Thank you to fellow WordPress blogger Erik Semmel for letting me know about his organization, the Southington Brass, some time ago on this blog. Based in Southington, CT, the Southington Brass is calling on trumpet players worldwide to join them on April 26, 2014, in an attempt to break the Guinness World Record for the largest trumpet ensemble ever. It should be an awesome event and check out the The Trumpet Ensemble Blog for more information!
Greetings trumpet ensemble blog followers! I have launched a new blog on trumpet pedagogy: thetrumpetpedagogyblog.wordpress.com. I would really love to hear your thoughts on it and hope it proves to be a handy resource for a trumpet players worldwide!
This dissertation from Ohio State University by Jonathan Bosarge looks to be extremely interesting, discussing the pedagogical value of college students playing in trumpet ensembles. I am really looking forward to giving it a read!
Greetings all! Sorry – I’ve been away for so long! I will be performing this summer as part of the Michigan State University Trumpet Ensemble at the 2012 International Trumpet Guild conference. It should be an interesting show with lots of space themed music in the Grand Rapids, MI Planetarium! The ensemble is scheduled to perform at 10:15 a.m. on June 12.
It is interesting to note that in the U.S. Army Field Band, several chamber ensembles exist. This page lists the ones that are currently in existence. One of which is a trombone quartet (I have posted a video of them).
Earlier in the semester, I mentioned that Henri Tomasi wrote a Suite for Three Trumpets. This piece has been newly recorded on a new album by French trumpeter Erik Au Bier, famous for being the first player to record Chayes’ Concerto No. 1. The album is titled Erik Au Bier Plays Henri Tomasi. For the recording, Au Bier is joined by French trumpeters Frederic Mallardi and Alexandre Bati. The CD also includes Fanfare Litergiques, Tomasi’s landmark brass ensemble composition. The liner notes from the album are as follows:
In 1964, Tomasi composed his Suite for three trumpets, whose title owes nothing to a neoclassical pastiche. The first movement is a Habanera overlaying two elements, one marked by the rhythm of the dance, the other referencing, with its flexibility and melodic design, the servants’ theme of Pénélope in Ulysse ou le beau périple (1961). The tight dialogue between the three instruments comes forth as a limpid counterpoint, a synthesis of seduction and density of thought. The Lento Égéen, swathed in modal colours, is made up of three voices, whose subject passes from one to the other with slight variations. The Danse bolivienne is an incisive toccata where its principal melodic line is underscored with a subtly varied rhythmic ostinato.