special supplement to the international trumpet guild journal · ended on a true high note with the...

Special Supplement to the

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THE 2016 INTERNATIONAL TRUMPET GUILDCONFERENCE, ANAHEIM, CALIFORNIA

SPECIAL DAILY REPORT • COMPILED BY PETER WOOD

FRIDAY, JUNE 3, 2016

http://www.trumpetguild.org

Friday, June 3There was something for just about everyone today at thejam-packed ITG conference. Beginning with two differentwarm-up sessions, the fast-paced schedule included master-classes and concerts in a wide variety of styles, and the dayended on a true high note with theincredible Hollywood Epic Brass.There is much socializing happen-ing at all times of the day and night,and spirits are extremely high.Never a dull moment!

Ryan Darke: Warm-up SessionRyan Darke, principal trumpetof the Los Angeles Opera, provideda fresh perspective on warming upto a room of about a hundred par-ticipants. He titled the session“Setting Yourself Up for ProgressDuring Your Warmup.” He de -cribed a warmup as an opportunityto experiment to find new andmore efficient ways of playing,challenging us to ask ourselves“How are we to make progress if weare only affirming what we alreadyknow?” Throughout the session, hepushed everyone to blow more

evenly, approach playing with a sense of calm concentration,play softer, and even improvise. More than anything, Darkeurged those in the room to avoid “warming into yesterday,”but to approach the beginning of the day as an improvementover the day before. (DM)

Jason Bergman: Non-Pro/ComebackPlayer Warm-up Session

Jason Bergman’s warmup for non-pro and comeback players coveredmany staple exercises and endeavoredto show participants how they cancraft a beautiful sound without stress-ing the embouchure. Bergman spentthe first portion of the session onbuzzing exercises, using the piano as areference point for pitch. These exer-cises culminated in Stamp studies thatspanned two octaves and took theaudience up to G on top of the staff.Following this portion, which was themost thorough, Bergman had theaudience play several other studies onthe trumpet, including Cichowicz,Arban, and a double-octave scale exer-cise to help with articulation. Berg -man stressed the fact that althoughthese exercises are well known, theplayers who utilize them on a regular

2 ITG Journal Special Supplement © 2016 International Trumpet Guild

THE 2016 INTERNATIONAL TRUMPET GUILDCONFERENCE, ANAHEIM, CALIFORNIA

SPECIAL DAILY REPORT • COMPILED BY PETER WOOD

Ryan Darke

© 2016 International Trumpet Guild ITG Journal Special Supplement 3

basis possess beautiful sounds. He encouraged his audience toconsider scheduling a half-hour session with these types ofstudies in the mornings, followed by more intensive practice atnight. (BH)

Justin Bartels Masterclass: OrchestralExcerpts Competition FinalistsJustin Bartels, principal trumpet of theColorado Symphony Orchestra, had thethree finalists of the orchestra excerptcompetition sit on stage with him. Hementioned, “Everyone played wonder-fully” at the competition, but he feltthere were stylistic elements that hewould like to address. The first excerptthey played was Petroushka (Ballerina’sDance). Bartels said that it is important,when playing this excerpt, that youknow what is going on within the orch -estra before you enter and while you areplaying. He stated it would make a bigdifference in how you perform thisexcerpt. The opening to Mahler Sym-phony No. 5 was performed by each of the finalists. He men-tioned he has taken many lessons on the Mahler 5 excerpt, andeveryone has different ideas on how it is to be performed. Hisadvice was to take all the different ideas and create your own

“convincing” performance. Bartels provided a few commentson not overpracticing in the warm-up room before an audition.He says that much can be gained by just practicing the begin-ning of each excerpt. The masterclass ended with an excerptfrom The Poem of Ecstasy by Scriabin. Bartels’s comments foreach of the finalists resulted in noticeable improvements. Hisplaying of these excerpts provided an excellent model of soundand execution that clarified his musical ideas for the finalistsand the audience. (JoB)

Panel Discussion: Expert Guidance on Building andMaintaining Your Trumpet Studio

On Friday morning, a panel of private trumpet studio teach-ers including Joan LaRue, Barb Hudak, Meghan Turner, andDarren Mulder discussed the topic of building and maintain-ing a private trumpet studio. Topics addressed were recruit-ment, lesson location, lesson length, fees, cancellations, lessontopics and materials, motivation, etc. The diverse panel gaveseveral opportunities for the audience to ask questions, whichresulted in a variety of opinions and responses. This presenta-tion was extremely informative for all private teachers. (AW)

Jason Bergman: Masterclass for Comeback and Non-Pro players

Board of Directors Member Grant Peters introduced Dr.Jason Bergman, assistant professor of trumpetat the University of North Texas, who pre-sented a masterclass for comeback and non-pro players. Bergman listened to several play-ers. One is a pilot for Virgin Australia airlineswho happened to be in town when he learnedthe ITG Conference was taking place. Anoth-er works in information technology. Othersare retired from various professions. Someplay trumpet at church or in communitybands. Bergman coached players on theimportance of being able to sing and buzznotes in order to center pitches on the trum-pet. He also spoke about performance anxietyand the value of playing in front of peopleoften. Mouthpiece selection was a populartopic among many of the players in atten-

