ATG - conference report

2006 Trumpet Conference Report

An Old Kentuckian away from Home
(or Memoirs of a conference organiser…)

by Brian Evans

The ITG has much to be proud of and the existence of a major chapter in Australia has provided a regular stream of generous offers from highly talented players and clinicians to take part in local events.

A Christmas 2005 email from Vince DiMartino contained one such offer and, after 2 or 3 months of discussions and planning, 10 busy days of teaching, playing and touring were set up, culminating in a two day conference scheduled for September 16 and 17.

Linking sightseeing with a busy schedule of coaching and performing, Vince and his wife Patti managed to keep up a busy pace. Cultural events included a performance of Rigoletto at the Sydney Opera House, as guests of Opera Australia and a concert by Australian Baroque Brass hosted by musical director and founder, John Foster.

Between musical events, they managed to sample Taronga Zoo, Sydney Harbour, the Hunter Valley (wine country) and engage in some serious shopping. All of which only whetted their appetite to sample more of Australia at a later date.

Leading up to the conference, Vince fitted in a stunning guest appearance a soloist with Ralph Pyl’s Sydney All Star Big Band, at The Basement, Sydney’s premier jazz club. With a trumpet section that included Pyl, Paul Panichi, Warwick Alder and Don Rader, the many Sydney trumpeters who were drawn to this concert were treated to a feast of great jazz. An impromptu rendition of Debussy’s The Girl With the Flaxen Hair was also performed in an arrangement by Dave Marlatt, which was premiered at the 2005 ITG Conference in Bangkok. Vince and the “All Stars” trumpet section were joined by Brian Evans and Darryl Carthew on trumpets and Craig Ross on piccolo trumpet. Seemingly out of place in a jazz club, our gentle tribute to the late Maynard Ferguson was well appreciated.

Vince’s performance was all the more meritorious for the fact that this was his fourth session of the day. Two big band rehearsals of his own plus a coaching session for the big band at the Performing Arts Unit (PAU) of the NSW Department of Education. Students aged around 15-17 delighted in Vince’s enthusiastic attention. He extolled the virtues of being the best they can be and of how it is their responsibility to make great music without waiting for the band director to direct or “inspire” – it is their own responsibility.

Indeed, Vince was to be exposed to young musicians at both Barker College (Sydney’s North Shore) and Sydney Grammar School (in central Sydney) where he coach and performed. He must have been exposed to at least 400 enthusiastic music students before the main conference even started.
Held over Saturday and Sunday September 16 & 17, the ATG National Conference was hosted by the Sydney Conservatorium High School with sessions being held in their Choral Assembly Hall. The weekend’s program also provided members with a number of dedicated times during which they could check out a wide range of brass instruments and accessories set up by three exhibitors without missing sessions.

Following Saturday morning Registration, Welcome and ‘house keeping notices', the Conference performance program commenced with a recital of not one, but two, brass ensembles from the Sydney Conservatorium. Many of their student performers are already successful freelance players and the ensembles gave an energetic and thrilling rendition of works ranging from Greig’s Funeral March to Premru’s Divertimento. The ensembles were directed by Andrew Evans and Steve Rossé and trumpet players to shine included Matt Dempsey, Simon Wolnizer, David Jenkins, Lucy Leleu, Erin Goodin, Jim Pensini, Chris Graham and Jeremy Donaldson.

Featured visiting trumpeter, Vince DiMartino, ended the first morning’s session with a master class on solo repertoire. Chris Graham, Jim Pensini, Jim Polack and Nick Reefman are all tertiary students, enrolled at the Sydney Conservatorium and enjoyed about 25 minutes each of Vince’s undivided attention. A wide range of music meant that most aspects of playing – phrasing, listening, relaxing etc were covered and all players benefited from expert direction. Vince’s explanations and playing demonstrations showed his broad knowledge and technical capability over the trumpet repertoire.
James Polack opened the Masterclass playing Movement 1 of the Tomasi Concerto. Vince had lots of positive comments to make and thought there was good connection between player and music. He then asked James whether he had had a good look at the Piano part because in his opinion this is a window through which we can learn to ‘play the composer’. Vince made the point that the piano part was probably written first and consequently shows more of what the composer had in mind. He asked James and the audience, ‘How many times have you seen a composer sitting down at an orchestra and writing a piece for trumpet?

James was followed by Chris Graham playing the Norma Variations. Vince made the point to Chris that each variation should be played at the same speed as the theme. He then played the 2nd movement with Chris to illustrate his point. He suggested that Chris take one note and play all techniques on that note. This led him to talk about endurance as being a very interesting phenomenon which he defined as minimising what it costs to go from note to note – i.e. endurance comes from reducing the cost per note.

Vince congratulated Nick Reefman on performing Shakov’s Scherzo without music and commented that memorisation allows the performer to go deeper into a piece. He suggested that this could be enhanced by recording the first reading and then listening back over time. In discussing Nick’s performance Vince made the point that everything we need to know about a piece is in the piece and we need to ‘live’ the piece to get the most out of it. He also spoke about the relativity of dynamics and the importance of working on the vitality of every phrase to achieve maximum impact of the interpretation.

