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ITA JOURNAL is the official publication of the International Trombone Association. I.S.S.N. 0145-3513. The ideas and opinions expressed in this publication are those of the individual writers and are not necessarily those of the International Trombone Association. Copyright 1993 by the International Trombone Association. All rights reserved. Printed by Buchanan Printing Company, Pallas, Texas, U.S.A.

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Indiana University

Paul Hunt, College of Musical Arts, Bowling Green

University, San Marcos, TX 78666

sponsored by the U. S. Army Band

ting Factory last February with Tom

wind instrument performer who

and will be held at the Ft. Myer Com

Cora, cello, and Don Byron, clarinet

came here out of goodwill and with

munity Center.

and bass clarinet. This year Ed has

the goal of presenting master classes,

Tentative faculty and artists include

appeared at the International Jazz Educators Conference in Miami in

giving a solo concert, and becoming

Joseph Alessi and the New York

acquainted with Belarusian musi

Philharmonic low brass section, Con

cians. He was able to visit the Opera

rad Herwig, Buddy Baker, John Mar-

House, where he was warmly met by

cellus, Abbie Conant, Matthew Guil-

the orchestra's trombone players, and

ford, Milton Stevens and the Inter-

also visited the Museum of the

service Trombone Choir, David Stein-

Second World War.

meyer, Andy Russell and the Uni

On February 14, Wagner gave a

versity of Texas at Arlington Trom

solo concert, at which he performed

bone Choir, the Capitol Bones, Alain

the A-flat Sonata by Galliard, the

Trudel, Mark Williams, Jeff Gaylord

Bozza Ballade, the Saint-Saens Cava-

and the U.S.A.F. Trombone Quartet,

tine, and some blues arrangments.

James Fantz and the Ground Forces

There were also some musical jokes

Army Band Trombone Quintet, Mark

which were received with pleasure

McDunn, and Hal Reynolds.

by the listeners.

January, and gave a recital at the

Bennett Conservatory of Music in Croton, NY during the summer. He

was also featured in the Campos do Jordio Winter Festival in Brazil in

July. He performed his first solo con cert in Linz, Austria, incorporating

improvisations, original compositions

and standard tunes into an evening of unaccompanied trombone.

Those interested in participating

Vitaly Naborovsky, a student, also

should contact workshop organizer

took part in the concert, as did Victor

Scott

Kavretsky, a graduate student in

Alexandria, VA 22310. The programs

Shelsta,

5903

Dewey

Dr.,

trombone, who played Julstrom's

are currently being set, and an

Rhapsody, Reiche's Andante from the

announcement of activities will

Second Concert, and the Blue Bells of

appear in the Winter 1994 ITA

Ed Neumeister (photo by Bill Spilka)

Scotland by Pryor. The solo program

Journal. For the first time ever, a solo

performed by Wagner was distin

competition will be held as a part of

Future activities include a series of

guished by its high professional pro

the ETW. Specific literature will be

concerts and workshops with Kenny

ficiency.

required for six different divisions.

(Rostislav Lagonda)

For information about this competi U.S. MARINE BAND MOURNS LOSS OF DALE FREDERICKS

This past June, Marine Band trom bonist Dale Fredericks was brutally shot and killed in a carjacking follow

tion, contact Donald Sheehan, 13341 Feldman Place, Herndon, VA 22070. BERNEL MUSIC ANNOUNCES

NEW BRASS BAND CATALOG

Werner and Gary Bartz in Denmark in August, and a tour of Austria and Switzerland with his trio in Sep

tember and October. He will be in

Sweden in November to perform Slave Trade, a piece for brass quintet, percussion and jazz soloist which was

commissioned by the Halland Brass

ing a military parade. He had joined

To answer the many requests from

the band in 1986 after completing his

both existing British-style brass band

Neumeister's compositions and

education at the Crane School of

directors and those wishing to form

arrangements are published by the

Music, SUC-Potsdam (NY) and the

one, Bernel Music Ltd. of Cullowhee,

UNC (University of Northern Colo

Ensemble in Halmstad, Sweden.