ITG Photography publishes high-quality pho-tos from every event of the conference. High-res-olution digital images of the events are availableon the site under “Featured Galleries.”Please visit often, as the galleries are updatedseveral times per day.http://internationaltrumpetguildphotography.zenfolio.com

Justin Bartels (R) and Orchestral Excerpts finalists

Expert Guidance on Building and Maintaining Your Trumpet Studio


dance. Bergman emphasized that good mouthpiece selectiondepends on the player and the type of playing being done.(CL)

Panel Discussion: Jazz ComposersTrumpeter/composers Ralph Alessi,Hermon Mehari, and Alex Sipiagin,along with moderator John Adler, gave abrief overview of their respectiveapproaches to jazz composition. Sipiaginexplained that many of his compositionsare derived from ideas that develop whilehe is practicing trumpet; certain phrasesand colors emanate. He then moves tothe keyboard to work things out. Mehariwrites initially from the piano and saidthat he finds inspiration from anywhereand at any time, be it a musical or non-musical environment. Alessi drawsinsights from etudes for the trumpet andother instruments, and his ability to playelectric bass affords him additional assis-

tance. He also writes and performs trumpetetudes. For younger players, he suggests writ-ing as much as possible and having peopleperform your music. Mehari stated that hehas an opera in progress, and Alessi said thathe also uses short pieces and ties them togeth-er. Additional recommendations includedexploring different tempos, varying chordtypes, and working with voicings before dev -eloping chords. This was a highly insightfulsession. (NM)

Lecture-Recital: A Glimpse into the Life ofLes Trompettes de Lyon

Les Trompettes de Lyon, with Pierre Ball -ester, André Bonnici, Dider Chaffard, Jean-Luc Richard, and Ludovic Roux, use manydif ferent combinations of instruments,including bass trumpet, to create unusual col-ors for a trumpet ensemble. The program wasstructured around the performance of classi-

cal works (seated), followed by a standing performance of anamusing and innovative arrangement of the previous work. A

notable example was their arrange-ment of Bach’s Jesu, Joy of Man’sDesiring from Cantata 147, inter-spersed with beautiful singing andfollowed by a second arrangement ofthe same work in the form of an Irishjig. Other examples included Vival-di’s Four Seasons, Dvorak’s NewWorld Symphony, a Mozart sympho-ny, and others. The program endedwith a fantastic arrangement of theRadetzky March in all keys! Theirlively and amusing performance style,innovative arrangements, humorouscomments, and wide variety of musi-cal genres made this an exceptionallyentertaining session. (JE)

Jason Bergman (L)—Comeback and Non-Pro Players Clinic

Jazz Composers Panel

Les Trompettes de Lyon


United States Naval Academy Brass Quintet Presentation—Successful Chamber Music: It’s All About the ProcessThe US Naval Academy Brass Quin-tet opened their session about chambermusic preparation with two movementsfrom Susato/Iverson’s RenaissanceDances, featuring Davy DeArmond’ssparkling piccolo trumpet and MatthewManturuk’s dynamic percussion. Focus-ing on the process behind the creationof chamber music, DeArmond stressedseveral points, including the need to“check your ego at the door” to facilitategood verbal communication duringrehearsal and the importance of nonver-bal cues during performance. He alsotalked about the importance of collabo-ration (emphasizing that each memberof the quintet is an equal and that every-one must have “buy-in”) and bringingout the individual strengths of eachplayer in the group. Each member ofthe quintet was featured in the piecesperformed, including tuba player JarrodWilliams, trombonist Russell Sharp, andhornist Adam Tillet. Works performedincluded Jack Gale’s Suite from WestSide Story, Britton Theurer’s AnimalRights, and a Malcolm McNab Medley,featuring the legendary studio trumpeteras soloist. (EK)

Justin Bartels Masterclass: SoloCompetition Finalists

The three finalists from the 2016 ITGSolo Competition were treated to a mas-terclass with Justin Bartels, principaltrumpet of the Colorado SymphonyOrchestra. Although the final round ofthe competition was completed onThursday afternoon, the competitors donot hear the results until the awards pres-entation on Saturday. The three studentfinalists were Eric Millard (Florida State

University), Brent Proseus (McGill Univer-sity), and Jonathan Britt (Bowling GreenState University). Justin Bartels coachedeach student individually on the competi-tion pieces and spoke to the audience aboutsuch broad concepts as preparation, sound,articulation, phrasing, and musicality. (AH)