Next session, Gregory van der Struik, Principal trombone of the Australian Opera and Ballet Orchestra arranged a fascinating presentation of a number of important new works for trumpet by Australian composers. Alan Holley’s latest trumpet concerto (Doppler’s Web) was premiered by the Sydney Symphony in 2005. He described both his motivation for the piece and issues that he confronted during its composition. He feels that audiences like to hear soloists on the edge – at their limits – and to witness great feats of daring when they play a virtuoso piece.

Demonstrating both the necessary daring and expertise were the concerto’s premiere soloist, Paul Goodchild who demonstrated passages such as the short but crowded cadenza and also showed other sides of Holley’s compositional inspiration in an unaccompanied solo piece, Picasso's Dove, which evoked the solitude of a deserted beach and in which Goodchild’s flugel was hauntingly beautiful. Colin Grisdale performed Holley’s Opal Sky with John Martin at the piano in a clear demonstration that Holley is producing an important body of new works for trumpet.

This fascinating session was concluded with James Blunt (recently retired from the Australian Opera and Ballet Orchestra on December 31 2006 after 28 years service) discussing his approach to premiering Michael Forsyth’s An Angel for Max. Playing passages from the premiere recording, he showed how the sad subject of the loss of a child was transformed into a celebration of a short but energetic life.

This session provided a brief insight into the range and scope of contemporary Australian composers for trumpet and their compositions. Gregory van der Struik’s own Trombonis Australis Project, is continually encouraging these and other composers to write challenging yet performable works which are gaining increasing acclaim.

Finishing Saturday’s events was RAAF Air Command Big Band, members of which, are facing an uncertain future. Squadron Leader John Buckley has assembled a strong group of players from Peter Gow on lead trumpet through jazz soloists of the calibre of Mike Kenny (trumpet), Jason Morphett (tenor) and Paul Kellett (trombone). There is not a weak chair in the ensemble. They performed a wide range of styles and carried off a 90 minute programme which delighted the audience in particular when Vince DiMartino joined them as soloist in for 6 or 7 numbers. His playing seemed to inspire the group to move to another level.

The Sunday program was launched by a session showcasing the skills and scholarly descriptions of baroque trumpet virtuoso John Foster (Sydney Symphony). Assisted by Josh Clarke and Samantha Robinson, John managed to fit a broad range of information, playing and open discussion into this relatively short session. Demonstrations of playing styles across the several centuries in which natural trumpets have been used seemed to relegate the modern trumpet to the role of “Johnny-come-lately”. Indeed, John advocated using original instruments, where appropriate to the groups, in preference to modern instruments on the grounds that, in many cases, the pieces are easier to play on “nats”. This session was also a very good introduction to Australian Baroque Brass, a recently formed ensemble under John’s direction which had just released its first CD.

Vince DiMartino’s background has included brass band playing so it was good to see him in this role as he joined Willoughby for the second session of the day. Vince took the opportunity to inform the audience on the present state of brass bands in the US and to comment on differences between US and UK repertoire. Willoughby City Band is one of Australia’s premier A grade bands and now has ex-Grimethorpe bass trombonist, Andrew Snell as its conductor. Andrew took up the position in late 2005 and has already stamped his style on the group. Led by the legendary cornettist, Brian McGuiness, the band delighted the audience with its rich sound.

Technique was also high and the selected programme showed the band’s range from the slow, lyrical On a Hymnsong of Philip Bliss (Holsinger arr. Gott), through brilliant accompanying of Vince for Nessun Dorma and the Horovitz Concertino Classico to Mambo Caliente (Sandoval arr. Smith) in which Vince proved that great jazz soloing can be done in absolutely any ensemble setting.

Festival of Trumpets closed the event with all present invited to play in a large ensemble, sight reading a variety of trumpet music . Vince kindly agreed to run an exciting session where the very young and inexperience mixed in with the not-so-young, experienced players. His direction helped promote basic elements of ensemble and working for a musical outcome.

As a prelude, an ensemble of 10 professional players performed pieces by DiMartino, Gabrielli, Ewazen and others, culminating in Vince’s inspirational rendition of David Marlatt’s arrangement of La Virgen de la Macarena”, complete with a repeat of his highly extended, improvised cadenza. It was a tour de force!

All Conference attendees owe a vote of thanks to ATG President Brian Evans for his almost single handed organising of this Conference and obtaining Vince DiMartino’s participation. . Thanks must go to tireless workers, Brian and Jesse O’Neill and Elsa Brissenden; main sponsors, Yamaha Music of America, ITG and Panic Productions; trade displayers Billy Hyde Music, Sax and Woodwind and Big Band Imports, and our hosts The Sydney Conservatorium High School (Clive Lane, Acting Principal).

In all, upwards of 600 musicians of all ages and experience were exposed to his musical and educational genius during a crowded 10 day period. Thanks for visiting, Vince!

Source: Brian O’Neill and Brian Evans

2006 Trumpet Conference Report An Old Kentuckian away from Home (or Memoirs of a conference organiser…) by Brian Evans

2006 Trumpet Conference Report

An Old Kentuckian away from Home
(or Memoirs of a conference organiser…)

by Brian Evans