Manhattan School of Music. He had

NC now offers a catalog of traditional

rado) Jazz Press, and his book The

performed a doctoral recital at Catho

and contemporary works for British-

Modern Trombonist, a philosophical

lic University only three days before

style brass band, as well as brass quin

method book, will be published by

he was killed. Milton Stevens conduct

tets by noted American brass band

All About Jazz Publishing of the

ed a trombone choir of military musi

composers/arrangers, such as James

cians at the memorial service.

Cumow William Himes, Stephen Kent

A fund has been established in the

Goodman, and Richard Trevarthen.

name of his two-year-old son. Con

For a copy of the catalog, write to

tributions may be sent to the Paul

Bernel Music Ltd., Box 2438, Cul

Netherlands in January, 1994. CHRISTMAS CD A REALITY

AFTER 22 YEARS OF PLANNING

"Trombones Under the Tree," a

Fredericks Education Fund, Box 4633,

lowhee, NC 28723, or call Bert Wiley

longtime CD project of Dee Stewart,

Alexandria, VA 22303.

at 704/293-9312.

has now been released by Summit FALL

1993

1 1

INDIANA UNIVERSITY HOSTS

TROMBONE TUTORING '93

The Indiana University School of

Music once again presented its pro gram of summer master classes and

recitals, called Trombone Tutoring, August 8-10. The faculty for this summer's event were Joseph Alessi

(New York Philharmonic and the

(l-r) Dee Stewart, Mark Lawrence, Joseph Alessi, and Carl Lenthe Records. It is reviewed in the Record Reviews in this Journal issue. The idea for the project began in the 1970s in Dee Stewart's low brass class at the Curtis Institute of Music. In 1980, when Stewart announced that he was leaving Philadelphia, the low brass class asked if it could record Christ mas carols at its last meeting. The re sults of that two-hour "session" were spectacular, and the students pre pared a festive liner and entitled it "Trombones Under the Tree." Joe Alessi, Mark Lawrence, and Carl Lenthe, all former students at Curtis, had occasionally mentioned the possi bility of making a Christmas CD. Once a plan was developed, it took three years to find a week when all

Berklee alumnus Cyrus Chestnut, and Wilson himself. In mid-April, just weeks after the tribute concert, Wilson released his 13th recording as a leader, The Wizard ofOz Suite, on the Capri label. Wilson is backed by the North German Radio Big Band. The recording fea tures seven Harold Arlen composi

tions from the 1939 movie The Wizard of Oz and six standards, and spot lights Wilson, Sir Danny Moss, Herb Geller, and Walter Norris as soloists.

Juilliard School), Mark Lawrence

(San Francisco Symphony), Carl Len

the (Bavarian State Opera), and M. Dee Stewart (Indiana University).

The gathering featured open master

classes, concerts, ensembles, reading sessions, and presentations by nine

different exhibitors. Carl Lethe gave a special class devoted to the bass trumpet, as this is one of his duties in

the Bavarian State Opera. ISRAEL TROMBONE

ASSOCIATION HONORS RUSSIAN IMMIGRANTS

After having given concerts of German and French music earlier in

the year, the Israel Trombone Asso ciation presented a concert of all-

Russian music especially to honor the many immigrants from Russia who

three could fly to Indiana University from New York, San Francisco, and Munich. When publishers and ar

now live in Israel and contribute

rangers heard about the project, they

Hershonski, formerly solo trombonist

provided more music than could pos sibly be included on the CD. The re

greatly to her cultural life.

Among the performers were G. with the U.S.S.R. Symphony Or

cording is available from Summit Re cords, Box 26850, Tempe, AZ 85285.

(l-r) Charles Colin and Phil Wilson (photo by Bill Spilka)

PHIL WILSON IS HONORED

DAVID UBER FORMS

IN NEW YORK CITY

NEW PUBLISHING COMPANY

Berklee College of Music professor Phil Wilson was honored in an April 2 tribute concert at the New York

Composer and teacher David Uber has formed a new company named

Conference for Scholarships. The Brass Conference, which also honored legendary trumpeter Red Rodney at this year's meeting, organized a "Salute to Phil Wilson" to recognize Wilson's "distinctive career as a mas ter jazz educator and artist, held in the highest esteem in the brass and jazz community," according to Con ference director Charles Colin. The "Salute to Phil Wilson" con cert featured performances by several Berklee professors, including Hall Crook, Tony Lada, Tom Plsek, Berk lee Dean of Faculty Warrick Carter, 12

