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THE 2010 INTERNATIONAL TRUMPET GUILD
CONFERENCE, SYDNEY, AUSTRALIA
SPECIAL ONLINE REPORT COMPILED BY GARY MORTENSON
TUESDAY, JULY 6 SATURDAY, JULY 10, 2010
THE 2010 INTERNATIONAL TRUMPET GUILD
CONFERENCE, SYDNEY, AUSTRALIA
SPECIAL DAILY REPORT COMPILED BY GARY MORTENSON
Tuesday, July 6: Youth Day
The 21st Century Trumpeter (GM)
This, the opening session of Youth Day, brought forth a
great panel discussion involving James Ackley, Seelan Manick-
am, and Rex Richardson. The panel talked, at length, about
their respective backgrounds in the areas of solo playing,
orchestral work, teaching, freelancing, and chamber music.
Ackley talked about his late arrival on the trumpet scene
(toward the end of his high school years), how his early inspi-
ration came from hearing the trumpet in the orchestral setting
(most notably the Cleveland Orchestra), and how it grew from
there to include music from a wide variety of settings. His early
career took him to Latin America and he continues to travel to
that part of the world to perform more than a dozen times a
year. He also said that he is inspired every day by his students
and his family. Manickam talked about his work as a chamber
musician with the Bala Brass, as a soloist, and as a freelance
player in the Boston area where he teaches at an all-boys school
teaching trumpet and conducting ensembles. He talked specif-
ically about a project he put together at the school that
involved a compositional project that the students developed
that included collaborating with a hip-hop artist. Manickam
stressed that versatility and adaptability are extremely impor-
tant traits for musicians on todays music scene. Richardson,
who also acted more-or-less as a moderator for the session,
talked about his initial college education at Northwestern Uni-
versity and with the Civic Orchestra of Chicago before mov-
ing on to pursue his interest in jazz, chamber music, and con-
temporary music realms. Richardson had great advice on the
importance of connecting with other musicians, being open
to musical challenges and offered insights on how to approach
new music. This was a great way to kick off Youth Day and was
thoroughly enjoyed by the several hundred
participants (of all ages) in attendance.
Jazz Lecture/Recital:
Richardson/Barnard (BA)
Jazz trumpet legend Bob Barnard and Rex
Richardson opened their jazz lecture recital
with a fabulous rendition of Harry Warrens
There Will Never Be Another You. The ever so
dapper Barnards exuberant sound filled
Verbrugghen Hall with his smooth snaking
style, and hipster Richardsons clean eighth-
note runs articulated their way to the listen-
ers. Barnard continued to speak about his
early trumpet influences (Louis Armstrong,
Muggsy Spanier, and Bunny Berigan) and
how his musical family upbringing led him
to the trumpet at the age of eleven in 1944,
which led into a discussion about ii-V7-I
progressions in relation to scales and modes
and ways to change your thinking about the
vertical versus horizontal elements of im -
2 ITG Journal Special Supplement
2010 International Trumpet Guild
L R: James Ackley, Seelan Manickam, Rex Richardson
2010 International Trumpet Guild
ITG Journal Special Supplement 3
prov isation. A request sparked Barnards next performance of
Youve Changed and Bobby Haggarts Whats New. Barnard
spoke of his playing with Louis Armstrong upon his arrival to
Australia in the 1950s, and concluded with a blues.
Youth Gala Concert: Premieres
by Richardson/Collins/Bradshaw (MR)
The opening gala concert of the 2010 ITG conference was a
showcase featuring talented young Australian musicians, world
premiers, and dazzling trumpeting. After opening remarks by
conference host Bryan Evans and ITG President Kevin Eisen-
smith, The Sydney Conservatorium Brass Ensemble, conduct-
ed by Steve Rosse, led-off the evening and performed three
works with balance, blend, and intonation much more typical
of groups far in advance of the players chronological ages.
They began with a bold yet precise performance of Paul
Dukas Fanfare. From the start of their performance through
their final chord, they seemed remarkably confident and
unfazed by their surround-
ings. The groups fine musi-
cianship and solid prepara-
tion was especially evident
during their second work,
Edvard Griegs Funeral March.
The extreme delicacy of the
beginning of the piece seem -
ed to draw the audience in
and set the stage for the beau-
tiful contrast they displayed
as the work drew dynamical-
ly fuller. Their wonderful
playing set the bar high for
the rest of the evening!
The NSW Department of
Education Arts Unit Orches-
tra, led by Stephen Williams,
next took the stage and per-
formed Huapango, by Jose
Pablo Moncayo. The groups
lively performance of this
colorful work was highlight-
ed by fine, and stylistically
correct, solo passages for
muted trumpet and trom-
bone.
James Ackley and Seelan
Manickam joined the orches-
tra on-stage for the premier
of Robert Bradshaws Double (Concerto for Two Trumpets). The
work is comprised of four movements that tested the duos
ability to blend with one another while melding their individ-
ual and combined sounds with orchestra. It was interesting to
see Ackley begin the third movement backstage left, executing
a haunting echo that mirrored Manickams declamatory state-
ments. Ackley and Manickam played a very solid performance
of a concerto filled with cadenza-like sections, examples of call
Bob Barnard and Rex Richardson perform together
The Sydney Conservatorium Brass Ensemble
The trumpet section of the NSW Unit Orchestra
4 ITG Journal Special Supplement
2010 International Trumpet Guild
and response, and challenging technical passages. Bravo gentle-
men!
James Stephensons two movement composition Rextreme-
Concerto No 2 for Trumpet, written for Rex Richardson, seemed
a perfect vehicle to suit a few of Richardsons many virtuosic
strengths: multi-phonics, lyric flugelhorn, and jazz improvisa-
tion. Richardson rose to the occasion, delivering a brilliant
performance!
Brendan Collinss Trumpet Mambo, performed by The Aus-
tralian Elite Student Trumpet Ensemble, composed of more
than thirty trumpeters ages 12 16 aided by Andrea Tofanel-
li, came next. This ultra-hip mambo allotted two young trum-
peters space for improvisation, backed by a four-piece percus-
sion section that included a cameo by Brian Evans on bass gui-
tar. It was wonderful to see (and hear!) the stage full of such
vibrant young trumpet players!
The anchor leg of the evening belonged to The Sydney Con-
servatorium Elective Jazz Orchestra, under the direction of
David Theak. The ensemble performed six pieces with jazz
lions Vincent DiMartino, Kelly Rossum, Richardson, and
Tofanelli each performing a solo feature. The last chart, Thad
Jones standard Dont Git Sassy, saw all four soloists joining the
ensembles trumpet section, with each professional taking a
burning solo. Australia has a bright musical future embodied
by these wonderful young talents! It was truly remarkable to
see so many young musicians performing with such poise!
What a way to open this years conference!
James Ackley and Seelan Manickam perform on the Bradshaw
Rex Richardson solos on Rextreme
The Australian Elite Student Trumpet Ensemble
Kelly Rossum solos with the Elective Jazz Orchestra
Andrea Tofanelli soloing with EJO
2010 International Trumpet Guild
ITG Journal Special Supplement 5
The Board meeting in progress; theres a good chance that Jet Lag was discussed.
The ITG Board members present at the conference.
This picture was apparently taken before the meeting began, as they are all smiling.
AdditionAl Photos
6 ITG Journal Special Supplement
2010 International Trumpet Guild
Above: ITG President Kevin Eisensmith speaks to the conference attendees.
Below: Conference Host Brian Evans welcomes everyone to the conference.
THE 2010 INTERNATIONAL TRUMPET GUILD
CONFERENCE, SYDNEY, AUSTRALIA
SPECIAL DAILY REPORT COMPILED BY GARY MORTENSON
Wednesday, July 7
Gala Opening: The Trumpets of Sydney (NY)
It was very exciting to be sitting in the stunning Verbrug-
ghen Hall at Sydneys Conservatorium of Music (known to all
and sundry as the Con), awaiting the start of A Musical Wel-
come, the opening concert of ITG 2010. Of course, with a
great program of youth events the previous day this was really
a second bite of the cherryindeed, wed been here just hours
before for the previous nights fantastic Youth Day gala. But
this was the ofcial opening concert and we had people to wel-
come and thank, and fanfares to play, and things to do in the
right and traditional mannerand so they were, but with a
uniquely Australian avour.
Proceedings started with Andrews Evans, the Chair of Brass
at the Con, giving a warm speech of welcome to this 35th
annual ITG conference. Evans went on to introduce ITG vice-
president Kim Dunnick, who welcomed us on behalf of the
Guild, emphasizing the wonderful program and facilities here.
Dunnick recalled with affection the rst meeting, twelve years
ago, of the Australian Trumpet Guild. He is a founder-mem-
ber of this thriving organization, whose rapid development
and ambitious vision has led directly to our all being here
today.
After these speeches it was time for the rst musicand
what a beginning. The Trumpets of Sydney played David Stan-
hopes Australian Fanfare, conducted by the composer. This
nine-player ensemble comprised almost every player from both
the Australian Opera and Ballet Orchestra and the Sydney
Symphony, and also included David Elton from the West Aus-
tralian Symphony and Andrew Evans from right here at the
Con. The Trumpets of Sydney brought a wonderfully clear and
broad sound to this uplifting, tonal fanfare. With its impres-
sive, solid unisons and lovely contrapuntal passages Stanhopes
work was just the thing to get the conference off to a rousing
start. Sydneytpts.jpg
Next came the welcome speech from our host Brian Evans.
Despite his combining the roles of ATG President and ITG
Secretary with his full-on musical career, some miracle of tem-
poral distortion has left this human dynamo also organizing
the Southern Hemispheres rst ITG Conference: my word,
that man does get around.
Naturally Evans had also been playing in the Stanhope fan-
fare but, hardly pausing to draw breath, he made a most sin-
cere and comprehensive speech of welcome and thanks, rejoic-
ing in the conference nally being here, and celebrating the
support of the many people and organizations who had helped
get us all to this moment. Alluding to the nearby Sydney
Opera House on Bennelong Point, and the historical reso-
nances of that name, Evans rst reminded us that modern Aus-
tralia owes its very presence here to the original inhabitants of
the land. He further welcomed the forty world premires being
given this week, as well as the strong element of youth in the
2 ITG Journal Special Supplement
2010 International Trumpet Guild
Andrew Evans
2010 International Trumpet Guild
ITG Journal Special Supplement 3
conference, showing us that the future of the trumpet is in safe
hands.
With Evanss host-duty performed it was time to hear some
more music; indeed, to enjoy one of those many premires.
Alan Holleys work Ornithologia was performed by the Sydney
Symphonys Paul Goodchild. First, though, Holley took the
stage to explain some of the thinking behind the piece. It is
greatly inuenced by the colours and sounds of Australias
widely varied birdlife and he spoke with enthusiasm of the par-
rots, eagles, nches, and many other species he routinely sees
and hears. Very little of the work is a direct transcription of
birdsong but it is inspired throughout by the sounds and
movements of birds. The rst of the pieces two movements,
Flight, is all about birds leaving the nest, the soaring of eagles
on thermals in the valleys west of here, and so on, and in its
lively and constantly rising motifs we hear this clearly por-
trayed. The movement has declamatory, fanfare-ish moments,
interspersed with more lyrical, longer phrases and little trills
and hesitations in some quieter sections. The incredible uen-
cy yet delicacy of the soloist was much on display here as was
his satisfyingly big, warm sound.
The Trumpets of Sydney
2010 Conference Host Brian Evans
Composer of Ornithologia Alan Holley
4 ITG Journal Special Supplement
2010 International Trumpet Guild
In the second movement, Calling, we heard very clearly
the inuence of birdsong. In his introduction Holley had
talked about the mimicry of birds and especially the very
skilled mimicry of the lyrebird, a ground-dwelling Australian
species, and in the music we heard this repetition and the edit-
ing and re-use of fragments. Another star of Calling is the
owl-like Tawny Frogmouth, whose repeated D-ats were a
strong, ostinato-like feature of the later parts of the movement,
with interjections, sometimes very ashy, always coming back
to this steadying inuence before a ery, exciting ending. This
was an assured, masterful performance giving the feeling that
Goodchild is a solid trumpet player to whom Holley was wise
to entrust this exciting premire. Copies of the music were
generously given out to the audience, who will nd it an
appropriate memento of a ne concert.
