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

1975-1977 Officers
President: Lloyd Geisler, 3444 North George MasonDrive, Arlington, VA 22207
Vice President: Clifford Lillya, 1212 Henry Street, Ann Arbor, MI 48104
Secretary: David Baldwin, 589 Lincoln Avenue, St. Paul, MN 55102
Treasurer: Gordon Mathie, Crane School of Music, SUC, Potsdam, NY 13676
Board of Directors
Bud Brisbois, Ward Cole, Charles Colin, Charles Gorham, David R. Hickman, Robert Levy, Robert Nagel, Carole Reinhart,
Susan Slaughter, Don Smithers, Thomas Stevens, Roger Voisin
IT6 Journal & Newsletter Staff
Editor: Stephen L. Glover, 2817 Acklen Avenue, Nashville, TN 37212
Associate Editors
Book Reviews: Kim Dunnick, Music Department, TennesseeTech University, Cookeville, TN 38501
Music Reviews: Norbert Carnovale, Music Department, University of Southern Mississippi, Hattiesburg, MS 39401
Record Reviews: David R. Hickman, Music Department, University of Illinois, Urbana, IL 61801
Advertisements Manager: Donald R. Whitaker, School of Music, University of Wisconsin-Madison, Madison, WI 53706
Deadlines for receiving information to be published are: December 1st (February Newsletter), March 1st (May Newsletter),
August 1st (October Newsletter); July 1st (Journal).
The ITG Newsletter is published three times yearly, in February, May, and October; the ZTG Journal is published each fall.
ITG memberships are arranged to run in units of one year (July l-June 30) and include subscriptions to ITG publications.
(Library subscriptions are welcome.) Please make checks or money-orders payable to: International Trumpet Guild and mail
to: Gordon Mathie, Crane School of Music, SUC, Potsdam, NY 13676 U.S.A. (Payments from outside the U.S.A. should be
made in US $ by international money order or by a draft on a U.S. bank.)
Membership dues: $5.00 (students); $10.00 (regular members and libraries).
The ZTG Newsletter is an official publication of the International Trumpet Guild. ISSN: 0363-2857.
@Copyright 1977 by the International Trumpet Guild. All rights reserved. Printed in U.S.A.
 From the President
Now that you have had time to read the first ITG Journd, I hope
that you have all come to the same conclusion that I have. It is a
great pubhcation: exactly what we needed at this time in the short
life of ITG. I want to congratulate Stephen Glovei and his staff
for giving us such an interesting volume.
ITG has just been declared a non-profit organization by the IRS.
As such. ITG will not have to pay income tax. will receive a
much lower postage rate on bulk mailings and. i~ general, be in
much better shape to operate more beheficially for our members.
In applying for this exemption, it was necessary for us to supply
a constitution that was ratified by the organization. The IRS ruled
this could be done by a majority of the Officers and Board of
Directors. This was done by tnail (it was unanimous). and the
acceptances sent to the IRS, along with many government forms
prepared by our General Counsel. Don Macintosh. If anyone
desires a copy of the Constitution and By-Laws, I am sure Ward
Cole will be happy to send you one. Please contact hitn at: 2316
Sovereign Cr., S.W.. Calgary. Alberta. Canada T3C 2M3.
Another item of importance is a notice I received from the
Director of the International Brass Congress held last June at
Montreux, stating that records of the event would be made if the
demand warranted. He needs at least 500 requests, and your
letters to Mr. Richard F. Zellnrr. Managing Director. Institute for
Advanced Musical Studies, Box 141, CH-I 810 Montreux. Switzer-
land will help tremendously. All the trumpet recitals and ensem-
bles will be grouped together. so you won’t have to buy events
played by other groups. He indicated that the price would be in
the neighborhood of $10 each. Two records would include all of
the recordable material. Your letters would be of great help in
getting this done. Please write to him and request that the record-
ings be made. (The postage is 3 1 cents.)
We are looking forward to the 1977 Annual ITG Conferrncc at
the University of Illinois. with Dave Hickman as host and Confcr-
ence Chairman, to take place May 1 X-21. 1977. From the
enclosed brochure. you will see that it is going to be a great event:
don’t tniss it!
My final admonition is an appeal IO all of you who have not
paid your 1976 dues. Please do so at your earliest convenience.
and give our treasurer. Gordon Mathie. a Happy New Year, which.
incidentally I wish to all of you. too.
Lloyd (kisler. President
From the Editor
As will be noted. several persons have accepted positions a\
Associate Editors of the ITG Newsletter and Joumol. Dr. Norbert
Carnovale, Chairman of the Music Department at the University ot
Southern Mississippi (Hattiesburg): is our new Music Review
Editor; Kim Dunnick, Trumpet Instructor at Tennessee Techno-
logical University (Cookeville). is the Book Review Editor; and
David Hickman. Professor of Trumpet at the University of Illinois
(Urbana), is our Record Review Editor. All ITG members are
invited to participate as reviewers and should contact the appro-
priate editor stating your interests and qualifications. Books,
records, and music for review should now be sent directly to the
appropriate editor.
While the above sections are now in capable hands, additional
editors are needed. Although I have received numerous concert
programs no one has expressed an interest in organizing this
2
section. Much assistance is also needed to supervise the Genera1
News section. Both of these sections require the revising and re-
typing of material. Anyone interested in helping with these
should contact me as soon as possible
All ITG members are invited to submit articles and news items.
If you have a special area of interest, or if you are working on a
project. feel free to discuss it in an article. I will print interesting
correspondence, so if you disagree with a statement in any issue,
or if you have additional information to add, please contact me.
Due to the large volume of mail received and the lack of staff
to handle it, none of the editors can necessarily acknowledge
receipt of materials. If an acknowledgement is desired, please
enclose a stamped, self-addressed postcard with your shipment.
I would like to inform all ITG members that they should take
the initiative by sending materials such as forthcoming dates for
concerts and other activities. and information for inclusion in the
ITG Artist-Members section. It is simply impossible for the editor
to contact individual metnbers to request such information. Local
ITG Chapters are also advised to keep the editor advised of ac-
tivities. (S.L.G.)
General News
N .Y. Philharmonic Orchestra Has Second Trumpet Opening
The New York Philharmonic Orchestra will hold auditions for
the position of Second Trttmpet in March. 1977. For further
information. qualified applicants should contact: James Chambers.
Orchestra Personnel Manager, New York Philharmonic at Avery
Fisher Hall. Broadway at 65th Street. New Yprk, New York
10023. or phone: (2 12) 580-8700.
Flint Symphony Orchestra Seeks Principal Trumpet
The Flint Symphony Orchestra, John Covelli Music Director
and Conductor. has announced that the position of Principal Trum-
pet is open for the present (1977) season. Qualified applicants
should contact: Bennie Gregurick. Personnel Manager, Flint Insti-
tute of Music. 1035 E. Kearsley Street. Flint. Michigan. Phone:
(313) 23%9651.
1977 ITG Conference to be at University of Illinois
David Hickman, Chairman of the ITG Conference, has an-
nounced plans for the I977 Conference to be held May 18-21 at
the Universit$ of Illinois in Urbana. A special brochure is included
with this issue of the newsletter. An excellent faculty will be fea-
tured tn concerts and lectures. For more brochures or additional
information contact: D;lvid Hickman. Music Department. Univer-
sity of Illinois. Urbana. IL 61801.
Central New York Brass Festival Rescheduled
The Second Annual Central New York Brass Festival has been
tentatively reschuled for April 16th. (All plans were not confirmed
at press time.) James W. Estes announced that the Festival has
been postponed due to the bad weather in January. Clinicians for
the Festival will include Vincent Cichowicz, trumpet (North-
western University and formerly a member of the Chicago Sym-
phony); Milan Yancich. horn: Allen Ostrander. trombone (Ithaca
College and fortnerly a member of the New York Philhaimonic);
and Peter Popiel,. tuba. The: Festival will be held at West Genesee
High School in Camillus, New York (a suberb of Syracuse) and
will include clinics, open rehearsals and concerts by students at
Eastman School of Music, West Genesee H.S., and Ononodaga
Community College.
For further information contact James W. Estes at West Gene-
see H.S., Camillus, NY 13031. Phone (315) 487-4612.
Edward Tarr to Present Baroque Brass Class at Indiana
Indiana University has announced that ITG member Edward
Tarr will present a two-week Baroque Brass Master Class at IU
from June 20th to July lst, 1977. The session will be open to
cornetto, sackbut, and Baroque trumpet players. Bruce Dickey,
cometto virtuoso and expert on Renaissanceand Baroque articula-
tion and improvisation, will assist Tarr.
Tarr is one of the world’s leading authorities on the Baroque
trumpet. He has recorded many works on the natural trumpet,
authored many articles and a book, and edited numerous critical
editions of trumpet music. Dickey is a graduate of IU and a
master pupil of Tarr. Dickey has performed with such groups as
Concentus Musicus Vienna, Early Music Consort, Musica Antiqua
Vienna, and others.
For further information, contact: Dr. Miriam Gelvin, Summer
Sessions, Indiana University School of Music, Bloomington,
Indiana.
Timofei Dokshitzer to Give First United States Solo Tour
Russia’s greatest trumpet virtuoso, Timofei Dokshitzer, is sche-
duled to tour the United States for the first time as a soloist in
May, 1977. Professor Dokshitzer has toured many countries earn-
ing acclaim as one of the world’s greatest musicians. Although he
has toured the US. with Soviet orchestras, this will be the greatest
opportunity for American trumpeters to hear this truly outstand-
ing virtuoso.
It is suggested that interested persons contact the host at each
concert location to confirm program. Further information will
appear in the next ITG Newsletter. The tentative schedule is as
follows:
May 15, 1977 - Cookeville, Tennessee (Tennessee Tech Com-
munity Symphony Orchestra - Dr. James Wattenbarger, con-
ductor) Concert: 3:00 p.m. - Derry Berry Hall;, Host -
Dr. Howard Brahmstedt
May 18, 1977 - Madison, Wisconsin ( University of Wisconsin
Wind Ensemble - Mr. Eugene Corporon, conductor) Concert:
(TBA) - Mills Concert Hall; Host - Mr. Donald Whitaker.
May 21,‘1977 - Urbana, Illinois - International Trumpet Guild
Conference (University of Wisconsin Wind Ensemble -
Mr: Eugene Corporon, conductor) Concert: 8:00 p.m. - Great
Hall, Krannert Center; Host - Mr. David Hickman.
May 24, 1977 - Atlanta, Georgia (Georgia State University Orches-
tra - Dr. John Sumrall, conductor) Concert: (TBA) - G.S.U.
Concert Hall; Host - Dr. Steven Winick.
May 27, 1977 - Evan’ston, lllinois (Northwestern University Sym-
phonic Band - Mr. John Paynter, conductor) Concert: (TBA)
- Pick-Steiger Auditorium; Host - Mr. Vincent Cichowicz.
May 29, 1977 - Ann Arbor, Michigan (University of Michigan,
School of Music) Clinic and masterclass. Hosts: Clifford Lillya
and Renold Schilke.
June 1, 1977 - Detroit, Michigan (Wayne State University Sym-
phonic Band -“Mr. Harold Arnoldi, conductor) Concert: 8:30
p.m. - Ordhestra Hall; Host - Mr. Harold Arnoldi.
3
University of Illinois Trumpet Guild
The University of Illinois Trumpet Guild has sponsored the
following programs:
Oct. 19, 1976 - Gerald Endsley (Instructor of Trumpet at the
University of Denver, President of Tromba Publications and
Clarino Recordings) presented a lecture-recital with pianist
Robert Ray of the U. of 1. faculty on the comet.
Oct. 26, 1976 - Jane Hickman Trumpet Recital.
Oct. 31, 1976 - Faculty Brass Quintet (David Hickman & Ray
Sasaki, trumpets; Thomas Holden, horn; Robert Gray, trom-
bone; Daniel Perantoni, tuba).