Lecture-Recital: Los AngelesPhilharmonic Trumpet Section

The LA Philharmonic trumpet sectionbegan their fantastic lecture-recital by per-forming Variants with Solo Cadenzas byWilliam Schmidt. This work featured eachindividual member of this superbly talentedsection. Their ability to blend and performin a cohesive, unified manner was excep-

tional throughout the piece and throughout the entire recital.The section then performed several well-known orchestral

Malcom McNab and the Naval Academy Band Brass Quintet

Justin Bartels and Solo Competition Finalists

LA Philharmonic Trumpet Section. L – R: Stéphane Beaulac, Chris Still, Jim Wilt, Tom Hooten


excerpts with helpful commentary and witty banter. Theirpraiseworthy collegiality, experience, and wisdom was on fulldisplay. For example, the group demonstrated how to generatecharacter and emotion in Verdi’s Requiem by skillfully match-ing timbre, intonation, and style. Their presentation of thechorale from Mahler’s Symphony No. 3 was simply sublime.Play Level 1 by Andrew Norman is a new work that featuresvirtuosic excerpts that Tom Hooten and Stéphane Beaulacexecuted with incomparable finesse. This was a truly inspira-tional, informative, and insightful look into one of the bestorchestral trumpet sections in the world. (JaB)

Trumpet and Piano Recital—Manu Mellaerts and Katrien Verbeke: Belgian Pearls of the Interbellum

Manu Mellaerts presented a recital, entitled “Belgian Pearlsof the Interbellum,” that was an interesting display of uniquepieces not often heard. The program opened with Theo Char-lier’s Solo de Concours, on which Mellaerts maneuvered easilythrough the work’s significant technical demands. He offeredinteresting insights about each piece and composer and men-tioned that Charlier had written two operas that were lost inthe war but were indeed performed. Mellaerts also performedJoseph Jongen’s Concertino, Leon Stekke’s Concerto, and JanHadermann’s Wicker Work for trumpet and tape and receiveda well-deserved standing ovation after his last note. (RR)

Logan Place Presentation—Trumpet Playing and Braces: Issues and Solutions

Logan Place, instructor of trumpet at Southeastern LouisianaUniversity, presented a detailed and informative session on howto deal with playing issues when students get braces. He men-tioned that his own experience comes from not only his teach-ing, but also his own experience having played with bracesthroughout his high school years. Place divided his presentationinto three different subject areas: the pre-brace phase and the

communication that should happen with students and theirparents, the difficulties that students face with playing once thebraces are on, and the phase of playing after the braces areremoved. There isn’t any one solution, but one of the mostimportant ideas presented was that the teacher needs to be pos-itive with the student and provide as much encouragement aspossible. Valuable solutions were provided in dealing with thisdifficult problem of playing with braces. (JoB)

New Works Recital #2The second New Works Recital of the conference startedwith a bang (or more like a click) as Benjamin Berghorn tookthe stage to perform Eric Nathan’s Toying for unaccompaniedtrumpet. Several extended techniques were required, includingthe removal of slides, loosening of valve caps, use of practiceand plunger mutes, and slapping of the mouthpiece. Berghorndemonstrated commanding technique and dramatic flairthroughout this playful work.

Manu Mellaerts

Jeffrey Work

Benjamin Berghorn


Yan Zheng’s Hunting was inspired by a traditional Chinesepoem and skillfully performed by Eric Liu. A sparse openingwas followed by a delicate theme filled with light gestures thatLiu and pianist Wenfan Yang handled deftly. There was asinging lyrical section, followed by a return to the delicatedance and a playful tag ending.

Charles Calloway’s rendition of Brad Baumgardner’s Thiswon’t hurt a bit! (and other lies) was a display of unaccompa-nied fun. Calloway made the many glissandos seem light andeasy as he handily brought the two themes, one lyrical theother nimble, together. The piece wrapped up with a grand liptrill, a delightful end to this clever work.Robert Frear and pianist Miriam Hickman brought manycharacters to life in their performance of Charles Reskin’s Chetthe Jet. The piece is based on a series of detective novels featur-ing a police dog academy washout named Chet and his owner.Frear showed no fear navigating the many technical and lyricalchallenges in this jovial piece.

Fred Sienkiewicz and composer Amit Weiner collaboratedon the next dramatic piece, In the Gates of Jerusalem. Thethree-movement work represents three historic gates in thecity and are composed using Baroque forms. Sienkiewicz’sstellar memorized performance of this work showcased manydifferent difficult techniques from lip bends and growls tothe demanding upper register necessary at the conclusion ofthe piece.The only piece on the recital to include an electronic accom-paniment was Matthew Burtner’s Golden Sparrow. Exquisitelyperformed by Glen Whitehead, this piece starts with birdsongs in the accompaniment, with the trumpet folding intothe electronic texture. Although not possible for this perform-ance, an additional artist with a canister of light is supposed togradually open the canister for even more dramatic effect.Maico Lopes and Miriam Hickman performed FelipeSenna’s Farras No. 4 for Flugelhorn and Piano. A gentle dance-like theme opens the work, followed soon thereafter by a freersection filled with graceful flourishes. Lopes’s luscious flugel-horn sound, combined with Hickman’s skillful playing,brought an energetic conclusion to this interesting work.