Australian Baroque Brass (BA)
John Fosters Australian Baroque Brass opened their recital
with Monteverdis Tocatta LOrfeo, its fanfare-like opening tak-
ing the audience back in time with the regal sounds of the early
17th century. Verbrugghen Hall continued to be lled with the
beautiful blend of natural trumpets, sackbut, and organ with
Leopold Mozarts Suite from Serenata that the Australian
Baroque Brass perform on replicated period instruments. The
group then performed Caldaras Sonata a3 and Indradens I, II,
and III using various members of the group in different com-
binations. Foster continued the program with Bachs Cantata
#147 Jesu Joy Of Mans Desiring performed on the Cornetto
with its vocal quality accompanying Drurys melody, leading to
an explosive performance of Buxtehudes Praeludium. Aus-
tralian Baroque Brass concluded their recital with Bibers
Sonata a7, which typied the war-like origins of the trumpet
and kettle-drum combination, and was reminiscent of hunting
calls. This was an exquisite display of talent and style per-
formed by virtuoso musicians on period instruments. ABB2
The Business of Jazz ( JI)
Today, trumpeters need more information than just how to
play the horn well. A wealth of great advice was given on top-
ics dealing with the business side of jazz. Topics (with answers)
included:
Bookingswho handles this? Most of the panelists handle
bookings themselves.
Management Teamwho is on it? The publicist is the most
im portant one to keep.
Contractsget half fee beforehand? Mostly yes.
Paul Goodchild
The Australian Baroque Brass
2010 International Trumpet Guild
ITG Journal Special Supplement 5
Double bookingwhat do you do? Honor your rst commit-
ment.
Do you play free charity events? Yes, because they often lead to
more gigs, but watch the quality of the gig and other players.
Three things to consider in a jazz gig:
a. The quality of the music.
b. Your colleagues on the gig.
c. The nancial side of the equation.
Hopefully, most of the time two out of three of the above will be
positive. Its ideal to have all three of these factors in the win col-
umn. Avoid a gig when one of three of these factors are present.
Practice Techniques/Solving Problems (AC)
Yigal Meltzer is the principal trumpet in the Israel Philhar-
monic Orchestra and professor of trumpet at Tel Aviv Univer-
sity; in his presentation discussing practice techniques he gave
insight into making practice more rewarding and ways to en -
sure musical progression of the solo or excerpt being re hearsed.
The presentation focused on the idea of tackling problematic
areas within your literature from as many different angles as
possible. So often when practicing the trumpet we play a pas-
sage over and over again at the same tempo hoping it will
somehow begin to come together. More often than not the
passage does not come and all that occurs are reinforced bad
habits. Instead it is important to take time and think of as
many different ways possible to practice a certain phrase,
whether that be to slow the tempo down, or break a phrase up
into tiny workable sections. Practicing can be fun when suc-
cessful performances are made possible. In order to have suc-
cessful performances it is important to practice the notes cor-
rectly, even if that is at a slow tempo and by isolating the indi-
vidual parts of each phrase. The speed, uidity, and musicality
will come when every pitch is centered and focused, and con-
sistency is achieved.
Tofanelli Jazz Recital (BA)
Tofanellis scintillating entry in Chick Coreas Spain during
the Ensemble de Trompetas prelude was more than enough
introduction. Tofanellis jazz recital continued, accompanied
by students from the Sydney Conservatorium Jazz course. It
was immediately clear that the great Maynard Ferguson was an
inuence and inspiration for Tofanelli and he continued the
program performing Fergusons version of Barbara Streisands
hit People and followed this with some beautiful Italian
melodies. Bobby Timmons Dat Dere was performed next with
Tofanelli continuing to change colors between ugelhorn and
trumpet. The recital proceeded with a beautiful rendition of
Tu si Na cosa Grande which is an Italian love song that trans-
lates to you are the one for me composed by Domenico
Modugno, who also composed Volare. The performance ended
Business of Jazz Panel, L R: Nadje Noordhuis, Vincent DiMartino, Matthew Jodrell, Eitenne Charles, Andrea Tofanelli
Yigal Meltzer
6 ITG Journal Special Supplement
2010 International Trumpet Guild
with Tofanelli getting the audience to participate with a funky
rhythm on George Gershwins standard Summer Time.
New Works for Trumpet #1 (MR)
The rst new works recital contained
a fascinating collection of compositions
as varied as the musicians who per-
formed them. Jazz Trio, by Barry
McKimm, was a piece that trumpeter
Chris topher Perrin compared to
Claude Bollings Toot Suite. The three-
movement trio for trumpet, bass, and
drum set was a test of Perrins en -
durance. He passed with ying colours!
The performers expertly navigated
com plex jazz music and provided a ter-
ric start to a ne recital.
Mark Clodfelter and Rebecca Wilt
next took the stage. Clodfelter noted
that Sean OLaughlins Origins for
Trum pet and Piano was mistakenly mis -
labelled in the conference program.
The musics extended chords and mod-
ern tonal sonorities were captivating.
The piece moved between technical up-
tempo music and slow lyric writing while
allowing ample rest for the trumpeter.
Both Clodfelter and Wilt displayed ex -
treme musical sensitivity while delivering a
vibrant and expressive performance.
The Trumpeter Dreams of Music, by Neil
Flory, was commissioned for the musical
preferences and personality of Mary
Thorn ton. The work is a duet between
Thornton and pre-recorded snippets pla -
yed through amplied sound system.
Thornton, performing on E-at trumpet
and ugelhorn, produced a beautifully
warm sound that was even through all vol-
umes and registers.
Richard (trumpet) and Suzanne (clari -
net) Tirk gave the premier performance of
Robert Levys Reections; performing four
of the works ve movements: Kinetic Energy, Play Song, Asser-
tation, and Intuition. The pair
was well-prepared and demon-
strated excellent balance and
blend, especially while Richard
switched between cup, straight,
and plunger mutes. Each per-
former expertly assumed chang-
ing musical roles, shifting be -
tween melody and accompani-
ment with grace. The twosomes
relaxed approach made this chal-
lenging music sound easy.
James Ledgers Devils on the
Underground (for Trumpet and
Laptop), written for David El -
ton, was scored for trumpet and
live electronics. The piece ex -
plored pitches outside of normal
temperament, while all sounds
were manipulated by a comput-
er. Eltons playing was energetic and creative as he wove a musi-
Andrea Tofanelli
Christopher Perrin performs the McKimm
Rebecca Wilt and Mark Clodfelter perform Origins
2010 International Trumpet Guild
ITG Journal Special Supplement 7
cal fabric that was complex, innovative,
captivating, and musically fullling.
Iskander Akhmadullin and Kathryn
Fouse performed James Wintles Vaude-
ville. The music was ashy and powerful,
demanding equal virtuosity from each
performer. Akhmadullins playing was
crystal clear as he employed various mutes
to t the changing moods of the piece.
The music contained an underlying drive
and tumultuousness that each musician
dispatched easily, equally contributing to a
ne performance.
The Fortune Brass performed Clint
Needhams Cleveland Sketches. This work
was an ITG composition prize winner in
2004. The ensemble demonstrated
remarkable exibility as they navigated the
three-movement work. The rst and third
movements were characterized by ourish-
es and fanfares. Solo ugelhorn dominat-
ed the second movement; providing lush
and owing melodies.
Out of Hand, by John Gibson, per-
formed by Gibson (computer), Mike Tun-
nell (trumpet), and Brett Shuster (trom-
bone) provided a tting end to a wonder-
Mary Thornton performs Trumpeter Dreams
Richard and Suzanne Tirk perform Reflections
David Elton performs Devils on the Underground
8 ITG Journal Special Supplement
2010 International Trumpet Guild
ful recital. The trio combined
to produce music that sounded
reminiscent of modern organ
music, pointillism, and funk
band. Tunnell and Shuster
melded with the computer in
seamless fashion. Fine playing
from both performers!
Vincent and Gabriel
DiMartino (KK)
This collaboration among
Vincent DiMartino, Gabriel
DiMartino, and organist
Schuyler Robinson was a very
exciting and musical perform-
ance. The recital featured
pieces of many styles and gen-
res, from Bach to Gershwin to
Tomasi. Vincent and Gabriel
opened the recital with a duet,
Concertino Classico by
Horovitz, which allowed us to
hear how well their sounds
blended. After this, Vincent
and Gabriel took turns playing
solos and Robinson played two
organ solos. All of this was
played very musically. The
Akhmadullin and Fouse perform Vaudeville
The Fortune Brass perform Cleveland Sketches
2010 International Trumpet Guild
ITG Journal Special Supplement 9
recital ended with the DiMartinos special version/transcrip-
tion of Pictures at an Exhibition. It was a very captivating
arrangement utilizing the full range of the trumpet, requiring
the use of bass trumpet in some parts. Gabriel accomplished
this exquisitely. Vincent and Gabriel impressed the audience
with not only their abilities as incredible soloists, but as excel-
lent musicians who effortlessly responded
to each other, sounding as one musician
rather than two. This was a superb per-
formance by all three collaborating musi-
cians. Bravo!
The Comeback Player (AC)
Presented by Dan Hallock and Jeffrey
Piper, this lecture discussed ways to
improve the playing ability of trumpet
players who do not play for a primary
source of income. The majority of the
trumpet community falls into this catego-
ry, these people are music lovers and want
to play in order to learn about themselves
and communicate with others. Often it is
difcult to practice a steady amount
throughout the week because our day jobs
and family time conict with the amount
of time we want and need to practice. It is
important to schedule practice time into
our schedules and treat those thirty min-
utes to an hour of daily practice time as
part of our job. A small amount of practice
time each day is more benecial than mul-
Tunnell and Shuster perform Out of Hand
Vincent and Gabriel DiMartino perform with Schuyler Robinson on organ
10 ITG Journal Special Supplement
2010 International Trumpet Guild
tiple hours of practice on the weekend. It is also important to
join a small ensemble or community band and regularly per-
form quality literature, that way you always have a source for
fresh knowledge and inspiration on the instrument. There are
many places an amateur trumpet player can
play and will be greatly appreciated by a public
audience such as churches, schools, and
monthly gigs. Finding situations where you
have a regular performance outlet can prove to
be one of the best motivational tools to help
make our daily practice relevant.
Asia/Pacific and Beyond Recital ( JI)
This recital featured a selection of players
from the Asian Pacic areaand beyond. A
perfect example of what the I in ITG is all
about. Performers represented Australia, New
Zealand, Singapore, Thailand, as well as
Turkey, Greece, and Brazil.
John Coulton played with a beautiful, full-
bodied approach in the difcult Arnold Concer-
to. Cheryl Hollinger offered a owing, singing
style in her Gliere Concerto. Erden Bilgens
original composition, Peaceful, had passages of
both free form and complex rhythms. Nikos
Xanthouliss self-composed Fantasy highlighted
lyricism contrasted with energetic rhythms in
keeping with his Greek roots. Gerassimos Io -
nannidis presented a lush ugelhorn sound on
Rodrigos beautifully haunting piece. Lertkiat
Chongjirajitras work was a study in gentle
beau ty depicting the lotus in a musical style
where East met West. The only Baroque-era
piece was played by Laurie Gargan in a bril-
liant, resplendent manner. Luis Engelke expertly traversed
driving Brazilian rhythms with rich resonance.
Bukovsky Jazz Recital (BW)
The Wednesday afternoon
recital featured a medley of
or iginal songs by Miroslav
Bu kovsky and one song by
guitarist Jeremy Sawkins. The
2010 ITG Rhythm Section
perfectly accompanied the ar -
tistic abilities of Bukovsky in
this very entertaining perfor -
mance. One aspect of the per-
formance that made an im -
pact on the listener was the
seamless ow of the music.
Af ter the rst piece, Deli-
catessence, Miroslav intro-
duced the band. From there
on, the group performed a
med ley of two originals,
Broute Cafe and Dakat by
Mir oslav, and one original
work, Field Call, by Jeremy
Sawkins. The audience appre-
ciated the smooth transitions
between each piece and the
ideas presented by each mem-
ber of the band in their ex -
tended solos. I particularly
Jeff Piper
Dan Hallock
2010 International Trumpet Guild
ITG Journal Special Supplement 11
enjoyed the second chart, with its energetic drum groove and
feel. This was a very relaxed performance that brought a very
busy, and enjoyable, afternoon to a close.
Gala: St. Marys District Brass Band (NY)
The Brass Spectacular, at Sydneys very attractive City
Recital Hall Angel Place, got off to a rousing start with the St
Marys Band Club Brass and soloist Jens Lindemann, conduct-
ed by Paul Terracini, giving the Australian premire of Peter
Meechans Apophenia. Its a long story about apophenia
(Google is your friend here) but whatever the background, it
all made for an interesting piece. In the rst movement a live-
ly, driving melody builds to a climax followed by a more lyri-
cal, quieter section. A cadenza leads back to the earlier, quick-
er material, building with fantastic high-precision low brass
playing to an almost shockingly sudden end. The second
movement started with ugelhorn in a calm, almost hymn-like
beginning opening out into lyrical, more ballad-like style, and
trumpet reworks later. The work segued into its third move-
ment, rhythmically more complex, fast and busy, and building
in intensity. A cadenza for solo cornet and drums followed,
with clever lighting to emphasize the two protagonists then the
driving rhythm was re-established leading into what I can only
describe as an insane high ending of crowd-pleasing intensi-
ty.