Nov. 14, 1976 - University of Illinois Large Symphonic Band
with David Hickman, trumpet soloist. Mr. Hickman premiered
work commissioned by the U. of I. Band: Concerto for Trum-
pet by Jerry Bilik.
Nov. 17, 1976 - Trumpet Recital by Verlin Richardson & Thomas
Pattock.
Dec. 6, 1976 - Faculty Trumpet Recital with David Hickman
(Gerald Hammilton, organ).
Instrumentalist Will Have “Trumpet” Issue
The Instrumentalist magazine (1418 Lake St., Evanston, IL)
will devote their April issue to the trumpet and will base the
issue around the International Trumpet Guild and the upcoming
May Conference at the University of Illinois. Many feature arti-
cles for the magazine will be by trumpeters on the Artist-Faculty
of the Conference. Don’t miss it!
Brass Bulletin Will Not Be Free
In the last issue of the ZTG Newsletter, it was reported that all
members of ITG would receive three free issues of Brass Bullefin
(Nos. 13, 14, and 15). We have since been notified that No. 15
will not be sent free. Further, the supply of Nos. 13 and 14 has
been exhausted; these two issues were mailed last summer to all
(then) current members of ITG. ITG members interested in sub-
scribing to this fine publication should write to: Brass Bulletin,
Box 12, CH-I 5 10, Moudon, Switzerland.
Correction for Last Journal
The first ITG Journal was issued in October, 1976 as Volume 1.
Due to a printer’s error the Journal was incorrectly shown as
Vol. 3, No. 1 on the contents page. The October, 1976 ITG News-
letter (bound with the Journal) was correctly shown as Vol. 3,
No. 1. The Journal Editor apologizes for any misunderstanding
this has caused.
Iowa Trumpet Festival
The Iowa Trumpet Festival was held on November 20, 1976
at the University of Northern Iowa in Cedar Falls and was organ-
ized by ITG.member, Keith Johnson. About 75 trumpeters from
Iowa, Wisconsin, and Illinois attended the festival.
Guest artist David Hickman (University of Illinois) performed
works by Albinoni, Vivaldi, and Altenburg (Concerto for
7 trumpets and tympani, performed with the UN1 Trumpet
Ensemble). Lloyd Fillio (Vincent Bach Corp.) lectured on the
design and manufacture of trumpets. In addition, the Northern
Brass Quintet (Keith Johnson and Bruce Chidester, trumpets;
Robert Krueger, horn; Jon Hansen, trombone; Fritz Kaenzig,
tuba)‘performed a recital for the festival.
 New Work For Trumpet and Tape
Transparencies for trumpet and computer tape has recently
been composed for trumpeter David Hickman by John Melbjr,
well-known electronic composer. The work will be premiered in
February, 1977 at the University of Illinois-Urbana.
Bruce Wheeler
ITG member Bruce Wheeler, principal trumpet of the Savannah
Symphony Orchestra, was featured as a soloist this past summer in
the premiere and seventeen subsequent performances of the
Concerto for Trumpet and Wind Orchestra by Jerzy Sapieyeuski
with the American Wind Symphony Orchestra of Western Pennsyl-
vania under the direction of Robert Austin Boudreau.
EdwardTarr rehearses
with the Louisville Bach Society Orchestra,
Melvin Dickinson,Conductor
Edward Tarr Trumpet Seminar and Concert
A Baroque trumpet seminar and concert was held November 1%
19, 1976 at the University of Louisville School of Music. Guest
lecturers were Edward H. Tarr, trumpeter and musicologist, and
Stephen L. Glover, founder and editor of The Brass Press and
editor of the ITG Journal.
Lectures were presented by Edward Tarr on Baroque trumpet
style, and by Stephen Glover on the history of the Baroque trum-
pet. A joint lecture was given on the editing and publishing of
early music. The seminar concluded wi’th Edward Tarr,, natural
trumpet, and William Whitesides, tenor. in concert with the Louis-
ville Bach Society Orchestra conducted by Melvin Dickinson.
Selections included the Purcell “Trumpet Overture” from The
Indian Gueen, Z. 630, the Fux .cantata, “Plaudite. sonat tuba”,
and the Handel Suite in D Major. (Ann Farr, University of South
Carolina)
The American Musical Instrument Society
The American Musical Instrument Society (AMIS) is an inter-
national organization founded in 1971 to promote study of thq
history, design, and use of musical instruments in all cultures and
from all periods.
AMIS holds an annual meeting with symposia, papers, and per-
formances of interest to the menibersl%p. Meetings have been held
at the Smithsonian lnstitu.tiqn in, Washington, D.C.; The Boston
Museum of Fine Arts; The University of Michigan at Ann Arbor;
and New York University.
AMIS publishes a’scholarly Journal comprising an annual num-
ber and three annual Newsletters providing the membership with
information on worldwide activities, book lists and comments, and
general short articles of interest to museum curators, collectors,
performers, and others interested in musical instruments. A current
project of the Society is the compilation of a Directory of Con-
temporary American Musical Instrument Makers. ’
Membership in AMIS is open to both individuals and institu-
tions upon payment of the annual dues of $12.50. Members
receive the Journal, arid the Newsletter aswell as all mailings rela-
tive to activities of the Society. Checks or bank drafts, payable in
U.S. dollars, should be made out to the American Musical Instru-
ment Society, Inc., and, together with a membership application,
sent to the Treasurer: Ms. Linda Tauber, P.O. Box 4147, Shreve-
port, Louisiana 7 1104.
Introduction to the French Trumpet Stars
by Michel Laplace
Like most of the other European cduntries France began its
modern trumpet history under the German influence. It was in
October, 1826, that Spontini sent to Joseph David Buhl, virtuoso
from Amboise, a new German invention: a trumpet with two
valves. His nephew, Franqois Joseph Dauvernt?, gave a successful
concert with that instrument, then improved it alot. He is the same
DauvernC of the Paris Opera, who became the first trumpet
teacher at the Paris Conservatory when Luigi Cherubini opened a
class for that instrument in 1833. Again, for his “methode pour la
trompette” (1857) DauvernB was under the German influence
using extracts of J. E. Altenburg’s “Versuch einer Anleitung zur’
heroischmusikalischen Trompeter-und Pauker-Kunst.” Usually, the
cornet B pistons (French product) history is incorporated into thai
of the trumpet; however, this is not accurate. The world famous
J.B. Arban made his chosen instrument the great rival of the trum-
pet. Auber, successor of Cherubini, opened a class for the cornet
at the Paris Conseryatory on February lst, 1869 and Arban was
the first teacher. It was not until Merri Franquin that the trumpet
made a “come-back.” He was the trumpet t&her at the Paris
Conservatory from 1894 to 1925, and was said to be .the very first
in France to teach diaphragmatic breathing. He was the greatest
influence of his time, together with the Belgian trumpeter Theo
Charlier (a member of the examinations board of some Fren’ch
conservatories). lncidently, Charlier was the first to be able to
play the Second Brandenburg Concerto in 1902. Even if Fran-
quin’s method is not among the usual teaching books today, the
young beginner in France learns from the literature of that period
or is inspired by it. For the various levels, the order often is:
1. “methode complete pour le cornet B pistons” ‘by Pierre
Clodomir.
2. “m;thode compl2te” by Guillaume Balay, 2 volumes.
3. “14 &tudes CaractCristiques” by Jean-Baptiste Arban.
4. “36 etudes transcendantes” by ThCo Charlier.
Finally comes Chavanne and Balay’s studies mixed with various
French concertos (see “musique pour trompette”, A Leduc. Com-
piling extracts of that literature). Usuajly, beginners iearn first the
cornet, then the C trumpet. The choice of the latter instrument is
a great part,of the French (legitimate) trumpet world. The French
player his a lot of preconceived ideas: among others, he c&not
accept the B-flat trumpet (the F trumpet was used briefly in the
early days). Curiously the legendary Ernest Hall’wrote me: “Yes!
1 did not have any’ time for the C trumpet.” (letter 21/8/76).
A great generation’ of distinguished British trumpeters played
everything except Bach & Handel on the B-flat trumpet, exactly
like German & Soviet players among others, making the French
concept quite isolated.
We can pass over the other teachers of the Paris Conservatory
until 1925 (Maury, Cerclier, A. Petit). From 1925 to 1957 the
greatest French teacher was Eugene Foveau. “He had a beautiful
warm sound and played with a lot of heart and soul.” (G. Hirst.
letter l-76) Mostly a cornet player, he succeeded A. Petit as cornet
teacher. At the same time, his powerful colleague at the Paris
Opera, Pierre Vignal, was named trumpet teacher. Foveau was a
stylist, being the originator of the pretty French sound of the late
1950’s. Happily for us? Foveau recorded some 78’s. His pupil,
Raymond Sabarich, took most of the soloist jobs and succeeded
Vignal after the Second World War (in 1947). Sabarich was (for
the present author) the greatest French concert virtuoso; he is
said to have worked quite hard toward his prizes, notably because
of lip troubles. (He had thin lips and Selmer made for him a small-
rimmed mouthpiece.) He quickly developed his own style, curious-
ly very close to today’s Soviet standard (every French player had
reminiscences of Sabarich, hearing the marvelous Timofey Dok-
shitzer in Montreux, 6-76). He was a star from the 1930’s to his
death: “I did shows with Raymond and also quite a lot of films.
He was fantastic. Also when he was trumpet solo at the Opera
Comique I used to go with Lirn and sit in the pit next to him (not
to play, just to listen) while they played the opera. He was a fan-
tastic player, and a real good unpretentious person Sabarjch
was the trumpet man who was called from all over when the
B Minor Mass, or any of the difficult Bach works were performed:
he used a I) trumpet to do this work.” (G. Hirst, letter l-76) All
his former pupils are under his spell; he made them study at the
Selmer house (where? one day in the 1950’s, Rafael Mendez
played for them at the request of Sabarich). Following a rivalry
between Foveau and Sabarich the two courses at the Paris Con-
servatory combined cornet and trumpet instruction. Since these
two legendary men (a complete article on them is a must) the
other teachers have been Ludovic Vaillant. Pierre Thibaud: and
Maurice AndrC.
Among the great players of the past, the cornet virtuosos of the
Garde RCpublicaine, such as hslr. Bernard and the duo Joseph I%
DeFossez, made interesting 78 recordings. Among the first genera-
tion of famous orchestral players (late 1940’s to late 1950’s).
there are Albert Adriano, Coursier, G. Fauthoux, J. Maire, R.
Laurant, P. Chaine, Chabrier, C. Perrin (Algiers Radio). R. Tournc-
sac, P. Piton, J. Greffin, P. Pollin (now first player of the Orches-
tre National), R. Delmotte and the late Maurice Leclcrcq (Paris
first prize, Garde RCpublicaine. Lille Radio and Roubaix Conserva-
tory). Curiously enough, it is the early recordings of R. Delmottc,
L. Menardi and A. Adrian0 (and, even P. Thibaud) that are closest
to Savarich’s style: powerful, very lyric, with a lot of vibrato
(none of them are among his pupils; Menardi is his son-in-law).
His most distinguished pupils have chosen to imitate the sophis-
ticated style of Maurice Andre, Sabarich’s most famous student.
Of these are Marcel Lagorce (Orchestre de Paris), Bernard
Jeannoutot (LeMans Conservatory), Gaetan Berton (Tours con-
serv.), Albert Calvayrac (Toulouse conserv.). Yves CougffC (Radio
France), Franqis Hardy (Poitiers conserv.; Paris Opera) and so on.
Among other good players from this second generation (born from
1930 to 1940) are Claude VassC (Musique vivante ensemble), Jean-
Jacques Gaudon, Jean-Jacque Greffin (as powerful as his master
Sabarich), Delange and G. Roussel (Northern France).