The final selection of the recital was Ross Wixon’s Eveningon the Town, masterly performed by Jeffrey Work and MiriamHickman. The piece consists of three miniature movementsmeant to depict three delightful urban scenes. The composer’sprogram note indicates influence by such mid-century com-posers as Norman Dello Joio, Leonard Bernstein, and HalseyStevens, and Work and Hickman transformed the music intoenchanting vignettes that the audience enjoyed greatly. (RT)

Joint Trumpet Recital: Bernardo Medel and Chung-Mom Ho

Chung-Mom Ho, originally from Taipei, gave an especiallystirring recital featuring a variety of compelling works fortrumpet and piano. Ho, who studied in Paris with Guy Tou-vron and Eric Aubier, is poised to become a leading soloist ofhis young generation. His recital demonstrated his ability to

Eric Liu

Robert Frear

Maico Lopes


play in a diversity of styles and genres. For example, his elegantperformance of Neruda’s Concerto for Trumpet, his melan-cholic and moving interpretation of Enescu’s Légende, and hisvirtuosic rendition of Gershwin’s Rhapsody in Blue highlightedthe captivating technical and emotional expression he is able toachieve. Yiu-Kwong Chung’s Viva Taipei was a folksy and par-ticularly lyrical highlight of this recital. It is important to notethe valuable and consummate collaborative participation ofGail Novak on the piano. Both performers were able to con-nect effectively with each other and the audience. Keep an eyeon this rising star! (JaB)

Research Room PresentationsDr. Jeremy McBain, University of Texas at Tyler: “The Roleof the Cornet à Pistons in the Early Symphonic Works of Hec-tor Berlioz.” McBain’s lecture provided an interesting look atthe social and musical factors in France at the beginning of thenineteenth century and Berlioz’s role in promoting the accept-ance of valved brass instruments in France. McBain’s interestin this topic began when preparing Roman Carnival Overturefor an audition while in college. The advanced techniquerequired in the cornet parts led him to study Berlioz’s use ofcornets and trumpets in his orchestrations. As valved brassinstruments were being introduced elsewhere, French musi-cians preferred the “noble” sounds of the natural trumpet,considering the trumpet à pistons to be inferior. However, thecornet à pistons was becoming popular in open-air concertsand likely influenced Berlioz’s use of the instrument. McBainoutlined the composer’s revisions of his orchestrations of vari-ous works from natural trumpets and one trumpet à pistons toa section of two natural trumpets and two cornets à pistons,providing melodic color and harmonic possibilities that influ-enced the direction of brass writing in the Romantic period.The lecture provided many interesting insights, including astatement by Arban to the effect that even with excellent abil-ity, one can starve playing the trumpet, while it is possible tomake a comfortable living playing the cornet. McBain’sappendices, including his own transcriptions and comparisonsof manuscripts and printed parts, are available on his website(www.bit.ly/1UcImCf).

Dr. Aaron Witek, University of Louisiana at Monroe: “Gor-don Mathie, Master Teacher and Performer: A Reflection onHis Career and Teaching Methodologies.” Witek gave anoverview of the extraordinary career of Gordon Mathie and hiscontributions to the trumpet world. Mathie was a foundingmember of ITG and received the organization’s first Award ofMerit in 1999. He is a revered pedagogue who believes inteaching by example and setting goals. He took notes on everylesson each week and invited his students to evaluate him inorder to improve his teaching. In his studio, tone production,sight reading, and transposition were emphasized. Mathie alsomade many contributions to the field as a performer and bypublishing pedagogical books, articles, instrumental studies,and ensemble works. Witek’s presentation included manyquotations from former students, giving a glimpse of Mathie’spersonality. He is known as the “crown prince of humour,”and he still practices daily, even in his nineties.Dr. Russell Zimmer, University of Nebraska-Lincoln: “ANew Look at the Playing Style of Theodore ‘Fats’ Navarro andHis Influence on Modern Jazz Trumpet.” Zimmer’s doctoralproject involved developing a method to work on bebop lan-guage by studying live recordings of Fats Navarro made in1949 – 50, which “captured a sound I like to hear.” Dr. Zim-mer began playing jazz around the age of twenty and foundgaps in the standard jazz methods. His presentation showedNavarro to be a rather quiet, reserved person—in contrast tohis fiery playing style. Zimmer discussed Navarro’s tone, tech-nique, and treatment of eighth notes in his creative improvisa-tions and traced his influence as a mentor of Clifford Brown.Zimmer also provided the audience with selected exercisesfrom his method book, which provide practical study materialfor some of Navarro’s techniques, such as scale and triad pat-terns with diatonic and chromatic surround/enclosures.Michelle Glasscock, University of North Texas: “IncreasedLearning and Mastery through Focus of Attention, Internal vs.External, in Trumpet Performance and Pedagogy.” Glasscockintroduced the idea of “Focus of Attention” (FoA) which hasbeen widely studied in sports psychology and motor skillsacquisition, but which has received very little attention in themusic world. Internal FoA is defined as directing the attentionto what the body is doing, while external FoA guides the atten-tion to something outside of the body. Research has shownthat an external FoA results in faster learning and an increasedretention rate in improving physical skills than internal FoA.Glasscock offered many possibilities in trumpet pedagogy suchas asking a student to “hear the sound you want” or “put it inthe back of the hall” as external focus of attention, while direc-tions such as “firm corners, flat chin, big breath” are examplesof internal FoA. Many of these ideas have been introduced totrumpet players from famous brass performers of the ChicagoSymphony and their students who have become renownedteachers. It is commendable that researchers such as Glasscockand others are delving into how and why these ideas are soeffective in music teaching.Emily McGinnis, University of Missouri-Kansas City:

“Female Participation in Brass Bands: International Perspec-tives.” Ph.D. candidate Emily McGinnis began playing inbrass bands in 2012 and stated that these ensembles push herfar more than any other group in terms of the level of musi-cianship, technical ability required, and wide variety of music.Her study included a look at the history of brass bands, which

Chung-Mom Ho


began in the early nineteenth century in industrial areas ofNorthern England. She received a knowing laugh from theaudience when she said that these bands were formed, in part,to keep people away from booze and out of trouble, “althoughin my experience…” In fifty of the top brass bands in theworld, McGinnis studied male-to-female ratios of players,ratio differences in instrument types, and ratio differences invarious countries. She also interviewed fourteen women abouttheir brass band experience and categorized their experience asgender-negative, -neutral, or -positive. Women reported somegender-negative experiences such as lower expectations, unfairseating arrangements, and greater bias from older men. Gen-der-positive experiences included the fact that youth bandshave more equal ratios of male-to-female members and thatthere are reports that younger men seem to treat women moreequitably. McGinnis suggested that we can effect positivechange by being good role models ourselves, advocating forfemale musicians, and encouraging girls to play brass instru-ments. She reminded the audience that “we teach them music,but we also create the musical environment.”Gilmore Cavacante da Silva, Valdosta State University:

“Estudos Bem Humadoros Para Trompete by FernandoMorais: An Introduction.” Da Silva talked briefly about his-toric Brazilian trumpet sources, one dating to 1645, but heexplained that neither historical nor current trumpet teachingpractices in Brazil are well documented. He surveyed teachersin Brazil and found that they rely heavily on such traditionalmethods as Arban, Stamp, Cichowicz, Clarke, Charlier, andBitsch, mostly from the second half of the twentieth century.Da Silva introduced the audience to Fernando Morais, aBrazilian horn player, teacher, and composer. His etudes fortrumpet are twelve character pieces in Brazilian style, which hefeels deserve attention because 1) this is good music worthy ofstudy and performance; 2) the collection helps to preserve theBrazilian styles of music; and 3) they areuseful alternatives to other, better-known etudes. These etudes are compa-rable to those of Charlier in terms oftechnique, endurance, and musicalmaturity. Da Silva analyzed two of theetudes that display elements of Brazilianpopular music including African Landurhythms and Medieval church modesand reiterated that they are inventive,pleasing to listen to, and fill the nichefor trumpet music in the Braziliannational style. (LAH)

Ralph Alessi: Jazz RecitalRalph Alessi’s jazz recital was an exer-cise in creativity, art-form and innova-tion. An inspired contemporary per-former and composer, Alessi began theconcert with an original titled Snap.Using quarter tones and other uniqueembellishments, Alessi’s free explo-rations were at times riveting. Flipping and Flitting, Friday the13th was the next effort. Alessi and the rhythm section weresuperbly in sync, blending and negotiating beautifully. Howl-ing was a vampish melody with Alessi exploring the entirerange of his trumpet. His mastery of the instrument’s capabil-

ities was readily apparent. A meditation on Bach’s SonataNo. 1 (Adagio) concluded the performance, arguably one ofthe most creative and interesting of the conference. A bravuraperformance! (NM)

Concert: The Romm Trio The Romm name is a dynasty in the musical world, andthe family trio recital left no doubt of that. From beginningto end, the three melded on a level beyond any regular cham-ber ensemble, bringing a special energy to the performance.The program featured a wide variety of musical selectionsfrom many genres and nationalities. The group performedBach’s Toccata and Fugue in D Minor as an homage toRon’s time in the Canadian Brass and a stunning arrange-ment of Over the Rainbow. The trio got a bit zany as they

adorned themselves with costumes to enhance a self-arrangedset of opera scenes. After a spirited version of Piazzolla’s Lib-ertango, the crowd was happy to receive an encore of thefamed Leroy Anderson’s Trumpeter’s Lullaby. The Rommsperfectly captured the essence of each transcription and