ITA

JOURNAL

Rebu Music Publications, specializing in trombone music in the alto clef and music for various combinations of brass instruments. For a free cata log, write to David Uber, Box 504 RD 1, Wallingford, VT 05773. Uber was the guest clinician at a brass symposium sponsored by Robert King Music Sales in North Easton, MA on August 14, 1993. The symposium was organized by Dennis

Hugh Avey, general manager of the

Robert King-Alphonse Leduc Com pany, and Thomas Reynolds. Brass ensembles of all sizes performed Uber's original compositions.

chestra, who played trios with his two sons, Michael and Denis; R. Kresner

of the Leningrad Opera, the Tel-Aviv trombone section, all of whom are recent immigrants; the Israel Phil

harmonic trombone section (S. Taylor, J. Pasternak, and Micha Davis) played Blazhevich's First Suite; Nitzan HarOz, the new assistant principal trom

bonist in the New York Philharmonic; and Eli Aharoni of the Jerusalem Symphony. The concert concluded with the trombone choir playing Russian folk songs arranged and con

ducted by Eli Aharoni. SEVENTH ANNUAL

JAPANESE TROMBONE FESTIVAL HELD IN TOKYO

The Seventh Annual Trombone Festival, sponsored by the Japanese Association of Trombonists, was held on May 16,1993, in Tokyo. The atten-

dance was healthy at the conference

for a benefit concert for jazz trombon

Philharmonic Orchestra (the former

that featured concerts, master classes

ist Rick Stepton at Lombardo's, in

Leningrad Philharmonic) after serv

by soloists and ensembles, and exhi

Randolph, MA on April 20, 1993.

ing for 42 years as principal trombon

bits by several instrument manufac

Rick is one of the most diverse and

ist. Recent problems, including a bro

turers. The participants feasted on

eight hours of trombone music, with the final concert featuring Jun-ichiro Murakami's Trombone Lullaby.

polished lead players around today,

ken leg and a mugging (during which

and his touring credentials include stints with Woody Herman, Maynard

he was struck in the mouth) have

Ferguson, and Buddy Rich. Last win

ing completely, including his recitals

ter, Rick was bitten in the face by a

outside the orchestra. He is also pro

dog, and has undergone reconstruc

fessor of trombone at the Rimsky-

tive nose and lip surgery, followed

Korsakov Conservatory, where in

by therapy. The benefit, organized by fellow trombonist Peter Corelli,

the Highest Order." He also continues

raised more than $5,000 to assist Rick

to act as an instrument design consul

with his medical expenses. As a free

tant for several Russian firms.

lance player, he had no insurance at

the time of the accident. Miracu

lously, Rick is back playing again,

Mikio Wada (standing) coaches an en semble of students

and played at the beneft along with the Boston Jazz Orchestra, the Phil Wilson Quartet, the Greg Hopkins Sextet, and the Ken Hadley Big Band.

ARKANSAS STATE HOSTS ALL-REGION TROMBONE CHOIR

Arkansas State University hosted the Fifth Northeast Arkansas AllRegion Trombone Choir concert Ap

ril 22, 1993. High school and junior

high students from several schools in the area rehearsed and performed with the ASU Trombone Choir on its annual spring program. The concert

brought 25 trombonists together on the university's campus in Jonesboro. Many high school and junior high students and their directors support

ed the event by rehearsing the trom bone choir music with the students

after school hours. University and

TWO NEW RECORDINGS

November 13, 1994 is the release

date of two new CD recordings by Christian Lindberg. American Trom

bone Concertos, featuring Lindberg with the Malmo Symphony Or chestra conducted by James de Priest,

includes several significant solo

works. The second CD, titled Lindberg-BIS 10 Year Jubilee, contains a

some of the best cuts from Lindberg's previous CDs, along with five newly recorded tracks. DICK SHEARER RELEASES

have brought about a stronger feeling

KENTON TRIBUTE RECORDING

increasing number of entrants in solo

and ensemble contests. A special advantage to the trombone commu

nity of Jonesboro is the presence of Al Johnson, retired U.S. Marine Corps

bandsman, who has a large private studio of school-aged trombonists in the area. Neale Bartee, professor of music,

who organized the trombone choir event, has just completed his 20th

year of teaching on the faculty of Arkansas State University.