In the 1950’s Roger Voisin was often cited as a “reference” at
the Paris Conservatory. His recordings of Baroque music, together
with the many concerts by Adolf Scherbaum in Paris (beginning in
1950) were a prerequisite for the success of this repertory among
5
G. Berton, R. Rideau, J-C. Elisas,M. Lamarche (Conservatoire de Tours, 1970)
the French people. Every French musician knows Scherbaum, but
very few accept his original way to play the trumpet (the attacks
and particularly his vibrato and phrasing). However, he is
respected for his unusual range and power. Since the 1950’s, the
Soviet players have been legendary. Popular music players (G. JOU-
vin! the late Coca Barbier) heard them on tours to the USSR and
told great stories of them upon their return. Likewise. good rela-
tions were established between Foveau, Sabarich and the virtuosos
from Moscow. (Foveau arranged studies by Balasanyan, and
G. Orvid was on an examination board at the Paris Conservatory.)
The terrific trumpet section of the Bolshoi (7. Dokshitzer. A.
Maksimenko, I. Pavlov) played in Paris in 1970.
We cannot discuss the trumpet without some words on the
variety and jazz business. The American rhythms were introduced
in France around I9 17. Of course, John Philip Sousa’s band (Her-
bert L. Clarke. solo cornet) came to the Paris Exhibition in 1900
and then played some ragtimes. But. we think everything began
with the Hell-Fighters directed by Jim Europe, in 1918 (Frank
DeBraithe, solo cornet). The same year Mitchell’s Jazz Kings catne
to play at the Casino de Paris (Cricket Smith. trumpet). The great
influence was Emil Christian (cornet, trombone) who has played
in Paris and other European towns since 1924. He spoke highly of
Alex Renard-“A really outstanding jazz, and all around trutnpeter
outside of symphony work was a fellow named Renard he had
a very good style somewhat like Ziggy Eltnan.” (G. Hirst, letter
I -I 976) Renard played in Paris from 192 1 to 1972(!). From 1924
Maxitn Neff (with LCo Vauchant orchestra) and Faustin Jeanjean
(in Lud Bluskin band from 1925 to around 1934) were good dance
band players. It was in 1925 that Pierre Allier made his debut at
the “Abbaye de Th&me.” Allier along with Renard and Philippe
Brun will be regarded as our greatest jazz trumpet players of the
first generation. These three men established a French sound in the
late 30’s and early 40’s. No Americans were in Paris during that
period, so there was no foreign intluence. Allier had a full sound?
without great range but with soul and vibrato. Brun is said to have
been our first player of international standard, but was a hard
drinker exactly like one of his idols, Bunny Berigan. Brun was at
his best in 1937-38. a powerful and authoritative trumpeter. .
Among the section men we tnust name: Gaston Lapeyronie
(“when I first went to France in June of 1928 there was a player
named G. Lapeyronie who was the most outstanding French
player that I met!” G. Hirst, letter t-1976); Maurice Mouflurd
(well known since 1934); Al Piguiletn (“also a young player named
Piguilem . He was a first prize winner at the Paris Conservatory.
He was not a jazzman but played good lead and was a good all
around trumpet man, but he died young of a lung ailment,”
G. Hirst, letter l-76); Alex “Fifis” Caturegli; Christian Bellest (still
active); Severin Luino (with a pretty thin sound); and Raoul
Cottcoule. Like his good friend Sabarich, AimC Barelli made his
name during the Second World War. In 1947, other players ap-
peared: Vincent Casino (Boeuf sur le toit), Fernand Verstraete
(from Lille), and Henri Vanhaecke (very famous French first
trumpeter). In the 50’s, Paris gave a lot of jobs to musicians in the
popular field. We remember Fred Gerard, Roger Guerin, Bernard
Hullin, Maurice Thomas, and Georges Gay, among others. The
French brass sound in the 1957-62 period is of very’high quality
and completely different to that of the late 30’s and 40’s (Allier,
Brun, ). In solos these men are technically great (most of them
studied under Foveau & Sabarich) with elegant phrasing and good
ideas in the bop (Guerin). or-mainstream (Gerard) tradition. Surely
the French way of playing the trumpet found its high point in that
period: “Thinking there is no French trumpet school. I am not the
last to say there are in France very great individualities: Andre,
Tliibaud. Delmotte, Lagorce and so on (legit), Thomas, Vanhaecke.
Barrot (variety), Naude, Guerin (jazz) and so on.” (F. Gerard,
letter 1973). Shortly after. in the early 60’s Pierre Sellin and lvan
Jullien appeared. We must add that many Belgians worked in
Fence from Gus Deloof to Marion Mondryk, through terrific Fen
such as Edmond Harnie and Theo Mertens (also legit player).
For the present author, the French standard has lost a lot since
the mid-60’s. Of course, we think about M. AndrC. His first
Baroque records were made in 19.55 (he did not sound like today),
then in 1958 he made a trumpet and organ recording for Philips
which was a popular success. Many.records made by him until
1962 are interesting and perhaps sincere. After that it became a
commercial affair. It’s just a pity that every young French player
cannot imagine anything other than the “g la AndrC.” Every one
here gives recitals with organ and records piccolo trumpet arrange-
ments. Among those are: Guy Touvron? Bernard Soustrot, Ray-
mond Andre, Claude Molenat, Philippe Hechler. Marc Ullrich.
Pierre Dutot, Andre Bernard and so many more! Often good in-
strumentalists but all are M. AndrC’s imitators. A great number of
brass ensembles, the most professional being the Ars Nova Quintet
(Lagorce, Jeannoutot. trumpets). can be classified in the same
commercial category. Some have unusual instrumentatiolls. for
example, the trumpet quartet. In 1970 G. Berton, from Tours,
organized one of the very first, the Beriella Quartet.
On the popular and jazz side r!o great names have yet been
established among the young players. We can name the good
mainstream trumpeter Patrick Artero, and,more interesting the
strange concerts by Maurice Gourgues, alone on stage‘with an
electronic trumpet.
This is not an analytical paper or a complete history, but just
an occasion to name a few good trumpet players frotn France--
some perhaps unknown elsewhere, and it’s a pity.
Why Do I -a Trumpeter -Play the Horn?
by Edward H. Tarr
For a trumpeter there are historical and practical reasons to
take up the horn.
In Bach’s time, both horns and trumpets were vallveless natural
instruments. Both were played open, without the ltand in the bell,
and the out-of-tune notes were corrected by lip adjustment. (Hand-
stopping did not becotne known until the second ha1fof the 18th
century; it was u?iversally employed only in ,music of the late
Classical and Romantic periods.) Not only the playing technique,
but also the players of both instruments were identical; illustra-
tions are preserved fror,n the late 18th century on which trumpeters
can be seen playing in the orchestra with their horns lying on the
floor beside them, ready for use. It is a!so well-knpwrt that the
Leipzig city-pipers, who performed the works of Bach. were con-
6
versant with the trumpet, the cornetto, and the horn. In the
Baroque period the literature for both instruments, trumpet and
horn, was similar qr even exchangeable: the horn parts from the
final chorus of Bach’s Ciif~tufa No. 208 (“Was mir behagt, ist nur
die muntre Jagd”) are also to be found as trumpet parts in the
opening chorus of his Cuntafa No. 149 (“Man singet mit Freuden
vom Sieg”).
In order to perform high Baroque trumpet parts in modern con-
cert life. today’s trumpeter Itas at his disposal since the Second
World War not only the valveless Baroque trumpet, but also so-
called piccolo trumpets. which are pitched an octave higher than
the normal B?lat trumpet. They facilitate performing in the
extreme high register, their sound is brilliant. and it is nearly
impossible to play wrong notes on them. In recent years, follow-
ing the example of the piccolo trumpets, certain makers have also
constructed higher-pitched horns. Now! a piccolo-B-flat horn has
the same tube length as a normal B-flat trumpet; and the playing
technique of both instruments is similar. For a horn-player, such a
horn is an extremely short instrument, but for a trumpeter it is
quite normal; for the former. the range is extremely high, for the
latter, it is again quite normal, even low. What could have been
more natural than the fact that trumpeters began to occupy
themselves intensively with the new horn, more so than horn-
players?
My trumpet ensemble has gone a step further. Together with
the instrument-maker Ewald Meinl, and according to principles of
construction devised by my colleague Klaus Rehm, we developed
a special kind of piccolo B-flat horn combining the tube dimen-
sions of a horn with the mechanical parts of our trumpets: For
example, the valve section with its four valves is to be played with
the right hand. (Hornists, as is well known, finger with the left
hand.) Since we play both horns and trumpets in the same pro-
gram (such as in Bach’s B Minor hfass or Chistmas Oratorio), we
were interested in having both instruments possess the same
characteristics.
My debut as a horn-player was in the year 1971, in Bach’s
B Mirm Muss. Since then, Part IV of the Christmas Oratorio has
been a staple of my ensemble’s repertoire. In 1976, we first pre-
sented a program consisting of Bach‘s Cuntufa IVO. 208 and First
B,u/rde/lbtcrg Co/lcrrfo as well as J. Reicha’s Do&e Currcerto in
E for two horns.
There is a little story connected with the Reicha double con-
certo. A publisher in Hatnburg showed us the score, after a per-
formance of Bach’s Chrisfmzs Orutorio, and asked us if it
shouldn’t be published in a version for trumpets. since the first
part required a high register (up to high B. cdncert pitch) impossi-
ble for horn-players today. The concerto had been lying dormant
in the archives of tltc Simrock publishing house since the time of
Beethoven and surely has not been performed since about 1800.
(The founder of the publishing house. who also was a horn-player.
was a friend of both Reicha and Beethoven.) Already at a first
glance, the concerto seemed to be tailor-made for our new horns.
The work calls for extremely high and low tones, has many
passages of a virtuoso nature. and is seasoned with lots of humor.
Since it is a Romantic work. we hold one hand in the bell of our
horns: Baroque works are played open.
In 1976 I also fulfilled a lifelong ambition by adding Mozart’s
Fourth Horn Concerlo to my repertoire. It is a well-kndwn fact
that the trumpet repertoire’s golden age was the Baroque period;
the only major later works for the trunlpet’are the concertos by
I-laydn and Hummel. composed in 1796 and 1803. At this point,
where the trumpet literature has ceased. to be. the horn literature
comes into its’own. By playing the horn. 1 as a trumpeter can gain
the dimensions of an entirely new repertoire which would other-
wise remain closed to me.
 Schedule of Programs
The following is a list of concert and workshop dates as supplied
by individual ITG artists. Because it is impossible for the ITG
Newsletter Editor to verify the information, and because schedules
frequently change. it is suggested that anyone interested in attend-
ing an event listed below contact the sponsoring organization or
*Clarke, Herbert L. How I Became a Cornetist. (Reprint of 1934
artist to confirm the exact date, time? and place. Admission fees
may be charged for some events. ITG members presenting con-
cer& are encouraged to send preconcert information to the ITG
Newsletter Editor. (Please see the Instructions for Contributor’s
column for information about preparilig your typescript.)
International Trumpet Guild Conference
May 18-2 I University of Illinois,at Urbana-Champaign.
An outstanding faculty of ITG Artists will present .master
i
classes and concerts. David Hickman, host. (Music Dept., U. of
1.: Urbana, IL 61801)
Don Smithers, trumpet and William Neil, organ
May 13-14 University of Wisconsin at Madison. Lecture and
concert.
May 16-l 7 University of Chicagb.. Lecture and concert.
Edward H. Tarr and Bruce Dickey
June 20-July 1 lndiana University at Bloomington. A special two-
week Baroque Brass Master Class for Baroque trumpet, cornetto,
and sackbut players. (Dr. Gelvin, Summer Sessions, I.U., Bloom-
ington IN 47401)
**Fox. Fred. Essentials of Brass Playirlg. Volkwein Brothers Inc.,
Book Reviews
Kim Dunnick, Editor
I Minkoff Reprint, 1972. 85 pages. hardbound. in French. (1 IO
The following is a list of books which have been received for
review. All books received will be listed in each issue of the
Newslefter. Books will be selected from the Books Received list
for feature reviews. All ITG members are invited to participate as
reviewers. Please write to me stating your qualifications and area
of interest. Persons able to review non-English language books are
needed. A specific title may bc requested from the list helow.
