i&-NEW8LETTED Vol. 4, No.

1 International Trumpet Guild October, 1977

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2 From the President

From the Editor
Minutes of the Annual ITG Meeting
3 General News
10 Timofei Dokshitzer’s Visit at Tennessee Tech University by Howard Brahmstedt
11 ITG Financial Report
12 Trumpet Highlights of the Fifth Annual New York Brass Conference for Scholarships by Bill Spilka
13 Schedule of Programs, Dennis L. Horton, Editor
ITG Artist-Members, Dennis L. Horton, Editor
19 Recent Programs, Richard J. Perkins, Editor
23 Advertisements

1977-1979 Officers
President: David R. Hickman, School of Music, University of Illinois, Urbana, IL 61801
Vice President: Edward H. Tarr, Oberer Rheinweg 71, CH-4058 Basel, Switzerland
Secretary: Donald Bullock, Department of Music, Western Michigan University, Kalamazoo, MI 49001
Treasurer: Gordon Mathie, Crane School of Music, SUC, Potsdam, NY 13676
Past President: Lloyd Geisler, 3444 North George Mason Drive, Arlington, VA 22207
Board of Directors
David Baldwin, Charles Colin, Louis Davidson, Timofei Dokshitzer, Bernie Glow, Charles Gorham,
Knud Hovaldt, Clifford Lillya, Robert Nagel, Carole Reinhart, Susan Slaughter, Don Smithers,
Roger Voisin
ITG Journal & Newsletter Staff
Editor: Stephen I+ Glover, 28 17 Acklen Avenue, Nashville, TN 372 12
Assistant Editors:
David Baldwin, 589 Lincoln Avenue, St. Paul, MN 55102
Linda Anne Farr, Music Department, University of South Carolina, Columbia, SC 29208
Clifford Warren, 304 Thunderbird Drive, Marshalltown, IA 50158
Associate Editors:
Artist-Members Section: Dennis L. Horton, Music Department, Central Michigan University, Mt. Pleasant, MI 48859
Book Reviews: Kim Dunnick, Music Department, Tennessee Tech University, Cookeville, TN 38501
Jazz Editor: George Hitt, Music Department, University of Minnesota, Duluth, MN 55812
Music Reviews: Norbert Carnovale, Music Department, University of Southern Mississippi, Hattiesburg, MS 39401
Recent Programs: Richard J. Perkins, Music Dept., Anoka-Ramsey Comm. College, Coon Rapids, MN 55433
Record Reviews: David R. Hickman, School of Music, University of Illinois, Urbana, IL 61801
Schedule of Programs Section: Dennis L. Horton, Music Dept., Central Michigan Univ., Mt. Pleasant, MI 48859
Advertisements Manager: Donald R. Whitaker, School of Music, University of Wisconsin, Madison, WI 53706
Corresponding Editor: Michel Laplace, 68 rue Caluette, 37 100 St. Ayr Sur Lorre, France
Deadlines for receiving information to be published are: December 1st (February Newsletter), March 1st (May Newsletter),
August 1st (October Newsletter); July 1st (Journal).
The ITG Newsletter is published three times yearly, in February, May, and October; the ITG Journal is published each fall.
ITG memberships are arranged to run in units of one year (July 1-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 & libraries); optional air mail to members outside U.S.A. $4.00
The ITG Journal is an official publication of the International Trumpet Guild. ISSN: 0363-2845.
@ Copyright 1977 by the International Trumpet Guild. All rights reserved. Printed in U.S.A.
 From the President
I am still excited when I think back to May 18-21 when the
ITG held its 1977 Annual Conference at the University of Illinois
at Urbana, and the terrific job done by Dave Hickman and his fine
committee, in controlling the smooth running of all the closely
scheduled events.
It was a conference to remember for the high quality of pre-
sentations, not only by the established pros, but by the highly
skilled students. My congratulations to all for a superb Confer-
ence, an artistic and financial success.
A very important item that has made itself known, is the fact
that several hundred of you have not renewed your membership
by sending your dues to Gordon Mathie. The mailing of renewal
notices is a time consuming, expensive chore. Considering the
nominal cost of dues, this should not be necessary. A reminder at
this time is, I hope, all that will be needed to send your renewal
now-don’t put it off.
Since this is the last time I will be writing this column as Presi-
dent, I want you to know that I have considered it an honor to
have served the ITG in the capacity of your first President. I have
enjoyed it more than I could tell you, and I have gained more
than I’ve given, in the establishing of new friendships among the
members, many of whom were unknown to me two years ago,
except by reputation.
My special thanks go to my fellow officers, Clifford Lillya,
David Baldwin, Gordon Mathie, and the steering committee mem-
bers, Charles Gorham and Robert Nagel, all of whom have given
me advice and encouragement over the past two years.
The best of luck to the incoming officers, and I will be in the
wings to offer whatever help may be requested.
Thanks to all of you for making this term so gratifying.
Lloyd Geisler, President
From the Editor
As will be noted, new editors have been assigned to oversee
the various sections of our publications. Please send all material
and correspondence directly to the appropriate editor. (See front
page for addresses.)
If you are interested in writing a review, please correspond
directly with the appropriate editor. I have attempted to reply to
all of those readers who have written to me during the past year
and also forward information on to the appropriate editor.
None of our editors receive payment for their contribution to
our publications. (Likewise, none of the officers or board of
directors’ members receive a salary.) When an article or review is
accepted for publication, it should not appear in another perio-
dical.
The high point of the 1976 trumpet year has to have been the
ITG Conference held at the University of Illinois-Urbana. We all
owe a great deal of thanks to conference host David Hickman,
his wife Jane, and all those at the University who made the con-
ference so enjoyable. The outstanding ITG artists who presented
clinics, lectures, and concerts were enthusiastically received by the
575 participants. The conference was a success in every way-the
planning, the presentations, the number of members who were
able to attend, and financially.
Experience has proven that it is difficult to break even on such
a conference. However, David Hickman has reported that the total
conference income was $30,000, the expenditures were $26,000,
and the profit was $4,000 (figures approximate). The nominal fees
2
charged to participants (less than one-half that charged for the
trombone workshop) was surely a factor in prompting a large
number of our members to attend. The only problem encountered
was the schedule which kept everyone busy from morning until
late each night. It was a matter of having too much of a good
thing!
Don Whitaker is preparing to host the 1978 Conference at the
University of Wisconsin-Madison, June 7-10, 1978. Plan now to
attend!
Everyone has been notified of the election results for new
officers and board of directors. I look forward to working with
those newly elected, and I wish to thank the previous officers
for their help, encouragement, and ideas which have aided me in
developing the format of our publications.
Stephen L. Glover, Editor
Minutes of the Annual ITG Meeting
Held May 19, 1977, 11: 15 a.m. at the Krannert Center, Univer-
sity of Illinois-Urbana.
Present: President Lloyd Geisler, Vice-president Clifford Lillya,
Secretary David Baldwin, Treasurer Gordon Mathie, Publications
Editor Stephen Clover, Board of Directors-Charles Gorham,
Robert Nagel, Ward Cole, David Hickman, Charles Cohn, General
Council Donald McIntosh. Approximately 100 members attended.
President Lloyd Geisler called the meeting to order and wel-
comed everyone to the 1977 International Trumpet Guild Confer-
ence.
Robert Nagel announced winners of the ITG Composition Con-
test. They were Andrew Frank for his Matinee d’lvresse (Illumina-
tions Z) for six trumpets, and Stan Friedman for Solus (1975) for
unaccompanied trumpet. Mr. Nagel expressed the hope that ITG
can commission a major composer to write a work for trumpet.
Treasurer Gordon Mathie gave a report, and encouraged every-
one to renew their membership at the earliest convenience. We
have approximately 1030 active members at this time and some
200-300 who have not yet renewed their membership. ITG is
growing at a rapid rate, especially just after a publication. The
balance on hand is $3469.16.
Vice-president Clifford Lillya gave a report on the Committee
on Public Relations and Promotion. This committee, chaired by
Mr. Lillya, included Janis Marshelle Coffman, Dennis Horton,
Carole D. Reinhart, Standish Roberts, Wilfred Bob Roberts, and
Mike Vax. This committee sent letters of invitation in their parti-
cular locality. The rising level of membership is, in part, a reflec-
tion of their efforts. At least two subsidiary chapters of ITG have
grown out of the activities of the committee: the Michigan Chap-
ter and the South Australian Chapter.
President Geisler stated that a very important part of the future
growth of the ITG will be the activity at the local level. He invited
members to form local chapters. Five or more members can apply
to the president for a chapter charter.
The General Council, Don McIntosh, posed the question wheth-
er or not the ITG should continue its present status as a non-
incorporated association or should it incorporate? Advantages of
incorporation include limited liability for the officers and direct-
ors when acting for the organization, continuity and long exist-
ence as well as flexibility in operation. Among the disadvantages
of corporate organization are the reporting requirements to the
state agency involved and the annual franchise costs which may
amount to $250 to $300. A subsidiary question is whether or not
ITG should affiliate with the other brass societies to form one cor-
porate entity which could employ a full-time administrator. Each General News
brass society would become a self-managed division within the
larger organization. This will require consultation and liason with
the other organizations and may take two or three years to effect. New Officers and Board of Directors Elected
Publications Editor Stephen Clover spoke about the need for
good assistant editors for the ITG Journal and Newsletters. Any- The results of the election recently concluded for 1977-l 979
one who has this kind of experience and is interested in helping officers and board of directors is as follows:
should contact Mr. Glover. Officers
President Geisler opened the floor for comments. There was a
suggestion that ITG consider commissioning a work for trumpet
and band. With this accompaniment more members would be able
to use the work. It was also suggested that, at future conferences,
a barter table be set up for members to trade equipment. music.
etc.
David Hickman, Conference Chairman, gave a report that about
350 members had preregistered for the Conference and about 600
trumpet players were expected to attend. He said that the confer-
ence was very definitely a financial success.
Respectfully submitted, David Baldwin, Secretary

Held May 20, 1977, 11: 15 a.m., at the Krannert Center, Univer-
sity of Illinois-Urbana.
Present: President Lloyd Geisler, Vice-president Clifford Lillya,
Secretary David Baldwin, Treasurer Gordon Mathie, Publications
Editor Stephen Glover, Board of Directors-Robert Nagel, Ward
Cole, David Hickman, Charles Colin, General Council Donald
McIntosh; approximately 100 members attended.
President Lloyd Geisler called the meeting to order, and pro-
ceeded with discussions from the meeting of May 19th. George
Hitt expressed interest in being Jazz Editor for the ITG News-
letter. It was suggested that changes of address be published
regularly in the newsletter so that members will be informed of
changes between directory publications.
Secretary David Baldwin presented the problem of keeping
in touch with the membership during the summer months and
suggested that each member send only his permanent address to
Gordon Mathie.
The Chairman of the Nominating Committee, Ward Cole, took
the floor to proceed with nominations for the next election. The
Top row David Hickman, Edward Tarr Bottom row: Donald Bullock, Gordon Mathle
Nominating Committee included David Greene, Ronald Hassel-
man, Robert Nagel. and Standish Roberts. The following were David Hickman, President - Assiatant Professor, University of
nominated for office: Illinois-Urbana. Active soloist. Recorded three solo albums. Author
President: David Hickman, Donald Whitaker; of The Piccolo Trumpet, Contemporary Trumpet Studies. Host
Vice-president: Ward Cole, Gil Mitchell, Ed Tarr; of 1977 ITG Conference.
Secretary: Donald Bullock, Robert Levy;
Treasurer: Gordon Mathie (unopposed); Edward H. Tarr, Vice President - Free-lance soloist, musicolo-
Board of Directors: David Baldwin, Janis Marshelle Coffman, gist, recording artist, and editor. Teacher of historical brass instru-
Steve Chenette, John Clyman, Tom Crown, Louis Davidson. ments at Schola Cantorum Basiliensis and of trumpet at Base1
Bernie Glow, Charles Gorham, John Haynie, Knud Hovaldt, Conservatory. Recent publication, Die Tromp&e (Berne, Hallwag
Joyce Johnson, Cliff Lillya, Jean-Pierre Mathez, Ron Modell. Verlag, 1977).
Robert Nagel, and Haskell Sexton. Donald Bullock, Secretary - Assistant Professor, Western Mich-
The Secretary will make up a ballot sheet when all the nominees igan University, Kalamazoo. Former public school teacher. Wheat-
have been contacted. It was suggested that the ballot have some: land Wyoming. First trumpet. Western Brass Quintet.
very short biographical sketch for those members who do not Gordon Mathie, Treasurer - Professor, State University of NY
know the nominees. at Potsdam. First trumpet, Potsdam Brass Quintet.
President Geisler mentioned that there has been no place or
date set for next year’s ITG meeting. It was suggested that a later Board of Directors
date be chosen, preferably in June. David Baldwin, Charles Cohn, Louis Davidson, Tomofci Dok-
The meeting was adjourned. shitzcr, Bernie Glow. Charles Gorham. Knud Hovalclt. Clifford
Respectfully submitted, David Baldwin, Secretary Lillyn. Robert Nagel, Carole Reinhart. Susan Slaughter. Don
Smithers. Roger Voisin.

3
 1978 ITG Conference to Be Held
at University of Wisconsin-Madison
The 1978 ITG Conference will be held at the University of
Wisconsin at Madison, with Don Whitaker as host. The dates are
June 7-10, 1978, and an outstanding artist-faculty is now being
selected. Reserve the above dates, and plan to attend. If you have
been in contact with anyone who attended the 1977 Conference,
you will know what you missed. Don’t let it happen again. This is
the most important function of the year for the ITG, and we
know you will want to be a part of it.