A great arrangement of Arbans Fantasie Brillante followed,
featuring cornet soloist Ashley Hall and Mark Howcroft, the
bands solo euphonium. What a great duo. The arrangement
was entertaining and clever, with different ways of dividing the
laboursometimes in startlingly precise octaves, sometimes
handing the melody over between the instruments.
Having heard Paul Goodchild earlier in the day I was
delighted to see him on stage here as soloist in Barry
McKimms Concerto for Trumpet. The work started with a
broad, almost languid feel but ratcheted up the tension soon,
the introductory material giving way to a waltz-like passage
with an busy, edgy, shifting feel and some virtuoso display
from the soloist, and always with a superb interplay between
Goodchild and the band. In the second movement we heard a
slow, lyrical melody that you thought might almost be a folk-
Miroslav Bukovsky
Jens Lindemann performs on the Meechan
12 ITG Journal Special Supplement
2010 International Trumpet Guild
tune, becoming louder and grander, and ultimately heroic by
the movements end. The third movement started bold and
declamatory, with help from some well-placed percussion,
then calming down for more lyrical trumpet solo passage. Sev-
eral such changes led us through to a substantial and rather
beautiful cadenza to a superfast, exhilarating ending.
Next we heard the ITG2010 Festival Brass, a 12 15 piece
classical brass ensemble with two percussionists. Paul Terracini
conducted his own Concerto for Brass, a work premired in
2003. The rst movement, described by Terracini as harmon-
ically minimalistic but not in any other way had an energetic
beginning giving way to a more
reective melody in longer notes
over gently rocking horn rhy -
thms, before building back to
the more energetic music again.
The second movement is based
on St Thomas Aquinass Pange
Lingua and starts with a solo
statement on trumpet of that
medieval hymn. The tune is re -
stated and developed with vary-
ing and beautiful accompani-
ments, largely from the horns
and trombones and with rare
touches of tuba anchoring it in a
completely different sonority.
Terracini tells us that the last
movement is an exploration of
cer tain twentieth century tech-
niques, that threatens to cross
over but decides against it. It
charges straight in, driving and
exciting, very fast and urgent,
be fore a bigger, almost lmic
theme comes in on the horns. A
sudden slowdown brings a more
reective feel, back more to the
soundworld of the second
move ment but with the silvery tinge of piccolo trumpet. Then
weve quickly back to the urgency, pushing ahead, with dra-
matic gaps punctuating the energetic ow. A couple more con-
trasted passages like that kept us on the edges of our seats
before the movement eventually slowed right down for an exu-
berant and dramatic ending.
Atso Almilas TePaTePa came next. At its
start a chugging quaver (eighth note)
rhythm passed around with varied instru-
mentation to provide textural varietythe
same note in many voices. Building in
speed and harmonic richness the work
con tinued until eventually the trumpets
enter with more melodic lines, then all be -
comes busier as more conversations
emerge from all over the ensemble. Grad-
ually the groups merge into bigger sound
blocks, under which you can hear huge,
unstable movements which reminded me
of earthquake or ocean currentssome-
thing big going on under the surface. This
led to a quiet, calm section with an unin-
ected, almost detached feelquite dry
and brittle, with lots of muted trumpets,
then developing into a broader and more
symphonic sound and moving towards a
big climax. A delicate muted trumpet solo
followed, at rst unaccompanied then
with the tuba doubling and horns accompanying; a little later
it acquires timps and a gong underneath, like a warning. This
leads to the trombones starting off a new, more threatening
section, with piccolo trumpet interjections, moving towards an
energetic section with brilliant little percussion and tuba solos
Mark Howcroft and Ashley Hall solo on the Arban
Paul Goodchild performs the McKimm Concerto
2010 International Trumpet Guild
ITG Journal Special Supplement 13
and building to an impressive ending.
The last work, bringing both ensembles back together and a
clutch of offstage players to adorn the balcony, was two move-
ments from Respighis Pines of Rome. The catacombs were as
mysterious and dark as you could wish, with a beautiful off-
stage trumpet solo to shed a little sunshine, and the Appian
Way was simply magnicent. Its difcult to think of these as
arrangements when they worked so wellits more like this is
what Respighi probably meant and he only had to put those
strings and woodwind in to keep the publisher happy. The
ugelhorn player did a splendid job on the peasants little pipe
tune before being scared off by the march of the legions, and
the whole workand indeed this ne concertended in a
blaze of glory.
Late Night Jazz with the Don Rader Quintet (BA)
The sudden inux of brass to the Paragon Hotel began to
create the perfect atmosphere for the Don Rader Quintet, who
immediately sparked a jazz-re in the dimly lit room of chat-
ting trumpeters. Raders superlative improvisations are sound-
ing as unbelievable as they
ever! The accompanying
band of Craig Walters on
saxophones, Gerard Masters
on piano, Brendan Clarke
on bass, Tim Firth on
drums, and guest a appear-
ance by Tony Azzopardi on
percussion created the fertile
terrain for the horns to solo
over. Ashyia, memories of
the sounds of Japan, a Rader
original, featured the duet
of Rader on ugelhorn and
Masters on piano. The tune
was beautifully performed
beneath the roar of a room
full of drinking trumpeters.
Raders sound and elocution
on the tubular liability
reected his years of experi-
ence performing with not -
able pioneers of the jazz
realm such as Count Basie,
Maynard Ferguson, Henry
Mancini, and Woody Her-
man to name a few.
The Festival Brass
The combined ensembles perform the Pines of Rome
THE 2010 INTERNATIONAL TRUMPET GUILD
CONFERENCE, SYDNEY, AUSTRALIA
SPECIAL DAILY REPORT COMPILED BY GARY MORTENSON
Thursday, July 8
Teaching Around the World (KK)
The International Pedagogy Panel was composed of Joe
Bowman, Judith Saxton, Laurence Gargan, Cathy Leach, Vin-
cent DiMartino, and Lertkiat Chongjirajitra. The rst ques-
tion given to the panel was, What does a teacher look for
when auditioning students for his or her studio? The univer-
sal theme among the answers was teachability and a good
attitude. Next, the panel was asked what they do to keep their
students motivated. Giving them resources, setting goals, and
attending performances were some of ideas the panel gave. The
nal ofcial topic was the use of technology in modern teach-
ing. The use recording devices such as the Zoom H2 to record
lessons was strongly encouraged. This allows students to pick
up on things that they may have missed the rst time their
teacher said them in the context of the lesson. The use of
SmartMusic as an aid to teaching was also highly encouraged.
Following this, the audience was allowed to ask questions,
which brought up even more enlightening discussion.
Orchestral Excerpts Competition (NY)
Competition chair Jack Laumer welcomed the audience,
judges and nalists and thanked the preliminary judgesthe
complete trumpet section of the Minnesota Orchestrafor
their work in selecting todays three nalists from an initial
group of fourteen. The judges for todays nal were Gordon
Webb, the former principal trumpet of the London Philhar-
monic and Sydney Symphony Orchestras; Stephen Chenette
of the University of Toronto and former principal trumpet of
the Minnesota, Boston Pops, St. Paul Chamber and Denver
Symphony orchestras; and Geoff Payne, the principal trumpet
of the Melbourne Symphony Orchestra. The rst nalist was
Peixang Li of the University of Kansas; next was Nathaniel
Locke, University of Northern Colorado; and lastly we heard
Alexander Wilson from Grand Valley State University. The
excerpts chosen were from: Mahler Symphony No. 5, Respighi
Pines of Rome, Debussy Ftes, Mussorgsky Pictures at an Exhi-
bition, Stravinsky Petrushka, Ravel Piano Concerto in G, and
Strauss Don Juan.
The competition results will be announced at Saturdays Fes-
tival of Trumpets.
2 ITG Journal Special Supplement
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Teaching Panel, L R: Joe Bowman, Lertkiat Chongjirajitra, Laurence Gargan, Cathy Leach, Vincent DiMartino, and Judith Saxton
2010 International Trumpet Guild
ITG Journal Special Supplement 3
Andrea Giufreddi in Recital (LE)
While he originally made his mark as principal trumpet with
major Italian orchestras for more than 25 years, Andrea Giu -
freddis work in lm and commercial styles largely inuenced
the repertoire for this recital. He opened with several lovely
ballads mostly from famous Italian soundtracks. Giufreddis
stunning lyricism was supported by subtle underlying textures
through tender piano accompaniments, acoustic bass, and
drum set mostly with only brushes. One might best describe
these renditions as the trumpet played in the style of Andrea
Boccelli with rhythm section accompaniment, and indeed,
Giu freddis passion equaled that of this renowned vocalist.
Some brief be-bop style interjections provided dazzling tech-
nique with the same sentimental and stunningly moving
sound. Highlights from the recital included Misty performed
in a traditional jazz ballad style, a crowd-pleasing Latin-funk
version of The Carnival of Venice, an up-tempo choro by leg-
endary Brazilian composer Pixinguinha, and Vittorio Montis
Czardas integrated with the extreme pedal register. Giufreddis
unique style and luscious sound served as a wonderful voice for
the impassioned melodies presented.
David Baldwin on the Charlier Etudes (BW)
David Baldwins expertise on the celebrated etude book that
Charlier wrote is certainly known to long-time members of
ITG. He has recorded the complete book (along with the
Bitsch Vingt Etudes) and has given demonstration/lectures on
this specic subject at several other ITG Conferences. This ses-
sion was priceless for younger players who need to hear good
modeling of these stylistically and technically brilliant pieces of
music. Baldwin, in his calm and focused way, performed a
number of studies giving the audience a nice mix of both lyri-
cal Du Style studies and examples of the more technical vari-
ety. Study #2 was performed by Rhythm and Brass in the form
of an arrangement done by a student at the University of Min-
nesota, where Baldwin serves as professor of trumpet. Baldwin
also performed the lost Charlier etude that he announced as
#37. This study was originally indicated as #18 in the manu-
script but was not included when the book was published. On
top of beautifully playing many etudes for us, he offered many
insights on mastering the etudes. And which etude is his
favorite? The one Im playing at the moment.
The Trumpet World in Greece (MR)
This presentation was a lecture/recital by Greek trumpeters
Nikos Xanthoulis and Gerassimos Ioannidis. Each man spoke
Andrea Giufreddi
David Baldwin
Nikos Xanthoulis
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2010 International Trumpet Guild
about Greeces unique musical heritage; Ioannidis giving an
overview of the trumpet throughout Greek History and Xan-
thoulis describing the background and idiosyncrasies of the
salpinx. Xanthoulis gave an impressive performance of two of
his own original concertos: one for trumpet, and another for
salpinx; Anthony Baldwin accompanied both pieces on piano.
Xanthouliss performance on both instruments was strong and
extremely accurate. His mastery of the salpinx, an instrument
as long as he is tall, was remarkable. The sound of the ancient
trumpet was brittle, delicate, and brilliantly shrill. Xanthoulis
executed uent pitch bends that added more notes to the con-
cert F based harmonic series. His command of what must be a
difcult instrument to master was extraordinary. All in atten-
dance witnessed a remarkable and informative presentation!
James Klagess Film Healed (GM)
It is fair to say that trumpet teacher/performer James Klages
has had to endure more challenging situations, emotionally,
physically, and psychologically, than anyone should have to
face in one lifetime. In this inspiring lm the audience was able
to journey with James through his devastating diagnosis with
multiple sclerosis, and to observe his struggle, and attitude
toward living his life to the fullest in spite of this disease to the
point where he has taken back control of his life and work.
Klages was present to answer questions at the conclusion of the
lm and was surrounded by an audience that was both appre-
ciative of his story and in awe of his strength of will against this
disease.
US Army Trumpet Ensemble (KE)
The US Army Band Pershings Own has been the premier
musical organization of the US Army since 1922. The Cere-
monial Band is the ceremonial component of Pershings
Own, and its primary mission is to support the 2,000 military
funerals held each year at Arlington National Cemetery. Eight
members from the trumpet section of the Ceremonial Band
presented a varied program of music for trumpet ensemble,
including premiere performances of works by Phil Snedecor
Walkabout, Steven SaccoMusic in Three Movements for Eight
Trumpets, and Denis DiBlasioCharge with Vinnie. The
group demonstrated the highest quality of ensemble playing,
with awless intonation, unied tone quality, and a precise
musical style. The program ended with J.D. Shaws Caravan,
which featured guest artists Vince DiMartino and Jens Linde-
mann. The inevitable high note contest ensued, with smiles
and cheers from performers and audience members alike.