Reviewers should be prepared to sbbmit typescripts.
Books for review and correspondence should be sent .directly
to me at the following address: Kim Dunnick, ITG Book Review.
Music Department, Tennessee Tech University, Cookevillc, Tcn-
nessee 38501.
Books Received
All books are English language unless otherwise indicated.
l indicates a review in this issue. f* indicates a review in the
October, 1976 Journul.
Altenburg, Johann Ernst. Essay 011 cln Introduction fo the Heroic
al2d Musical Trumpeters’ and Kettledrummers Art. (Complete
English translation of the 1795 edition with an introduction
and critical commentary by Edward H. Tarr.) The Brass Press,
1974. (148 Eighth Avenue North, Nashville, Tennessee 37203)
xix, 148 pages, hardbound. (SIO.95)
Anderson, Paul G. Brass Solo und Study Muteriul Music Guide.
The Instrumentalist Company, 1976 (1418 Lake Street, Evan-
ston, Illinois 60204) 237 pages, hardbound. ($1 I .OO)
Anonymous. MCthode de Serpent pour le service du culte et le
service militaire. (Reprint of the 1814 edition publi&ed by
7
Magasin de Musique du Conservatoire Imp&.‘) Minkoff Reprint.
1974. 33 pages, hardbound, in French. (70FS)
Camus, Raoul F. Military Music of the American Revolution. The
University of North Carolina Press, 1976 (Chapel Hill, North
Carolina 275 14) 2 18 pages, hardbound. (S 14.95)
Carnovale, Norbert. Twentietlz-Century, Music for Trumpet und
Orchestra: An Annotated Bibliography. The Brass Press? 1975.
55 pages, paperbound. (S4.50)
edition published by Joseph L. Huber, St. Louis, Missouri)
G. LeBlanc Corp.. n.d. 74 pages, paperbound. (S 1.50, avail-
able only through local LeBlanc dealers)
Dahlqvist, Reine. The Keyed Tizmpet and /IS Greatest Virtuoso.
Anfon Weidinger. The Brass Press, 1975. 25 pages, paperbound.
($2.50)
Decker, Richard G. Music for Three Brasses. Swift-Dorr Publica-
tions, Inc., 1976 (17 Suncrest Terrace, Oneonta, New York
13820) 82 pages, paperbound. ($5.00)
Devol, John. Brass Music for the Church. Harold Branch Publish-
ing Company, 1974. (42 Cornell Drive, Plainview, New York
1 1803. Also available from: Festival Brass Players of New York:
280 Ninth Avenue, New York, N.Y. 10001) 104 pages, paper-
bound. ($7.50)
Eichborn, Hermann. “Girolamo Fantini, ein Virtues des siebzehn-
ten Jahrhunderts und seine Trompeten-Schule.” (Reprinted
from Monarshefte fiir Mttsik-Gesclziclite: 1890) The Brass Press.
1976. 27 pages, paperbound. in German. ($2.50)
Farr, Anne. A Trumpeter k Guide to Orchestral E.xcerpts. W. R.
Welch Publishing House. 1977. (Available from The Brass Press).
32 pages, paperbound. (S3.00)
1974. (I 17 Sandusky Street, Pittsburgh, PA 1521 2) 64 pages.
paperbound. ($4.75)
Francoeur. Louis-Joseph. Diapason GCndrul de tous /es Instnr-
!7ze/lfs a Vent. (Reprint of 1772 edition published by Lauriers)
FS)
Hickmann, Hans. La Trompette clans IY?gypte ancienne. (Rc-
print of the 1946 edition published by I’Institut francais
d’archiologie orientate. Cairo) The Brass Press. 1976. 75 pages.
paperbound, in French. ($7.00)
Kastner, Georges. Manuel GPntfral de Musiqtre Militaire a I’Usuge
des Arm&es Franpises. (Reprint of the 1848 edition published
by L’lnstitut de France. 1848) Minkoff Reprint. 1973. 410
pages: plus plates and 55 pages of music examples. hardbound,
in French. (I 70 FS)
*King. Robert D. (compiler). Brass Players’ Guide: 1976-77.
Robert King Music Co.. 1976. (1 12A Main Street. North Eas-
ton, MA 02356) 64 pages, paperbound. (S 1 .OO)
Robinson, Trevor. The Amateur IVbld Irlsfrzrmenf Muker. The
University of Massachusetts Press. 1973. (Amherst. Massachu-
setts 01002) 1 I5 pages, hardbound. ($10.00)
Ruettigcr, Justin. T4niyrle of Tone Productiorl for Trumpef.
Vantage Press, Inc:. 1976. (5 16 West 34th Street. New York:
N.Y. 10001) 29 pages. hardbound. ($3.95)
Book Reviews
I-lerbert L. Clarke. How I Became u Cornetist. (Reprint of the
1934 edition published by Joseph L. I-luber) G. LeBlanc
Corp., n.d. 74 pages. paperbound. (S 1.50: available only
through local LeBlanc dealers)
This autobiography was first published in-its entirety by Joseph
Huber of St. Louis in 1934, that book consisting of a series of
autobiographical sketches written by Clarke for “Fillmore’s Musi-
cal Messenger” and printed in serial form. The present edition was
published by the LeBlanc Corporation in the interest of music
education.
The book includes a preface by Huber, a “Testimonial” from
Clarke to Huber, short biographical sketches of Clarke and his
friend Frank Holton, and 74 pages of Clarke’s serialized auto-
biography. There are no illustrations or photographs, save for
the front and back covers of the book.
Clarke begins the work with a description of his lineage and
place of birth at Woburn. Massachusetts. He tells of his early music
interests and training on various instruments, including violin and
ophicleide. (His father at first would not allow him to practice
the cornet, as he did not want him to belong to a band!) We are
told in detail of the events surrounding Clarke’s eventual switch to
and development on the cornet. His path to employment as a pro-
fessional musician is recounted with numerous diversions. Liber-
ally sprinkled with anecdotes, the narrative continues up to the
point of Clarke’s joining the famed Gilmore’s Band in New York
City in 1892. From this point only a synopsis of Clarke’s accom-
plishments and honors is listed, and this synopsis stops around
1915, which is apparently when the original articles were written.
The biography of one of the greatest cornet players of all time
is no doubt of interest to all cornet and trumpet players. But this
book, written by Herbert L. Clarke himself, is not only interest-
ing, but enlightening and enjoyable reading as well. The produc-
tion quality is good and the price indicates the edition is a service
and not a money making endeavor of the publisher. I recommend
the book for students and teachers alike. (K.D.)
Robert D. King (compiler). Brass Players’ Guide, 1976-77. Robert
King Music Co. (1 12A Main Street, North Easton, MA
02356). 66 pages paperbound. (S 1.OO plus 25d postage)
If there is one name synonymous with all types of brass music
in the U.S., it must be Robert King. Through the years, King has
developed the most comprehensive stock of brass music to be
found anywhere in the world.
The present Guide represents what first began as King’s catalog
of his own company’s publications and later expanded to include
music of all publishers which his firm now keeps in stock. (Robert
King Music Company editions now comprising a small portion of
the Guide.) Earlier Guides were prepared, in large part, by Robert
Corley who left King’s firm several years ago. The present guide
has been thoroughly revised (for the first time in several years) by
King himself making this issue, which is advertised as containing
over 10,000 entries, an improvement over the last.
The Guide is divided into many categories by instrumentation.
This provides a quick checklist for any given genre. For example:
Trumpet Alone, Trumpet and Piano, Two Trumpets, Four Trum-
pets & Piano, Six Trumpets, etc. (There are 29 classesof trumpet
music.) There are a few changes in the classification system which
I think are improvements: The old Trumpet & Piano Collections
has been combined with the Trumpet & Piano section. The
(various) old String Orchestra sections have been combined with
the Orchestra sections. This is particularly helpful since the old
dichotomy was confusing when wind parts (even collu parte
oboes) caused an edition to be classed as Orchestra.
Entries are arranged alphabetically within ‘each class by com-
poser. Each entry also shows the arranger or editor (if any), pub-
lisher (an address list of publishers is provided), title, and current
price. A new feature of the present Guide is the listing of all edi-
tions of a given work with publisher and price. Therefore, it is
easily determined that there are nine editions of the Hummel
8
Trumpet Concerto in print and that the prices vary from $2.50
(Belwin-Mills) to $8.75 (Editions Billaudot).
More than 18 pages (or 28%) of the catalog are devoted to
trumpet literature. There are, of course, sections for horn, trom-
bone, baritone, tuba, brass quartets (4 pages), brass quintets
(5 pages), etc. (There are approximately 150 entries per page.)
New issues of the Guide are admittedly issued at irregular inter-
vals. Consequently, New Stock Lists are issued monthly and
cumulative Addenda lists are prepared when quantity warrants
(about every six months).
It is the opinion of this reviewer that every brass player should
own a copy of Brass Players’ Guide (current issue). It is an indis-
pensable tool for the student, teacher, music librarian, and music
dealer. At the current price, the Guide is the best bargain around.
(Certainly, the price is close to-or below-production costs, and it
is worth five times the current price.)
It is not going too far to consider the Guide a veritable “Brass
Music In Print.” It is logical, simple, functional, and practical.
It can be useful to everyone, from a junior high school student
to a music librarian at a major university. (S.L.G.)
Music Reviews
Norbert Carnovale, Editor
The following is a list of music which has been received for
review. All music received will be listed in each issue of the News-
letter. Editions will be selected from the Music Received list for
review. All ITG members are invited to participate as reviewers.
Please write to me stating your qualifications and area of interest
(baroque, jazz, contemporary, brass quintet, etc.). A specific edi-
tion from the list below may be requested. Reviewers should be
prepared to submit typescripts.
Music for review and correspondence should now be sent
directly to me at the following address: Dr. Norbert Carnovale,
ITG Music Review, Music Department, University of Southern
Mississippi. P.O. Box 8 I. Hattiesburg, MS 39401.
Music Received
lindicates a review in this issue. ft indicates a review in the
October, 1976 Journal.
Trumpet Solos and Ensembles
Albrechtsberger, J.G. Concertino in E-flat a cinque. E-flat trum-
pet and piano. Brass Press, 1972, $4.00.
Anonymous - Edward H. Tarr and Stephen L. Glover, eds.
The Moravian Brass Duet Book. Vol. I. Trumpets or horns.
Brass Press, 1976, 56.00.
*Anonymous (Torelli school)-Edward H. Tarr. ed. Sinfonia a due
trombe. Two D trumpets and basso continua (organ). Brass
Press, 1976, $4.00.
Bach, J. S.-Robert J. Powell, arr. Praise Our God. Festival Pro-
cessional from Cantata No. 1 I. “Lobet Gott in seinen Reichen.”
B-flat trumpet and organ. Concordia, 1973, $2.00.
Barsham, Eve, arr. Shore’s Trumpet. Eight pieces for B-flat trum-
pet and piano. Works by J. Clarke, Croft, Eccles, and Dun-
combe. Boosey & Hawkes, 197 I, S 1.75.
Bergmann, Robert. Fanfares hdraldiyues. Three trumpets in B-flat
or C or three natural trumpets. Leduc, 1973, $3.05 (parts only).
 Bjelinski, Bruno. Serermde. B-flat trumpet: piano, strings and per-
cussion. Piano reduction. Universal Edition (Boonin). 1967,
s 18.50.
Bozza, Eugsne. Graplrismes (Graphic Notations). Preparation for
the readingof different contemporary musical graphic n,otations.