Ralph Alessi

The Romm Trio


arrangement and delivered a brilliant and dynamic experi-ence for everyone in attendance. (EM)

Kevin Gebo Masterclass: Military Band Excerpts Competition Finalists

The three finalists from the first annual ITG Military BandExcerpt Competition participated in a masterclass withKevin Gebo, noted trumpet soloist and Staff Sergeant in theUnited States Army Band. Although the final round of thecompetition was completed on Wednesday afternoon, thecompetitors do not know of the results until the awards pres-entation on Saturday afternoon. The three student finalistswere Ryan Brewer (Stephen F. Austin State University), BretMagnolia (University of Michigan), and Forrest Johnston.Kevin Gebo coached each student individually on their com-petition excerpts and directed them on expression, time, andstyle. He encouraged the students to prepare each excerptwith flexibility in mind, in the event that the audition com-mittee asks for the excerpt to be performed in a specific way.Gebo spoke to the audience about the military band programin general and the many options for musicians considering amilitary career. (AH)

Kathryn Adduci and the Los Angeles Baroque Ensemble: Concert

Kathryn Adduci, associate professor of trumpet at San JoséState University, presented a delightful concert on the valvelessBaroque trumpet, accompanied by the Los Angeles BaroqueEnsemble. Adduci opened the program with the familiar Con-certo in D by Giuseppe Torelli. From the very first notes, itwas clear that the audience was in for a special treat by a sea-soned early music specialist. Playing a four-hole vented trum-pet, Adduci’s sterling sound melded beautifully with the gutstrings of the period-instrument ensemble. In Johann WilhelmHertel’s challenging Concerto No. 3, Adduci demonstratedher remarkable technique and agility. Adduci discussed theimportance of historically informed performance practice,

explaining the “swinging” notes inégalesthat the ensemble chose to apply to theTelemann Sonata. With a soaring upperregister clarino, as well as a wide array oftechnical capabilities on this challenginginstrument, Adduci treated the audienceto a charming afternoon of Baroquemusic. (JD)

The Hollywood Epic Brass: ConcertThe Hollywood Epic Brass was formedin 2013 by their conductor, Kevin Kaska,a noted composer and orchestrator offilm scores who either composed orarranged all of the pieces on the program.Comprised of some of the finest studiobrass and percussion musicians in LosAngeles, the ensemble also included harpand organ and featured Malcolm McNabas principal trumpet. Throughout theconcert at Garden Grove UnitedMethodist Church, Abraham Laboriel,Sr., served as master of ceremonies, pro-viding introductions to the selections

performed. The performance also featured a chorus comprisedof choir members from Garden Grove Methodist and GraceFirst Presbyterian Church of Long Beach.The concert commenced with a sonic explosion of brass andpercussion in Kaska’s Gloria in Excelsis Deo, which heralded aprogram that would prove to be truly epic. With beautiful lyricsolos from McNab, contrasting with tutti brass statements ofastonishing power, the work also included a wordless choralbackground that underscored the work’s atmosphere ofgrandeur.The following piece, All Men, All Things (Under God’s Good

Guidance), began with organist Jaebon Hwang playing anextended solo that was later augmented by low brass beforeprogressing to a triumphant conclusion. Next was Scarborough

Kevin Gebo—Military Band Excerpts Master Class

Kathryn Adduci


Fair & The Water is Wide, which highlighted contemplativesolos by violinist Alyssa Park and McNab in Kaska’s poignantarrangement.Jaebon Hwang was showcased again in a solo organ adapta-tion of Simple Gifts that added a note of contrast to the largebrass ensemble selections on the program. The first half of theconcert concluded with a festive Medley of Christian Hymns,including such favorites as “All Creatures of Our God andKing,” and “Holy, Holy, Holy.” The combined choir of nearlyfifty singers performed with heartfelt enthusiasm, and morethan a few audience members accepted Laboriel’s invitation tosing along.Following intermission was a performance of BSO 2000

Fanfare, a work that Kaska had written for the Boston Pops atthe beginning of his career. This included an impressive solofor Malcolm McNab, full of soaring lyricism. Kaska’s arrange-ment of the Thanksgiving hymn, We Gather Together, wasgiven the full Hollywood treatment, complete with a tri-umphant ending.A contrasting slow piece followed—Kaska’s setting of O

Shenandoah, featuring Alyssa Park on another fine violin soloand the group’s principal trombonist, Bill Booth, in a master-ful display of lyrical playing. The next piece on the program,Irish Folk Suite, featured soaring lyrical solos by MalcolmMcNab and a variety of familiar Irish melodies. A particularhighlight was a dramatic cadenza by the organ, playing theopening flourish from Bach’s Toccata in D Minor, which wasfollowed quickly by The Irish Washerwoman. The piece ended

with a rousing rendition of Danny Boy, featuring Allen Fogelon horn.The final selection on the program was a spirited march,titled Halls of Freedom, complete with full-throttle organ play-ing and emphatic percussion flourishes. Following a veryenthusiastic standing ovation, the ensemble played anothermarch as an encore. (EK)