Dick Shearer has just released a CD

The Boston Musicians' Union and

more than 500 friends joined together

Venglovsky is well known in the

West due to the touring and record ing activities of his orchestra and his keen interest for keeping contact with

his colleagues. He also qualifies for The Guinness Book of World Records under the category of "Most Con

Trombonist," a feat he accomplished on May 5, 1983. On that evening,

Venglovsky performed concertos by Larsson, Milhaud, David, and Duben-

sky (and a few encores on top of it all) with the Leningrad Philharmonic Orchestra. Has any other trombonist in history been featured in such a way by a top-flight orchestra on its regular concert series?

1993 DOWNBEATJAZZ CRITICS POLL RESULTS

For those keeping track, the results of the 1993 Downbeat Jazz Critics Poll are as follows: J.J. Johnson (211), Ray

Anderson (166), Steve Turre (155), Curtis Fuller (40), Robin Eubanks (34), Albert Manglesdorff (33).

entitled Dick Shearer and His Stan

Winners in the category of Talent

Kenton Spirits, on the Americatone

Deserving of Wider Recognition were

International label (AMT-CD 1992006).

Frank Lacy (66), Robin Eubanks (61),

Arrangements on the CD are by Bob

Steve Turre (44), Craig Harris (33),

Curnow, Ken Hanna, Dale Devoe,

Fred Wesley (28), Wyclif Gordon (27),

Mark Taylor, and Hank Levy. It is a

and George Lewis (27).

most interesting trombone and rhythm offering, featuring Dick's wife, Cheri,

CHRISTIAN LINDBERG

ex-Kentonian Dale Devoe and others.

ITINERARY FOR 1994

The CD can be obtained for $15 plus

For verification and changes, contact

shipping and handling by writing to

Lindberg's manager, Gunilla Lodding.

Dick Shearer, 13163 Thomas Road,

Fax number in Sweden is 3140 8011.

Molalla, OR 97036. Fax 503/829-9687.

BENEFIT CONCERT HELD

FOR RICK STEPTON

1991 he was appointed "Professor of

certos Played in One Program by a CHRISTIAN LINDBERG RELEASES

public school cooperative efforts of pride in being a trombonist and an

forced him to give up trombone play

VICTOR VENGLOVSKY RETIRES

Russian Victor Venglovksy has re

cently retired form the St. Petersburg

January 9—University of Illinois— solo recital January 12—Western Michigan

University, Kalamazoo—solo recital FALL

1993

1 3

January 17—University of Wisconsin, Platteville—solo recital January 18—Ohio State University— recording session and concert

February 13-19—Israel—Haydn and Rota Concerti

May 15—New York^-Zwilich Concerto

May 16-22—University of North Texas, Denton—solo seminar June 1-4—Minneapolis—ITW—

Takemitsu Concerto (world pre

February 25—Glasgow, Scotlandsolo recital

miere)

June 24—Bad Kissingen, Germany—

February 27—London—Schnittke Dialogue

March 3—Aberdeen, Scotland—

Haydn and Rabe Concerti March 3—Edinburgh, Scotland— Haydn and Rabe Concerti

March 4—Glasgow, Scotland— Haydn and Rabe Concerti

Lindberg/Lundberg duo June 2S—Saarbrucken, Germany— Haydn and David Concerti

June 2G—Ludwigsburg, Germany— Lindberg/Lundberg duo July 9-10—Schleswig-Holstein, Germany

July 27-August 1—Tokyo—Takemitsu Gemeaux

March 5—London—Schnittke Dialogue

August 2—Tokyo—Rimsky-

March 9—Prague—Haydn Concerto and Sandstrom Short Ride March 18-19—Goteborg, Sweden—

August 5-ls—Los Angeles—

Sandstrom Concerto

March 27—Jonkoping, Sweden—

Ahlin Concerto (world premiere) April 12-14—Sundsvall, SwedenHaydn and Rabe Concerti