1977 ITG Conference Tapes Available

The following conference concerts were recorded and are avail-
able for purchase. All concerts are on two, 7’% ips, half-track,
stereo, tapes for the price of $9.00 which includes shipping. For
specific program information refer to the 1977 Conference Pro-
gram Booklet. Orders must be received by December 15, 1977.
Send payment and orders to: Mr. Thomas Hayes, Krannert Center
for the Performing Arts, University of Illinois, Urbana, IL 61801.
Concerts available are:
No. 1 - Western Brass Quintet
No. 2 ~ Glenn Stuart & U. of Ill. Jazz Band
No. 3 ~ United States Army Brass Quintet
No. 4 - Student Solo Competition
No. 5 ~ Robert Nagel (lecture/recital)
No. 6 ~ Marvin Stamm & U. of Ill. Jazz Band
No. 7 ~ John Aley
No. 8 - A Festival of Trumpets
No. 9 - Timofci Dokshitzer & U. of Wise.-Madison Wind Ensemble
ITG Publications to Be Indexed
Both the ITG Journal and ITG Newsletter will be indexed in
Music Irzdex. Music Index is recognized as the leading reference
tool used in researching music articles in periodicals and is avail-
able in all university music libraries.
Recent Programs
Alvin Lowrey recorded the Hummel “Trumpet Concerto in
E” with the Edmonton (Canada) Symphony for CBC-radio: this
performance was broadcast on CBC’s “Music West” program
on May 21, 1976 throughout the western provinces of Canada.
The Edmonton Symphony also featured Lowrey in a performance
of “Large al factotum” from Rossini’s Barber of Seville for CBC’s
“Musicamera” television show aired coast-to-coast (Canada) on
December 29, 1976.
Bruce Wheeler Selected for Spoleto Festival Orchestra
Bruce Wheeler, Principal Trumpet and Personnel Manager of
the Savannah Symphony Orchestra was chosen as one of 100
artists to perform with the Spoleto Festival Orchestra this past
summer. The Festival. one of the most spectacular of its kind,
began in Charleston, South Carolina, May 15 and left Charleston
on June 8 for a June 9-July 13 engagement in Spoleto, Italy.
Mr. Wheeler was graduated from the Juilliard School of Music
in 1968 and later from the National Orchestra Association of
New York. He has played with some of the finest orchestras in
the country. As Principal Trumpet with the American Wind
Symphony Orchestra. he premiered Jerzy Sapievsky’s Trumpet
Concerto.
Mr. Wheeler was proud to represent the Savannah Symphony
Orchestra as a member of the 1977 Spoleto Festival Orchestra.
Brad Boehm Wins ITG Mock Orchestra Audition Contest
Brad Boehm, a 2 1-year-old senior at Northern Illinois University
and student of Ron Model1 for the past four years, won the Mock
Orchestra Audition Contest held at the ITG Conference in Urbana
last May.
The required repertoire included some of the most difficult
and demanding orchestra calls including “Pictures at an Exhibi-
tion, ” “Petrouchka,” “ Firebird.” Mahler’s “Fifth Symphony,“etc.
Excerpts from Bach’s “Brandenburg Concerto No. 2” could be
played at any point according to each finalist’s discretion. Boehm
saved them for last, winning a thundering ovation for his perform-
ance.
“The thing that made this particular competition a hundred
times more difficult than the normal symphony audition was that
the entire audience was made up of trumpet players. The eight
finalists may never again encounter pressure this great,” beamed
Ron Modell, Boehm’s trumpet teacher the past four years.
Boehm began playing trumpet as a fourth grader at Avoca West
School, which serves Wilmette and Glenview on Chicago’s North
Shore. His father, Richard Boehm, the treasurer of Chicago’s
Boehm Envelope Co., had played trumpet as a youth but gave it
up after college. Taking his old horn out of the closet in their
Glenview home one day, he offered it to his son with the chance
to take trumpet lessons. Boehm recalls, “I didn’t like it at first
because I had to sit and practice. It was only like 20 minutes or
a half-hour at first, but he had to force me and prod me and
everything. Soon I started to enjoy it a lot and I began playing
in the band in school and had a wonderful teacher, Norm Bake-
house (from the Winnetka schools). I started taking private lessons
almost immediately. The biggest help if you want to go anywhere
with an instrument is to take private lessons.”
Boehm continued lessons all through New Trier West High
School where he also played big band jazz in the school’s Stage
Band as well as in the Symphony Orchestra and Wind Ensemble
Concert Band. It was at New Trier that Boehm met Model], who
was performing in a clinic and concert with other members of
the NIU Faculty Brass Quartet.

4
 Not surprisingly. Boehm has been principal trumpet with the
NIU Symphony? and the NIU Wind Ensemble and next year will
take over the first chair with the Rockford Symphony. f-le also
played in the Chicago Youth Symphony for three years while still
in high school and lately has been subbing for the second trumpet
of the Chicago Symphony Orchestra and performing with the
Chicago Brass Quintet.
Model1 wants to send Boehm on to IndIana University for
further study with Louis Davidson. former principal trumpet with
the Cleveland Orchestra.
uncommonly good performer. He has a brilliant future,” another
said. “He sets a new high standard in trumpet performance for his
college age generation.” a third remarked.
“I couldn’t do it alone,” Tom said after his return from the
competition. “I’ve had a lot of help along the way.”
Baroque Trumpet Mouthpieces
One of the questions often raised concerning performance on
Baroque trumpets has to do with choice of mouthpiece. Modern,
reproduction. or a combination? A satisfactory compsomise for
many players is to have their rim size from a modern mouthpiece
copied onto a Baroque underpart (this can be done by Schilke or
Giardinelli). Other players will prefer experimenting with various
size< of period mouthpieces. For these players the following is a
list with specifications of Renaissance and Baroque mouthpieces
made by Bruno Tilz of West Germany:
List No. Cup Bore Cup Depth Instrument

x50-0 IO.5 3.5 MF Hunter (Ren.)-tpt

850-l 17 3.7 F Bar-tpt
X50-2 17 4.0 MF Bar-tpt
X50-3 I7 4.4 T Bar-tpt
8504 ‘0 4.4 F Bar-tpt
X50-5 20 4.7 MF Bar-tpt
8 5 O-h 18 3.7 F Bar-tpt (Ehe)
850-7 17 3.1 F Bar-tpt (Ehe)
X50-8 I7 3.x F Bar-tpt (Ehe)
x50-9 17 3.8 MF Bar-tpt (Ehe)
AIJ~’= rtliddle flat. MT = middle deep, T - deep, F = flat
For fui-ther information write to: Historical Wind Reproduc-
tions. P.O. Box I41. Redlands. California 92373.

Edward Tarr Master Class at Indiana

Tom Schlueter Wins ITG Solo Contest
Tom Schlucter. a fre\hmail at the University of Wlscon\in-Mil-
waukcc. took the top award in the ITG \olo competirlon at the
1977 ITG Conference held at the Ilnibersity of IIlltloi~-Urhalla.
Tom played William Lovelock’a Corlc.c’r.to for Trlrrf~/~,t.
By winning the collcgc competition “Tom gainccl national
recognition among the profe\\ional trumpet fratei-nity iii the
United States.” Gd Ahsoc. Prof. Wayne Cook. hi\ teacher at
UWhl. “It will get him personal contact with the leadIng arti’\tS of
the trumpet. ncce<aary to secure him playin, 0 opportunities iii the
future.” Cook said.
Since the conte\t Tom “ha\ recclvcd several offcry. one to per-
form for the January 1978 New York B~-as\ Conferonce in New
York City.” Also he is to be e5cortrd “by hlarvin Stamm. top New
York free lance trumpet artist. into the radio and recording
studios of Uew York.” Cook Gd.
While a pupil at Solomon Juneau fiigh School in Milwaukee.
Tom performed m the Symphonic Band. Ja/l Ensemble. and BI-ass
Choir and studlcd with Dennis Najoom. assl\tant principal trumpet
with the Milwaukee Symphony. He has studied with Cook since
enrolling in the UWM School of I-~ne Art\ Music I)epartment last
September and has performed at UWM in the Wind Symphony and
Jazz Ensemble.
After lam‘\ performance they “drowned out their own
applau<c with shouts of bravo! bravo!” Cook reported. “When
he returned for hi\ third bow the audience wa\ still shouting. It
was a brilliant ovation.” Cook said.
Cook heard various professionals discuss Tom’s performance.
“The most amazing new talent in a long time.” one called it. “An
ITG member Edward Tarr presented a two-week Baroque Brass
Master Cla\s at Indiana University June 20-July I. Participants
played natul-al trumpets. sackbuttc. cornetts. and kettledrums.
Tat-r continually pre\\etl the trumpet players as a large quantity
of solo and ensemble literature was performed during the course.
All periods and schools of original Baroque trumpet literature
wart’ studied.
Scvcral peculiar problems arise when one attempts to play
natural trumpets today. Lon g ago pupils learned to play by study-
ing with a master teacher for a period of years. No doubt. much
instruction was based on imitating the teacher’s sound and playing
along with the teacher. Today however. those who begin to play
natural trumpets play alone until at least some degree of profi-
ciency is reached. The would-be trumpeter is then confronted
with playing with other instrumentalists and finds the problems
of Intonation quite difficult. The natural trumpet has unique in-
tonatlon characteristics which makes it difficult to play in tune
with other instruments as well as with other natural trumpets in
different registers. Tarr discussed the intonation properties of the
instrument and stressed the importance of playing all intervals
carefully.
Tarr’s demonstration of playing a diatonic scale in the low re-
gister (c’ to c”) and chromatic scale in the upper register (c” to
~“‘1 convinced everyone that many of the pitches not found
strictly in the harmonic series were usable during the Baroque.
Tarr’s co-faculty member for the master class was cornett
virtuoso Bruce Dickey. who has performed with the Concentus
Musicu9 Wren. the fzdward Tarr Brass Ensemble, the Early Music
Quai-tet. and the Linde Consort. Since his graduation from Indiana
University, Dickey has been a student of Edward Tarr at the
Schola Cantorum Basiliensis, whose faculty he joins this year.
Recently Dickey presented his master’s thesis, “Indications of
Vibrato Use on Woodwind Instruments, ca. 1700-1840,” at
Indiana University.
The cornett master classes were primarily devoted to sixteenth-
century articulations and to the art of improvising divisions. The
primary source material for these studies included works of Dalla
Casa (1584), Brunelli (1614), and Bassano (1585). Under Dickey’s
direction, the cornettists joined forces with sackbutt players to
study and perform works by Ruffo, Speer, Locke, Praetorius,
Adson, and Pezel.
Certainly one of the high points of the workshop was Dickey’s
rendition of Bassano’s divisions upon “Frais e galliart” by Clemens
non Papa in the concluding concert on July 1. The facility with
which the virtuoso configurations were played left little doubt
that Bruce Dickey’s artistry is indeed worthy of what Dalla Casa
termed “the most excellent of wind instruments.”
(The Newsletter Editor wishes to thank Steven Plank, Washing-
ton University, St. Louis, for preparing the portion of this article
about Bruce Dickey.)
Comments Concerning 1977 Conference
“The people that I have told about the conference all regretted the
fact that they were not able to be there themselves, not only for
the actual performances, but the fact of so many trumpet players
and brass players from all over the world that were there and
brass players, as you come to realize more and more every year,
are people that do not forget one another but once they meet are
friends and compatriots for the rest of their lives. Always, a gather-
ing like we had there, it is like old home week as far as I am con-
cerned.”
-Renold Schilke
“The conference was one of the most enjoyable weeks of my life.
it makes me think that the great trumpet players are also great
guys.”
-John Scripps
“I’ve never attended a meeting with so many worthwhile high-
lights. 1 attended almost all of the sessions and couldn’t honestly
find much fault with any of them.”
-Norman Smith

“It was one of the most impressive gatherings of expertise that I

ITG Membership
Gordon Mathie has reported that our membership consists of
the following: 629 professional members. 53 associate members
(including libraries), and 568 student members. The total is
1,350. (A slightly different count than that of Dave Baldwin’s
due to the date when tabulations were made.) Gordon also re-
ported that we averaged 58 NEW members a month over the last
nine months.
have ever attended, and both my daughter and I were thrilled just
to be participants.”
-David Dibbell
“Congratulations on putting together a great conference. One
suggestion-I think four days might be a little too long for exhi-
bits. It might be wise to consider having displays open only the
last two days.”
-Ed Stevens