Hollywood Epic Brass


ADDITIONAL PHOTOS

41ST ANNUAL CONFERENCE OF THE INTERNATIONAL TRUMPET GUILD

MAY 31 – JUNE 4, 2016 • ANAHEIM, CALIFORNIA



Above: The Romm Trio

Left: Ralph Alessi (R) and theConference Jazz Trio


Hollywood Epic Brass


The 2016 ITG Conference Reporting Team

Jason Bergman (JaB) is assistant professor of trumpet at theUniversity of North Texas. He also serves as principal trumpetof the Mobile Symphony Orchestra and regularly performswith the Dallas Winds, Dallas Opera, and Dallas SymphonyOrchestra.Jon Burgess (JoB) is the Pedagogy column editor for the

International Trumpet Guild Journal. He is professor of trum-pet at Texas Christian University.Davy DeArmond (DD) is trumpet instrumentalist with theUnited States Naval Academy Band and serves on faculties ofThe Catholic University of America, Washington College, andAnne Arundel Community College.Jason Dovel (JD) is assistant professor of trumpet at theUniversity of Kentucky. He has recently released two CDs: LostTrumpet Treasures, a solo album, and Competition Pieces forTrumpet Ensemble with the UK trumpet ensemble.John Ellis (JE) is professor of trumpet at the Crane Schoolof Music, State University of New York at Potsdam, and is aYamaha performing artist.Ryan Gardner (RG) is associate professor of trumpet atOklahoma State University. He is an avid performer andserves as the New York and Los Angeles artistic coordinator forMusic for Autism.Scott Hagarty (SH) is a member of the Victoria and CorpusChristi Symphony Orchestras, a founding member of the Cor-pus Christi Brass Quintet, and associate professor of trumpetat Del Mar College in Corpus Christi, Texas.Adam Hayes (AH) is chair of Conference Scholarships andeditor of Youth Solo Reviews for the International TrumpetGuild. He is associate professor of trumpet at Berry College inRome, Georgia.Brittany Hendricks (BH) is assistant professor of trumpet atBall State University in Muncie, Indiana, where she runs thetrumpet studio and directs the Fanfare Trumpet Ensemble. Inaddition to her work on campus, she maintains an active per-formance schedule as a soloist and as principal trumpet of theMuncie Symphony Orchestra and the Da Camera Brass Quintet. Leigh Anne Hunsaker (LAH) is professor of trumpet atHardin Simmons University in Abilene, Texas. She performson modern and period instruments and is a founding memberof Texas Baroque Trumpets. She has published and presentedpapers in the arts medicine field and has written on theBaroque trumpet revival.Elisa Koehler (EK) is associate professor of music and direc-tor of the Center for Dance, Music and Theatre at GoucherCollege. She is the author of Fanfares and Finesse: A Performer’s

Guide to Trumpet History and Literature (Indiana University Press)and has served as an ITG conference reporter since 2004.Charles Leinberger (CL) is an associate professor of music at theUniversity of Texas at El Paso, where he teaches various classes inmusic theory and film musicology. He is also a freelance trumpetplayer.Eric Millard (EM) is currently pursuing a DM degree at FloridaState University. He previously completed his MM At Florida Stateand his BM at the University of Kentucky.Nick Mondello (NM) is a freelance trumpeter, author, educatorand clinician. He studied at the Berklee School of Music and hasworked privately with Carmine Caruso, Ray Crisara, Bobby Shew,and Laurie Frink.Derrick Montgomery (DM) received a Master of Music degreein trumpet performance at Florida State University in 2015. Nowin demand as a freelance musician, he has played with the North-west Florida Symphony Orchestra, the Sinfonia Gulf Coast, theNew Atlanta Philharmonic, and the Hollywood Concert Orchestraon their 2015 – 2016 tour of China.Alex Noppe (AN) is assistant professor of trumpet and directorof jazz studies at Boise State University. He is a founding memberand resident composer/arranger for the Mirari Brass Quintet.Raquel Rodriquez (RR) is assistant professor of trumpet at Ten-nessee Tech University and is the Trumpet Technology columneditor for the International Trumpet Guild Journal.Richard Tirk (RT) is associate professor of trumpet and jazz atSouthwestern Oklahoma State University. He is an active trum-peter in the Oklahoma City area and has performed in recital onfive continents. Tirk previously served on the faculties of BethelCollege (Kansas), and Luther College.Brian Walker (BW) is assistant professor of trumpet at TarletonState University. He serves ITG as chair of the Recordings ProjectsCommittee and co-chair of the Video Projects Committee.Spencer Wallin (SW) has performed with the Detroit SymphonyOrchestra and the Utah Symphony Orchestra. He recently graduat-ed from the University of Michigan (MM) and is currently pursuinghis DMA in trumpet performance at the University of North Texas.Joseph Walters (JW) is in his sixteenth year as the layout profes-sional for the ITG Journal and performs as principal trumpet in theAlbuquerque Philharmonic Orchestra.Aaron Witek (AW) is the Emy-Lou Biedenharn Endowed Chairin Music and instructor of trumpet at the University of Louisianaat Monroe, where he is a member of the Black Bayou Brass. Hemaintains an active performance schedule as principal trumpet inthe Monroe Symphony Orchestra and second trumpet in SinfoniaGulf Coast.Peter Wood (PW), completing his third year as ITG Publica-tions Editor, is professor of trumpet at the University of South Ala-bama and plays in the Mobile Symphony Orchestra.

