TrentAustin

Ed,

It was great to see you today. Thanks again for helping me salvage the Brandenburg. I especially liked the warmup session to today's lesson ;)

On a more serious note... I want to plan a solo recital next year and was wondering where I should go for some trumpet and "tape" repertoire.

Besides working on my own (I'll have some stuff for you after next week) compositions what's out there?

Best,

T

ecarroll

Trent,

You sound amazing, amigo, and your Brandenburg is going to be stellar.

Room, how many trumpeters to you know that can play the Brandenburg correctly, toss off French virtuoso music, bebop, lead trumpet, and can really swing? (it's a short list, in my experience).

Serious titles (easily found) that I think you'd like include Karlheinz Stockhausen's Aries (1977), Anne LeBaron's recent Way of Light (2006 -- with video as well), and Yan Maresz' Metallics (1995). Jim Mobberley's Icarus Wept (1996) is fun (very tongue-in-cheek), but probably not what you're looking for.


In haste,
EC

mahaberio

There's a classic work by Charles Dodge (one of the pioneers of electronic music) called Extensions for Trumpet and Tape. A lesser known but very good work is "...and every island and mountain were moved from their place..." by Paul Rudy. Here is some info on it:

"...and every island and mountain were moved from their place...”(Revelation 6:21) was conceived and composed while contemplating the “turn of the millinium.” Living in New Zealand at the time, I realized that those in the South Pacific would be the first to experience the sunrise on January 1st, 2000. As a result, the image of that sunrise, and all of its accompying expectations, became the focus of the work.“....and every island and mountain were moved from their place....” (1998) was realized in EMS 1 at Victoria University, Wellington, New Zealand, while on a Fulbright Fellowship.

Performance Notes

When specified, the trumpet should face into the open piano with the lid up, and the piano turned so as not to face directly into the audience. Contact microphones should be used under the piano where possible and the sustain pedal on the piano should be fixed down throughout the work. Amplification of the piano should pick up the trumpet as well, but not directly. If standing microphones are used, they should be placed under the piano. There should be additional amplification for the direct trumpet sound in softer muted passages as needed. Where sound is diffused, the performer (mixer) should keep in mind the idea of facing the rising sun, and diffuse accordingly. The piano, tape, and resonant trumpet should be mixed together, rather than separated (i.e., the amplified piano resonances should be mixed through the entire hall, not just the front stereo pair)."

It's a neat piece.

ecarroll

Matthew,

Charles is a friend up here at Dartmouth. Andreas Stoltzfus, one of my grad students at McGill, played Extensions at Chosen Vale last summer and I'll find the bandwidth to post the DVD we made of this, Gaburo's Mouth-Piece (Tom Dambly), Berio's Sequenza X (Gabriele Cassone), Stockhausen's Aries (Tristram Williams), and two pieces (Zones of Coherence and Music for Unstable Circuits) by David Rosenboom (Dan Rosenboom) shortly. It was an AMAZING concert.

Extensions is published by Frog Peak Music here in Hanover, if anyone is interested. Stevens recorded it years ago (and both Tom and Charles were at the concert above -- also very cool)

Best,
EC

TrentAustin

I'm sure I'm not the only one who's dying to see that concert from CV. I can't wait to see it.

Where I can pick up the Stockausen?
-T

dedalus78

Gday Trent-

Stockhausen's scores are published by him. You can get a works list from his website, then you need to send a cheque or some Euros. Usually the music arrives pretty quickly. (to Australia, anyway)
The tape part is from his work SIRIUS (ARIES is an excerpt from SIRIUS) and is also available directly from him. The piece has been recorded by Markus both on Stockhausen's label, and also on EMI, on his disc Stockhausen plays Stockhausen.
ARIES is an incredible piece. It could very well change your life playing this music, and really getting inside it. It is difficult, and must be played from memory, but is so beautifully written for the instrument. Good luck, and drop me a line if you need any advice.


Tristram Williams

TrentAustin

Thanks so much for the reply and advice. I definitely am going to get some of his music. I was hanging out one day at Chosen Vale in the back of the rooms one day. I wish I could have heard you play more. What was the piece you played on pic at the Cassone masterclass/warmup session?

You have any solo discs out? Your playing is out of this world!

Best,

T

dedalus78

Thanks for the nice words. The piece I played could have either been Bach G minor Flute Sonata, or Le Merle Noir, by Messiaen, also a flute piece. Stay tuned for a CD, possibly with one or both of these pieces on it!

Tristram Williams

TrentAustin

Tristram,

It was definitely Le Merle Noir. That was really amazing.

I can't wait for the disc, please make sure you let us all know.

Best,

T

ecarroll

The piccolo trumpet as birdsong. . . imagine (!)

Note to all of you looking to expand your repertoire beyond the obvious: there's a mountain of wonderful music waiting for you to climb it.

Cheers,
EC