“Congratulations! Your untiring efforts, perseverance and intelli-

gent organizational expertise will be long remembered by the ITG
ITG Local Chapters membership. I cannot but sincerely admire the monumental and
superb job you engineered as host for such a rewarding week.
Connecticut-Rhode Island Chapter-Robert Nagel, 17 Broadview
After all that you did for us, I am certainly proud to be both a
Drive, Brookfield, CT 06804
member and to be on the Board of Directors.”
University of Illinois+David Hickman, School of Music, Univ. of
-Charles Cohn
Ill., Urbana, IL 6 1801
Central Kentucky-Bart Jones, 204 Lincoln, Lexington, KY
“I am so moved by the conference that I had to write. A thousand
40906
congratulations and sincere thanks for hosting such a monumental
Central Mid-Atlantic Chapter-Dr. Paul J. Dorsam, Virginia Com-
event. I can’t tell you how much you have done for me by coordi-
monwealth Univ.. 901 W. Franklin St., Richmond, VA 23284
nating this meeting with incredible success.”
South Australian Chapter-Standish Roberts, 68 Alexandra Ave.,
-David Baldwin
Rose Park, South Australia 5067
Carolina Trumpet Guild&A. Keith Amstutz, Assoc. Prof. of Music,
“It was the most exciting and rewarding event in my career.”
Univ. of S. Carolina, Columbia, SC 29208
-Dennis Schneider
Tallahassee Trumpet Guild-- Bryan Goff, School of Music,
Florida State Univ.. Tallahassee, FL 32306
“What a memorable, happy, and worthwhile four days!”
Illinois State University-Cindy Scaruffi, III. State Univ. Trumpet
-Haskell Sexton
Guild, Music Dept.. Normal, IL 61761
Michigan State Chapter-Dennis L. Horton, Assoc. Prof., Central
“If you (as a group) got even half as much out of the conference
Mich. Univ., Mount Pleasant, MI 48859
as I did in the way of new ideas and questions to look into, then
Arkansas Chapters-H. M. Lewis, Box C-486, College of the Ozarks,
the whole undertaking was a raging success.”
Clarksville, ARK 72830
-Arthur Benade
Minnesota Chapter-Ron Hasselman, 4928 5th Ave. So.. Minnea-
polis, MN 55409
Joseph Docksey
West Virginia Chapter-Roger Sherman, Music Department, WM,
Morgantown. WV 25605 ITG member Joseph Docksey will assume duties as Band
For information about ,forming a local chapter, please contact. Director and Instructor of Trumpet at the University of Denver
David R. Hickman, President ITG, School of Music, University of after leaving his position at North Dakota State University in
Illinois, Urbana, IL 6 1801. Fargo.
6
 David Hickman Is Honored c,>“,m
u,,,,n,mby,hcI”,</“ll,l”Y,TrmwI Cl”,‘
FANFARE
Trumpet soloist David Hickman (University of Illinois) was one
of twelve artists selected annually by Musical America magazine
for the most promising solo careers. He was the only wind soloist
selected for the honor.

Deadlines for ITG Newsletters

Please send all materials directly to the appropriate associate

editors by:
December 1st for February Newsletter
March 1st for May Newsletter
August 1 st for October Newsletter
Featuie articles should be sent directly to the editor

Beriella Quartet to Tour U.S.

Gaetan Berton is one of the major soloists in France today. He

has studied with Foveau and Sabarich, and received awards at the
CNSMO in 1956 and 1958. He played in Paris until 1960 when he
was named Trumpet Professor at the Tours Conservatory and solo-
trumpet in the Tours Symphonic Orchestra. In 1970 he helped
found the “Beriella” Trumpet Quartet consisting of Berton.
Rieau, Elisas, and Lamarch. Rene Rideuu is the veteran (he re-
ceived his certificate on trumpet in 1937). The Quartet now in-
cludes: Berton (trumpet in C; piccolo trumpet). Michel Batard
(trumpets in C & D). Charles Lissonne (trumpet in C: cornet).
Rene Rideau (trumpet in C: cornet).
The Beriellu Quartet plays a large repertory from Josquin de<
Pres to contemporary composers.
Berton and the Berielta Quartet hope to tour in the U.S.A. in
ITG Commission Now Published
spring or summer, 1978. For further information. contact: Cliff
Warren, 304 Thunderbird Drive, Marshalltown, IA 50158. On May 17, 1977, the University of Illinois Tl-umpet Ensemble.
under the direction of David R. Hickman. opened our 1977
Conference at the University of Illinois-Urbana. with the premier
Honors to Timofei Dokshitzer
perfol-mancc of Alfred Btatter’s I;u/lfure for twelve trumpets.
Timofei Dokshitzer. Russia’s greatest trumpet soloist. presented This work. which was commissioned by ITG. is now published
a five-concert U.S. tour under ITG’s sponsorship. During his con- and may bc purchased from: The Brass Press, 148 l:iyhth Avenue
cert at the ITG Conference in Urbana. Illinois. Doksbitzer way North. Nashville. Trnnesxe 37103. Plea\r prepay Sh.00 per copy
presented two documents as mementos of his U.S. visit. The first (plus 5O(t per order).
was presented by ITG President, Lloyd Geisler. and the second by
Howard Brahmstedt. Professor of Trumpet at Tennessee Tech
University. on behalf of Tennessee’s Governor. Ray Blanton. ITG Members Lost!
The International Trumpet Guild hlail sent to the following mrmbers (last known address IS
In recognition of Timofet Dokshltzer’s preeminence in the Sllown) has been returned to uy;. If you have 3 cur-rent atidre\s for
world of music and in appreciation of his contmumg Interest in
any of the following. ptrasc \end It to: GoI-don Mathie. Crane
and support of the ideals and goals of the International Trumpet
Guild we hereby present this citation to Tlmofei Dokshitzer for School of Music, S.U.C.. Potsdam. NY 13676.
his outstanding contrlbutlons to the art of trumpet playing and Daniel Davis. 4 t 70 Van Dyke Ave.. San Diego. CA ‘12 105
confer on Mister Dokshltzer a lifetime honorary membership on David Driesen. 3 Letand Ct., Chevy Chase, MD 7001 5
the Board of Directors of the lnternatlonal Trumpet Guild. James Chnl-les Braden. 430 I!. 4th St.. Milan. MO 635.56
(SIgned) Lloyd Geisler. President, May 21 1977, Urbana. Stevr Wells. 603 S. Main. Moscow. It) 8.3843
Ithnols. Thomas 0. Mclntirc. P.O. Box 3678. Sarasota. Ft 33578
The State of Tennessee Bruce M. Rhotcn. Duesseldorfcrstr 120A. 4005 Merrhusch 1.
By His Excellency, Ray Blanton, Governor w. Get-.
Greetings. Be It hereby known that Tlmofei Dok?hitrcr. in RobcI-t Palomo. 701 N.‘)tli SI.. L;ii;iyi,ttc. I”\’ 47’,0’
recognition of outstanding qualities which merit the highest Tyler Dunlap, t 900 S. Charles St.. 14B. Greenville. NC‘ 37834
esteem of the citizens of the great Volunteer State. has been
Jeffrey Grass. 5500 S. Shore Dr.. No. 710. Chicago. IL 60637
accorded the status of Honorary Citizen of Tennessee and in
recognition thereof is hereby presented with this certificate of David W. Rackley. Box I 113, i\PO. New York. NY 09130
honorary cItIzenship. Chris Jaudrs. 104 Smith House. Normal. IL hl 761
Given under my hand and the Seal of the State of Tennessee. Daniel Farmer. 21 7 Proqxt Ct.. Bangor. Maine 4901 3
this the I I th day of May, m the year of our Lord, 1977. David S. Gottlcn. PSC2. Box t 301. Bolting ,2t:B. Washington.
Ray Btanton, Governor. DC 30336