Remembering Louis Armstrong (BA)
Bob Barnard and his quintet opened the recital with Arm-
strongs Cornet Chop Suey with a fantastic ourish, moving
onto Armstrongs signature tune When Its Sleepy Time Down
South with Barnards uid sound lling the Music Workshop
with the melody. Accompanying musicians Paul Furniss on
clarinet and saxophones, Peter Locke on piano, Darcy Wright
on bass and Lawrie Thompson created a splendid supporting
structure, which symbolized the musicians history of perform-
ing in various congurations for over fty years. Furniss was
featured on soprano saxophone on Armstrongs Two Juices and
another tune, Mighty River, which he had re-written the lyrics
to depict Armstrongs excellence in interpreting a song, but not
after humoring the audience with a short parody of trumpet
shop talk which gained the desired chuckling. Darcy Wrights
Gerassimos Ioannidis
Viewing the film Healed
2010 International Trumpet Guild
ITG Journal Special Supplement 5
polished bass sound was featured on Sweet Georgia Brown and
the performance concluded with Take Me Out To the Ball
Game.
.Gabriel by Robert Bradshaw (NY)
.Gabrielto be pronounced dot Gabrielis the new
chamber opera by Robert J Bradshaw; its World Premire took
place in the Music Workshop at the Sydney Conservatorium,
transformed for this occasion into an opera workshop and the-
atre. The opera is written for a small cast and orchestra of
trumpet (Joshua Clarke), soprano (Jane Parkin), tenor (Sam
Sakker), baritone (Chris Hillier), viola (Virginia Comerford),
bassoon (Matt Ockenden), clarinet (Peter Jenkins) and piano
(Tony Legge), all appearing by courtesy of Opera Australia and
the Australian Opera and Ballet Orchestra.
Conference host Brian Evans introduced .Gabriel. Evans and
Bradshaw had rst spoken about the possibility of this work at
ITG 2007 in Amherst; the opera was commissioned by the
Australian Trumpet Guild for this conference. Evans believes
that it is the rst opera to be commissioned for an ITG con-
ferencearchivists, to work please!and made no secret of
his absolute delight in seeing it performed today: he is, after
all, a singing trumpet player who works in the worlds most
iconic opera house and lives and breathes opera, so you can
believe that this was really a very joyful
thing for him to preside over.
Next, pianist/MD Tony Legge ran an
open rehearsal/workshop so we got to see
people at work and began to hear our way
into Bradshaws always-fascinating sound-
world. The composer then took a few
minutes to talk us through the concept
and to explain a little more about todays
concert performance; nally the whole
work was performed.
I cant in a few hundred words give you
much of an outline of this splendid new
work but fortunately you can read about it
in detail online, and I strongly recom mend
that you do just that (http://www.gabrieltheopera.com). In
brief, Principal (soprano) is a confused, isolated gure who
spends all her time online (I hope we dont know anyone like
that, readers) and represents societys dependency on the
Internet, computers, and electronic communication. She
was sung wonderfully by Jane Parkin who, astonishingly,
was unwell; if so then I really cant imagine how great she
must sound when blooming with good health. The only
concession she made was to use a microphone but as Legge
pointed out this actually works rather well given her isola-
tion behind electronic barriersan accidental piece of
clever staging, then.
The enigmatic gure of Gabriel speaks only through the
trumpet so we dont know that much about him that can-
not be expressed as an instrumental part, except that in
some wayangel, conscience, imaginary friend?he is try-
ing to anchor Principal back into the real world and have
her communicate with non-virtual friends and family. It is
powerful and terribly moving stuff, strongly expressed by
Bradshaws interesting, challenging music. Memory I and
Memory II, the male voices, are other aspects of Principals
complex psychological world, and the chamber ensemble of
viola, two winds and piano providedwell, not really an
accompaniment, but more another group of accomplished
soloists with their own vital contributions to the operas
development.
The US Army Trumpet Ensemble
Bob Barnard
The vocalists for .Gabriel
6 ITG Journal Special Supplement
2010 International Trumpet Guild
The trumpet player Joshua Clarke, as Gabriel, did a superb
job on this complex and demanding music. It was really a very
great pleasure to see a ne performer takingalmost literal-
lycentre stage in an opera in such an intriguing and com-
pelling piece. Some of the interplay with the other characters
is heartbreaking in its intensity. This trumpet was so far from
the pit, in so many ways, that it made it a real revelation to
hear and see its role in .Gabriel.
I feel very fortunate to have been at this premire and I will
look forward, very much, to seeing further performances of
this rich and rewarding work. Another ITG 2010 triumph.
Solo Competition Finals (KK)
The International Trumpet Guilds Solo Competition was
well attended and a pleasure to listen to. Each competitor was
to play one required work and one solo of their choosing. The
required piece for this competition was Enescus Lgende. The
rst to play was Sergio Filpe acha Pereira from ESMAE Escola
Superior do Porto Portugal who studies with Kevin Wauldron.
Pereira rst played Lgende and then played his selected piece,
the Arutunian Concerto. Next was Peter Smith from Florida
State University who studies with Christopher Moore. Smith
also started with the Legend and then followed with the
Tomasi Concerto. The nal competitor was Anna Garcia from
the University of Missouri-Kansas City who studies with
Keith Benjamin. Garcia opened with Enescus Lgende and
chose Pakhmutovas Concerto as her second piece. All of the
competitors played these pieces musically and at a high level.
Yigal Meltzer Recital (MR)
Yigal Meltzer, principal trumpet of the Israel Philharmon-
ic Orchestra, teamed with Miriam Hickman to deliver a
recital that was fantastically programmed and played. Meltzer
performed six selections, bookending the recital with less
familiar works by Israeli composers Robert Mozes and
Theodor Holdheim, along with popular French standards
Enescus Lgened and Bozzas Rustiques. It was refreshing to
hear an artist of this magnitude interpret of these pieces. He
chose tempi that were slightly slower than I am accustomed
to hearing, bringing a fresh and extremely clean perspective
to these gems of our repertoire. Alessandro Marcellos Oboe
Concerto in d minor was simply breathtaking; Meltzers picco-
lo playing was gorgeously orid and very vocal-like. He com-
pletely mesmerized the audience with Hans Werner Henzes
intervallic Sonatina for Trumpet Solo. If this reviewer had to
sum up Meltzers performance in one word, it would be WOW!
It was one of the nest recitals I have ever heard!
Troica Recital: Mauk/Dunnick/Birr (LE)
Troica has forged new ground by researching original works,
adapting existing compositions, and commissioning new
music for the genre of trumpet, saxophone, and piano. The
ensemble is composed of three faculty members from Ithaca
College, including trumpeter Kim Dunnick, and its name is
derived from the Russian word Troika, signifying a three-horse
sleigh or more appropriately a governing body made up of
three equal individuals. The letters IC were substituted for IK
to represent Ithaca College. Dana Wilsons Fanfare provided a
brief yet energetic and exciting opening. Next, Peter Law -
rences Concertino offered many interesting textures including
the ethereal sound of saxophone coupled with cup-muted
Joshua Clarke on trumpet, and the orchestra
Yigal Meltzer
Troica: Dianne Birr, Steve Mauk, and Kim Dunnick
2010 International Trumpet Guild
ITG Journal Special Supplement 7
trumpet and a fugue with all three instruments beginning in a
strictly Baroque style that eventually moved to a more com-
mercial sound. A world premiere of Margery Smiths The
Musarithmetic Ark presented a
more aleatoric approach, as
well as many contemporary
effects including plunger tech-
nique, saxophone growls, and
dissonant chords and tremolos
in the piano. Folk-like
melodies highlighted a selec-
tion by the Russian composer
Mikhail Bronners and
tomorrow will be better than
yesterday. Throughout this
interesting and diverse recital,
blend and ensemble precision
were excellent, particularly
with both wind instruments
often playing in the same reg-
ister.
Jazz Improvisation Competition Finals (BA)
Repertoire for the jazz competition nals was Clifford
Browns Joy Spring, Antonio Carlos Jobims Wave, Vernon
Dukes I Cant Get Started, and Ray Nobles Cherokee, a collec-
tion of tunes from the vast jazz canon that typify the most
standard of the jazz trumpet repertoire. The Sydney-local
accompanying rhythm section of Alister Spence on piano,
Steve Arie on bass, and Fabian Hevia on drums provided the
perfect platform for the jazz improvisation nalists. Scott
Dickinson (from the University of Miami) performed with a
brassy sound that was denitely inuenced by Greg Gisbert
(his teacher), not to mention his chromatic harmonic aesthet-
ic. Next to perform was Hermon Mehari (University of Mis-
souri-Kansas City) whose subtle approach balanced his per-
ilous use of rhythmic intensity and bluesy lines with a sweet
sound. The last to compete was David Neves (Berklee College
of Music) whose balance of sporadic and owing rhythmic use
was complimented by his smooth sound and appropriate use
of advanced harmonic concepts reminiscent of Woody Shaw.
Gala Concert: Rhythm and Brass (KE)
The US-based group Rhythm and Brass held their inaugu-
ral season in 1993. Since then they have traveled extensively
throughout the United States and around the world, including
tours in Canada, Saudi Arabia, the United Arab Emirates, the
Virgin Islands, and Japan. Their music incorporates a wide
variety of styles and inuences, including (but not limited to)
Josquin Des Prez, Pink Floyd, John Coltrane, Johann Sebast-
ian Bach, and Duke Ellington.
For those unfamiliar with the group, R&B is made up of ve
brass players (a traditional brass quintet instrumentation of
two trumpets, horn, trombone, and tuba) with the addition of
a percussionist. Both the percussionist and the horn player also
play the piano, allowing for a great number of sonorities
throughout the concert.
Within the rst ten minutes of the performance the audience
at the City Recital Hall was
taken from the music of J.S.
Bach (Fantasia in C Major) to
Lennon and McCartney (Nor-
wegian Wood) to John Coltrane
(Syeedas Song Flute). Trumpeter
Rex Richardson dazzled the
audience with his incredible
solos. Wiff Rudds approach is
more understated; his ugelhorn
solo in David Glucks arrange-
ment of Stairway to Heaven was
rewarded with smiles and sighs
of satisfaction from many mem-
bers of the audience.
One of the biggest ovations of
the night was given to Charles
Villarubia for his rendition of
Arbans Carnival of Venice. For a
tuba player to receive such
recognition from a room full of
trumpet players is high praise,
indeed!
Rhythm and Brass
Nadje Noordhuis solos with R&B
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2010 International Trumpet Guild
Australian trumpeter Nadje Noordhuis was featured with
R&B on Maria Schneiders Divided by Two. Her sound was
subtle and sweet, and her solos interesting and well developed.
Her performance made it apparent why she was selected as a
semi-nalist for the prestigious 2007 Thelonious Monk Jazz
Trumpet Competition.
The concert ended with David Glucks amazing composi-
tion entitled Temporary Heartbeat. This original work superim-
poses music from The Wizard of Oz with selections from Pink
Floyds Dark Side of the Moon (if you are unaware of the rela-
tionship between these two seemingly divergent works, go to
http://en.wikipedia.org/wiki/Dark_Side_of_the_Rainbow for
an explanation). In addition, snippets of the movie Wild at
Heart by David Lynch, which includes numerous references to
The Wizard of Oz, are inserted. The result is an incredible
mlange of melodies, rhythms and dialogue.
For their encore, R&B played Jambalaya (On the Bayou),
and featured trombonist Tom Brantley on the vocal made
famous by singer Hank Williams. Brantleys Cajun accent was
the perfect touch for this piece, which was made even more
exciting with Rex Richardsons amazing piccolo trumpet solos.
R&B just keeps getting better, in my opinion. The ensemble
is tighter, the improvised solos go farther, and the communica-
tion between the ve brass players and percussionist more sub-
lime. They left everything on the stage this night!
Late Night JazzGianni Marinucci ( JI)
Melbourne-based trumpeter, Gianni Marinucci took the
stage of the Paragon amid a lively crowd. Backed by the
tremendous ITG jazz rhythm section, he gave everyone a full
measure of some of the most inspiring jazz around. Beginning
on ugelhorn, Marinucci and the quartet started with
Embraceable You in a medium up-tempo groove. An original
piece of Marinuccis, An Offer you cant Refuse, was an engaging
jazz waltz. Two pieces by fellow Melbourne musicians includ-
ed a lush ballad, Simple Song which demonstrated his lovely
sound and uid lines; and Song of the Survivor featuring a soul-
ful yet nimble jaunt over the entire range of the horn. An up-
tempo version of Look for the Silver Lining electried the
enthusiastic audience. Appropriately enough they nished the
set with a moving performance of Ill be Seeing You in a relaxed
swing. Late night jazz just doesnt get any better than this.
R&B sings Jambalaya!
2010 International Trumpet Guild
ITG Journal Special Supplement 9
The Exhibitor/Vendor rooms are always a major attraction
at the ITG Conferences; where else can you try out all this
hardware, compare mouthpieces, show that guy next to you
how loud and high you can play?