Unaccompanied t&npet. Lqduc. 1975, $2.30.
Burger, D. E. Three Eyualifur Trumpets. Three trumpets. Ludwig,,
1975: 55.00.
Casanova, AndrC. Concerto. C and B-flat piccolo trumpet and
piano. Orch. score for sale. Parts for rent. Lcduc, 1970. piano
reduction, $6.60.
Charpentier, Jacques, Concert ,2/o. 7. C or B-flat trumpet and
strings. Score and parts for rent. Piano reduction. Leduc, 1976.
Cirone, Anthony J. Sorzata IVO. 2 for Trumpet and Percussiotz.
B-flat trumpet and percussion. Cirone Publications. 1973, $5.00.
Cohen, Sol. B. Gypsy Rot,iar?ce. B-flat trumpet and piano. Jack
Spratt, 1962.
Cope! David. BTRB. Theatrc piece for any brass instrument. Brass
Press, 1974, $1.50.
Defdye, Jean-Michel. Huit pre’ludes pour passer le temps: P&ides
I et VIII. C trumpet and organ. Leduc. 1976.
Defaye, Jean-Michel. Huit pr&des pour passer le temps: Prekdes
/I et IV. B-flat trumpet and organ. Leduc, 1976.
Defaye, Jean-Michel. Huit pre’ludes pour passer le temps: Pre’ltrdes
III et VI. B-flat bugle and organ. Leduc, 1976.
Defaye. Jean-Michel. l-luit prCludes potlr passer le te~~ps: Pkllrdes
Vet VII. B-flat cornet and organ. Leduc. 1976.
Farrell, Graham. Two Revival Preludes (Rock of Ages: What a
Friend Ll/e Have in Jeslrsl. B-flat trumpet and organ. Galaxy,
1976, $4.00.
Fitzgerald, Bernard. Ballad. B-flat trumpet or flugelhorn and
piano. Southern (S.A.). 1976, $2.00.
Frdngaix? Jean. Le Gay Paris. C trumpet solo: flute. 2 oboes. 2
clarinets, bassoon, contrabassoon and 2 horns. B. Schott’s, 1975.
Geehl, Henry E. Concertstiick. B-flat cornet and piano. Boosey &
Hawkes, 1907. 1976. S2.00.
Greene, Maurice and William Boyce - Edward H. Tarr, etl. and
arr. A Suite of Trumpet Voltmraries. Two (or one) D trumpet(s)
and organ. Brass Press, 1976, $2.50.
.Handel. George Frederic - James Ode, trans. Three Arias fo/
Trumpet and Voice. “Let the Bright Seraphim.” “Destro dall‘
empia dite.” and “Alle voci del bronzo guerricro.” D trumpet.
soprano, and piano. Brass Press. 1976, $4.50.
Hertel, 1. W. - Edward H. Tarr. ed. Trutnpet Concerto No. I i/z
E-flat Major. E-flat trumpet and piano. Part for B-flat piccolo
trumpet included. Brass Press. 1976, S4.50.
Hertel: Johann Wilhelm - Edward H. Tarr. ed. Dop/,elXmrzert.
E-flat major. E-flat trumpet and oboe solo, strings. and basso
continua. Score. B. Schott’s, 1972.
Honegger: Arthur. bztrada. C trumpet and piano. Salabert: 1947.
53.50.
Hummel. J. N. - Edward I-1. Tarr. cd. Cotlcerto a trornba priuci-
pale. E trumpet and piano: parts for E: B-llat. and C trumpet
included. Universal Edition (Boonin), 1971, S5.50.
Jones, Philip and Alan BoLlstead? eds. Essential Repertoire fo,
Trumpef. Excerpts from operas and orchestral works arranged
for trumpet and piano. Composers include Bach, Beethoven:
Mozart, Bizet, Berlioz, Wagner, Kodaly, et aI. Universal Edition
(Boonin), 1963.
Koch, Johannes H. E. Five Itztradas and C/liJrde.Y on I%-tcr
f~ymns. C trumpet (or oboe) and organ. Concordia, 1963. $2.75.
Little, Lowell: camp. and ed. Great Duets, Level I. Pro Art, 1976,
$2.00.
Luening, Otto. htroductiorl and Allegro. C trumpet and piano.
Peters, 1972, S3.50.
9
Marcello, B. - Stephen L. Clover and Paul Brage, eds. Soruzta.
B-flat trumpet and piano. Brass Press? 1973, $2.00.
Mudge, Richard - Gerald Finzi, cd. and arr. Comerto No. 1.
B-flat trumpet and piano. Boosey &r Hawkes, 1975, S2.25.
Nagel, Robert, arr. The Soured of Trun~pets. B-flat trumpet trios
for special occasions (Christmas, Easter, Thanksgiving. chorales.
patriotic). Lillenas (Belwin-Mills), 1974. $5.00.
Natra, Sergiu. Sotzatitza. C trumpet unaccompanied. Israel Music
Institute (Boosey & Hawkes). 1973> $4.00.
Patterson, Paul. Trumpet Concerto. C trumpet and piano. Score
and parts for rent. Josef Weinberger (Boosey & Hawkes), 1972,
$6.50.
Peaslee, Richard. Nightsongs. B-tlat flugelhorn and/or trumpet,
harp, and strings. Boonin. 1974. Score and parts, S20.00
(Score only, S7.50). Piano reduction. $5.00.
Petit, Alcxandre. compiler. Trumpet Duos and Trios. Works by
J. B. Ganaye, EugPne Cools. and I-I. Kaiser. Four duos and two
trios. Salabert, 1913, $3.50.
Pichaureau, Claude. .4ristoloclzos. C or B-flat trumpet and piano.
Avant garde. Leduc. 1974, $4. IO.
Pilss, Karl. Sotlate. B-flat trumpet and piano. Universal Edition
(Boonin). 1962. $8.50.
Poulenc, Francis. Eiffel Tower Polku. B-tlat trumpet (or two trun-
pets) and piano. Salabert, 1975. $2.50.
Purcell, Henry - Corliss R. Arnold, arr. and ed. Sonata for lB-f7atl
Tritrtlpet a7ld Orgarl, Concordia. 1967. $ I .75.
Purcell. Henry - Wesley Ramsay, ed. Trl,r7fper Aria. B-flat trum-
pet and organ (or piano). Brass Press. 1975, 9 I .50.
Richardson, Norman. arr. Si.u Illore Trutllpet Tutles. B-flat trumpet
and piano. Works by Tclemann. J. Clarke. Heron. Stanley,
Alcock, and Greene. Boosey & Hawkes. I97 1: S3.00.
Schibler, Armin, Konzert, Op. 68. C trt!mpet and piano. Universal
Edition (Boonin). 1967. S4.75.
Sheppard, C. James. IVirfrf Loops .?. C trumpet tlnaccompanied.
Avant garde. Boonin: 1976. $3.50.
Shinn. Randall. I;i~se Bagatelles. C or B-tlat trumpet unaccom-
panied. Smith, 1976: $3.50.
Shinn. Randall. Soliloquy at/d Dialog~re. C trumpet and piano.
Smith. 1974, 64.00.
Sollberger, Harvey. Iron Moutttairl Sorlg. B-flat trumpet and piano.
Two performance scores provided. Columbia Univ. (Galaxy).
1974> $4.00.
l Sommerfeldt, @istein. Eleg?:. Op. 27. C trumpet and organ. Norsk
Musikforlag (Oslo), 1973, S2.75.
Spargo. Robert B.’ Air atId Marcll. B-tlat trumpet and piano.
Providence. 1972. %I .25.
+*Street. Allan. fior~dir~o. B-flat trumpet and piano. Booscy d
Hawkes. 1970. S2.00.
Szokolay, SBndor. Cotlccrto. C trumpet and piano. Orch. score for
sale. Parts for rent. LedtIc. 1973. piano reduction. S7. IO.
l Tartini, Giuseppe ~ Jan Bacll, arr. Concerto irl D. Piccolo A trum-
pet and band. Ron Modell. 1976, S50.00.
Telemann, G. P. - arr. Peter Wastall & Derek I-lyde. Suite No. I.
B-flat trumpet and piano. Boosey & Hawkes. 1974. S2.25.
Telemann, G. P. - arr. Peter Wastall &: Derek Hyde. Suite No. 2.
B-flat trumpet and piano. Boosey & Hawkes. 1974. S2.25.
Vachey, I-l. Bagatelle. B-flat or C trumpet or B-flat cornet or bugle
and piano. LedtIc. 1976. $2.30.
Van Vactor, David. Five t‘t//des /br Tmttzpet. Concert etudes.
tlnacconi(,anietl. Roger Rhodes. 1975. $3.00.
Vinter, Gilbert. Blazon. First movement from “The Trumpets”
(cantata). Eight cornets (2 E-flat: 6 B-flat). Score and parts.
Bournc, 1974. $8.00.
Walker. Richard. Cotrcert Piece. B-flat trumpet and piano. Fema
(.CresccnJo), 1975, $3.00.
Ward, Michael and Norman. Sierra Morena. B-flat cornet and
piano. Jack Spratt, 1967.
Wolff, S. Drummond, arr. Baroque Composers of the “Chapels
Royal. ” For organ. Two optional B-flat or C trumpets and tim-
pani. Works by J. Clarke. Green. Purcell, Boyce, Blow and
Handel. Concordia. 1969, 13.50.
Wolff, S. Drummond, arr. Baroque Suite for Organ. Two optional
B-flat trumpets and timpani. Works by Holborne, Vivaldi, Pur-
cell, Telemann, Corelli, and D. Gabrieli. Concordia, 1968. $2.00.
Wolff, S. Drummond, ed. and arr. hlusic of Jubilee. Organ and
optional B-flat or C trumpets and timpani. Works by Lully,
Bach, Purcell, Corelli, Torelli, and Manfredini. Ceremonial pieces
for “joyful occasions.” Parts for B-flat and C trumpets. Concor-
dia, 1974, S4.00.
Wolff, S. Drummond, ed. and arr. Suite for Organ from the French
Baroque. Two optional B-flat or C trumpets and timpani. Works
by Delelande, Leclair, Aubert. Dandrieu, Mouret, et al. Concor-
dia, 1973, $2.15.
Wuorinen, Charles. Nature’s Concord. C trumpet and piano. Peters.
1972, $4.50.
Zbinden, Julien-Franqois. Concertino, Op. 6. C trumpet and string
orchestra with drums. Piano reduction. B. Schott’s, 1959.
Zehm, Friedrich. Canto e Rondo. B-flat trumpet and piano.
B. Schott’s, 1969, $2.20.
Zimmermann, Bernd Alois. Konzert. C trumpet and orchestra.
B. Schott’s, 1976.
Zipoli, Domenico - Jacques Charpentier, ed. Aria. C or B-flat
trumpet and organ. Leduc. 1972, $3.05.
Methods and Studies
Concone, Giuseppe - John F. Sawyer. trans. Lyrical Studies for
Trumper. Blair Academy Series. Brass Press. 1972, $3.25.
Getchell, Robert, ed. Learning Unlimited Solo Cassette Series.
B-flat Trumpet with Piano. Intermediate Level. Cassette in-
cluded. Performed by Charles Geyer. Hal Leonard. 1976.
$12.95. - I976.
Hickman, David. The Piccolo Trumpet: Duets, Etudes, Orches-
tral Excerpts. Tromba, 1973, S5.00.
Learning Unlimited Cassette Series: Let’s Play Trumpet. Level
One. Cassette included. Hal Leonard? 197 I.
Learning Unlimited: Let’s Play Trumpet, Level Two. Individua-
lized Audio-visual Band Series. Cassette included. Hal Leonard.
1971.
Longinotti, Paolo. Studies in Classical and Modern Style. Twelve
etudes. International, 1962, S 1.75.
McNeil. John. Jazz Trumpet Techniques. Valve technique and
articulation. Studio, 1976.