7
 Ram Oren, c/o Cooperman 2025 Montreal Ave., St. Paul, MN Correspondence
55116 Dear Colleague:
Paul Lott, 28 17 Tartary Dr., Tallahassee, FL 32301 The 1977 ITG Conference is now behind us. It was rather suc-
George P. Wawin, 1209 Richmond St., 1112, London, Ontario, cessful in many ways. I’m sure all of us who attended have
Canada returned home with ideas and possibly inspiration regarding
Ralph L. Chapman, 304 S. Church St., Snow Hill, MD 2 1863 “trumpetology” we might have overlooked had we not partici-
Cathy Godar, 7 14 Normal Ave., Normal, IL 6 1761 pated.
In this short letter on my observations of the conference, I do
not wish to simply list, in saccharine fashion, the many mature
Leather Instrument Bags Available performances and lecture sessions we all enjoyed, nor simply dwell
on the negative aspects of them either. I’m confident all of us
ITG member Bryan Goff at Florida State University announces could provide equally accurate lists of both positive and negative
that he is making leather gig bags like those which were displayed features of the meeting.
at the conference in Illinois. They are available at reduced prices My present concern here is over our acquiescence of the estab-
to paid-up members of the International Trumpet Guild. For lished ITG goals and ramifications thereof: to promote communi-
further information, write: Bryan Goff, 3231 Yorktown Drive. cations among trumpet players around the world and to improve
Tallahassee. Ft. 32303. the artistic level of performance, teaching, and literature asso-
ciated with the trumpet. Simply stated, is our three year old guild
primarily for students, professionals, or scholars and scholarship?
Practically speaking, it camtot be for all three, although all three
areas should be embraced within its preview. In practice, if not by
ITG Membership: S/ l5/77
our constitution, are we an auxiliary organization of the Music
Alabama I’ South Dakota 4 Educators National Conference (MENC) or are we an organization
Alaska 1 Tennessee 24 of professional trumpeters. trumpet scholars, and composers in-
Arizona II Texas 37 terested in the trumpet as a performing medium? Does our
Arkansas 34 Utah 3 membership support all related trumpet endeavors on an equal
California 57 Vrrmon t 7 hasis? Is the student. artisan, professional player, professor,
Colorado ‘2 Virginia 3; scholar and composer perceived as being on an equal par with each
Connecticut I4 Washington 7 other‘! I sincerely believe that we do not view the aforementioned
Delaware 9 Wisconsin 15 areas as being equal in either needs, ability or experience. If this
Florida 4s Wyoming 4 is the case. then for what does the ITG stand? I would recommend
Georgia Ih Washington. D.C. 3 that the regulatory and advisory body of the guild establish or
Hawaii 4 Puerto Rico I reaffirm its specific service commitment to the international trum-
Idaho 8 pet society as being an organization of professionals or one com-
Illinois I03 Australia IO mitted to public school educators, artisans (amateurs) and
Indiana 44 Belgium I students.
Iowa 21 Brazil I That student members will rise up to the level commensurate
Kansas I5 Bulgaria I with professionally acceptable scholastic research reports and per-
Kentucky 30 Canada 12 formance prowess. indeed, will be the result, if our guild is one
Louisiana Costa Rica I designed for the “pro,” However, the reverse may not be the case.
Maine Czechoslovakia I The scholar, composer and artist performer may not be interested
Maryland 45 England 2 in maintaining membership in an organization which leaves him
Massachussetts 28 France 2 bored or unsatisfied. Pedagogical pursuits, stylistic performance
Michigan 59 Finland 3 practices are valid topics which can and should be directed toward
Minnesota 36 Hong Kong I the professional adult member. Elementary demonstrations of
Mississippi I2 Hungary ? familiar trumpet passagesin the standard orchestral repertoire are,
Missouri 27 Iceland I at best. of passive interest to the professional player. It is further
Montana 4 Israel 1 suggested that at our next conference we emphasize our commit-
Nebraska 9 Italy I ment to mature “trumpetology” by showcasing only competent
Nevada 2 Japan I performances, and thoroughly-researched and rehearsed sessions.
North Carolina 34 The Netherlands 2 My travel expenses, conference fees, etc. came to a sum of over
North Dakota New Zealand 2 5250. The marvelous performances of the Western and Army
New Hampshire 3 Norway 6 quintets, Thomas Schlueter’s (at I8 years old) rendition of the
New Jersey 34 Poland 2 Lovelock concerto, John Aley’s highly sensitive recital perform-
New Mexico 3 Rep. of S. Africa 2 ance, Robert Nagel’s competent solo and ensemble offerings, Don
New York 87 Sweden 18 Smithers’ insights into the eighteenth century coiled trumpet, the
Ohio 65 Switzerland 2 many wonderful performances within the “Festival of Trumpets”
Oklahoma II Uruguay I session, especially the ones of David Baldwin and Gerald Endsley,
Oregon 5 USSR 2 and finally the fine fanfare of Blatter were well worth my expen-
Pennsylvania 74 West Germany 8 ses. Both Sasaki and Stamm’s jazz performances were also exem-
Rhode Island 8 Yugoslavia I plary. The science-oriented sessions of Amstutz (throat x-rays),
South Carolina 16 TOTAL: I.305 Benade (acoustics), and Dibbell (introduction of new small pal-
lette surgery) were quite informative and, it is hoped they will
Compiled by David Baldwin provide a definite source of inspiration for further scientific re-
8
search related to the trumpet.
However, (and it’s a big however) several sessions were delivered
in such a random, informal and seemingly off-the-cuff manner that
I was astonished over the inaccurate, simplistic and cursory con-
tent, garbled mumbling and/or grammatically faulty use of our
language and student-oriented informal question and answer ses-
sions, all of which left me somewhat unsure as to whether my
expenses were worth the lack of knowledge gained.
Believe me, I am convinced that all of those persons who gave
what I described as less than satisfactory sessions were sincere in
what they did, but most likely viewed the audience as being
student oriented; this must be the case when one considers some
of the advice and discussion given. Beyond the astylistic playing
and discussion in one session regarding early eighteenth century
music (wrong tempo for the Grave of Corelli’s Sonata), the lack of
improvisation and ornamentation while demonstrating eighteenth
century melodies, and the inaccurate description of the French
term inegale and further [confused’?] application of its meaning to
Italian music), this speaker simply offered cursory lists of trumpet
music for which the piccolo would be appropriate, literature of
which any professional should already be aware.
Some of the “pop” trumpeters directed their sessions to those
in the audience who might aspire to do what they do; in other
words. they were talking to the student faction of the audience.
Beside this, the messages in these sessions were, I’m sure, unin-
teresting to the professional jazz/studio musician, as the content
thereof was common knowledge for any “pro” player. For
instance, one speaker described his day as a studio player. Did he
think that the adult musicians present were unaware of his life
style? He also told us that to survive as a studio player. one must
play well and play III all genres from oil commercials to the serious
symphonic styles. Were we ignorant of this fact? Indeed, we
weren’t. I trust’? What he didn’t evidently realize is that many of
us have no interest in playing such music. versatility notwithstand-
ing!! What he might have offered us that would have been of bene-
fit would be an analysis of a year’s worth of lead parts for
commercials and/or a table indicating “doubling” requirements, to
name only two offerings. Another advised all of us to take impro-
vised jazz choruses off recordings and to learn the standard jazz-
tune repertoire. I have no interest in doing this and felt intimi-
dated listening to him tell me to do 50. Jazz musicians do these
exercises regularly anyway. indicating, therefore. that he was also
addressing a student audience whom he thought. apparently, was
unaware of these aspects of study.
Another speaker’s session was rather poor because he didn’t
present a lecture on his topic but simply entertained questions.
Seemingly. his topic could have covered the many problems he
faced as a player, analyses of the abilities-of the all time “great”
lead players, a table comparin g the current demands arrangers
require of the first trumpet player. as well as stylistic accuracies
and inaccuracies of famous lead players--their approach to the
zwing phenomenon, for example.
With some trepidation, may I point now to the featured
speaker’s address. The factors he mentioned relevant to trumpet
phrasing and technique were again interesting to the student only.
All professionals I’m sure are aware of these factors.
If student level sessions are to be embraced by the ITG at
convention time (and it is felt they should be), 1 would suggest
they be scheduled concurrently with other more thoroughly
researched sessions. Both the student solo and orchestral audition
sessions were something I could have done without. Although
Thomas Schlueter was exceptional and a pleasure to hear, to me
only the “pros” should perform during prime time sessions.
Student contests, it is suggested, would be better scheduled before
9
the convention or during a more adult level session so that a
choice is available to the professional participant. Regarding
choice, it is further suggested that we entertain a greater assort-
ment of topics and an equally greater number of speakers at each
session so that the membership in attendance may choose one
from the other, as their interests demand. If this is done, members
may also hear several more points-of-view at each session. Indeed,
it would be a positive convention occurrence to have for each
session a guest speaker in the role of “respondent.” who would
offer an immediate critique of the principal lecturer’s views and
content. This, of course, would demand on the part of the lecturer
a thoroughly-researched and prepared “talk.” Most learned socie-
ties operate sessions in this manner; it is suggested we would do
well if we adopted the procedure too at our forthcoming meetings.
In sum, therefore, beyond the student level, our membership is
comprised of trumpeters involved in one of three primary interest
areas. These areas are 1) professional performers who earn all or
most of their livings by playing and who might teach applied trum-
pet at various local schools, 2) teachers and professors who teach
trumpet and other areas in an educational institution, and 3) the
so-called artist-professor who is employed on the college or uni-
versity level and who would otherwise be a professional performer,
but who, by preference, maintains instructional sessions for
students and offers frequent recital appearances. It goes without
saying that many ITG members maintain employment which
bridges the gaps among the above three areas and that other mem-
bers may be involved only peripherally as their major interests lie
in publishing, science, musicology and/or composition. After con-
sidering the above areas of interest, I would suggest that our con-
ventions offer expert sessions which would prove beneficial to the
interests of trumpeters involved in these areas of pursuit and
which are both musicologically accurate and thoroughly prepared
to appeal to the needs of professionals. Style exploration and
analyses, historical insights regarding the various aspects of the
trumpet, trumpet players, and ensembles, and discussions on the
mastery of contemporary trumpet demands in modern music are
suggested as prime areas of concern. Our students, it is felt, will
be more motivated by high level sessions and will most likely rise
to the comprehension level necessary. All participants of sessions
of the type suggested here would most likely be in agreement
that the ITG conference was a most valuable educational exper-
ience. one they couldn’t uffbrd to miss.
This commentary is medicinal in nature, attempting to elucidate
these important concerns of this enthusiastic member. I trust it
will be received as a helpful reminder of our need to ponder these
ideas. If it is felt that my comments are too acidic, 1 do apologize.
Any further comments from the readership would be most wel-
comed.
Sincerely,
Dr. Paul J. Dorsam, 2162 East Tremont Court, Richmond,
Virginia 23225
Last Minute News -
Donald Whitaker Has Accident
Donald R. Whitaker, Professor of Trumpet at the University of
Wisconsin-Madison, and Host for the 1978 ITG Conference, was
involved in a serious bicycle accident during the last week of Au-
gust. Don had 19 fractures in his face and four more in his jaw.
By the first week of October, Don was already back at the univer-
sity teaching his trumpet students. However, it will be some time
before Don can play again. We wish him a full and speed recovery.
 Timofei Dokshitzer’s Visit
At Tennessee Tech University
by Howard Brahmstedt
Timofei Dokshitzer’s visit to Tennessee Tech University (Cooke-
ville) was a very enjoyable and memorable occasion for everyone
who met him and who heard his trumpet playing. Dokshitzer is a
remarkable human being as well as a great musician. This was
evident from the time I first met him at the airport in Nashville
to the time he left Cookeville.
On Friday afternoon. May 13. Jon Eichc, our Russian interpre-
ter, and I drove to the Nashville airport where we met Louis
Davidson who had driven from Indiana Univcrslty in Bloomington.
Davidson is one of Dokshitzer’s beqt friends in the United States.
and we were pleased that he could join us for the weekend and
welcome Dokshitrer at the first appearance of his U.S. solo tour.
When DokshitLer arrived. he \aid: “Finally, I ~111 with the people
who have helped make it possible for me to come to this country.”
After nine months of efforts by Dokshitzer and 1TG. his first solo
U.S. tour (coordinated by David tlickman and Lloyd Geisler) had
become a reality.
That cv.!ning I went to the motel to pick up Dokshitzer and
Davidson who were staying in the adjoining I-oom. Dokshitzer was
doing home routine practice, and this was the fil-\t opportunity
had to hear him live. The exercises sounded great! His sense of
humor and good nature were apparent in his reaction when he
came in the room a few minutes later and Davidson played back
part of the warn-up which he had just taped from the sound
coming through the walls. 4t our home that evening he hhowed his
love of a home. family. children, and informal living. All of us
enjoyed hi\ genuinely friendly personality. Before leaving our
home Friday evening. hc left a gift 01‘remembrance for me, my
wife, and our three children-a plaque of the Bolshoi Theater in
Moscow on which he wrote an inscription.
Through the course of the weekend, Dokshitzer expressed that
there were many advantages in teaching and performing at a
medium-sized university such as Tennessee Tech and in living in
a fairly small community where there is a more relaxed atmos-
phere and where one can get to the countryside easily. It was very
evident that he enjoyed our community and the surrounding
Tennessee hills and woods. Dokshitzer loves the outdoors, and in
Russia he spends time relaxing on his small farm near Moscow
when he is not performing or teaching.
Friday evening, Dokshitzer spent about an hour with James
Wattenbarger, the orchestra conductor, studying the details of
Dokshitzer’s musical interpretations of the Hummel and the
Arutunian trumpet concertos. The session was an interesting
mixture of Russian, German, Yiddish, a bit of English, singing,
and conducting; the soloist and conductor managed to communi-
cate very well. This session resulted in more efficient rehearsals on
Saturday and Sunday, and it saved a lot of time for the musicians
in the orchestra.
When 1 picked up Dokshitzer on Saturday morning. May 14,
his love for the outdoors and his flexible ways were evident again.
He had walked down to the woods a short distance behind the
motel to practice.
That morning all of our trumpet students had an opportunity
to meet Timofei Dokshitzer and Louis Davidson. We had a very
1 good rehearsal on Dokshitzer’s arrangement of the Manfredini
concerto with Dokshitzer conducting an ensemble of twenty-four
trumpets and piano. After the concert Sunday. Dokshitzer men-
tioned that the performance of the Manfredini was good enough
to put on a record. The Saturday rehearsal and the Sunday per-
formance with Dokshitzer left our trumpet students. as well as
many other music students, elated from this high-quality musical
and personal experience with Russia’s most outstanding trumpet
player. Following the Saturday morning rehearsal. we asked
10
 orchestra. industrial leaders. businessmen. and professional people
of Cookeville. After most of the crowd had gone. we relaxed and
heard the tapes of Dokshitzcr’s performance a few hours earlier.
During breakfast the following morning, I told Iimofci that I
have never met anyone before who I grew to like and admire as
much 111yuch a short time. It was mce to have an opportunity to
talk with him again a few days later during the International
Trumpet Guild Conference in Urbana.
After he had completed his first tour ab a trumpet soloist in
the United States. he told me and my wlfc that he enjoyed very
much his visit to Tennessee Tech University. He appreciated the
warm, genuine friendliness of the people and the general atmos-
phere which was prevalent at this middle-sized university in a small
city. Timofei Dokshitzer will be remembered by those who have
heard him pel-form 95 an extraordinary IiiLlsiciaii-trunlpet virtuoso;
he will also IX rcmcmbered by home of LIS as a man with much
dignity, an amiable personality. and a wonderful sense of humor.
Facing page: Dokshitzer performs with TTU Symphony Above: Dokshit/er
rehearsesthe TTU Trumpet Ensemble
.
Louis Davidson to relate to our trumpet stLtdcnt< hi\ “d~\covcry”
of Dokshitzer. the beginning of their friendship and mutual pro-
fessional admiration, and the gradual yrowtli of :lwarenc’\4 anlong
American trumpet players of Dokshitrer‘\ extraol-dinary musical
talent as a trumpet performer.
About 85 music students attended the Satut-day afternoon rc-
hearsal of the Hummel and Arutunian. Dok\hltrcl-‘\ oulstandin~
musicianship was evident not only in 111strumpet playins: hc
knew the orchestra scores so well that \everaI time\ Ilt’ pla>cd an ITG Financial Report
excerpt from another instrument 11, the orclle\tl-a to correct an
error or to communicate the style he r‘clt should be rendcrcd in :I
particular passage. s 4.207.79
Following the rehearsal. we drove a~-ound C‘ookcvllle I’oI- a while
and stopped at a small shoppin p center. Dokshitler especially CI~- Recclpt\
joyed looking over the large variety of product\ ln a drug \tore I)UC\ 9.26 1 .oo
and in a super market whcrc he bought a few items. That cvcn~n: Atlvrrti~ement Revenue 534.00
several music faculty members and their wivi‘\ cniolcd an Infot-mal Urbana Conference 4.892.40
dinner with Dokshitzer at a local steak hou\c I-verqone 11ad a
great time. The atmosphere of the enters dinner M ’;I\ jovial and 14687.46 14.687.46
congenial. and everyone left that evt’nln, 0 Wit11 tilt rcali/atloll that S 18.X95.25
Dokshltzer was a very Interestin g and likcablc person.
During the Sunday morning ~rehearsal. the llumm~l and ArutLl- I)isbursements
nlaii concertos wcrc scheduled between about IO: I5 and I1:OO. Bank I;ees 23.95
Surprisingly, Dokshltzer played about two-third\ 01’ the mll<ic hlailin? Labels 327.85
during the rehearsal. Thij was unexpected. I~~au\t‘ I had known President I,xpen\cs 397.00
he never liked to rehearse on the clay of the concert t thi\ i\ partl- V. President Fxpenses 3 3 .3 3
cularly understandable when two trumpet concerto\ are being Sccrctary hupenses 343.56
performed). I:ditor I~xpen~cs 833.22
The concert with Timofei Dokshitzer was a great \ucce\\. The TI-ea<u~-el-I:xpenses 304.36
attendance at the concert was better than it had ever been for the I916 JOLII-nal:” 3,x33.27
last concert of our season. Dok\hitzcr’s performance with the February ‘77 ticwslettcr I .366.43
orchestra was superb. especially the Arutunian on this concert. May ‘77 New\letter 1.143.29
and the audience gave DokshitLer about a five minute \tandlng (‘ompositlon (‘onteyt 637.50
ovation. The concert was then concluded with the twenty-four Urbana (‘onfcrcnce I .2X3.58
piece trumpet ensemble performing the Manfredinl arrangement Postal Permits 180.00
which Dokshitzer conducted. This also went very well and was rc- Advance. pl-inting of “I:anfare” 450.00
ceived enthusiastically by the audience. The conductor mentioned Advance. I917 JOUI-nal I .000.00
later that Dokshitzer was received better than any solol\t who has
12.755.24 s I3.755.34
appeared with the Tech Community Symphony Orchestra in the
thirteen years of its existence. x 6.X40.01
Following the concert and a reception we went to a party at the
home of Dr. Wattenbarger (who is also Chairman of the Tech
University Music Department). This ann~~al event was attcndctl hy
almost all of the music faculty and numcrouy supporter\ of the Gordon Mathic. Treasurer, ITG

