 1980
THE OHIO STATE UNIVERSITY. COLUMBUS

International Trumpet Guild 1980 Conference International Trumpet Guild 1980 Conference
Registration Form Registration Form
please return to. please return to:
Professor Richard Burkart, School of Music Professor Richard Burkart, School of Music
Ohio State University, Columbus, OH 43210 Ohio State University, Columbus, OH 43210

name phone name phone

address city state zip address city state zip

Conference Fee (includes Saturday evening banquet) Conference Fee (includes Saturday evening banquet)
0 ITG members $55 0 non-ITG member $70 0 ITG members $55 0 non-ITG member $70
q Registrant-Spouse $35.00 0 Registrant-Spouse $35.00
Enclosed is m y check or money order, payable to the International Enclosed is m y check or money order, payable to the International
Trumpet Guild, for $ for the Conference Fee Trumpet Guild, for $ for the Conference Fee
(note: do not advance register for daily fee.) (note: do not advance register for daily fee.)
Pre-registration discount: Deduct $5.00 if mailed before May 1, Preregistration discount: Deduct $5.00 if mailed before May 1,
1980. 1980.
For dormitory reservations, write: Professor Richard Burkart For dormitory reservations, write: Professor Richard Burkart
(address above). Dormitory payment is not due until arrival. (address above). Dormitory payment is not due until arrival.

(This registration form may be duplicated.) (This registration form may be duplicated.)

30