SUPPLEMENTARY INFORMATION






2016 ITG Conference PhotographersMichael Anderson is the ITG Website director and headphotographer for the conference. He serves as professor oftrumpet at Oklahoma City University and is a member of theOklahoma City Philharmonic.Norman Bergstrom has been a member of the Blawenburg(New Jersey) Band trumpet section since 1962. He is also thephotographer for the Nova Orchestra in West Windsor, NewJersey.Eric Berlin is principal trumpet of the Albany Symphonyand Boston Philharmonic Orchestras, associate principaltrumpet of the Colorado Music Festival Orchestra, and amember of the Boston Modern Orchestra Project. He is pro-fessor of trumpet at the University of Massachusetts Amherst.Del Lyren is professor of trumpet and jazz at Bemidji StateUniversity. He has been active in many aspects of ITG, includ-ing co-hosting the 2011 conference in Minneapolis.Denny Schreffler has been a professional trumpet player forfifty years and a curious photographer nearly that long. “It’smore fun practicing on a Nikon than on a Benge.”

2016 ITG Conference ExhibitorsA “minor” Tune Up Custom Trumpet ShipAdams Musical InstrumentsAR ResonanceArturo SandovalAustin Custom BrassBalquhidder Music / Glen Lyon BooksBERP & Co.Best Brass CorporationBlackburn TrumpetsBob Reeves BrassBill Pfund TrumpetsBrass HeraldBrasstactic!Brazilatafro-Gabriel Rosati MusicCannonball Musical InstrumentsCarolBrassChuck Levin’s Washington Music CenterConn-SelmerDel Quadro Custom TrumpetsEastman Music Co.Editions Robert MartinEdwards Instrument CompanyEric Bolvin Music StudiosFacet MutesFrate Precision MouthpiecesGard BagsGaribaldi Musical InstrumentsGetzen Company Inc.Griego MouthpiecesThe Horn GuysHub van Laar Trumpets & FlugelhornsHusonicsInternational Trumpet Guild 2017 ConferenceInternational Trumpet Guild Jaeger Brass and Recreational MusicianJames R. NewJupiter Band Instruments

Kanstul Musical InstrumentsKen Larson’s BrassWerksKrinner Instrumentenbau—Rotary Trumpets & FlugelhornsMaller Baroque Brass InstrumentsMarcinkiewicz Co. Inc.Michael Thomas Music / Burbank Trumpet—BushMouthpiecesP. Mauriat TrumpetsPickett BrassPremiere PressProtecPurtle.comQuintessential Brass RepertoireRaw Brass TrumpetsRobinson’s RemediesScherzer and B&SSchilke Music ProductsS.E. ShiresSmith Watkins TrumpetsSoulo MuteStomvi USATheodore Front MusicThompson Music Co.Tom Crown Mute CompanyTorpedo BagsTrumcor, Inc.Trumpet DynamicsUltra-Pure OilsUS Army Band RecruitingWarburton Music ProductsWeimann German Trumpets & FlugelhornsWoodwind & BrasswindYamaha Corporation of America

Conference SponsorsPlAtinUM SponsorsWarburtonYamaha Corporation of America

Silver SponsorBill Pfund Trumpets

Conference Program Book AdvertisersA “minor” Tune Up Custom Trumpet ShopAdams BrassBill Pfund TrumpetsBlackburn TrumpetsBrass HeraldCalifornia State University / Bob Cole Conservatory of MusicCannonball Musical InstrumentsCarolBrassChuck Levin’s Washington Music CenterCloudEasy4Curry MouthpiecesFacet MutesFrost Custom BrassHickman Music EditionsHub van Laar Trumpets & FlugelhornsiClassical AcademyInternational Trumpet Guild Conference 2017


Jeff PurtleKanstul Musical InstrumentsMark Reese / Reese PiecePickett BrassSchilke Music ProductsS.E. ShiresSmith Watkins TrumpetsSoulo MuteTriplo PressTrumpetbook.comTrumpetology.comUniversity of Hartford / Hartt SchoolWarburton Music ProductsWeimann German Trumpets & FlugelhornsYamaha Corporation of America

special supplement to the international trumpet guild journal · ended on a true high note with the...

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