11
 Trumpet Highlights of the the next soloist--Johnny Frosk. Accompanied by Joe Petrizzo at
the piano, Johnny awed the house with a dazzling performance of
Fifth Annual New York Brass Conference the Arutunian Concerto ,for Trumpet.
It was a tough act to follow, but Marvin Stamm proved equal to
for Scholarships the task. Backed by a rhythm section, Marvin began to play seem-
by Bill Spilka ingly at random. but the group fell right in with him intuitively,
and the next hour flew by as fast as some of the tempos played!
It was a brilliant program of free-form jazz reverting to hard-swing-
As official photographer for the New York Brass Conference, ing classic standards complete with tempo changes, tune changes
I arrived at the beautiful Americana Hotel at 8 a.m. on a blustery and mood changes-all done without a spoken word. Marvin even
Friday, January 7th. 1977. The Continental Brass Quintet was confessed that he didn’t know what tunes they were going to do
already into its varied program. (I must say right LLP front that or how they would end up! But it all came together in a fascinat-
since I was on the run often trying to shoot everyone connected ing display of four-part improvisation that also revealed that
with the Conference. some groups got less than my complete Marvin and his men arc masters of their respective instruments-
attention-unfortunately, and perhaps unfairly, many of the both technically and emotionally!
brass quintets fall into this category, so there is little of value Every year the Brass Conference has apportioned some time to
which I can say about them generally). The official opening of the Dr. Sheppard Van Gelder. D.D.S. (and trombone), for a lecture
Conference by the Gloria Band. led by Don Butterfield was de- and round table discussion of the dental problems of brass players,
layed as Don was the victim of a hit and run driver who wrecked and each year the audience grows larger and gets more involved,
for the Doctor and his cohorts, Dr. Stanley Spiro and Dr. Howard
his car on the way to the hotel! But Don surmounted his personal
Richter present fascinating programs about the real problems that
tensions to lead the band through a challenging variety of musical
many players must face-whether it is the neophyte with correc-
styles. The band itself is most interesting for its members span an
tive braces or the old pro who has some new bridgework to con-
age range of four generations! No “gap” here -they have become a
tend with. As usual. each man was surrounded by a group with
most homogeneous group with but one goat to product fine
questions long after the initial program was concluded. A most
music!
worthwhile adjunct to the performances!
Cecil Collins’ Brass Ensemble from the Manhattan School of
Ray Crisara introduced the internationally famous James Burke
Music showed another aspect of the brass family-~power. The
who led his new concert band in a well-balanced program high-
group opened with the well-known I:clrrf& ,for tllc Cor~morz Afurl
lighted by the appearance of the genial and brilliant Harvey Phil-
which provided a nice contrast to the delicacy of the previous
lips who received an ovation for his rendition of the Arban classic
ensemble. Another contrast of note was that the modernity of
such pieces as Paul Holmes’ Suite fbr Brass was not at all jarring
The Cunlival of Venice complete with all of the variations-on
the tuba!
after the previous sonorities of 300 years earlier. It is to the credit
Another change of pace was offered by the very swinging Jersey
of both the ensemble and Mr. Collins that we were not over-
City State College Jazz Band conducted by Dick Lowenthal. This
whelmed by the sheer size of the group. They played with a sen-
band backed the stellar Cat Anderson-who proved to be a warm,
titivity and blend which was certainly the equal of a full-time pro-
cngagmg personality as welt as the high-note specialist we all know
fecsional organization.
well. During his program Cat demonstrated his mastery of the
The evening program began on a brilliant level with a group of
entire register of his Conn Connstellation with arrangements that
four of the top studio trumpeters Chicago has to offer with drums
and bass. They played both classical and jazz pieces with a preci- ranged from Armstrong through Ellington and included some
sion and enthusiasm which must have stemmed from the aware- Rock as welt.
Speaking of dynamics. 1 have never heard a large brass band
ness that part of their audience was made LIP of their New Yol-k
peers. Bobby Lewis, G. Clifford Bean, Art Hoyle. Russ Iverson. play with a more delicate sense of contrast in volume than the
Jerry Coleman and Steve Laspina all gave LLP lucrative work to brilliant Salvation Army New York Staff Band under Derick Smith.
perform for us. and it is typical of the unselfish spirit which pre-
vails at the Annual Conferences. No one could afforci to holy all
of the artistry and talent which was found under the Americana
roof that weekend. It was given freely. and all who attended will
not forget the musical heights and warm camaraderie demonstrated
over and over again. The students must have been inspired and the
pros also exchanged a few pointers!
The first day’s festivities drew to a close with a long program
by the Emanons~ the Elan College Jazz Ensemble led by Jack
White. Their show ran the gamut from the newest pop and rock
tunes to the more traditional swing standards. It is a fine young
band with several \otoists of great promise. The highlight of the
program was a salute to the late Bobby Hackett arranged by Dave
Marowitz. which consisted of a medley of tunes associated with
Bobby, from his classic String of Pearls solo with the Glenn Miller
band, through a few of the Dixieland warhorses, to a couple of
tender ballads. The solo choruses were performed by a quartet of
veterans who acquitted themselves nobly: Bobby Lewis, Bernie
Privin. Dick Sudhalter and George Masso. It was a moving tribute,
beautifully played. Indicative of the varied program which Dr.
Cohn and his associates had arranged for the eager audience was Marvin Slamm