April 25-28—Stockholm—BIS Recording—Trombone and Violine Baroque

Korsakov Concerto

Sandstrom Concerto

September 2—Helsingfors, Sweden— Aho Concerto (world premiere) September 8—Melbourne, Australia—Haydn Concerto and Part (world premiere)

September 9—Sydney—Haydn and Part

September 10—Canberra—Haydn and Part

September 11—Adelaide—Haydn and Part

September 23—Stockholm—Wills Concerto (world premiere) October 9-23—Great Britian tour October 30-November 2— Norrbotten, Sweden—Sandstrom Concerto No. 2 (world premiere) November 4—Orebro, Sweden— Sandstrom Concerto No. 2

November 11—Copenhagen—Xenakis Concerto Each Ban-Lines Gigbag is handmade

November-December—Japanese tour

from high quality leather with high density

foam padding carrying handles and straps

for convenient lightweight transportation.

PITEA MUSIC FESTIVAL FEATURES LINDBERG SOLO SEMINAR

Tenor Trombone Bass Trombone Altc/Tenor Combo

US$ 275 US$ 275 US$ 300

Prices include shipping anywhere in the World

BarrLines, PO Box 430, High Wycombe, Bucks HP13 5QT ENGLAND Tel (0494) 562934 Fax (0494) 437619

For one week in July 1993,11 trom

bonists gathered in Pitea, Sweden to learn what it takes to be a profession al soloist. They came from Hungary, Japan, Austria, Germany, Ohio, and Minnesota to study their art with a master teacher. From teenaged prodi

gies to nearly middle-aged professors, they were students of Christian Lindberg for one week.

Having attended Lindberg's 1992 master class in Liibeck, Germany, I

ITA

JOURNAL

was familiar with the format of morn ing and afternoon coaching sessions, evening recitals, and late-night prac

tice. Each student selected two solos to prepare during the week. As in 1992,

the literature consisted of many pieces from the standard repertoire, includ ing Martin, Weber, Sulek, Ropartz, Rabe, Nordheim, and Larsson. I chose the Grondahl Concerto and Jan Sandstrom's Short Ride on a Motorbike for trombone and DAT tape. Many of the students premiered works by compo sition students attending the Pitea Music Festival. Lindberg will be per forming several of these new pieces at the 1994 International Trombone Workshop in Minneapolis. Lindberg's thorough knowledge of the instrument's physical and techni cal demands makes him very adept at identifying a student's strengths and weaknesses. His years of experience on stage and in the studio have result

ed in a mental focus that was inspir ing, and occasionally unbelievable. Above all, Lindberg is a consummate musician, and encouraged us to always respect the composer's intent.

The 1993 Pitea Music Festival fea tured master teachers on many instru ments, including Lindberg, Karl Leister—clarinet, and David Rus sell—guitar. There was also a large composition class, led by faculty members Par Lindgren, Anders Hillborg, and Jan Sandstrom. I found the composition master classes to be very

informative, and gained valuable insight into the relationship between composer and performer. In prepar

ing Sandstrom's Motorbike, I found it very helpful to hear the composer and

Lindberg discuss the genesis of the work. I was impressed with the level of respect and cooperation that exists between Lindberg and the three com posers, and hope that a similar collab oration will be possible at future mas ter classes. The composition students were kind enough to write a new octet for the trombonists to perform on the final concert. The provocative setting of Snow White and the Seven Dwarfs was well received by both the performers and the audience. The level of performance during the master class was very high. As with the 1992 master class, the week in Pitea rekindled memories of my

first days in graduate school, when I

their success in Umea and Pitea,

In a unique offer of generosity,

realized that the pond was much big

Sweden and in Liibeck, Germany. For

Lindberg has announced that he will

ger, and so were the other fish. It was

the first time Lindberg will bring one

a pleasure to hear so many wonder

of his seminars to the U.S. On May

ful players in Pitea, and I especially

16-22 the University of North Texas

enjoyed the wide range of personal styles. Many of the students had pre viously attended Lindberg master

classes, including the multitalented Abbie Conant, Gustav Hoena's stu

dents Koichiro Yamamoto and Laszlo Pete, and the young Austrian, Siegmund Andraschek. The Lindberg

influence was clearly evident in their preparation and performance. Jessica Wiklund, Christopher Sjogren, and

Kalle Frid represented Sweden at the master class, with Heiko Peterson

and Frank Filipitsch from Germany,

will host the only Lindberg Solo Seminar for 1994. It will present a

wonderful opportunity for American

participation without the extra travel costs involved with going to Sweden.