Motycka, Arthur. Modern Method Jar Advanced Trumpet. Warm-
ups, articulation studies. and “Grand Etudes.” Ludwig. 1970.
$3.50.
Ronka, Ilmari. Starting Correctly on the Trumpet or Cornet.
Complete method, incorporating Books I and 2. Group or indi-
vidual instruction. Herco (Spratt). 1959, $2.25.
Roselieb, Alan D. Legato Etudes for Trumpet. Based on the
Vocalises of Giuseppe Concone, Opus 9. Intermediate range.
Roger Dean! 1976.
Spera, Dominic. Learning Unlimited Jazz Improvisation Series
Blues and the Basics. B-flat trumpet/clarinet.:Cassette included.
Hal Leonard, 1975.
Thibaud, Pierre. Techniques nouvelles de la trompette. Accom-
panying text also available in English. Leduc, 1975, $2.30.
10
Mixed Ensembles
Bennett, Richard Rodney. Commedia IV. Brass quintet. C trum-
pets, horn, tenor trombone, and tuba. Novello, 1975, $10.00..
Burger, D. E. Five Bicinia for Trumpet and Trombone. B-flat
trumpet and trombone. Ludwig, 1975, $3.00.
Conversi, Girolamo - W. Richard Shindle, trans; Paul Wallace, arr.
Three Canzonas from Canzoni alla Napolitano. Two B-flat
trumpets, horn, trombone, tuba (trombone or baritone). Lud-
wig, 1975. $5.00.
Egk. Werner, Divertissement. Flute-piccolo, 2 oboes, 2 B-flat clari-
nets, B-flat trumpet, 2 horns and 2 bassoons. B Schott’s, 1975.
Fischer, J. C. F. - A. Schwadron, arr. Two Pieces for Brass
Quartet. B-flat trumpets. horn, and trombone (baritone). Pro-
vidence, 1972, $3.00.
Horovitz, Joseph. Music Hall Suite. Brass quintet. Novello, 1969,
$9.00.
McCabe, John. Rounds for Brass Quintet. C trumpet, B-flat trum-
pet, horn, trombone, and tuba. Novello, 1968, $5.75.
Prentzel - Edward H. Tarr, ed. Sonata. C trumpet, bassoon, and
basso continua (organ). Brass Press, 1975, $3.50.
Purcell. Henry - George P. Masso, arr. Suite from “Bonduca”for
Brass Quintet. Providence. 1968. $4.00.
Scheidt. Samuel - Paul Thomas, ed. Four Symphonias. For two
treble instruments (strings, woodwinds, or brass), bass instru-
ment (cello, bassoon, or trombone). and basso continua.
Figured bass realized. Concordia, 197 1.
Uray, Ernst Ludwig. Suite. Four movements, published separately
(See following entries).
Suite: 1. Preludio lieto. Five B-flat trumpets, three trombones,
tuba, and percussion. Blasmusikverlag Fritz Schulz, 1975.
Suite: 2. Introversion. Two C trumpets and five trombones.
Blasmusikverlag Fritz Schulz, 1975.
Suite: 3. Intermezzo lirico a quattro. Two C trumpets and two
trombones. Blasmusikverlag Fritz Schulz, 1975.
Suite: 4. Hymnische Musik. Eight C trumpets, four trombones,
tuba, percussion. Blasmusikverlag Fritz Schulz, 1975.
Wunek. Friedrich K. Vier Grotesken. 2 flutes, 2 oboes, 2 clarinets,
2 horns, C trumpet, 2 bassoons. and percussion. B. Schott’s,
Music Reviews
Anonymous. Sinfbniu a 2 Trombe for 2 D trumpets and basso
continua. Edward H. Tarr Series: No. 5. Edited and Arranged
by Edward H. Tarr. The Brass Press, 1976. ($4.50)
Very little original Baroque music exists for the combination of
two trumpets and organ. Almost the entire repertoire consists of
a few pieces by Pezel and LBwe, an anonymous Sonata a due
trombe (available only in a Xerox copy of the original parts), and
the Sinfonia u 2 Trombe. Any addition to the literature is wel-
come to a trumpeter trying to plan a recital of music for trumpet
and organ, but this publication is particularly welcome.
The Sinfonia a 2 Trombe is in the standard four-movement
sonata da chicsa form (Grave-Allegro-Grave-Allegro), and the
two trumpets play in all of the movements, Both trumpet parts
have a range ofa’ to d”’ (concert pitch), and the high tessitura and
long phrases, particularly ii the last two movements, make the
choice of piccolo trumpets !‘or the performance of this work the
logical one (that is. if one /s not going to try fq,r authenticity and
tisc natural trumpets).
Tarr has suggested the’ deletion of two measures in the last
movement which wotI,ld enhance the playability of the piece, and,
since those two ‘measures simply involve the repetition of a
previous measure (if the two measures are left in, one winds up
playing the same melodic material four times in succession)?
nothing is lost in terms of the musical structure of the work. In
fact, the movement may very nearly be unplayable without the
cut, because at that point the first trumpet must play for ten mea-
sures continuously-the first seven and one-half measures on one
breath! Other than a few of these long phrases in the third and
fourth movements, and a liberal sprinkling of high d”‘s in both
parts, the Sinfoniu u 2 Tronzbe is very playable.
A rather interesting figure occurs in the last movement. where,
in the 2nd, 3rd, 26th and 27th measures, the two trumpets play a
series of consecutive seconds (Example I). This is not a mistake,
but a variation of the so-called “Corelli clash” (Example 2).
popular in instrumental music around 1700.
As is always the case with Brass Press publications, the printing
is clear and easily readable. Tarr has provided a good critical com-
mentary, along with a list of editorial revisions, and a facsimile of
the first trumpet part has also been provided. Although Tarr has
added cadential trills to some of the cadences (no ornaments at
all were provided in the original). the performer might want to
go a bit further in that direction, since most of the cadences in
the piece could have cadential trills added quite easily. The
cadence pattern shown in Example 3 appears quite frequently,
and the performers might also wish to add double appoggiature to
the final note of the cadence, as in Example 4. The organ part has
been realized in a simple. easily playable, thoroughly authentic
style.
Example I Example ? Example 3 Example 4 tion. The arranger, Jan Bach, is a faculty member of the music
There is one nit that probably should be picked, however. and
that is the lack of a separate sustaining bass part. particularly since
the original set of parts included both an organ part and a bass
part (marked “Violone”). Although the Basso Continuo part in
the score is marked “Organ/Double Bass.” no separate part for the
double bass is provided. This may produce something of a problem,
if the use of a double bass is desired, although one of the per-
formers could copy the part from the organ score without too
much trouble. It might also lead to a return to the Baroque
custom of having the bass player read his part over the organist’s
shoulder.
But the lack of a separate double bass part is a minor flaw in an
otherwise outstanding offering; the Si/?fi)jli(l a 2 Trotrjbe is a sig-
nificant contribution to the published literature for trumpet(s)
and organ. Although the high tessitura and long phrases of the two
trumpet parts will probably limit its use to mature players, the
Sinfoniu should make its appearance on many programs of music
for trumpet and organ, providing a variance in texture that should
prove welcome to the audience. But aside from a simple variance
in texture, the Sirzforzia should prove popular simply because it is
brilliant and heroic-in short, the sort of thing an audience expects
from trumpets and organ. (H.M. Lewis, College of the Ozarks)
&stein Sommerfeldt. E[egJ>, t)p. 27. C trumpet and organ. Norsk
Musikforlag, Oslo, 1973. Available from: Wilhelm Hansen,
Musik-Forlag, Kobenhavn: AB Nordiska hlusikf0rlaget,
.Stockholm; .I. & W. Chester Ltd., London; and Wilhemiuna
Musikverlag, Frankfurt A.M. In the United States the work is
available from Robert King Music Company and other fine
music stores for about S2.75. C trumpet range: g-u”.
E/egJJ is a lyric piece for the young trumpet player. One must,
however, approach this music with respect, for a command of all
11
registers of the trumpet is necessary for an artistic performance
of this work. The technical demands are small-mainly that of a
sure attack at a soft dynamic-but the interpretive demands are
high, as seen in the 2% line cadenza. Control of the breath for long
phrases is essential.
A young organist should be able to handle the accompaniment.
Although the organ part is far from simple, it presents no diffi-
culties in terms of reach, pedal technique, or counterpoint. Regis-
tration has been suggested by Peder A. Rensvik. Sommerfeldt’s
choice of harmonies is an interesting balance of dissonance (2nds
and 7ths) and consonance (major and minor triads).
Elegy would be an appropriately quiet piece for a worship
service of any kind. It is a bit short (3% minutes) for use in a solo
recital, but it might work well for a studio recital. As with other
publications from the presses of Norsk Musikforlag, this work is
no exception to the high quality of editing, printing, and binding
this reviewer has seen. Regarding 6 as the most difficult level, this
piece could be classed at level 3. (David L. Jackson: Union College)
Giuseppe Tartini, (arr. for piccolo A trumpet and band by Jan
Bach). Concerfo in D. Ron Modell, 1975, Available from:
Ron Model], Music Dept., N.I.U., DeKalb, IL 601 15. ($50.00)
Piccolo trumpet enthusiasts have been excited to find the
Tartini Concerto in D available with band accompaniment. The
work has been a popular recital piece and makes an attractive addi-
tion to a band program as it employs the A piccolo trumpet. is
substantial in length (about IO minutes), and displays the range.
technique, and endurance necessary for an effective solo presenta-
composition department at Northern Illinois University, DeKalb,
and does an excellent job of transcribing the work. Ron ModelI?
the producer and publisher of the arrangement, is the faculty
trumpeter at NIU.
Bach has edited the solo part of Tartini’s Cotlcerto to match
the performances of Maurice Andre rather than the published edi-
tion with piano accompaniment (Thilde arrangement). Scoring
seems a bit heavy due to doubling problems in the tutti passages
although the instrumentation thins when the trumpet enters. Bach
is careful to avoid heavy brass writing (except horns) and leaves
most of the accompaniment. including all of the second move-
ment, to the woodwinds. The manuscript parts are neatly copied
and the solo trumpet part is written (in the correct octave) for
piccolo A trumpet. A full score is provided although the copy is
r&i&d and a bit dim.
One has to feel disappointed to find that for the purchase price
of $50.00 there is only a xerox score and xerox set of parts with
only one copy per part! Even though it might be wise to use a
reduced band for the accompaniment. this seems too expensive
for sixty pages of Xerox copies. (Perhaps it is of some comfort
to remember that many rental works cost about the same and
the music has to be sent back.)
Despite the high cost of the Tartini Concerto many trumpet
soloists will be interested in this transcription for piccolo trumpet
and band. Hey Ron. how about the Vivaldi Concerto for Two
Trumpets or Albinoni’s Suitzt ll^larc Concerto? (David R. Hickman)

Record Reviews
David R. Hickman, Editor
The following,is a list of recordings which have been received
for review. All recordings received will be listed in each issue of
the Newsletter. Records will be selected from the Records Re-
ceived list for feature review. All ITG members are invited to parti-
cipate as reviewers. Please write to me stating your qualifications
and area of interest (baroque, jazz, contemporary, brass quintet,
etc.). A specific recording from the list below may be requested.
Reviewers should be prepared to submit typescripts.
Records for review and correspondence should now be sent
directly to me at the following address: David Hickman, ITG
Record Review, Music Department. University of Illinois, Urbana,
IL 61801.
Records Received
Feature albums are listed by artist. Albums containing several
non-trumpet works (such as those by CRI) are listed by title.
l indicates a review in this issue.