12
 The third annual Tribute to Louis Armstrong was a bigger pro-
duction and better organized this year than previously. Not that
the music was any better- that couldn’t ever be improved with the
lineup of stars participating in each program. but this evening fea-
tured some arrangements of Louis’ solos harmonized for Bernie
Privin, Jim Maxwell and Dick Sudhalter, as well ac George Masse,
Eddie Barefield and Budd Johnson who soloed over Rusty Dedrich
and his Manhattan School of Music Jazz Band~&another of the
superb young bands of truly professional ability and character.
Rusty also played one of his specialties: Bunny Berigan’s classic
“I Can’t Get Started”~-still a real workout for anyone’s chop?!
Even Cat Anderson and the redoubtable Manny Klein managed to
get into the act for a couple of choruses. It was a real field day fog
trumpeters in a salute to the grandaddy of them all!
The entire Brass Conference was dedicated this yeal- to Dt-. Rc-
nold Schilke. master trumpeter and creator of some of the finest
trumpets and mouthpieces around today. as well as a declicatcd
and successful teacher of generations of brass player\. Well OVCI
a hundred students and professionals particlpatcd in the mausctl-
band salute to this beloved intlivldual. Three antiphonal bands lccl
by Greg Squires, Ray Crisara and Fred Snyder pcrformetl the tri-
bute, Vito Pnscucci. president of the l,eBlanc. Martin and Holtoll
Instrument companies introduced the Maestro. and after pertinent
remarks by Dr. Charles Colin and Jack White. a sultablc prescnta-
tlon was made to Dr. Schilkc which was followed by a standing
ovation.
Another giant who does it all came on sta:e next the omniprc-
sent and irrepressible Manny Klein! Introduced and abetted by
the renowned Loui< Davidson. hlanny captivated his ;III~IC’IICC
during what seemed to be a very brief hour! hlanny. ;I\ you may
know suffered a ytrokc a couple 01‘years ago wllich Icft him ill-
capacitated, and his doctor caid that he’d never play again. As any-
one who caught the Salute to Louis Armstrong can testify. the
good doctor was very wrong! Manny regaled II\ with stories about
his adventures in the Hollywood studios and played tape\ of
several of his memorable sound track \oIos which dcmonstratcd
just why he was first call for so many contractor\. llc proudly
related that he was the first to get double sc;~lc which \ct ;I prccc-
dent which many others benefit from today. I 1101)~that next yca~
Manny will get a “double scs\ion“ as well!
Many other groups performed at the conference but l am 1111.
able to report on them all. Somc of the other pcrformct-s includ~tl:
Harry Shields and Bones of Contcntlon. N.Y. Cornctt and Sack-
butt Ensemble, Symphonic Brass Enscmhlc of Northern New
Jersey, Peter Placquadio and pr-oup, Gerard Schwartz. Canterbury
Brass Quintet. Piedmont BQ, New Yet-k 1~1~1%Choir. Boston
University BQ. Gulliarde BQ (from Indiana Unlver\ity). Pentagon
Brass Quintet. Urbie Green, West Sitlc BQ. and many others.
It was now well past midnight Sunrla~ and I had been racing
around taking pictures and doing interviews slncc Fr-iday morning
Dave Brown, Peter Placquadio, Bob Mlllikan, Fred Jacobs, Paul Bogozian
13
with about ten hours sleep for the three days and I was really
ready to call it a day-so I had to leave. But. I was told that bands
kept arriving and perfomling until 4 a.m.! So another Brass Con-
ference came to an end. Each year it gets bigger and better. I’m
certainly looking forward to the next one!
(Photos by Bill Spilka)
Schedule of Programs
Dennis L. Horton, Editor
The following is a list of concert and workshop dates as sup-
plied by individual ITG artists. Because it is impossible for the ITG
Newslcttcr Editor to verify the information. and because schedules
frcclucntly change. it is suggested that anyone interested in attend-
ing an avcnt listed below contact the sponsoring organization or
artist to confirm the exact date. time. and place. Admission fees
may be chargctl for sonic cvcnts.
ITG members should now send announcements of future
concerts, clinics, lectures. and solo I-ecitals directly to me: Dennis
L. Ilorton. MLI~IC Department. Central Michigan University, Mount
PIcasant. Ml 48859.
David R. Hickman
Nov. 3 WestVirginia Uiiiverhity. ~lorgantown;clinic and concert.
Stephen L. Clover
Nov. IS Ilniversity of Illinois. UI-bana: lecture.
Edward H. Tnrr (with George Kent, organ)
Nov. 3 Univcl-sity of Rhotlc Island: workshop.
Nov. 4 PI-ovidcncc. RI (St. Petcr’T Church): concert.
Nov. 9 Penn. State IJnivct-sity: recital and workshop.
Nov. I I Palo Alto. California (First Methodist Church); concert.
Nov. I8 Seattle. Washington (St. Mark’s Cathedi-al): concert.
Nov. I9 Seattlc. Washington (St. Mark’\ Cathedral); workshop.
Nov. 23 Toronto (Scarborou& College): concert.
Patrick McCuffey
Dec. 1 Na<hvillc. Tcnn. (Peabody College): recital.
Jlat-. 6 & 7. 1978 Nashville Symphony Orchestra: L. MoLat-t
Concerto.
Gerald Schwnrz
Jun. 20 & 21, I978 Univer\lty of Lexington. Ky.: concert and
clinic.
ITG Artist-Members
Dennis L. Horton, Editor
IT(; mcmbcrs wishins to appcai- in this scctlon should now send
materials dil-ectly to mc: Dennis C. HOI-ton. Music Dcpartmcnt,
(‘entral Michigan University. Mount PIcasant. “\I1 48859.
Fred Sautter
Fred Sauttcr i4 prcscntly Pi-incipal ‘rt-ulnpct with the Oregon
Symphony. He earned a B.A. at Not-th Texas State University and
an MM. at the University of Washington in Seattle. As piccolo
trumpet soloist he has recorded “A Frescobaldi Concert” along
with Tclcmann’s “Heroic Music” with organist Douglas Butler.
Information on Mr. Sauttet-‘s availability and fee may be obtained
by contacting: Gctzcn Co., P.O. Box Ihl. Elkhorn. WI 53111 1 or
phone (414) 713-4271.
 A. Keith Amstutz Stephen Chenette
A. Keith Amstutz
Keith Amstutz is presently Associate Professor of Trumpet at
the University of South Carolina. He earned the Bachelor of Music
and Master of Music degrees from Michigan State University and
the Doctor of Music Education degree from the University of
Oklahoma. His teachers include Byron L. Autrey, John J. Haynie,
and the late Col. Earl D. Irons. Prior to coming to South Carolina
he served on the faculties of the University of Texas at Arlington,
North Texas State University, and the University of Kansas. In
addition to his work at the university, Keith Amstutz is very
active as a symphonic and dance orchestra trumpeter as well as a
soloist/clinician. His solo recording, “A. Keith Amstutz-Solos for
Trumpet” is a Coronet Recording Company release.
A clinic utilizing the film/lecture presentation featured at the
1977 ITG Convention, “A Cinefluorographic Study of the Teeth
Aperture, Instrument Pivot and Tongue Arch and Their Influence
on Trumpet Performance,” is now available.
For further information contact: A. Keith Amstutz, Music
Department, University of South Carolina, Columbia, SC 29208,
or phone (803) 777-5900.
Stephen Chenette
Stephen Chenette has appeared as soloist with numerous or-
chestras. including those of Minneapolis, Denver, St. Paul, and
Wheeling; the festival orchestras of Shenandoah, Monadnock, and
New Hampshire, and the Chamber Players of Toronto. A graduate
of the Curtis Institute of Music with a Master’s degree in Fine Arts
from the University of Minnesota, he has been Principal Trumpet
with the Minneapolis Symphony, the Boston “Pops,” the Denver
Symphony. and the St. Paul Chamber Orchestra. Steve now makes
his home in Toronto where he is Professor of Trumpet at the
University of Toronto.
Chenette has been very active in the International Trumpet
Guild. He was the chairman for the committee which prepared
and auditioned college students for the Guild’s “Mock Orchestra
Audition” held at the 1977 Conference at the University of llli-
nois.
With his collection of more than twenty trumpets, Stephen
Chenette gives authentic performances of trumpet music from
all periods as well as lecture-recitals on the history and develop-
ment of the instrument. With his wife Susan as recital partner,
Chenette is available for recitals. For further information, contact:
Concert Bureau, Faculty of Music, The University of Toronto,
Toronto, Ontario, CANADA M5S lA1 or phone: (416) 978.3751.
14
Stanley A. Friedman Donald R. Tison
Stanley A. Friedman
Stanley A. Friedman is an Assistant Professor in the School of
Music at the University of North Carolina at Greensboro where he
teaches theory and composition as well as trumpet. He is Princi-
pal Trumpet in the Winston-Salem Symphony Orchestra and has
been a member of the Rochester Philharmonic. the Syracuse Sym-
phony, the North Carolina Symphony, the Memphis Symphony,
the Memphis Concert Orchestra, and the Memphis Opera Theatre
Orchestra.
Friedman holds a Doctor of Musical Arts Degree (1976) from
the Eastman School of Music with a major in composition. He also
has a Masters in Composition from Eastman. His principal pro-
fessors were Sidney Mear (trumpet) and Samuel Adler (composi-
tion). He has a Bachelor’s degree from Memphis State University
with a double major in performance and composition. In 1976,
he was nominated for the Performer’s Certificate at Eastman.
Friedman has won several awards for his compositions: 1) the
1976 International Trumpet Guild Contest (“SOLUS” for unac-
companied trumpet performed by John Aley at the 1977 Con-
ference), 2) first prize in the 1975 New Louisville Brass Quintet
Competition (“PARODIE”), first prize in the International Trom-
bone Association Contest (“OS”), and second prize in the 1974
Louisville Competition.
Friedman is available for recitals, workshops, or lecture-
demonstrations featuring contemporary performance practices.
For further information contact: Stanley Friedman, School of
Music. University of North Carolina, Greensboro, NC 274 12.
Donald R. Tison
Donald Tison, Principal Trumpet of the Baltimore Symphony
Orchestra, was born in Pontiac, Michigan and upon graduation
from high school, entered the U.S. Navy. After attending the
Naval School of Music, he was assigned to the Naval Academy
Band at Annapolis where he was solo trumpet and a featured solo-
ist. While in the Navy, he studied with Lloyd Geisler and took
classes at the University of Maryland.
In 1958, Tison entered the University of Michigan where, as a
student of Clifford Lillya, he received his Bachelor’s degree and
received the Stanley Medal, an award for outstanding performance
ability. While in school at the University of Michigan. he was solo
cornetist with the Symphony Band and was a featured soloist on
the Band’s fifteen week tour of the U.S.S.R. and the Middle East.
From 1960 to 1967, Don was the trumpet soloist with the
Asbury Park Municipal Band in its summer season. In 1962. he
became Principal Trumpet of the New Orleans Philharmonic Or-
chestra, staying in that capacity until 1969 when he became
Principal Trumpet of the Baltimore Symphony Orchestra.
During the summers of 1967-69, he returned to The University
of Michigan to work on a Master’s degree which he received in
1970. He has also studied with other well known trumpet teachers
in America: Gilbert Johnson, Vincent Cichowicz. Paul Willwerth.
and Don Polosky. Don was a featured recitalist at the National
Trumpet Symposium in June 1976 and at the University of Mich-
gan Trumpet Workshop in August, 1976. Tison is available for solo
appearances and can be contacted at: 3005 Woodhome Ave..
Baltimore, MD 21234, or phone (301) 254-4051.
David Hickman
David Hickman is Professor of Trumpet at the University of
Illinois-Urbana and a member of the Board of Directors of the
ITG. He holds degrees from the University of Colorado and WI-
chita State University. Mr. Hickman is the author of Tljc Picco/o
Trumpet and has two recordings of trumpet solos with orchestra
including concertos by Arutunian, Bach (Brandenburg No. 2).
Molter, Neruda, and Telemann. For further information, contact:
Paul Lundberg Agency, Inc., 2518 Barry Ave.. Los Angeles. CA
90064, or phone (213) 477-1011.
The Western Brass Quintet
The Western Brass Quintet was founded in I966 in Kalamazoo.
Michigan and its members are all full time professors of music at
Western Michigan University. Since its founding. the WBQ has
performed extensively in the North Central, Eastern, and Mid-
western states. In May. 1975. the ensemble presented a concert
in Carnegie Recital Ilall. about which New York critic Donald
Henahan wrote in The New York Times (May 3), “. the Wc\t-
ern Brass Quintet gave unremitting evidence of their individual
talents and ensemble training: chords were precisely weighted and
registered. instrumental blends were sensitively arranged and there
was rarely a tentatively attacked or released note.” The members
of the Quintet are: Donald Bullock and Stephen Jones, trumpets;
Neil1 Saunders. horn; Russell Brown. trombone: and Robert Wha-
Icy. tuba. For further information. write: Western Brass Quintet.
Carl Doubleday, Artist Representative. 725 Village St.. Kalama-
zoo, MI 49008, or phone (6 16) 383-09 13.
Robert Nagel
Robert Nagel, First Trumpet and Director of the New York
Brass Quintet (since 1954) graduated from the Julliard School of
Music with B.S. and MS. in Composition. In addition to the Quin-
tet, Nagrl was a freelance first trumpet in concerts. radio. telcvi-
sion, recording and film recording in New York City ( 1947-l 960).
He is President of Mentor Music, Inc. (since 1959) and W;I\ the co-
founder of the International Trumpet Guild (1975).
Nagel’s teachers have been Fred Bosworth. Frank Simon. and
Ernest Williams. Presently he 1s on the faculty of the Yale School
of Music (since 1956), Hartt College of Music (I 969- ). ;llld
the New England Conservatory of Music (since 1975). In addition
to his teaching and performances with the New York Brass Quin-
tet. Nagcl is also a soloist, conductor. composer and arranger.
Nagel is available for solo appearances with orchestra or band.
recitals with piano or organ, clinics (brass ensemble music. bra\\
church IIIUSIC, brass pedagogy technique, and musicianship). and
brass workshops in chatnber music. church music, and ma\tct
classes in trumpet.
For further information contact: Robert Nagel. 18 BI-oadview
Rd.. Brookfield, CT 06804. or phone (203) 775-135X.
15
Car& Dawn Reinhart William B. Dederer
Carole Dawn Reinhart
(‘arole Dawn Reinhart began studies on slide cornet at age 2%
with her mother ah teacher. By the time she was four years old,
\he was playing duets with her brother. an accomplished cor-
netist. Ms. Reinhart attended the Julliard School of Music Pre-
paratory Division at age IO as a scholarship student. Her close tics
to the Salvation Army music programs led to her appointment
as ;I Salvation Army Bandmaster at age 13, the youngest ever.
Ms. Rcinhart was awarded a full tuition scholarship to the
University of Miami. She graduated Cum Laude with a B.A. de-
grcc and. while a student there. was chosen National College
Beauty Queen. Following studies at Miami, she was awarded a
Fulbright Scholarship to study in Vienna where she became the
first woman to receive the Reifereugnis Award on a brass instru-
ment. She returned to the U.S. to attend graduate school at
Julliard where she was awarded an M.S. degree. Her teachers have
been Edward Treutel (Julliard) and Helmut Wobitsch (Vienna).
Ms. Rcinhart has traveled extensively in her performance
career ~nearly 500.000 miles. She has appeared in virtually every
corner of the world and has appeared on the Tonight Show. the
Mike Douglas Show. the AI Hirt Special, and numerous other
radio and television programs. She has been soloist with the
Miami Philharmonic, the Utah Symphony, and other muGcal
organizations in the U.S. and other countries. While in Europe.
she was featured in her own Special on the Austrian Television
Network.
Recently. she recorded a disc for Deutsch Gramophone Debut
Series featuring works by IIlndemith, I-Ionegger. Pilss. Goodicke.
Burat. and Bo~za. She was a featured recitalist at the International
Bras5 Congress (Montreux. 1976) and is a member of the Board of
Dlrcctors of the International Trumpet Guild. Presently residing
111 Berlin. Carole will tour the U.S. in April, 197X. For furthel
tletalls. contact: Ed stcvcns. Getzen Co.. Elkhorn. WI 53 I3 I. or
pllollc (414) 773-4721.
William B. Dederer
William B. I>ederrr is currently professor of trumpet at the
State University College. Fredonia. New York. He earned a B.S.
degree at I’l-edonia and an h1.M. and D.M.A. at The University of
Michigan. IIiy teacher? include Charles Gleaves and Clifford Lillya.
Ilc has performed as soloist and clinician in New York, Michigali.
Pennsylvania, Virginia and Florida. He has performed with the
Philadelphia Orchestra. the Pittsburgh Symphony. the Buffalo
Philharmonic. the Erie (Pa.) Philharmonic. the D’Oyly-Carte
Opera Company, the Chicago Ballet, and the Toledo Concert
Band.
Dederer is available for appearances as soloist with either or-
chestras or bands, as a clinician, and in a unique trumpet and
organ duo with organist Arthur A. Vidrich.
Vidrich began his musical studies at the Western Pennsylvania
School for Blind Children in Pittsburgh. He holds a bachlelor’s de-
gree from Duquesne University, and a masters from Indiana
University. Currently he is completing the requirements for a
D.M.A. at The University of Michigan where he is the first visually
handicapped person to achieve candidacy. Vidrich’s teachers in-
clude Stanley Tagg, Clyde Holloway and Robert Glasgow.
Together, Dederer and Vidrich have presented many recitals in
several states. Their programs include music from all historical
eras, but specialize in twentieth century works for trumpet and
organ. Their clinics include a presentation by Vidrich on the
Braille System of music notation.
For further information contact: William Dederer, Mason Hall,
State University College, Fredonia, N.Y. 14063, or phone (716)
673-3241 or 672-2038.
Ralph Dudgeon and Ken Herman
As a trumpet and organ duo, Ralph Dudgeon and Ken Herman
have specialized in works of the Baroque. Mr. Dudgeon received
his M.A. degree from San Diego State University in trumpet per-
formance. Ken Herman is Dean of the San Diego Chapter of the
American Guild of Organists and a lecturer in Music History at San
Diego State University. For further information concerning avail-
ability for concerts and workshops, contact: Britten Artist
Management, 5016 Plainview, San Diego, CA 92110, or phone
(714) 276-6729.
The New York Brass Quintet
The story of brass chamber music as a modem concert attrac-
tion began 20 years ago with the formation of the New York Brass
Quintet. The brass literature of the Renaissance and Baroque
periods has had a glowing rebirth in the hands and instruments of
these five musicians. The Quintet has explored thoroughly the
contemporary literature as well and expanded the literature by
commissioning works by Schuller, Moravetz, Persichetti and
others. The members of the Quintet are: Robert Nagel and Allan
Dean, trumpets; Paul Ingraham, horn; John Swallow, trombone;
and Thompson Hanks, tuba. For available dates and further in-
formation, write: Nancy Tuttle, Personal Representative, Colum-
bia Artists Management, Inc., 165 W. 57th St., New York, NY
10019, or phone (212) 397-6932.
The Ithaca Brass Quintet
The Ithaca Brass Quintet was formed in 1966 as the resident
quintet at the Ithaca College School of Music. Since then, its acti-
vities have expanded to include programs throughout the East,
Midwest and Southwest, as well as clinics on brass pedagogy and
performance. The members of the IBQ are: Herbert Mueller, and
James Ode, trumpets; John Covert, horn; Frank Brown, trombone;
and James Linn, tuba. In addition to their professional commit-
ments, the members of the quintet all teach at Ithaca College and
have recorded four contemporary quintets on the Mark label. The
Ithaca Brass Quintet is available for formal concerts, school per-
formances, and instrumental clinics. For further information.
contact: Ithaca Brass Quintet, School of Music, Ithaca College,
Ithaca, NY 14850, or phone (607) 274-3333 or 3344.
16
Vincent DiMartino Ronald Model1
Vincent DiMartino
Vincent DiMartino is an Assistant Professor of Music at the
University of Kentucky where he is an instructor of trumpet and
jazz ensembles. He is a graduate of the Eastman School of Music
(student of Sidney Mear) where he was first trumpet in the East-
man Wind Ensemble, Philharmonic, Music Nova, Jazz Ensemble,
and Studio Orchestra. He has also performed with the Rochester
Bach Festival Orchestra and the Rochester Philharmonic. DiMar-
tino’s jazz experience includes performances with Chuck Mangione,
Lionel Hampton, and Clark Terry on a European tour.
DiMartino has appeared with many high school and university
ensembles including Ohio State, Memphis State, Indiana Univer-
sity, Asbury College, the University of Kentucky, and the Univer-
sity of Northern Iowa. He has performed a wide variety of litera-
ture-from the Bach Brandenburg Concerto No. 2 to Maynard
Ferguson charts.