Here is a selection of images from the exhibitors, courtesy
Editor Gary Mortenson and conference photographer Robert
Burne. (JW)
AdditionAl Photos
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THE 2010 INTERNATIONAL TRUMPET GUILD
CONFERENCE, SYDNEY, AUSTRALIA
SPECIAL DAILY REPORT COMPILED BY GARY MORTENSON
Friday, July 9
Warburton on Mouthpieces (KK)
The lecture, Mouthpieces Myths and Reality, given by
Ken Titmus of Warburton Mouthpieces, presented informa-
tion about common misconceptions regarding mouthpiece
selection. The session began with a video that featured Terry
Warburton going over eleven of the most common myths of
mouthpieces. These included playing on mouthpieces that are
too large, using screamer mouthpieces to increase range, gold
plating making mouthpieces better, and many others. This
video elicited much discussion on the topics covered in the
video and on other items of concern to specic members of the
audience. At the end of the session, Titmus revealed the nal
myth, which is that a new mouthpiece will solve your playing
problems. Many of the problems experienced by trumpet play-
ers which lead them to look for new mouthpieces actually can
be solved by strengthening the embouchure with devices such
as Warburtons P.E.T.E.
CollaborationA 50/50 Compromise (GM)
In this highly informative session, Mark Clodfelter and
Rebecca Wilt gave the audience great gems of advice regarding
those things that are necessary if two musicians are to collabo-
rate successfully in a trumpet and piano duo. Both musicians
felt that careful planning and attention to detail are extremely
important in any successful musical endeavor. This includes
getting the music to the pianist with plenty of advance notice,
talking through the music if necessary, settling in on tempos,
and basically creating a situation where a relationship can be
developed that opens up the spirit so that the pianist wants
to work with the soloist. One of my favorite Wilt quotes
(among many) was her assertion that, An emergency on your
part does not constitute an emergency on mine. Translation:
Do due diligence in getting your pianist the music and the
necessary information four to six weeks in advance of an
important recital or jury. As part of the session, Wilt and Clod-
felter performed music that helped us see and hear exactly
what goes on when two musicians collaborate in a successful
fashion. This presentation should be required information
2 ITG Journal Special Supplement
2010 International Trumpet Guild
Ken Titmus
Rebecca Wilt and Mark Clodfelter
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ITG Journal Special Supplement 3
for all musicians before they work with a pianist for the rst
time!
Aducci/Johnson: Natural Trumpet Lecture (LE)
Presenters Keith Johnson (University of North Texas) and
Kathryn James Aducci (San Jos State University) were joined
by Leanne Sullivan (Sydney Conservatorium of Music) in
commencing the session with a beautifully rendered anony-
mous trio from the Prussian court written around 1791. Fol-
lowing, the two main types of modern Baroque trumpets were
identied and discussed: the three-hole German model and the
four-hole English model. A few concepts addressed included
learning to play without the vent holes to encourage listening
and a more song-like approach (not having to worry about n-
ger technique) and utilizing the longest trumpet available to
warm up (for example, a B-at pitched Baroque trumpet) to
promote the most relaxed playing possible. The pedagogical
benets of playing the Baroque trumpet include promoting a
relaxed approach to sound production, improved exibility,
and offering a better stylistic understanding of the style that
can be applied to the modern instrument. Beginning novice
Baroque students on a modern mouthpiece was suggested to
avoid introducing too many new concepts/ideas at one time,
although Johnsons demonstration of a Baroque mouthpiece
copy (without mouthpiece adapter for a modern mouthpiece)
usually proves to be the best acoustic option for advanced per-
formers. Following specics on stylistic nuance and interpreta-
tion by Aducci, the session concluded with the performance of
two Moravian duets.
Bilgen and the Turkish Trumpet Ensemble (MR)
The Turkish Trumpet Ensemble Recital was a mix of histor-
ical lecture, and performances of modern non-Turkish pieces,
played by Turkish students, and music composed in Turkey.
Zynep Cilingir read a pamphlet, written by noted Turkish ped-
agogue Erden Bilgen (also distributed to the audience), enti-
tled A Tradition of 2000 Years: Boru (Trumpet). The document
provided keen insight into the history of Turkish trumpet.
Utku Akyol, Volkan Cosar, and Onurcan Cagatay took turns
performing Kennans Sonata, Wassilenkos Concert Poeme c-
moll, and Jolivets Concertino. All three displayed remarkable
power and stamina throughout their performances. Cagatays
rendition of the Jolivet was especially noteworthy with an
exciting opening, exemplary triple tonguing, and a dazzling
conclusion. Turkish music, with its modal avor and oriental
sound, was represented by two short etudes and one piece for
trumpet quartet composed by Nikriz and Hicaz. The recital
was fascinating look into the bustling world of Turkish trum-
pet!
Barton on the Didgeridoo (BA)
William Barton opened the recital with an improvisation
that communicated the origins of the didgeridoo, the Aus-
tralian land. The piece featured characters from the Australian
land such as the cookaburra, a dingo, a wallaby and kangaroos.
Bartons didgeridoo transported the sounds of the Australian
landscape to all in attendance. Barton described how a didgeri-
doo is made: a suitable branch that has been hollowed out by
white ants is selected and Australian native black bee wax is
then used to create the mouthpiece rim. Bartons joyful person-
ality was unmistakable in his sound and his communications
Kathryn James Aducci and Keith Johnson
Zynep Cilingir talks while Erden Bilgen observes
William Barton
4 ITG Journal Special Supplement
2010 International Trumpet Guild
about life and music throughout the recital. At one point, Bar-
ton invited his mother to perform with him on voice, whose
sound haunted the audience with an emotional muse. Barton
then rehearsed the audience on the vocal techniques of the
Australian native animals. Bartons narratives impersonated
not only sounds of the Australian landscape but of life in gen-
eral.
Batavia Trumpet/Andrew Evans (AC)
Andrew Evans, a trumpet player and researcher teaching at
the Sydney Conservatorium of Music gave a brief look into the
history of the early 17th-century trumpet, specically pertain-
ing to the trumpet that was found aboard Batavia, a Dutch
trading ship which ran aground and sank off the western coast
of Australia on her way to trade in the West Indies. Batavia
sank June 1629 and carried on board three trumpet players
Claes Janz, Jacop Groenwald, and Cornelis Peterzoon. Trum-
pet players were common on ships during this time and were
used for both ceremonial purposes and as entertainment for
the crew. Trumpet players aboard ships were held in high
regard, received salaries higher than the regular crew, and were
allowed to sleep in the ships highest quarters on the poop
deck. Trumpet players often wore highly decorated uniforms,
which allowed them to be recognized as neutral party members
when dealing with indigenous people along the trading route.
Music was often used in communication with these people to
show the ship and crew came in peace. Evans had in his pos-
session a replica of the trumpet found in Batavias wreckage, he
performed traditional works on the instrument and explained
how it was used.
New Works for Trumpet #2 ( JI)
Lamento for Don Quixote by Terry Mizesko, performed by
Judith Saxton, is a set of variations in a quasi Spanish Baroque
style depicting the mind set of Cervantess hero, rather than
any actual events. Originally for solo trumpet and strings, the
composer did the piano reduction himself. Saxtons beautiful
and full singing tone quality suited the nature of the piece.
Invigorating muted passages punctuated the texture. Crisp,
clear fanfare-like passages added to the quixotic effect as well.
The tonal, very Spanish-sounding harmonies and accessible
writing of the work will appeal to many; certainly we will hear
this piece in future recitals.
Brian Chin performed a work that he commissioned titled
Sonata for Trumpet and Piano by Daniel Bukvich. In this work
the composer employed bold harmonic language, playful lines,
and set up a playful interaction between the two performers.
Chins rich sound permeated the work. He negotiated the
occasional angular lines with surety. An atmospheric passage of
repeated piano gures and muted trumpet created a wonderful
effect. The middle section offered a peaceful, undulating feel
that was gorgeous and interpreted splendidly. A series of ener-
getic lines from both performers closed the piece in thrilling
fashion.
Andrew Evans and Paul Goodchild
Judith Saxton
Brian Chin
2010 International Trumpet Guild
ITG Journal Special Supplement 5
Langston Fitzgerald III next performed Down a River of
Time by Eric Ewazen. This piece got its inspiration from an
essay of nostalgic memories that recounts ones life journey.
Only the second movement, of sorrows was performed on
todays program. The movement was heartfelt, wistful, and
poignant. The harmonic language and style would certainly be
familiar to those who know Ewazens music. Playing a liquid
line of lyric beauty that encompassed the entire range of the
trumpet Fitzgerald gave a stunning performance full of sensi-
tive expression. The movements soaring lines, sweeping har-
monies, and tender moments revealed how Ewazens music can
provide comfort in its lyricism and sincerity.
Peter Wood presented The Concept of Anxiety, Robert Brad-
shaw. This work was based on Kikegaards philosophical work
of the same name. This idea of dread or focused fear can be
interpreted in Bradshaws composition. It opened with swift-
moving arpeggios in the piano supporting a owing line in the
trumpet. Then a pointed, angular section pitted the two
against each other. A return to the opening style rounded out
the work. Bradshaw has brought out the duality of personal
volition where one has choices to make, ably depicting
Kirkegaards philosophy. Or perhaps one can hear the support
and integral synthesis of the two voices as they collaborate
depending on which choice one makes.
The nal work on the program was performed by Yoram
Levy and was titled In Memoriam by Australian composer
Peter Sculthorpe. This work was a new arrangement of an
existing piece in memory of the tragedy of Port Arthur (Tas-
mania, 1996). Levy performed it on a 19th-century cornet that
was once played by Jules Levy. The work was a lovely, melodic
piece that cut right to the heartstrings of anyone who consid-
ers the horrors of this tragedy. His beautiful tone and style were
exactly right for the piece and moved all in attendance.
Australian Trumpet Summit (NY)
The Cons Verbrugghen Hall was the scene of a great
lunchtime concert when the Australian Trumpet Summit
showcased four eminent Australian jazz trumpet players to the
delight of the enthusiastic audience.
The concert kicked off with only the four trumpet artists on
stage. James Morrison, Matt Jodrell, Phil Slater and Scott Tin-
kler started with a superb unaccompanied bluesy Caravan that
pretty much served notice on us that here was a varied and
interesting program with multiple styles from these four formi-
dable talents. I can actually still hear it very clearly in my head
now as I write: this was a wonderful way to begin.
The rhythm section of Gerard Masters (piano), Cameron
Undy (bass), Evan Mannell (drums), and James Muller (gui-
tar) then took to the stage, joining the rst soloist Phil Slater
for the excellent Pemungkah by the Indonesian composer
Lotring. This driving and exciting tune started sunny and
turned positively ery when Slater really got going. Next up
was Matt Jodrell with his own tune, an angry thing he hoped
wouldnt scare anybody, Judgment Day. This is a spiky tune full
of sharp corners with a very cool swing interjection or two.
James Morrison was next, giving us a beautiful and very
quiet rendition of I Fall In Love Too Easily on his very ne
Schagerl bass trumpet, before swapping back to ordinary
Langston Fitzgerald III
Peter Wood
Yoram Levy
6 ITG Journal Special Supplement
2010 International Trumpet Guild
trumpetthough ordinary is not at all how it sounds when
Morrison plays itfor an exciting, uptempo There Is No
Greater Love.
Scott Tinkler then played a long, abstract and harmonically
adventurous improvisation, sparsely accompanied on bass and
drums only. This was an intriguing exploration of a sound-
world quite different from the others encountered in this con-
cert, at times quite contemplative and at others driving,
declamatory and dramatic.
The duo of Morrison and Slater were featured next, trading
some great phrases and generally having a ball in What Is This
Thing Called Love, before the focus changed to the other pair
of Tinkler and Jodrell for a storming Yesterdays.
Finally all four trumpet players and the superb rhythm sec-
tion were back together on stage, bringing the house down
with Thelonious Monks Straight, No Chaser. Afterwards in the
foyer the talk was all of the excitement of having four such
incredibly varied and talented players together in one concert,
the kind of concert that ITG Conferences do so well; the kind
that sends you out with your ears buzzing and your head
aame with the musical creativity and great ideas of these ne
trumpet players.
Mid-America Trumpet Ensemble (BW)
The Mid American Trumpet Ensemble presented an enter-
taining and diverse program. The members of the ensemble are
all current or former teachers from Ohio. They began the con-
cert with Concert Fanfare by Eric Ewazen. Next on the pro-
gram was Fisher Tullss Canonical Trilogy which featured the
wonderful use of canon in all its movements. The next song,
Meditation on a Scottish Hymn, was a very emotional take on
the hymn tune Amazing Grace and featured some very nice
antiphonal playing. This inspired arrangement by Greg Pas-
cuzzi was written for Richard Burkart, the former professor of
trumpet at The Ohio State University on the death of his sis-
ter. Games by Scott Meister was up next and featured three
very interesting movements that involved a lot of playful inter-
action among the four performers. The audience could tell the
piece was written by a percussionist, with the use of beans in
straight mutes to make them shakers, and in a movement that
featured submerged bells in water to give various underwater
effects. An arrangement of Scarborough Fair was followed by
Variants by Williams Schmidt. This work featured each mem-
ber of the ensemble in extended solos and involved a good bit
of choreography. The concert ended with two jazz tunes,
Goodbye Pork Pie Hat and Struttin with Some Barbeque, for
which they brought up guest jazz players to play the solos. The
variety of styles presented in this concert was impressivethis
was a great display of musicality and stylistic awareness from
all of the members of the ensemble!