American Brass Quintet
(John Eckert and Gerard Schwarz, trumpets; Edward Bird-
well, horn; Arnold Fromme, trombone; Robert Biddlecome.
bass trombone; with Jan DeCaetani, mezzo-soprano)
Nonesuch: H-7 1222
Charles Ives: From the Steeples and the Mountains. Song for
Harvest Season, Chromatimelodtune. Alvin Brehm: Quintet
for Brass: Henry Brant: The Fourth Millennium; Peter Phil-
lips: Music for Brass Quintet.
The Annapolis Brass Quintet
(David Cran and Haldon Johnson, trumpets: Calvin Smith.
horn: David Kanter, trombone; Robert Posten, tuba)
Crystal Records: S202
Ingolf Dahl: Music for Brass Instruments; J.S. Bach: Fuga IV;
various Baroque works.
Annapolis Brass Quintet - Quintessence
(Robert Suggs and David Cran. trumpets; Calvin Smith, horn;
Tim Beck, trombone; Robert Posten. bass trombone)
Crystal Records: S 206
Jindrich Feld: Quintette; Walter Hartley: Orpheus: Wilke Ren-
wick: Dance; J.S. Bach: Contrapunctus VII; D. Speer: Three
Sonatas; Francis McBeth: Four Frescoes; other works.
The Berlin Brass Quintet
(Michael Kringel and Arno Lange. rotary-valve trumpets:
Wolfgang Hagen, bass trumpet; Ernest Giehl, trombone;
Gerhard Vellmerk, tuba)
Crystal Records: S20 I
Malcolm Arnold: Quintet; Ludwig Maurer: Scherzo & Lied:
Karol Rathaus: Tower Music: various Baroque works.
Brass Quartet of Berne
(Francis and RenC SchmidhB’usler, trumpets; Branimir Slokar
and Hanspeter Zehnder. trombones. Side two of this record-
ing is devoted to the Slokar Trombone Quartet.)
Claves: D70l
Purcell: Music for Queen Mary II: Gervaise: 6 Branles: Pozajic:
Skica; Bog&r: Three Movements.
*Cambridge Brass Quintet - Plays Five Works
(Robert Pettipaw & Peter Chapman, trumpets;Michael Johns,
horn; Norman Bolter, trombone: Gary Ofenloch, tuba)
Crystal Records: S204
Daniel Speer: Sonata in G, Sonata in C; John Huggler: Brass
12
Quintet No. 1; Vittorio Rieti: Incisioni; Eugene Bozza:
Sonatine; Leonard Bernstein: Fanfare for Bima.
Contemporary American Music
(with Iowa Brass Quintet - John Beer and Robert Levy,
trumpets: Paul Anderson, horn: John Hill, trombone; Robert
Yeats, tuba)
Composers Recordings, Inc.: CRI SD 29 I
William Mayer: Brass Quintet; six miniatures; other works
(without brass).
New York Brass Quintet - ContempoTary American Music
(New York Brass Quintet - Robert Nagel and Allan Dean,
trumpets; Paul Ingraham, horn; John Swallow, trombone;
Thompson Hanks, tuba)
Composers Recordings. Inc.: CRI SD 302
Edward Miller: The Folly Stone; other works by Pleskow,
Tower, Yarden (without brass).
Contemporary Brass Quintet - Computer Music
(Contemporary Brass Quintet - Elin Frazier, Daniel Orlock,
Edward Curenton. Robert Moore, Jonathan Dornblum. con-
ducted by Roman Pawlowski; University of lllinois Contem-
porary Chamber Players)
Composers Recordings, Inc.: CR1 SD 3 10
John Melby: 91 Plus 5: Lejaren Hitler & Robert Baker: Com-
puter Cantata.
New York Brass Quintet - Contemporary Music
(New York Brass Quintet. various groups)
Composers Recordings. Inc.: CR1 SD 323
Donald Erb: Three Pieces for Brass Quintet and Piano; Robert
MacDougall: Anacoluthon: A Confluence; works by Bassett,
Edwards.
American Brass Quintet - Contemporary Music for Percussion and
Brass
(America]! Brass Quintet, percussion ensemble)
Composers Recordings. Inc.: CR1 SD 327
Irwin Bazelon: Brass Quintet; Bazelon: Propulsions (for per-
cussion).
Czechoslovak Brass Orchestra - Marches by John Philip Sousa
(Rudolf Urbanec. conductor)
Nonesuch: H-7 1266
J.P. Sousa: The Stars and Stripes Forever. The Gladiator, The
Liberty Bell, Sempre Fidelis, The Thunderer, etc.
Gerald Endsley - Music for Trumpet
(with Samuel Lancaster, piano 8; organ. and Stuart Steffen.
soprano)
Clarino Recordings: SLP IO06
J .B.L. Arban: Fan tasie Brilliante? Carnival of Venice: Shadwell:
Theme and Variations; Endsley: Chant: Purcell: A Song With
Trumpet, A Fifth Song.
The Forefront - Incantation
(Bobby Lewis. George Bean, Art Hoyle, Russ Iverson, trum-
pets with Rufus Reid? acoustic bass and Jerry Coleman, per-
cussion)
Forefront Records (1945 Wilmette Ave.. Wilmette, IL 60091)
Bobby Lewis: Incantation, Wilderness, La Casa Del Forefronte,
Reverberations: Joe Dale)?: Quartet; Les Hooper: Frump
Trump: Arthur Lauer: That Which Has Vanished, Pergrine?
Aberrations.
Gabrieli Souata and Canzoni
(Pierre Polin. 1st Trumpet: Andre-Jean Fournier, 1st Horn;
Jean Douay, I$t Trombone: Harmonie de Chambre de Paris
~ Florian Hollard, conductor)
Arion: 90612 (Dist. by Peters International, Inc., 619 W. 54th
St.. N.Y.C. 10019)
Giovanni Cabrielli: Sonata XX a 22: 8 Canzoni
 David Hickman - Concertos for Trumpet and Orchestra
(with Colorado Philharmonic Orchestra, Walter Charles and
Carl Topilow, conducting)
Clarino: SLP 1005
A. Arutunian: Concerto in A-flat; G.P. Telemann: Concerto in
D; J.M. Molter: Concertos Nos. 1, 2.
*David Hickman - Music for Trumpet and Orchestrq
(with Festival Chamber Orchestra, Legh Burns, conductor,
Stuart Steffen, soprano)
Clarino: SLP 1009
J.S. Bach: Brandenburg Concerto No. 2; J.B.G. Neruda: Con-
certo in E-flat; A Scarlatti: Aria from Endimione and Cintia;
Edward Hoffman: Four Miniatures.
Knud Hovaldt - Trumpet Concertos
(with Scandinavian Philharmonic Orchestra, Ib Glindemann,
conductor)
Mark Records: MC 1530 (1518 South 7th St.? Moorhead, Minn.
56560)
Ib Glindemann: Trumpet Concerto; Joseph Haydn: Concerto in
E-flat.
Philip Jones Brass Ensemble - In Switzerland
(Philip Jones, Elgar Howarth, Michael Laird, John Miller,
trumpets; Ifor James, horn; John Iverson, Roger Brenner,
David Purser, Raymond Premru, trombones; John Fletcher,
tuba)
Claves: DPf 600
Joseph Horovitz: Music Hall Suite; Howarth: Carnival of
Venice; Howarth: The Cuckoo; various arrangements.
Loche Brass Consort - Contrasts in Brass
(James Watson, Crispian Steele-Perkins, Malcolm Hill, An-
drew Hendrie, trumpets; James Stobart, conductor)
Unicorn Records: RHS 339 (HNH Distrib., P.O. Box 222,
Evanston, IL 60204)
Buxtehude: Fanfare and Chorus; J. Haydn: March for the
Prince of Wales; Grieg: Funeral March; Gordon Carr: Prism
for Brass; Barber: Mutations from Bach; other works.
London Brass Players - Baroque Fanfares and Sonatas for Brass
(Philip Jones, Michael Laird, John Wilbraham, trumpets;
Joshua Rifkin, conductor)
Nonesuch: H-7 1145
Speer: Fanfare; J.J. Loewe: Capriccios No. 1 & 2; Pezel: Bici-
nium Nos. 74 & 7 1; other works.
London Gabrieli Brass Ensemble - Royal Brass Music
(Edgar Riches, Michael Hinton, John Wilbraham, trumpets)
Nonesuch: H-l 118
Matthew Locke: Music for His Majesty’s Cometts and Sack-
butts; Giovanni Gabrieli: Sonata pian e forte; Johann
Schein: Padouna; Anthony Holborne: Five Pieces; other
works.
Gabriel Masson Brass Ensemble - RenaissanceMusic For Brass
(personnel not listed)
Nonesuch: H-7 111
John Adson: Three Courtly Masquing Ayres; Gabrieli: various
works; M. Franck: lntrada II; H. Schutz: Motet “Herr, wenn
ich nur dich habe’l; other works.
Modern Instrumental Music
(Ronald .Anderson, trumpet, University of Illinois Con-
temporary Chamber Players)
Composers Recordings, Inc.: CR1 SD 321
Rolv Yttrehus: Sextet; Herbert Brun: Gestures for Eleven; John
Heiss: various works.
Music for Computers, Electronic Sounds, and Players
(Ronald Anderson, trumpet, and various groups)
Composers Recordings, Inc.: CR1 SD 300
13
Charles Dodge: Extensions for Trumpet and Tape; works by
Dodge, Arel, Boretz.
New York Trumpet Ensemble - A Festival of Trumpets
(Gerard Schwarz, director; Allan Dean, Mark Gould, Thomas
Lisenbee, Raymond Mase, Louis Ranger, Lee Soper, John
Ware, trumpets)
Nonesuch: H-7 1301
Biber: Sonata a 7 in C, Sonata in C, Sonata for Two Choirs;
Pezel: Sonatinas Nos. 61, 65, 62, 66; J.M. Molter: Symphony
in C; Scheidt: Canzona; other works.
Gerard Schwarz - A Baroque Trumpet Recital
(with Leonard Sharrow, bassoon; Albert Fuller, harpsichord)
Nonesuch: H-7 I274
Maurizio Cazzati: Sonata in D; G.B. Fontana: Sonata No. 10
in e; B. Marini: Sonata in d; G.P. Telemann: Air for Trumpet;
other works.
Gerard Schwarz - Comet Favorites
(with William Bolcom, piano)
Nonesuch: H-7 1298
Herbert L. Clarke: From the Shores of the Mighty Pacific,
Sounds From the Hudson, The Bride of the Waves, The De-
butante; Frank Simon: Willow Echoes; J. B. Arban: The
Carnival of Venice; others.
Gerard Schwarz - The New Trumpet
(with Ursula Oppens, piano)
Nonesuch: H-7 1275
Peter Maxwell Davies: Sonata; Lucia Dlugoszewski: Space is
a Diamond; William Hellermann: Passages1.3 - The Fire.
Branimir Slokar - Baroque Music for Trombone and Organ
(with Heinrich Gurtner, organ)
Claves: LP D 507
G.F. Handel: Sonate in g; A. Vivaldi: Sonate No. 1 in B;
G.P. Telemann: Concerto in B.
The Splendor of Brass
(Collegium Musicum of Paris, Roland Douatte, conductor,
with Maurice Andre, trumpet)
Nonesuch: H-7 109 1
Telemann: Ouverture in D (Tafelmusik); other works.
Thomas Stevens - Music For Trumpet with Thomas Stevens
(with Zita Carno and Ralph Grierson, piano; Mario Guarneri,
Roy Poper, trumpets; Los Angeles Brass Society, Robert
Henderson, conductor)
Crystal Records: S36 1
Stravinsky: Fanfare for a New Theater; Carter: Canon for
Three; Hindemith: Sonata; Chou We&hung: Soliloquy of a
Bhiksuni; Lewis: Monophony VII; Budd: New York No.5.
Thomas Stevens - Hovhaness
(with Crystal Chamber Orchestra, Ernest Gold, conductor)
Crysial Records: S800
Hoyhaness: Prayer of Saint Gregory, Avark The Healer; &hers.