In addition to performing and teaching, DiMartino conducts
clinics which are designed to demonstrate the need for versatility
in playing lead trumpet, concert band and orchestra literature,
chamber ensembles, and solos.
For information on booking for solo appearances with jazz
ensembles, orchestras, marching bands, and wind ensembles, con-
tact: Vincent DiMartino, School of Music, University of Ken-
tucky, Lexington, KY 40506, or Director of Educational Services,
King Musical Instruments, Inc., 33999 Curtis Blvd., Eastlake, OH
44094, or phone (216) 946-6 100.
Ronald Model1
Born in New York City, Ron Model1 embarked on his first pro-
fessional tour upon graduation from high school at the age of 17
with Cornelius Otis Skinner. Following that engagement, Model1
was selected to be Principal Trumpet with the Tulsa Philharmonic
and was given a full tuition scholarship to the University of Tulsa
where he received his BME degree in 1957. After a short stint
with the famous “Machito” Afro-Cuban Jazz Orchestra at the
Paladium, he returned to Tulsa to work on his Masters degree and
to play principal trumpet in the orchestra, now conducted by Vla-
dimir Golschmann. In May, 1960, he completed his M M in per-
formance and was engaged to play Principal in the Dallas Sym-
phony where he stayed for nine seasons. Model1 has played for
many conductors, including Kletzki, Munch, Ehrling, Monteux,
Dorati, Previn, and Mancini.
Modell’s teaching experiences include faculty appointments at
Kansas State Teachers College, University of Tulsa, Southern
Methodist University, and at Northern Illinois University, his
present position since 1969. His university experience includes
teaching trumpet, coaching brass ensembles. conducting jazz en-
sembles and performing both as a soloist and in small ensembles.
Model1 has studied with some of the most famous and distin-
guished teachers in America including James Smith, Harry Glantz.
Louis Davidson, Joseph Rescigno, Murray Karpilovski, and Rafael
Mendez.
For the last 18 summers, Model1 has played lead trumpet at a
large resort hotel in the Catskill Mtns.. performing with Vie
Damone, Tony Bennett, Della Reese, Buddy Greco. and many
others. During the school year Model1 is active as a soloist with
wind ensembles, concert bands, symphony orchestras. and jazz
ensembles. For information concerning availability, contact: Ron
Modcll, Department of Music. Northern Illinois University, DcKalb.
IL 601 I5 or phone (815) 7.53-1551.
Mike Vnx
In his two and one half years as first trumpet with Stan Kenton,
Mike Vdx gained a national rcputntion as one of the be\t high note
men in the business. However. his high note “gymnastic\” arc only
a small part of his technical skill. IHe majored 111c,la\\~caI pel-l’ot-n-
ante at University of the Pacific ln Stockton. California whc~n! hc
performed as first trumpet in the Stockton Symphony Orchestra.
the Sacramento Opera Orchestra. and the Stockton hlunlcipal
Band. He has studlcd with some very fine educators. including
Gordon Finlay (former soloist with the U.S. Navy Band 111W;I~-
ington. D.C.). Carmine Caruso. Roy Stevens. and Don Jacoby.
Vax has traveled all over the United State\ as a cllniclan and
guest soloist with orchestras. concert bands, stage hand\. and conl-
1~0s in over four hundred universltics. colleges. and high \choolb.
He has appeared 11147 states. England. Furope, Scandinavia, C‘en-
tral and South America, Canada. S,ludi Arabia. and heh~nd the
Iron Curtain. He has performed at the Newport. Newport in New
York, Monterey. Concord, and New Orleans Jazz Festival\ a\ well
as such educational festivals a\ Rena, Oaklawn. All-Alaska. the
American College Jazz Festival. and the Tri-State in Enid, Okla-
homa.
Aside from his tenure with the Kenton Orchestra. he spent two
years fronting the world famous Dukes of Dixieland and three
years as first trumpet with the U.S. Navy Show Band. Ile ha\ ;IIx)
worked with Buddy defy-anco and the Glenn X11llc1-Orchc\tra. the
Ray McKinley Orchestra. Bob Hope. Mike Dougla\ (T.V. show).
Steve Allen, Cab Galloway. The Four FI-e\hmcn, and Don Ellis.
He has recorded with Stan Kenton. the Duke\ of Dixieland. Art
Pepper, Ronnie Kale. and his own big band and quartst.
Vax is currently living in New Orleans, and traveling all over the
country with his quartet. He is available for appcaranccs and
clinics both with hit group and alone. FOI- more information con-
tact: Mike Vax Music. Inc., 3913 Kingman St.. No. A. Metairle.
La. 70002, or phone (504) 455-l 85 I.
Don Smithers and William Neil
Don Smithers is widely known as a <pecialist in the pcrformancc
of Renaissance and Baroque music. He is both a performer and
scholar and has degrees from universities in Europe and America,
including a Ph.D. in the history of music from Oxford University.
William Neil is a graduate of the Pennsylvania State University and
Syracuse University. Some of Mr. Smlthcrs and Mr. Neil’\ trecot-d-
ings include: Bach’s Trumpet (Philips Records 6500925) and TAc
Trumpet Shall Sound (Philips 6500926). Smithers and Neil at-e
available for lectures, clinics and recital?. Engagements are inow
being scheduled for the 1977-78 season. Fo; further information.
contact: Joanne Rile Artists Management, Box 27530, Philadcl-
phia. PA I9 I 18, or phone (2 15) 24X-8 100.
17
Daniel B. Tetzlaff Henry Meredith
Henry Meredith
Henry Meredith teaches trumpet. historical brass, and jazz at
the Univcrslty of Western Ontario in London, Canada. He re-
cently performed a number of concerts in England a3 yucst soloist
with orchcctra and as I~cttlre-I-ecltalist, joined by his wife Victoria,
3 nie~,o-soprano. This duo has also prescntcd several recitals of
music for trumpet and voice in the MIdwest and in Canada.
A doctoml candidate at the Unlvcrslty of Northern Colorado,
hlcrcdith holds Bachelor’\. Master’s, and Specialist degrees from
Indiana Unlverslty. Formerly principal trumpet of the Duluth
Symphony Orchc\tra and of the Bloomington (Indiana) Syn-
phony. hc has appeared with ot-chestras and bands in Colorado,
New Mexico, Minnesota. Wisconsin, Indiana. and Ontario. Previous
teaching positions have included the University of \visconsin,
Superior, and an assistantship at the University of Northern Colo-
rado.
Using his private collection of nearly one hundred brass instru-
ments. hc demonstrate\ many authentic instruments and perform-
ancc practice\ at Icctures and clln~cs. His particular interest is
barocluc music played on valveless baroque trumpets. and this
interest is reflected both in his public performances and in hi5
numerous published articles. Previously Historical Editor for The
Bruss World. he continue\ to review and report on historical
materials for bras\ players m the ZTG Jourrzal. the .VACLVI’I
Jo/lrr?ill. and other periodicals. As one of his several reizarch pro-
jr&. he is presently preparing for publication by Musica Rara
editIoni of selected baroque trumpet compositions. including a
number of works for trumpet and voice.
For additional information on pcl-I‘ormanccs and work\hops. or
recitals including Victoria Mcrcdith. contact: IHcnry Meredith.
Faculty of Music. University of Western Ontario. London. Onta-
rio. Canada N6A 3K7, 01. pilone (5 19) 679-3967 or 471-2569.
Daniel B. Tetllaff
Daniel B. Tetzlaff. t’l-ee lance trumpeter and teacher in Minnea-
poll<;. has had II wide range of processional expericnccy. .1 graduate
of the University of Minnesota (B.S. ulth di\tlnction a:ii! %I.Fd I.
Tetzlnff began his professional orchc\tra experience with the
Houston Symphony Orchestra (I 94&48) and continued with the
Minncapol~c Orchestra ( 1948-55) with Mitropoulis and I)orati a\
conductorc. lie also performed with the St. Paul Civic Opera
( 1955-6.5).
TetLlaff also has had extensive teaching cxpcrience having
taught at Augsburg College. Hamline University, and the Univel--
sity of Minnesota. He is presently an instructor in the Minneapolis
public schools. Articles dealing with brass pedagogy have been
published by the International Musician, the Instrumentalist, and
the LeBlanc Bandsman.
Tetzlaff’s teachers include Miles Sery, James Stamp, and James
B. Greco. He is available for guest lectures. demonstrations. and
workshops. For further information, contact: Daniel B. Tetzlaff,
4652 Vincent Ave. So., Minneapolis, MN 55410, or phone (612)
922-1011.
Glenn Stuart
Glenn Stuart is presently Lead Trumpet with the Don Ellis
Orchestra, a position he has held almost exclusively since the or-
chestra began in 1965. He earned a B.S. degree from Ithaca
College and an M.A. at New York University. He holds permanent
teaching credentials in the states of New York, Maryland, and Cali-
fornia. He taught both senior high school and college for thirteen
years prior to devoting all of his time to professional playing.
His varied lead experience includes the bands of Jimmy Dorsey,
Tony Pastor, Les & Larry Elgart, Ralph Marterie. Noro Morales,
and Stan Kenton. Stuart is in demand as a clinician and has lec-
tured on the “Lead Trumpet” for the National Trumpet Sym-
posium, the California Music Educators Music Convention, and
most recently as guest soloist and faculty for the ITG Conference
in Urbana.
Mr. Stuart’s recording credits include almost every major label
and most recently with the Ellis Orchestra on Atlantic Jazz. The
Orchestra has also worked every major Jazz Festival in the World,
and Glenn will be on tour with them in Europe during July of ‘77.
Numerous television and motion picture studios call him for a
variety of free lance playing. He has authored many articles on
lead trumpet playing in Brass Bztlletirz and the /~lstvnmerz&lisr
(April ‘77), and has published a book called “The Art of Playing
Lead Trumpet.”
Glenn is available for clmics. concerts. and adjudication of Jazz
festivals. Engagements are now bein g scheduled for the fall and
Winter of ‘77. For further information contact: Glenn Stuart
34069 Aleazar, Dana Point, CA 92629, or phone (714) 496.4848
or 494-l 626.
Rob Roy McGregor
Rob Roy McGregor has been Assistant Principal Trumpeter of
the Baltimore Symphony Orchestra since 1970. He is a graduate of
the University of Michigan, was soloist with the University of
Michigan Jazz Band on a State Department tour of South America
in 1965, and in 1966 was winner of the Albert Spaulding Prize at
Tanglewood. His teachers have included Clifford Lillya, Armando
Ghitalla, Theodore Weis, and Seymour Rosenfeld. He has pub-
lished several arrangements and transcriptions for brass quintet.
In addition to his orchestral duties, McGregor is baroque trum-
pet and cornetto soloist with Pro Musica Rara, Baltimore’s resi-
dent chamber ensemble specializing in Baroque and Renaissance
music and consisting primarily of Baltimore Symphony members.
In the spring of 1977, he was engaged to record the principal
trumpet part of Bach’s B Minor Mass in Stuttgart, Germany under
conductor Helmuth Rilling for Columbia (CBS). He will return
twice during the current season to record Bach cantatas and a
television production of the B Minor Mass.
For information about solo appearances or further details about
the Pro Musica Rara, contact: Pro Musica Rara, 626 Woodbourne
Ave., Baltimore, MD 21212, or phone (301) 532-6990.
18
Edward Tarr, Trumpet and George Kent, Organ
Edward Tarr, an American by birth, has since 1959 lived in
Base], Switzerland. He is not only one of Europe’s outstanding
performers on his instrument and a leading expert and author on
trumpet literature and the instrument of the Renaissance and
Baroque periods, but is also a prolific recording artist with more
than eighty recordings to his credit. George Kent, like Edward
Tarr, was a student of Roger Voisin, and it was a mutual interest
in Baroque instruments which first led these artists into corres-
pondence and later into active collaboration. He is professor of
music and organist at the University of Rhode Island as well as
instructor of all trumpet and organ students. Tarr and Kent have
toured the United States each year since 1968 and have also
toured with success in Alaska, Sweden, and Japan. For further
information, including suggested programs and lecture-workshop
topics, contact: Mrs. George H. Utter, Box 520, Westerly, RI
02891, or phone (401) 596-2313,2031, or 2975.
Edward H. Tarr Brass Ensemble
The Edward Tarr Brass Ensemble is now booking a tour for
the spring of 1979. Please contact Mrs. George H. Utter for a brou-
chure and available dates. (see above for address)
Knud Hovaldt
Knud Hovaldt was born in Jutland, Denmark and, after many
years of study as a child, began his professional career at age 17
as a member of the Band of the Danish Guards, the youngest
professional trumpet player in Denmark. In 195 1, he became Solo
Trumpet of the Danish Broadcasting Symphony Orchestra and,
since that time, has recorded many albums and concertized ex-.
tensively in the principal cities of Europe and America. In 1961,
he became Solo Trumpeter with the Royal Danish Symphony
Orchestra and the Royal Opera, the highest position of its kind in
Denmark. He has been a featured soloist with the Boston “Pops”
and performed with conductors Eugene Ormandy, Karl Biihm,
Leonard Bernstein, and Sergio Calibidache. In 1970, Mr. Hovaldt
and Maurice And& concertized throughout Scandinavia perform-
ing the Vivaldi Concerto for two trumpets.
Numerous works have been written for Hovaldt including the
Jolivet First Concerto, Farnon’s Scherzando , and Glindemann’s
Corzcerto. He was a featured soloist at the National Trumpet Sym-
posium (I 97 I) in Denver and frequently performs concerts with
his son, Gorm. He will be touring the United States in January,
1978. For further information, contact: Ed Stevens, Getzen Co.,
Elkhorn, WI 53121, or phone (414) 723-4221.
R. Dale Olson
A native of Houston, Texas, R. Dale Olson attended public
schools in Galveston, Texas. He holds both the B.M. degree in
Music Education and the M.M. in Applied Trumpet Performance
from North Texas University in Denton. Texas. Trumpet instruc-
tors include Everett James, Ted Crager, John Haynie, Renold
Schilke, and John Clyman.
Olson served for over six years as Director of Research for one
of the largest domestic brass makers and presently owns his own
firm dealing with musical instrument design. He holds patents on
trumpets and mutes in the United States, Canada, and Germany.
His designs have twice been chosen for exhibit at the Pasadena
Art Museum and the Pacific Design Center by California Design,
one of the most prestigious design shows in the world.
 IIe is the author of numerous articles in nearly every publica- David Hickman, trumpet Wayne State Symphony Band,
tion in the field and is currently preparing a text dealing with a Harold Arnoldi, Conductor, March 16, 1977. Concerto by Bilik;
basic concept of brass playing. He has lectured two times at the Concerto by Tartini.
National Trumpet Symposium as well as at many colleges and David Hickman, trumpet-Springfield (Illinois) Symphony Or-
universities. chestra, Harry Farbman, Conductor. March 22. 1977. Concerto by
From an early interest in solo trumpet literature, he spent many Hummel.
years involved in the technical and acoustical aspects of brass Marice Stith. trumpet&Tremper High School Wind Ensemble,
design and manufacture. His experimental work on mutes has been Karel Husa, Conductor, March 19. 1977. Concerto for Trumpet
intensive. Later. studies in wind pressure and mouthpiece force and Wind Orchestra by Husa.
during performance lead to an interest in the physiological side of
brass playing. His present field of interest is the investigation of Solo Recitals
psychological concommitants of brass performance and per-
David Baldwin, trumpet -University of Minnesota, March 30,
formers. He is engaged in an in-depth study of the field.
1977, assisted by Paul Freed, piano: Leslie Gaska, horn; Homer
Lecture topics cover a wide range of subject matter relating to
Lambrecht, trombone. Concerto by Telemann; Concerto by Ncru-
the design. manufacture. and performance of brasses. Appcaranccs
da; Concerto by Arutunian; Absurdities for Brass Trio by Baldwin;
usually involve lectures and/or workshops designed to be practical
Facilita by Hartman.
in nature and presentation, directly relating lecture topics to
The Central Kentucky Trumpet Guild-Vincent DiMartino, Bart
actual performance or teaching. Olwn is continuing work on a
Jones. Rich Illman, David Jackson. Pamela Conley, trumpets,
master class for brass teachers which will make use of his con-
November 1 I. 1976. Symphony in C by Molter; Musica Festiva by
hined interest in brass pedagogy and psychology.
Nehlybel; Bright Angel by Cope; Music for Five Trumpets by
He may be contacted through: Acoustic Instruments, 200
Reynolds: Canzon by Scheidt: Concerto for Three Unaccompanied
Berkeley Circle, Fullerton. California 9203 I, or phone (714)
Trumpets by Baldwin; Canonic Trilogy by Tull.
871-5559 or (714) 871-l 181.
Vincent DiMartino. trumpet&University of Kentucky, April 3,
1977. assisted by Peter Simpson, bassoon; Robert Burton, organ;
David Ott, Harpsichord; Bruce Morrison, oboe; John Lindsey and
Recent Programs Brice Farrar. violins; Rodney Farrar, cello; Cathy Farrar. harpsi-
chord. Sonata by Telemann; Sonata for Trumpet and Bassoon by
Richard J. Perkins, Editor Prentzel: Concerto for Oboe. Trumpet, Bassoon, Violins and Con-
tinuo by Biscogli.
A limited number of recent programs presented by ITG members Paul Dorsam. trumpet -Virginia Commonwealth University,
will be published in ITG Newsletters. Members should now \end October 26, 1976, assisted by Laura Candler, piano; Kerry Fleck-
programs directly to the Programs Editor. Solo appearances with enstcin. trumpet; Alvin France and Pamela Weller, trombones;
bands and orchestras. solo and group recitals. local ITG chapter Gailyn Parks, clarinet: Matthew Spady, bass voice: Alexander
recitals, and brass quintet programs will all be considered for pub- Sung, piano; Priscilla Thompson, cello. Sonata by White; Sonata
lication. Programs by student ITG members are most welcome. All by Heller; Sonata Seconda by Viviani; “Fili mi, Absalon” by
programs and correspondence should now be sent to: Richard J. SchLitz.
Perkins, ITG Program Editor, Music Department. Anoka-Ramsey Paul Dorsam. Virgmia Commonwealth University. February 24,
Comm. College. 11200 Mississippi Blvd., Coon Rapids, MN 55433. 1976, assisted by Alexander Sung, piano: Kerry Fleckenstein,
(Programs cannot be returned.) trumpet: James Cole and Willialn Archer, trombone: Edward
Werz, double bass. Sonata by Dorsam; Sonata by Pilss: Trio by
Soloists with Orchestras and Bands Glasser: Canzoni and Ricercar: Setimo canzoni per sonare con
Walter W. Boehm and Eric W.A. Boehm. trumpets ~Banskok, ogni by Gabrieli and Mcrulo; Madrigali c Ricercari a quattro voci
Thailand, December 13, 14, 16. 22, 24. 1976. Christmas Oratorio by Gabrieli.
by J.S. Bach: Nicht so Traurig by J.S. Bach. (Included was a live Paul Dorsam. trumpct~Colby-Sawyer College, January 2 1 1
broadcast on Thai television.) 1976. Concerto by Torelli: Fancy by Dorsam; Sonata by tlovha-
Vincent DiMartino, trumpet&Central Kentucky Youth Concert ness; Concerto by Telemann.
Orchestra, May 2, 1976, Harold D. House. Conductor. Concerto Jane Frick. tl-tlmpet~~lndiall~i University. July IS. 1976. assisted
by Fasch. by John Wells. organ; Mat-y Belanger, piano: Kim Dunnick. trum-
Vincent DiMartino. trumpet&Kentucky State University Wind pet: Robert Burnham. trombone; Eric Eichman, percussion.
Ensemble. Bart Jones, and Lawrence Harris, Directors, April 26, Elegy by Sommerfeldt; Sonata by Ken~lan; Sonata by Vivaldi;
1976. Concerto by Hummel. Economy Band by Van Vactor.
Vincent DiMartino, trumpet-~ Ohio State University Jazz En- David Hickman, trumpet University of Illinois ~Jrh;~na-Chain-
semble, Tom Battenberg, Conductor. November 14. 1976. Don’t paign. November 13, 1975, asslstctl by James Ketch. Rogc~- Melka.
Let the Sun Go Down on Me by John; Ballad for Debbie by Vizut- James Madeja, Ray Sasaki, Phillip Schaefer, Jane llickman, trum-
ti; Handel with Care by Sehesky; Harvest Festival by Labarhera: pets: Eric Dnlheim, piano; Charles DeLaney, flute; ,4ustin McDo-
The Cheshire Cat Walk by Corea; Vera Cruz by Emche. well. Willis Coggins, Randy S;llman, Jay W’inkinp. Daniel Kohut.
Larry Herman and Tom Vanek, trumpets- Indiana Unlvct-sity P~LII Zonn. clarinet, I>an~el I’,~r~~ntoni. tulu. Thoma\ Slwe, per-
Symphonic Band, Frederick C. Ebbs. Conductor, November 16, cussion, Robert Gray, Conductor. Concerto by Altenburg; Sonatc
1976. Concerto in B-flat Major by Vivaldi. de Concert by Telemann; The Whirlwind Polka by Levy ; Concerto
David Hickman. trumpet-Kansas State College of Pittsburg for Trumpet and Nine Instruments by Brant: Theatre Piece by
Concert Band, Gary Corcoran, Conductor. March 3, 1977. Concer- Boilet.
to by Tartini: Trumpet Nocturne by Maltby: Dramatic Eshay by Dennis L. Horton, trumpet University of Michigan, April 4,
Williams. 1976, assisted by James Elswick. Scott Schroeder, El-ic Bechcr.