Eight "active" master class perform

the fund. For details regarding application, tape requirements, housing, etc.,

write to Christian Lindberg Solo Seminar, Box 5336, Denton, TX 76203.

ers will be selected by taped audition.

MERIDIAN ARTS ENSEMBLE

RELEASES FRANK ZAPPA

application and tape will be February

RECORDING

15, 1994. An unlimited number of "passive" participants (observers) will be accommodated.

The intensive daily schedule will serve as a glimpse into the daily rou

from the U.S. The week in Pitea,

tine of a world-class trombone solo

Sweden will long be remembered.

ist. Lindberg plans to work from 8:00

a.m. until 7:00 p.m. daily, and will expect the participants to keep up

1994 CHRISTIAN LINDBERG

with him. Host professors Vern Ka-

SOLO SEMINAR PLANNED AT

garice and Royce Lumpkin will offer

UNIVERSITY OF NORTH TEXAS

Fund. This means that everyone who participates will be helping to support

The deadline for submission of an

and Laurie Penpraze and myself

(Tom Ashworth)

donate his fee for the seminar to the ITA William Cramer Commissions

daily trombone quartet and trom

The Meridian Arts Ensemble, per

haps the most innovative and musi cally satisfying brass quintet around today, has just released a compact

disc titled Smart Went Crazy on the Channel Classics label featuring

music of Frank Zappa, Kirk Nurock, and Phillip Johnston. The members of the New York City-based group

include Jon Nelson and Richard Kelley, trumpets, Daniel Grabois, horn, Ben Herrington, trombone, and Ray

Christian Lindberg's solo seminars

bone choir reading sessions for the

have been growing in popularity

observers, thereby giving everyone

mond Stewart, tuba. They are joined on this recording by drummer Mor

over the past three years because

ample opportunity to play.

ris Roberts.

will be held at the

University of North Texas, Denton, Texas May 16-22, 1994

Past seminars have been held in Umea and Pitea, Sweden and Liibeck, Germany. Lindberg's only solo seminar in 1994 will be held in Denton, Texas.

The Seminar will include an intense daily schedule of masterclass lessons, physical exercise sessions, as well as pre-seminar and post-seminar recital performances.

Eight active performers will be selected by taped audition to study and perform in the masterclasses. Deadline for the submission of an application and tape will be February 15, 1994.

Observers are encourged to attend all the sessions of the Seminar. In addition to Lindberg's sessions, University of North Texas professors Vern Kagarice and Royce Lumpkin will conduct a series of trombone choir and trombone quartet reading sessions, thereby giving observers an opportunity to play as well.

Christian Lindberg has agreed to donate his fee from the Seminar to the William Cramer Commissions Fund. This means that every participant is also helping to build this important fund. For application form, tape requirements, or information regarding tuition and housing, write to:

GOLD ££|MW/)£, Box 5356, Denton, TX 76203 U.SA or send a fax to 817/382-3435

FALL

1993

Robert King and members of the Pier, Band of St. Petersburg

King, founder of the now legendary music

publishing house of the same name, play^ ing euphonium with the Pier Band of St.

Petersburg, Russia in the fall of 1992.

King confirmed the facts as follows: "They spoke no English and I'm not at all good in Russian, but there was musicâ&#x20AC;&#x201D;f minor in fact. The music was all hand-drawn and had

been rained upon, plus the fact my glasses were on the ship. The men, I found out, are all ex^players from the

Philharmonic and are allowed to play Meridian Arts Ensemble (photo by

at many of the city's tourist spots.