Australian Army BandSydney (KK)
The Australian Army Band Sydney under the direction of
Major Peter OConnor was a very entertaining concert to
attend. The program heavily featured trumpets, but also
included some pieces for vocal soloists. The concert opened
LR: Phil Slater, Matt Jodrell, James Morrison, Scott Tinkler
James Morrison performing on the bass trumpet
2010 International Trumpet Guild
ITG Journal Special Supplement 7
with a lively piece in a big band style. After this, trumpet
soloist, Geoff Payne, was featured in two Mndez works in
contrasting style. He contrasted the rst piece, which was play-
ful in character with the second, which was more lyrical and
retrospective. Geoff was featured again on La Virgen de la
Macarena, which he played effortlessly. After this, the US
Army Band Pershings Own Ceremonial Band Trumpet
Ensemble joined the Sydney Band for some exciting fanfare-
type works. The bands ne vocal soloist was featured in the
next three works. An instrumental number followed featuring
improvisational solos for each member of the trumpet section,
including guest Ramon Vasquez. The concert ended with a
trio performed by Vasquez, Aaron Madden, and conference
host Brian Evans. (Photo on next page -JW)
Hickman/Lindemann Recital (LE)
Opening with Alexander Gdickes Concerto in B-at major,
Op. 41, David Hickman presented the various sections bril-
liantly, alternating between majestic, lamenting, playful, and
martial styles as needed. Pianist Miriam Hickman provided
outstanding support by enhancing contrast between the thick
and light orchestral textures. A brief quotation of Goedickes
Concert Etude during the nal cadenza brought chuckles from
the audience before the work was brought to conclusion in
dramatic fashion. Alessandro Marcellos Concerto in G minor
(originally for oboe) followeda new version recently pre-
pared by the duo for B-at trumpet and piano. The warmth of
the large trumpet and the lower tessitura offered a fresh sound
to this piece usually performed on piccolo trumpet in the tes-
situra originally scored for oboe. Hickmans gorgeous phrasing
and affectionate sound made this rendition of the second
movement particularly moving.
The recently married duo continued with another one of
their new transcriptions: Alexander Glazunovs Chant du
mnestral, Op. 71. Hickman used a ugelhorn mouthpiece
adapted for trumpet to emulate the sound of a cello. This short
but beautiful transcription showcases the richness of the trum-
pets low register as well as the instruments expressive capabil-
ities. Rafael Mndezs festive Jota No. 2, Hickmans favorite
Mndez solo, served as an appropriately festive conclusion to
his ne program.
Jens Lindemann opened the second half of the program with
a strikingly exciting performance of the rst movement of Peter
Maxwell Daviess Sonata for Trumpet and Piano. He found a
new way to conclude this movement, one that many trumpet
players may have contemplated but not implemented: on the
last note, kicking the stand into the audience and then taking
each page of music, crumpling it, and throwing it to the crowd.
Interestingly, this met the audiences enthusiastic approval.
Lindemanns and accompanist Rebecca Wilts favorite com-
position for trumpet and piano, Georges Enescus Lgende, fol-
lowed. As Lindemann noted, this is would be the only piece on
the program that would not include some kind of comic ele-
ment. After a display of mutes including what Lindemann
The Mid America Trumpet Ensemble, LR: John Schlabach, Alan Siebert, Charles Pagnard, James Stokes
8 ITG Journal Special Supplement
2010 International Trumpet Guild
called his Koala bear mute and the Hannibal Lecter mute,
Morton Goulds Pavane served as a showcase for the colors of
trumpet mutes. A few antics included a test of a mutes dura-
bility (dropping it on the oor) and the assurance that a mute
does not come out of the horn through extra humidity (or in
this case the addition of excessive saliva with the tongue). A
parading David Hickman complete with umbrella (or as Lin-
demann stated The Marriott Hotel mute) assisted on the
nal few notes of the arrangement.
Pedro Itturaldes Suite Hellenique arranged by Lindemann
provided another diversion through some extensive choreogra-
phy and foot stomping, as well as some impassioned impro-
visatory-style playing with Greek rhythmic ostinati set in the
piano. Bix Beiderbeckes In the Dark, originally for piano and
transcribed by Lindemann, followed. This served as a beautiful
ballad to showcase both musicians expressiveness.
Hickman and Lindemann have shared a friendship spanning
a few decades after meeting at the Banff Centre many years
ago. Hearing and seeing both on the same program at this
years conference demonstrated the stark contrast for providing
an entertaining trumpet recital: artistically motivated versus
over-the-top and comically driven.
Perspectives on the Industry of Trumpet Performance (MR)
The Industry Panel was a roundtable discussion featuring
eight prominent female trumpeters, with Kelly Parkes serving
as moderator. Members of the panel were Mary Thornton,
Nadje Noordhuis, Ashley Hall, Cheryl Hollinger, Leanne Sul-
livan, Kathryn James Aducci, Julie Payne, and Judith Saxton.
The rst question posed to the group was how they balanced
performing with practicing and teaching. Saxton remarked
that the two were intertwined, explaining that she is not the
best teacher I can be if I am not performing. I have to per-
form. Payne said that she does not take extended time away
from the trumpet. This led Sullivan and Aducci into a discus-
sion about their preparation on the Baroque and modern
trumpets. Both agreed that performing on the Baroque trum-
pet greatly benets their modern playing, but had contrasting
views on including the Baroque trumpet into the warm-up.
Sullivan uses her Varoque trumpet, while Aducci always warms
up on her modern B-at trumpet.
The dialogue turned to freelance work. Noordhuis spoke
about the importance of networking, explaining that a vast
majority of her friends are musicians; We all just give each
other gigs. Thorntons advice was say yes to everything and
The Australian Army Band-Sydney performs with the US Army Ceremonial Band Trumpets
2010 International Trumpet Guild
ITG Journal Special Supplement 9
be prepared for anything. Hall encouraged preparation and
wisdom when accepting gigs. She stressed that you must sound
good at all times. Sexton echoed this sentiment and added,
Show up on time, bring a pencil, and be friendly and accessi-
ble.
The next question posed was how to market oneself. The
overriding theme was that a quality recording should be a
musicians best calling card. Hall, Aducci, Noordhuis, Thorn-
ton, and Sullivan each encouraged recording projects, and
nding a good recording space and engineers when producing
your own recording. Hollinger dispensed useful advice; in her
20-plus-year career as a full-time professional orchestral player,
she has witnessed a trend in that performers need to become
more versatile in commercial styles and improvisation.
Each member of the panel discussed their musical inuences
and role models. The most touching moment came when Hall
spoke of how her parents played key roles in introducing her
to music. She joked about always getting emotional, calling
her father humble and servant hearted. Sullivan recalled a
humorous story of how she cried when given a violin by her
Catholic schoolteacher, Sister Agnes, who in turn gave her a
cornet to calm her emotions. Payne advised that balancing
children with playing is difcult, but not impossible. Often
she attends rehearsal in low gear because she is too tired to
be nervous.
A young woman in the crowd asked if any one of them ever
thought about quitting and nearly every woman on stage nod-
ded. Noordhuis stopped playing for six years in her late teens,
but returned because her life was a big circle that always led
me back to the trumpet. Saxton added that if there is any-
thing else that you can imagine doing, do it. In the end you
need to do what makes you happy! It was wonderfully refresh-
ing to hear these exceptional women discuss our craft!
Gala Concert: Des Trompettes de Lyon (NY)
Pierre Ballester, Andre Bonnici, Didier Chaffard, Ludovic
Roux, and Jean Luc Richard are Les Trompettes de Lyon and, it
says here, not just your average brass group. They certainly
demonstrated this, with abundant clarity, in their Friday night
ITG 2010 concert at Sydneys City Recital Hall Angel Place.
Introducing the group, ITG board member Stephen
Chenette explained that the show was called Sans tambour ni
tambour. Now, the French saying Sans tambour ni trompette
means (as, undoubtedly, we all know) literally without drum
or trumpet and guratively without fuss or perhaps more
appropriately without fanfare. Steve left us guessing exactly
what the self-contradictory Sans tambour ni tambourwithout
drum or drumwould mean but it seems safe to assume that
its somewhere along the opposite lines and that we should
expect plenty of fuss and fanfare and indeed trumpet, and this
is what we duly received in a high-energy and most entertain-
ing program.
Now, I dont want to turn this piece into the ITG equivalent
of a Wikipedia article called Long List of Amusing Things
Seen in Sydney on a Friday Night and, with my apologies for
once again delivering one of the worst writers clichs, you real-
ly did, I promise, have to be there. So instead of trying to
explain it line by line let me give you a few hints and impres-
sions. Firstly, this show is very well organized, written and cho-
reographed. Its Les Trompettes second collaboration with actor,
comedian and writer Franois Rollin and it may well be that
their natural ability and his stage skills are pretty much a win-
ning formula: this is a very tight, very clever show. Oh, and the
stage lighting is truly excellent too, working in with the action
so well that you dont actually see it that muchwhich is the
point really!
The show opens from a dead blackout into a rhythm set up
on bass trumpet which develops, as the lights come up, into
some sort of rather purposeful march, becoming a couple of
other tunes as it continues. The Trompettes move in exquisite-
ly precise movements, sometimes marching (in tiny steps), and
once or twice, to the audiences obvious delight, lining up and
leaning out like music hall artistes before twirling the trumpets
out over one anothers heads with apparent danger but actual-
ly nary a ding. Later, things get more dramatic as one of the
cast loses his self-control during an impassioned speech and is
carried off by the others, still loudly protesting.
Fading up from another dark stage a brilliant, magical
moment is revealed. At rst you cant quite understand what
youre seeing as footlights illuminate a row of cardboard faces
low on the oor, right downstage, nearest the audience. It takes
a moment to get it but Les Trompettes de Lyon are lying down
on their backs, heads downstage and feet upstage, playing their
trumpets directly up towards the ceiling. Each trumpet has an
attachment like a very tall bucket muteindeed, that is per-
haps exactly what it isand each of these has a face on it,
looking (mostly) out at the audience. Thats itsimple but
brilliant. The ensemble plays (rather well, as it happens) some
nice Bach and the faces interact while the music goes on
sometimes leaning in towards one another to converse, some-
LR: Mary Thornton, Nadje Noordhuis, Ashley Hall, Cheryl Hollinger,
Leanne Sullivan, Kathryn James Aducci, Julie Payne, and Judith Saxton
10 ITG Journal Special Supplement
2010 International Trumpet Guild
times moving in unison, sometimes seeming perhaps a little
disapproving or isolated. One actually manages to turn right
round through 360, not really an easy movement for the play-
er. And all the time the faces shadows loom up the back wall
of the stage, metres tall. So simple, such a bit of music-theatri-
cal genius.
I could continue, but probably shouldnt, not least because
you need to see this show. Oh, go on then, just a couple
more how about a jukebox, fed coins by a willing audience
member? She pays and it plays; she stops and it does. It suffers
from power cuts, the needle jumping (note to young people:
look it up) and a strange tendency to reset to Michael Jackson.
Or how about a Spot the Deliberate Mistake version of Albi-
nonis Adagio with remarkably easy-to-spot Beatles interjec-
tions every few momentsand some ashing lights, just in
case you hadnt quite got it? Ora personal favorite of mine,
thishow about a Bolero played by a smartly-hatted ensemble
seated on ofce furniture, the bass trumpet rotating comfort-
ably, swivel-chaired, in the middle of the group? And thats
only a handful out of perhaps twenty tightly-integrated, zippy
little sketch-ideas, each one executed with a fantastic style and
precision.
I should stop but I cant quite: towards the end of the show,
after so many other good things, a posse of horses (and a zebra,
please dont ask why) gallops on to appropriately Western
music and threatens the gallery with six-shooters which some-
how become trumpet mutesand so it goes on. If you werent
there you also missed some excellent audience-participation
mooing and neighing and lets face it, theres not many trum-
pet concerts can make that claim. With a huge variety of styles,
instruments, comedy, and movement Les Trompettes de Lyon
gave us a wonderful evenings entertainment. If you get the
chance, please see this remarkable group: if you have already
seen them, Im preaching to the converted because you will
already want to see them again. Marks out of 10? Onze!