19
David Olson, Willard Pearson, John Eick, Jean Moorehead, Frank Northeast Missouri State University Brass Quintet-October 2 1,
Kraper, trumpets; Jack Saunders. horn: William Rivard and Ronald 1976. Jeffrey Piper, Dwight Rhodes, trumpets; Edward Bostley,
Rextor, trombones: Stanley Towers, tuba; Mary Lou Robinson, horn; Roger Cody, trombone; Tom Palmatier, tuba. Introductions
organ; Linda Mohler, soprano: Robert Barris, bassoon; Alec Cath- by Korte; Quintet by Sanders: Fancies, Toyes, and Dreams by
erwood and Eva Fournier, violins; Ann Schoelles, viola; Richard F. Farnaby; Exhibition by Tull.
Grunow, conductor. Music for Brass Instruments by Dahl; Can-
zona uber “Christ ist erstanden” by Schilling; Cantata No. 51
“Jauchzet Gott in allen Landen” by Bach: Concerto a VII Clarini
con Tympani by Altenburg.
H. M. Lewis, trumpet-Hendrix College, February IO, 1977,
assisted by Rolland Shaw, baritone; Beverly Shaw, piano: Eloise
Lewis, violin: Elizabeth Lewis, piano. Abblasen by Reiche: Messiah
“The Trumpet Shall Sound” by Handel; Sonata by Baldassare: Sin-
fonia by Torelli.
John R. Lindenau, trumpet-Cathedral Church of St. Mary.
Gaylord. Michigan and First Congregational Church, Traverse on the 27th of Fcbrnary 1977 at FOU 0k4& in the asfew*
City. Michigan. October 1, 3. 1976, assisted by Donna Brunsma. by thefollowmg accomplzshcd & talented musical arkts U3
organ. Sonata by Viviani: Sonata by Corelli; Concerto by Albino-
ni: Sinfonia by Torelli. Carolyn Sue Tcrpstra, soprano
The Midwest Trumpet Guild-Northeast Missouri State Univer- Ralph T. Dudgeon, heyedbugle
sity. January 29. 1977. Allan Dean. clinician. The Northeast Mis- &z cornopem
souri State University Brass Quintet Jeffrey Piper and Dwight KennethE Herman,piam
Rhodes. trumpets; Edward Bostley, horn; Roger Cody, trombone; 3 “The Fe&al March” ananged for bugle &piano -Alexander &tinagk
Tom Palmatier, tuba. Cat Anderson, clinician. The Northeast “Variations on %nb Doodle “ne+ invented by - - - Msr. A&
Patrick McCuffey. trumpet-George Peabody College. Nashville, by Aems. Dudgem &T Hermam
December 3, 1976. assisted by Scott Withrow. organist: Wilfred 7“Whcnthis CruelWar~eOvcr” - - - - - HcnxyT.&
Lehmann and Carol Walker, violins: Virginia Christensen, viola: “Alfin Brillar,” an air with English words by J. Hewitt - Luigi Ricci
John Catch@. cello; Ernest Szugyi. doublebass: Charles Wyatt by Atsr?+rra & /%. Herman
and Norma Rogers, flutes. Concerto by Nrruda; Vocalise. Op. 34, 7 “The Captive Knight,” a ‘ballad with new bugle
No. 14 by Rachmanninoff; “Andante” by Flor Petters: Sonata by obbligato camp cd by,%. Herman - - - MtiA ugubta Brow
Purcell: Suite in Olden Style by d’lndy; Concert Study by GOC “Tell McWhereisDcauty “A Bouqet of
Found,“fim
dicke. Beautiful Du&“ - - - - - - StephcnGl0vc1
Jeffrey Piper, trumpet-Northeast Missouri State University. “W&e HasGem to theWar” - - - StephenCollier Foster
November 16. 1976, assisted by Susan See. piano; Anne Miller. by IYI.S 7’+ra, asrstrd by thcgntlzmm
English horn. Concerto by Tomayi: Concerto by Handel: Concer- 3 A Srutefrom J. Hyde’s “New ez con+tePrceepbr for
the Royal KcntBu&“:
to by Hummel; Quiet City by Copland.
“Thcrc~~ r\lac Luck About the House”
John Reid, Trumpet~~George Peabody College, Nashville. April
“0 Listen to theVoice of Love”
9, 1977. Concerto by Torelli (natural trumpet); Vaga Cintia by
“Lai-a Lara La”
Scarlatti: Concerto by Arutunian.
“SilvcrThrcads among 11x Gold”withvariations - - - H.PDank
by ,4essrs: ~udgeon cz Herman
3 *What Can a PoorMa&n Do? ” - - - Charles EdwardHorn
Brass Quintets
“Every Doubt and Danger Ow: an aria fr.m
University of Minnesota Faculty Brass Quintet-April 6, 1977. the oPCr~“Leonora” - - - - William Henry Fry
David Baldwin, Merrimon Hipps, trumpets: Priscilla McAfee, horn; by Ass TerpstraBT. Yr Herman
Ronald Ricketts, trombone: Ross Tolbert, tuba. Suite by Rey-
nolds: The Well-Tempered Clavier by J.S. Bach; Five Pieces by
Maurer; Suite Francaise by Bozza: American Brass Band Journal
by Friedrick.
San Diego Brass Quintet St. Mark’s United Methodist Church,
February 29. 1976. Ralph Dudgeon, Joseph Gyetvai, trumpets:
Priscilla Nunn, horn; Donald Glattly. trombone; Barton Cum-
mings, tuba. Quintet by Arnold: Four Mood? by Jlarris; Diver-
tissement by Hartley; Seven Piecer by Holborne; Variations by
Childs: Symphony for Brass by Ewald.
Georgia State University Brass Quintet-February 7, 1977. Ste-
ven Winick. Larry Black, trumpets; Jeffrey Jacobsen, horn: Harry
Maddox, trombone: Michael Moore, tuba, Nun Komm, der Helden
Jleiland by J.S. Bach: Three Medieval Tableux by Yoshioku; Di-
version by llugher: Metropolitan Quintet by O’Rcilly; Four Move-
ments by Jones: Music for Brass Quintet by Knox.
University of Alberta Faculty Brass Quintet-October 1 7. 1976.
Alvin Lowrey, Fordyce Pier, trumpets: David Hoyt. horn: Mal-
colm Forsyth, trombone; David Otto, tuba. lntrdda Olympiada by
Forsyth; Prelude and Fugue by J.S. Bach; Commedia IV by Ben-
nett: Scherzo by Chcetham; Quintet by Ewald; Suite by Calvert.

20