Edward H. Tarr and Robert Bodenroeder - The Art of the
Baroque Trumpet
(with the Consortium Musicurn, Fritz Lehan, conductor)
Nonesuch: H-7 12 17
G. Torelli: Sonata; P. Franceschini: Sonata for 2 Trumpets;
M.A. Charpentier: Marche de triomphe, Second air de trom-
pettes; Altenburg: Concerto for 7 trumpets; J.F. Fasch: Con-
certo 3 8 for Trumpet and Strings; other works.
Edward H. Tarr - Baroque Masterpieces for Trumpet and Organ
(with George Kent, organ; Bengt Eklund, trumpet; Helmut
Boecker, bassoon)
Nonesuch: H-7 1279
Maurice Green & William Boyce: Suite of Trumpet Voluntaries
in D; Prentzel: Sonata in C; Pezel: Sonata in C; Purcell:
 Voluntary for Organ; Stanley: Suite of Trumpet Voluntaries
in D; other works.
Edward H. Tarr - Baroque Masterpieces for Trumpet and Organ
Vol. 2
(with George Kent. organ: and Bengt Eklund. trumpet)
Nonesuch: H-7 1290
G.B. Viviani: Sonatas Nos. 1 & 2; G. Fantani: Sonatas NOS.
3 & 8; G.P. Telemann: Air de trompette; Pezel: Sonatinas
Nos. 1 & 2; other works.
Edward H. Tarr - Trumpet Concertos
(with Consortium Musicum. Fritz Lehan, conductor, with
Helmut Hucke. oboe)
Nonesuch: H-7 1270
J.N. Hummei: Concerto in E; L. Mozart: Concerto in D; J.W.
Hertel: Double Concerto in E-flat.
To Thor Johnson With Love
(Patrick McGuffey. solo trumpet with organ: brass quintet.
woodwind quintet, string quintet, members of the Nashville
Symphony Orchestra and the Peninsula Festival Orchestra)
This recording is available (only) through contributions of
$10.00 or more to: Thor Johnson Memorial Scholarship
Fund, 1805 W. End Ave., Nashville, TN 37202 or Penin-
sula Music Festival. Pioneer School, Ephraim, WI 542 1 I.
Telemann: Air de trompette; Hovhaness: Prayer of St. Greg-
ory; Purcell: Trumpet Tune; Clarke: Trumpet Voluntary;
other works for brass, strings. woodwinds. (Live perform-
ances)
Antonio Vivaldi
(Accademia Instrumentalis. Cjaudio Monteverdi-Hans Hirsch.
conductor, with Gerd Zapf and Miroslav Kejmar, trumpets)
Claves: D 602
A. Vivaldi: Concerto for Two Trumpets: other works (without
trumpet).
Edgard Varese
(Contemporary Chamber Ensemble - Arthur Weisberg.
conductor, Allan Dean, Ronald Anderson, Thomas Lisenbee,
Louis Ranger, trumpets)
Nonesuch: H-7 1269
Varese: Offrandes. Octandre, Integrales, Ecuatorial.
Addresses of Record Companies
Clarino Records are available from RKS Disc Distributors, 1283
South Gaylord, Denver, Colorado 80210
Claves, CH-3601, Thun. Switzerland [Claves extends a special offer
to all ITG members. For a limited time, all Claves records may
be purchased for $7.00-postage paid. It is advisable to write
directly to Claves for complete information before ordering-
be sure to mention that you read about the offer in the ITG
Newsletter.]
Composers Recordings Inc., 170 W. 74 St., New York, NY 10023
Crystal Records, P.O. Box 65661, Los Angeles. CA 90065
Record Reviews
Cambridge Brass Quintet Plays Five Works
(Robert Pettipaw and Peter Chapman. trumpets: Michael
Johns. horn: Norman Bolter. trombone; Gary Ofenloch.
tuba)
Crystal Records: Stereo S104
Daniel Speer: Sonata in G; Sonata in C; John Huggler: Quintet
for Brass Instruments No. 1 : Vittorio Rieti: Incisioni - Five
Engravings for Brass; Eugene Bozza: Sonatine; Leonard
Bernstein: Fanfare for Bima.
The Cambridge Brass Quintet has been in existence since 1965
14
and has become an active performing ensemble primarily con-
certizing in the New England area. The members of the quintet are
symphony performers. having played with the Boston, Buffalo,
Boston Opera, and Portland (Maine) Symphony Orchestras.
The selection of music on this recording offers the listener fine
ensemble performances on two works which need more public
attention: the Huggler and the Rieti. The quintet does not lack in
technical proficiency. but this reviewer did not sense the binding
unity that is apparent in more experienced groups such as the New
York Brass Quintet and the American Brass Quintet. This seems
to be substantiated particularly in the Bozza Sonatine. In inter-
preting the work, tempi decisions. especially in movements one
and three, do not display spirited instrumental interplay but rather
more of an uncontrolled vitality.
The wprks by Speer and Bernstein add a nice variety and di-
m&nsion to this well-conceived album. The members of the Cam-
bridge Brass Quintet have added a new recording to the brass
ensemble discography which displays virtuosity and energy. All
brass players should enjoy this album. (James E. Ketch)
David Hickman - Music for Trumpet and Orchestra
(with Stuart Steffen. soprano: Pamela Endstey. flute: James
Maurer. violin: Tom Barry, oboe; and the Festival Orchestra
conducted by Legh Burns)
Clarino Recordings: SLP 1009
J.S. Bach: Second Brandenburg Concerto; Edward Hoffman:
Four Miniatures for solo trumpet; Scarlatti: Aria from
Endimione and Cintia; J.B. Neruda: Concerto in E-flat.
Occasionally one hears the comment. usually emanating from
European sources. that America has produced no modern day
trumpet soloists. While this represents a somewhat overstated case
there is at least a certain amount of validity to such an observa-
tion. The economics of the music business. as it exists in the
United States, has certainly played no small role in determining
the direction trumpeters have taken in pursuit of careers as musi-
cians. and the edticational institutions have resppnded in kind,
providing training relevant to the existing job market. Even in
this year. 1977 A.A., (After AndrC) the major U.S. booking
agencies and/or their clients arc reluctant, at best. to engage trum-
pet soloists. a painful truth which many trumpeters refuse to
accept. Indeed, many of those with aspirations for solo careers
have usuaIIy found themselves performing for other trumpet
players rather than for general music audiences. This is regrettable
because unless more trumpeters are able to reach the general con-
cert-going public they will, most likely. continue to exist in: and
perpetuate, what the Swiss sociologist Alfred Willener refers to as
the “brass ghetto.“‘.
Enter David Hickman, one of a group of young Americans
determined to change all of this. Keeping in mind his ability and
commitment. and ‘further. considering the fact he is represented
by a major artist management firm, he may welt succeed in estab-
lishing himself as a major concert artist.
This recordiiig. made in 1974, followed a brilliant recital per-
formance at the 1973 National Trumpet Symposium in Denver,
Colorado. Here one finds not only a seemingly effortless Branden-
h!lrg. but one in which the trumpet is appropriately balanced with
the other solo instruments, which is no small task for any trum-
peter to achieve. The Neruda work? originally for corn0 di caccia.
finds Hickman at his best, and the performance is probably worth
the price of ttiti album itself. It is drie”marked by immaclitate exe-
cution. beautiful phrasing, a very relaxed. yet consistent, under-
lying rhythmit $ulse.kand a general- pacing of the work which sug-
gests not only an a’ttention to detail but a.musicianly knowledge of
the structure of the work as.a whole a very mature perform-
 ante from one so young. (It should be noted here that for those
purists objecting to the trumpet being used in the performance of
a work intended for the corn0 di caccia one cannot ignore the
English musicologist Thurston Dart’s contention that the original
of what eventually was included by J.S. Bach as the second in his
Brandenburg series was also intended for such a horn!) This is the
first recording .of the Neruda and Musica Rara has published Hick-
‘man’s arrangement of the work for trumpet and piano.
It has been noted by some trumpet watchers that Hickman’s
style represents a carbon, copy of AndrC’s. To be sure, the master’s
influence is very much in evidence here, but one should bear in
mind this is a very young performer. The vintage Hickman is a
thing of the future. In the premiere recording of Hoffman’s unac-
companied work.he is very niuch hisown man, and this, more than
any other piece on the album could give the listener a clue as to
what will evolve into his ultimate personal performance style.
All in all, this is a recording worth hearing, and a career definite-
ly worth watching. (Thomas Stevens)
Instructidns to Contributors
General Information
The Editor cannot acknowledge receipt of materials unless the
sender includes a stamped, self-addresied postcard with the ship-
ment. Thirty to sixty days are required to evaluate articles sent for
consideration. hlaterials (such as theses arid dissertations) which
are of obvious value will be returned to the sender. However, the
Editor cannot be held responsible for lost materials.
Because issues in the ITG Journal will be available for a number
of years, articles accepted for publication may no1 be published
in any other periodical.
Typescripts
Typescripts should be doublespaced with one inch margins on
all sides, and the author’s name, address, and phone number,
should appear on the first page.
The three most common problems encountered in typescripts
involve the use of capital letters, italics, and music symbols. Please
note the following when typing: Do not capitalize words like
sonata, concerto, or trumpet unless they are part of a specific title.
Do not use a lower case “B” for a musical flat sign or a “#” for a
musical sharp sign; always spell out sharp, flat, and natural. Under-
line only the main title of compositions. It is not necessary to
underline (or capitalize) instrumentations such as: “for trumpet,
oboe, piano, and percussion”. The following are examples.
Incorrect. He played a Bb trumpet to play Haydn’s Concerto
in Eb.
Correct: He played a, B-flat trumpet to play Haydn’s’ Concerto
in E-flat.
‘Incorrect: eb, f#, a natural, ab”’
Correct: .e-flat, f-shaip, a-natural, a-flat”’
Incorrect: He wrote five Sonatas for Trumpet, but the Concerto
for Trumpet, Oboes, and Strings is best,
Correct: He wrote five sonatas for trumpet, but the Concerto
for trumpet, oboes, and strings is best.
For further information consult A Manual of Style (Chicago
University Press) and Demar Irvine’s W-jting About fiiusic. (Wash-
ington University Press).
glossy prints. The most practical print size is 5 by 7 inches, how-
ever, other sizes are acceptable. Do not write on photos; type or
print all information on a separate sheet of paper and tape to the
back of each photo. Be certain to identify all persons and give the
date and place where picture was taken, if applicable. Avoid the
following: groups of more than ten people, cluttered backgrounds,
and dark backgrounds. Slides are not acceptable. Color prints
reproduce poorly.
The Editor cannot be responsible for returning photos, but will
make every effort to return them if the sender’s name is attached
to the back of each photo and a return request is made when they
are submitted.
Coming Events
ITG members should send announcements of future recitals and
solo appearances. Please type all information in the following
order: Your,name and name of accompanying person or group;
month, day, year of performance; place of performance; and spon-
sor.
Please supply as much additional information as applicable.
Posters and other printed announcements of concerts will usually
not be acceptable.
Programs
A limited number of recent programs presentkd by ITG mem-
bers will be published in facsimile. Members should note the
following when submitting programs for publication: Send two
copi’escof each .program. Programs printed on white paper are pre-
ferred, it may be impossible to reproduce programs printed on
other colors of paper. (If other colors of paper are used, ask your
printer to supply two copies on white paper.) Usually only pro-
fessionally printed programs can be reprinted in the Newsletter. If
a number of programs have been presented at your institution, the
trumpet teacher should have programs retyped in the format
shown in the present Newsletter-as submitted by the University
of Illinois. PrograIns ‘cannot be returned.
Publications Received and Reviews
A list of all publications received will be published periodically.
Records, books, and music will be selected from the Publications
Received list for review. Announcements and/or reviews will be
made 0nl.y for materials received.

Photographs
For optimum results photographs should be black and white
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