Late Night Jazz with Nadje Noordhuis (BA)
The Paragon Hotel was once again lled with the resound-
ing teeter tatter of over one hundred conference delegates. The
Les Trompettes de Lyon imitate a jukebox
Les Trompettes de Lyon as the cavalry!
2010 International Trumpet Guild
ITG Journal Special Supplement 11
atmosphere was perfect for Noordhuiss performance featuring
once again the Sydney based rhythm section of Alister Spence-
piano, Steve Arie-bass and Fabian Hevia-drums. Noordhuiss
versatility as a trumpet performer showed through her compo-
sitions and style that reected inuences by some of the great-
est trumpeters of both the jazz and classical spheres.
THE 2010 INTERNATIONAL TRUMPET GUILD
CONFERENCE, SYDNEY, AUSTRALIA
SPECIAL DAILY REPORT COMPILED BY GARY MORTENSON
Saturday, July 10
Orchestra Panel (MR)
The Saturday morning panel discussion, Orchestral Playing
for Dummies, featured prominent international orchestral
trumpeters Gordon Webb, Cheryl Hollinger, Dan Mendelow,
and Laurence Gargan; Jack Laumer served as moderator. The
group discussed their training, career paths, and views on top-
ics like trumpet repertoire, collegiality, and life in general. The
recollections of their musical journeys served as marvelous
examples of the value of hard work and discipline. The audi-
ence, consisting of mainly young people, asked thoughtful
questions that produced astute answers from each profession-
al. Webb provided several memorable quotes; one being that a
trumpeter must be constantly improving and keeping their
nose clean at all times. Mendelow advised students to always
put the music, not ego, rst. The vast knowledge and overrid-
ing respect displayed by each individual for the orchestral
repertoire was impressive and inspiring. The talk provided
entertaining insight into the international world of orchestral
trumpeting!
Jules Levys 1877 78 Tour of Australia (LE)
George Foreman, a noted historian of brass bands currently
researching the legendary cornet virtuoso Jules Levy, led this
informative and entertaining session regarding Levys memo-
rable tour that included conicts with management, threats of
bodily injury, lawsuits, insolvency, a charge of murder, and a
stealthy exit from New Zealand. Interspersed between a
chronicling of Levys tour and visual aids such as Levys earliest
known photograph (ca. 1860), concert programs, and reviews
were performances of the music featured on his tour. First,
Gabriel DiMartino beautifully rendered John Hartmanns
AlexisGrand Fantasia. Following some insight on Levys early
start as a cornetist that included practice only on a stolen
mouthpiece for his rst three years, Vince DiMartino provid-
ed a virtuoso rendition of one of Levys lauded Whirlwind
Polka.
A chronicling of Levys tours through America, England,
Russia, and eventually Australia and New Zealand followed.
Conference attendees from America were asked to compare
their 14-hour plane ight to the four-week voyage by sea that
Levy endured. His 200-concert tour of Australia sometimes
included audiences of more than 10,000. Levys programs
2 ITG Journal Special Supplement
2010 International Trumpet Guild
L R: Laurence Gargan, Dan Mendelow, Cheryl Hollinger, Gordon Webb
2010 International Trumpet Guild
ITG Journal Special Supplement 3
often followed a format that presented two vocalists in operat-
ic arias, famous songs, and folk melodies in addition to Levys
cornet playing. In this light, a likely ITG-rst included confer-
ence host Brian Evans being featured as the vocalist on The
Last Rose of Summer. While Levy only listed three cornet works
on his programs, he typically performed as many as nine with
encores, such as Levys version of Yankee Doodle performed by
Vince DiMartino. Interestingly, Foreman now possesses Levys
cornet, which was purchased on auction after a pawnshop in
Los Vegas misidentied the instrument. Having Gabriel
DiMartino and Yoram Levy, principal trumpet of the Tasman-
ian Symphony Orchestra, perform Levys Carnival Venice and
Levyathan Polka, the latter on the virtuosos original cornet,
served as poignant tributes and a wonderful conclusion to this
remarkable session.
Sydney Brass Quintet (BA)
The Sydney Brass Quintet performed a recital that included
trumpeters Paul Goodchild and Craig Ross on a program that
featured music that gave the audience An Australian Perspec-
tive. Repertoire included Fanfare for St. Andrew by Ross
Edwards, Concert Overture for Brass Quintet by Barry McKim
(McKim had other compositions premiered during the confer-
ence), Canzona in Memory of Ligeti by Alan Holley, Brass One
(world premiere) by Bruce Smeaton, Sea Call by Andrew
Schultz, and Folksong Suite by David Stanhope. This quintet
plays with great ensemble, clarity, and stylistic awareness. This
was an excellent performance!
New Works for Trumpet #3 (KK)
The third and nal installment of the New Works series
occurred on Saturday, July 10. This recital featured many
world premieres and exposed the audience to non-traditional
trumpet techniques and sounds. Attending this recital was very
enlightening.
The rst piece on the program was a world premiere titled
Ehwaz by Liza Lim, performed by trumpet player Tristram
Williams and percussionist Peter Neville. The title of this piece
comes from Viking runes and the piece itself focuses on trans-
formation from the everyday to the spiritual. This transforma-
tion is achieved musically through the use of extended tech-
niques such as distorted tones, pitch bending, breath through
The Sydney Brass Quintet
Tristam Williams
4 ITG Journal Special Supplement
2010 International Trumpet Guild
the trumpet, and the employment of multiphonics. All of
these elements combined to make Ehwaz interesting to listen
to a unique and memorable experience.
Fandango by James Henry and Steve Leisring, performed by
the University of Kansas Trumpet Ensemble, was second on
the program. This piece was written
in a Spanish style and utilized ugel-
horns as well as trumpets. It fea-
tured an exciting opening followed
by a lament. As the tempo picked
back up, a number of soloists were
accompanied by the rest of the
trumpet ensemble who provided a
rhythmic backdrop (clapping) in
the form of ostinato, Flamenco-like
repetitive patterns. This piece was
very fun and exciting and performed
extremely well by the KU Trumpet
Ensemble.
James Coriglianos Sonata was
played next by Cathy Sheridan on
trumpet and Jo Allan on piano. This
work, a world premiere, featured the prominent use of the
intervals of the fourth and fth. The rst and third movements
were upbeat for the most part, with some reective passages.
The second movement was more calm and retrospective.
A change from the original program order, Kim Pensyls
work, Yosemite, was performed next by a brass quintet consist-
ing of Alan Siebert, Charles Pagnard, Bourian Boubbov, Gre-
gory van der Stuik, and Ed Diefes. The work was written in
three movements, each representing a location within the
National Park. These movements were different stylistically
but contained musical elements that served admirably as a uni-
fying thread. The performance of Yosemite was yet another
world premiere.
Fifth on the program was the premiere of a piece called The
Final Stroke of Nine by Eric Honour, performed by trumpet
player Alan Wenger and pianist Kathy Fouse. The piano intro-
duction was written to sound apprehensive and the trumpet
part began muted, and pointing into the piano rather than
toward the audience. The overall effect was somewhat omi-
nous. The piece worked through variations that increased in
increasing intensity until winding back down to a melody sim-
ilar to the beginning, without the mute, but still played into
the piano to bring the work to a close in a similar fashion heard
at the beginning.
The University of Kansas Trumpet Ensemble
Cathy Sheridan
Alan Siebert & Charles Pagnard, trumpets
Alan Wenger
2010 International Trumpet Guild
ITG Journal Special Supplement 5
Ian Davidsons Eclogue: Phoresey featured Jack Laumer on
trumpet and Ian Davidson on English horn. Davidson men-
tioned that the only piece that comes to mind when one thinks
of a duet between trumpet and English horn is Coplands
Quiet City. Davidson wrote this piece (another world premiere
on the recital) using pitch sets and other techniques found in
atonal music that gives us a completely different result than
that achieved in Quiet City.
Next on the program was a Sonata by Thomas Zugger, per-
formed by James Stokes on trumpet and Jo Allan on piano.
Only the third movement, Allegro Vivace, was played at this
world premier performance. The piece was very cheerful
sounding and ended triumphantly.
Sketches by Dominic Sewell, performed by Michael Chapple
on trumpet and Jo Allan on piano, was also commissioned for
and given its world premiere at this conference. The idea was
to depict comedy sketches from the BBC. As a result, the
piece, written for piccolo trumpet, contained many comic ele-
ments and was very fun to hear.
The nal piece on this recital (and the last of many world
premieres this afternoon) was Kings Canyon by Stephen Lias,
performed by the University of North Texas Alumni Trumpet
ensemble. Depicting a national park located in the state of
Texas, this work contains soaring melodies and is scored for B-
at trumpet, piccolo trumpet, and ugelhorn. It ends with
many ourishes, making it a very effective closing piece.
Jack Laumer and Ian Davidson
James Stokes
Michael Chapple
Leonard Candelaria
6 ITG Journal Special Supplement
2010 International Trumpet Guild
This third recital of the New Music series contained pieces
of many different styles and introduced everyone who attend-
ed to something new and unexpected. Extended techniques,
innovative rhythmic devices, and a wide variety of styles and
moods were employed keeping the audiences full attention
throughout this unique recital. There is no shortage of new
music available to trumpet players as evidenced in all three
new music recitals at the conference!
Festival of Trumpets/Awards Presentation (GM/NY)
The Festival of Trumpets and Award Presentations for the
2010 Conference took place at 2:00 .. at the City Recital
Hall in the heart of downtown Sydney. Kicking off the pro-
gram was the work Soundings composed by Brian Balmages
conducted by Tim Weir. The brilliant nature of Soundings,
complete with three antiphonal choirs located in a balcony
across the front of the hall, proved to be the perfect vehicle for
getting this years event off to a rousing start. This work com-
bined technical brilliance with wonderfully matched tonal
sonorities from the members of the ensemble. (GM)
The University of North Texas Alumni Trumpet Ensemble
next gave a lively and bold performance of Smetanas Dance
of the Comedians from The Bartered Bride with some won-
derful urries of notes and a real sense of style. David Hick-
mans arrangement makes sure that everyone in the ensemble
contributes and Leonard Candelaria led them through it with
impressive verve. (NY)
Concert Etude by Alexander Goedicke showcased the talents
of the ITG Board of Directors. David Hickman, who was pres-
ent to conduct his own arrangement of the work, took a tempo
that kept the board suitably occupied in bringing forth the
highly technical nature of this classic solo trumpet standard.
Needless to say the board got a good workout in the area of
double tonguing (they have obviously kept up in their Arban
studies of late). (GM)
The world premire of Dot Dash by Peter Knight was next
given by Tristram Williams, Kelly Rossum, Steve Dillard and
Nitai Pons. This is a challenging and fascinating, minimalistic
work, deriving its interest from changing textures and pitch
centres rather than melodic ideas: its quite sparse and really
forces the listener to think their way into the gaps a bit. It
begins with a rocking, low ostinato out of which higher pitch-
es grow, leading on to a climax with high, almost wailing
entries, before calm is regained in a quiet, breath-only ending.
Interesting stuff, well performed. (NY)
The Comeback and University/College Student Trumpet
Ensemble performed the Hallelujah Chorus from Messiah, as
arranged by James Olcott and was conducted by Marc Reed.
This proved to be a great choice of repertoire for this ensem-
ble as the mix of talent on stage performed with rhythmic pre-
UNT Alumni conducted by Leonard Candelaria
Exuadi Orationem Nostram with the composer conducting
2010 International Trumpet Guild
ITG Journal Special Supplement 7
cision, excellent intonation, and attention to dynamic accura-
cy that was appropriate for this late Baroque masterpiece.
When you throw together a bunch of players from all sorts of
backgrounds and indeed from all over the globe, you can never
be sure what you are going to get, but this ensemble, under the
capable direction of Reed, melded into a really ne ensemble
that played quite beautifully! (GM)
The next work, Cityscapes by Erik Morales, was a late addi-
tion to the program. With ne blend and balance, the ve-
member ensemble for this work navigated Moraless sophisti-
cated three-movement work matching each others tone quali-
ties and note-lengths in admirable fashion. The second move-
ment Skyscrapers in the form of a ballad displayed ne
phrasing and attention to balance. The nal movement, a
rhythmically driving and technically demanding movement,
brought the work to a rousing conclusion. (GM)
In another world premire a ne eight-trumpet ensemble
performed Paul Terracinis Exuadi Orationem Nostram with the
composer conducting. This work, Terracini explained, was
written to a brief that explicitly required it not to be fast, ashy
and pyrotechnical so he decided to write a prayer; the title of
course is just an invocation to Hear Our Prayer. As Terracini
points out the target of the prayer is not specied, and he invit-
ed the audience to use the time listening to the piece in what-
ever way worked for them. The work starts with gently shift-
ing simple harmoniesdeceptively simple perhaps, because
nothing this beautiful happens by accidentwhile an
unadorned and direct melody shines above. In the next section
there is more movement but without interrupting the gentle
feeling of the whole. Later things really move on more, but the
music is still very uid, even while becoming bold and quite
declamatory. Even then it always retains the sweetness of
melody that is this works hallmark and comes to its end very
peacefully. (NY)
A composer who has been quite prominent on the ITG
2010 program is Barry McKimm; we heard yet another world
premiere this afternoon when his Trumpet Quartet was per-
formed by the Mid American Trumpet Ensemble. In the rst
movement, Andante, a great feeling of poise is generated as a
broader tune contrasts with busier, almost neoclassical-sound-
ing contrapuntal sections. The second movement, Slowfreely,
starts with ugelhorn then cup-muted trumpet. As the move-
ment builds, some quite thick textures are enhanced with
moments where the melody suddenly erupts like Sydney win-
ter sunshine, before it moves back towards an echo of its begin-
ning. The third movement, Allegro, is busy and cheerful, with
again some clever orchestration tricks including a sort of tex-
tural ritardando where McKimm somehow broadens out the
music without slowing it; later a brisk passage leads to a tri-
umphal ending. (NY)
The Australian Elite Students Trumpet Ensemble performed
Trumpet Mambo by Brandon Collins. This is the same work
that they performed in the Gala Evening Concert during
Youth Day on Tuesday. Their performance was characterized as
one of high energy and rhythmic drive. It was plenty impres-
sive the rst time and got even better with a little more time to
sit in all of their brains. These young players have a great time
playing trumpet and it showed through to full effect in Trum-
pet Mambo. What enthusiasm! (GM)
As tradition dictates Festival of Trumpets concerts need to
end with a massed ensemble bringing everyone onto the stage
for one last massive sonic boom This year the repertoire
choice was the Tuba Mirum Fanfare by Giuseppe Verdi (arr. by
James Olcott). With trumpets spread all over City Recital Hall,
this was certainly a tting ending to the afternoons entertain-
ment. (GM)
But wait, one more selection was to follow with a new work
by Paul Terracini titled Kundibar that brought together the
The Mid American Trumpet Ensemble
8 ITG Journal Special Supplement
2010 International Trumpet Guild
FOT Massed Ensemble along with the International Student
Ensemble added in for good measure. For this last piece the
augmented ensemble left relatively few people still in the audi-
ence. From a quiet, almost mysterious beginning, the music
built into grand, sweeping phrases before a fast, punchy tune,
quite fragmented, took over for a while, then brought us back
to the more sweeping melody again. Another detour took the
music into more hesitant country again; then, becoming busier
and busier, it returned to the broader material with wide
melodic swathes leading to a rousing ending to both this piece
and the 2010 Festival of Trumpets. (NY)
Gala Concert: Sydney All Star Big Band with Soloists (NY)
The closing gala concert of ITG 2010 featured Ralph Pyl
and his Sydney All Star Big Band with an impressive roster of
guest artists. The bands storming, lively open er was Just Josh-
ing by their alto sax Graham Jesse and it featured ne solos
from Jesse himself and from lead trombone Dave Panichi. Pyl
prom ised us that thered be no more reed, trombone, or
rhythm solos once the trumpet soloists were on stage, though
to be fair I think the occasional note did creep through.
The rst trumpet soloist on was Andrea Giufreddi who
launch ed into Green Hornet (an adaptation of Rimsky-Kor-
sakovs Flight of the Bum blebee) with an incredible ferocious
energy and lots of fast tonguing Apparently its as recorded by
Al Hirtsomething I will be needing to hear!
Next up was Don Rader with Everything Happens to Me, a
standard from the 1940s rst recorded by the Dorsey orches-
tra, when it featured Sinatra on vocal. Don Raders beautiful
playing was set off by the great arrangementby Rader him-
selfwith the saxes swapping to utes, clarinets, and bass clar-
inet to very ne effect. Rader was also playing in the big bands
trumpet section for all the other tunes so he was clearly having
a very hardworking evening.
Kelly Rossums Little Mary is about the very small Lake Mary
in northern Minnesota up near the Canadian border. The com-
poseralso the soloisttells that its very placid and beautiful
therebut of course natures calm can change in a moment:
anything can happen if, say, a storm comes along. And thats just
what we heard: an easy, relaxed tune at the start, settling into a
jazz-waltz feel, before a busy, louder middle section which is pre-
sumably the bad weather Rossum had mentioned. The soloists
Andrea Giufreddi
The Festival of Trumpets Massed Ensemble with the International Student Ensemble
2010 International Trumpet Guild
ITG Journal Special Supplement 9
great sound and versatility were much in evidence here. There
was some more exciting, radical harmony later, leading us
towards an impressive and noisy ending: it must have been quite
some storm.
Andrea Tofanellis rst tune was Volare, featuring a gentle
introduction with just Tofanelli and the pianothen we were
off into the fast tempo and the reworks started. My notes say,
Features plenty of impressive high-note work yes, that
would be about right!
Next was Nadje Noordhuis with Moonlight making a very
quiet, trad-sounding start with just her, muted, and the
rhythm section, then opening out into swing, which was very
uid, and a nice arrangement. Moonlight also featured a really
great, breathy sound in Noordhuiss long unaccompanied sec-
tion later in the tune.
Joey Pero then featured in his own composition Wrapt which
was a fast jazz-rock-ish tune with furious, high solo interjec-
tions from Pero and a great drum solo too. Pero is quite a
showman and it was impossible to avoid getting drawn into
the foot-stomping energy of his work.
After Ralph Pyl introduced the truly excellent bandall
stars, indeedit was time for the second turn through the
soloists. Andrea Giufreddis second offering was an Ennio Mor-
ricone medley in which the soloist took a suitably heroic
approach to these great tunessome of my personal favorites
were there, including of course an absolutely soaring The Good
Don Rader
Kelly Rossum
Joey Pero
Nadje Noordhuis
10 ITG Journal Special Supplement
2010 International Trumpet Guild
The Bad and The Ugly which pretty much set my socks on re.
Joey Peros second visit brought us the fabulous Misirlou that
he had co-arranged, a driving, exciting performance of this
classic tune with no high note left unvisited.
Next was Don Rader in Body and Soul: his own arrangement
made originally for the Woody Hermann orchestra. With a
mainstream swing feel and great solos from Rader this was a
crowd-pleaser par excellence.
Nadje Noordhuis then treated us to her second piece The
Very Thought of You in which she displayed her gorgeous ugel-
horn sound. This slow arrangement showed her (and the band)
off to great advantage with the long expansive phrases in her
improvisation making it all seem very unhurried. After a great
tutti section we were back to Noordhuis for her closing solo,
and the end of this ne piece.
Waltzing Matilda isnt actually the National Anthem here but
its not just any old song either, and Andrea Tofanelli confessed
to some trepidation about having had it arranged for this con-
cert: sorry, hes Italian, he told us. He neednt have worried
we all, local or not, went wild over this fun, cool arrangement
which had Tofanelli visiting uncharted parts of the strato-
sphere.
The Grand Finale for this remarkable concert was
Macarthur Parkwhat else?with all the soloists playing.
Quiet, introspective, subtle, delicate and contemplative are just
some of the adjectives I wont be needing much here. But what
an exciting soundit just makes you so pleased you play the
trumpet! The arrangement, done only a few days ago by Ed
Wilson, was great, and did everything that youd hope foras
indeed did the soloists, and quite a bit more besides. This was
a stunning, almost literally stunning, way to end a fantastic
concert and as the audience, shouting slightly due to tempo-
rary deafness, made its very happy way out into the Sydney
night at the end of the last gala concert of ITG 2010, I was left
reecting on what a great night, and what a great week, it had
been.
Late Night Jazz
Joey Per played a very energetic and entertaining set on the
last night of the ITG Conference at the Paragon Hotel bar. He
played various songs from his new CD, Resonance. He also
brought his good friend Simon Voyer, whom he met at the
Juilliard School of Music in NYC and who wrote some of the
songs on the CD, to play marimba. The band, based in
Batavia, New York, played very entertaining music most peo-
ple would not get a chance to hear as live bar music unless they
were at the ITG Conference late night sessions. This music was
a mix of classic trumpet pieces, such as the Artunian, mixed
with great originals written by Joey and Simon. Later in the
evening, trumpet players of all ages tried their hand at impro-
vising, which resulted in some lively musical interactions. The
night ended with a mix of all the trumpet players that played
that night adding to the conversaton and improvising on the
last song, bringing another amazing trumpet conference to a
close.
Andrea Tofanelli
2010 International Trumpet Guild
ITG Journal Special Supplement 11
Orchestral Excerpts Competition:
Alexander WilsonFirst Place
Vincent LiSecond Place
Nathaniel LockeThird Place
Jazz Improvisation Competition
David NevesFirst Place
Herman MihariSecond Place
Scott DickinsonThird Place
Competition Results
Orchestral Excerpts Finalists
L R: Nathaniel Locke, Vincent (Peixang) Li
Jazz Improvisation Finalists
L R: Scott Dickinson, Herman Mihari, David Neves
Solo Competition Final
Anna GarciaFirst Place
Sergio FilipeSecond Place
Peter SmithThird Place
Youth Competition Results
Under 14s
Dominic LonghurstFirst Place
Sophie SpencerSecond Place
John James AshtonThird Place
Under 18s
Charlie BoleFirst Place
Matthew WinnelSecond Place
Chris MoranThird Place
Awards Ceremony Images
12 ITG Journal Special Supplement
2010 International Trumpet Guild
Solo Competition Finalists
L R: Peter Smith, Sergio Filipe, Anna Garcia
Under 14s Finalists
L R: John James Ashton, Sophie Spencer, Dominic Longhurst
Under 18s Finalists
L R: Chris Moran, Matthew Winnel, Charlie Bole
ITG President Kevin Eisensmith serves
as the master of ceremonies
2010 International Trumpet Guild
ITG Journal Special Supplement 13
2010 ITG Award of Merit Winner Gordon Webb
talks to the audience
Brian Evans addresses the audience for the last time
as conference host
L R: Del Lyren, Brian Evans, and Kevin Eisensmith accomplish the passing of the bugle
from Evans, 2010 host in Sydney, to Lyren, the 2011 host in Minneapolis, Minnesota
2010 International Trumpet Guild
October 2010 / ITG Journal 7
2010 ITG Conference Exhibitors
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Conference Sponsors
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Program Booklet SponsorJamey Aebersold Jazz
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Orchestral Supplies)
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The 2010 ITG Conference
Reporting Team
Michael Anderson is associate professor of trumpet at the
Wanda L. Bass School of Music at Oklahoma City University.
Anderson is the administrator of the ITG Web Site and column
editor for the Trumpet Technology column for the ITG Jour-
nal.
Brook Ayrton (BA) studied trumpet at the Canberra School
of Music and then the Sydney Conservatorium of Music. In
Sydney, Brook works as a freelance musician in many styles of
music including jazz quartet, big band, Salsa, and African
music genres.
Bob Burne is a Visiting Fellow at the Research School of
Earth Sciences in The Australian National University. He is a
Board member of , and plays trumpet with the
National Capital Orchestra (Canberra) and cornet in the Hall
Village Brass Band.
Alex Cook (AC) is a junior music education major at Kansas
State University where he studies trumpet with Gary Morten-
son.
Kevin Eisensmith (KE) is President of the International
Trumpet Guild. He is professor of trumpet and assistant chair
of the Department of Music at Indiana University of Pennsyl-
vania.
Luis Engelke (LE) is professor of trumpet and graduate
coordinator at Towson University in Baltimore, Maryland. He
is the Music Reviews Editor for the ITG Journal and serves on
the ITG Board of Directors.
John Irish (JI) is associate professor of music at Angelo State
University. He has chaired the ITG Youth Competition for
seven years and authored many articles and reviews for the ITG
Journal.
Katherine Klinefelter (KK) is a graduate of Grand Valley
State University where she studied trumpet with Richard
Stoelzel. She currently is a Graduate Teaching Assistant at
Kansas State University where she studies with Gary Morten-
son.
Gary Mortenson (GM) is in this tenth year as publications
editor for the International Trumpet Guild. He is professor of
trumpet and Head of the Department of Music at Kansas State
University.
Marc Reed (MR) is assistant professor of trumpet and assis-
tant director of bands at the University of Alabama at Birming-
ham. He is a member of the ITG Book Review and ITG Record-
ing Review staffs.
Joseph Walters (JW) is in his tenth year producing layouts
for the ITG Journal and pieces like this one, and is an amateur
trumpet player from Albuquerque, New Mexico.
Brian Williams (BW) is a senior performance major in the
trumpet studio of Gary Mortenson at Kansas State University.
Neville Young (NY) is an amateur trumpet player from Lon-
don. He is an ITG Board Member and was ITG News Editor
2003 2008.
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