Michael Lavine)

You can see the bag for dollar bills in

The MAE has won a number of

prestigious competitions, including

the Concert Artists Guild Award, the Chamber Music of Chicago Com petition, the New York Brass Con

ference Competition, and the Inter

the foreground. It's good that serious brass music gets played!" 100 TROMBONES CELEBRATE

THE GREENWICH MERIDIAN ON THE THAMES

national Artists Competition. It has

As part of the newly renovated

also completed a residency at New

Old Royal Observatory, which sits on

York City's classical radio station

the Thames River in London, a per

WZXR, for which it recorded four

manent laser beam has been installed

concerts with musical commentary.

which will fire north nightly along

Its first recording on Channel Clas

the 0Â° longitude, effectively showing

sics' Winning Artists series features

how the Greenwich Meridian crosses

music of Lutoslawski, Jan Bach,

the Thames three times within a cou

Alvin Etler, Ira Taxin, and Alexander

ple of miles. The laser was switched

Arutunian.

on for the first time on March 23,

The ensemble will also be busy touring this year. Along with numer

ous concert dates across the U.S., it

1993, and many of London's trom bonists were on hand to celebrate.

WESTERN MICHIGAN UNIVERSITY FEATURES SPECIAL TROMBONE EVENTS

Western Michigan University will be featuring two outstanding events

for trombonists in January 1994. The Chicago Symphony Orchestra low brass section will appear on Sunday,

January 9 for a day of master classes

and performances.

In addition,

Christian Lindberg is tentatively scheduled to present a solo recital on Wednesday, January 12 at 8:00 p.m. A nominal fee will be charged for

each event. To confirm the Lindberg

performance or for additional infor mation on the SCO low brass, call the School of Music at Western Michigan University at 616/387-4667, or Steve

Wolfinbarger at 616/387-4699. NEW POSITIONS

Peter Ellefson has won the recent

audition for second trombonist in the Seattle Symphony Orchestra. His

teachers include M. Dee Stewart, Frank Crisafulli, and Warren Baker. Paul Welcomer has won a one-year position as second trombone with the

San Francisco Symphony Orchestra.

Alan Tomlinson wrote a large-scale

will be in residency at the New Amer

He has previously been a member of

piece, scored for three groups of

ican Music Festival in Sacramento for

the Air Force Band in Washington, DC

trombonists, each on its own separate

two weeks in the fall and one in

and the Alabama Symphony.

barge with its own conductor, plus a

January 1994. It will tour the southern

smaller group of alto trombones on a

position with the Heritage of Amer

faster moving vessel. The score is in

ica Air Force Band at Langley Air

states in February, and a European tour is planned for the summer. It is managed by Thea Dispeker, and can

also be contacted by writing to Jon Nelson, 66 Overlook Terrace, Apt. 2A, New York, NY 10040. ROBERT KING SOLOS ON

ST. PETERSBURG PIER

Nothing gets past our cadre of intre

Tom Godfrey recently accepted a

simple graphics notation, features the

Force Base, Virginia. He holds a

loud dynamic range, and lasts 12

bachelor's degree from the University

minutes. More than 100 trombonists

of Illinois and a master's degree from

showed up, took part in a short

Kent State University. His teachers

rehearsal, sloshed onto their barges

include Elliot Chasanov, James De-

and let their resonant yawp cover all

Sano, and Robert Gray.

of Londontown in honor of the

Murray Crewe has won the bass

Greenwich Meridian's new laser

trombone position in the Pittsburgh

beam (there has been no announce

Symphony Orchestra. He previously

pid ITA News reporters, it seems, as we

ment on the number of fish that may

have obtained a photograph of Robert

played in the Utah and Toronto sym

have floated to the surface afterward).

phonies.

ITA

JOURNAL

formed Thorn Ritter George's Con

Harold Van Shaik has won the

James McNair recently won the

bass trombone position in the Florida

U.S. Marine Band audition. McNair is

Symphony in Tampa. He has most

currently an assistant band director

Texas Festival Orchestra, conducted

recently been playing in the Hono

in Richardson, TX, as well as a mem

by Heiichiro Ohyama. Jay is com

lulu Symphony Orchestra.

ber of the Richardson Symphony and

pleting his bachelor's degree at

the Dallas Trombone Quartet. He is a

California State University at North-

appointed bass trombonist of "Amer

graduate of East Texas State Univer

ridge, and studies with William

ica's Band in Blue/' the United States

sity, where he studied with Neill

Booth and Jeff Reynolds.

Air Force Band at Travis Air Force

Humfeld and Jimmy Clark.

Michael Browning was recently

Base, California. He holds a bachelor's

certo for Bass Trombone with the

Tom Brantley has won third prize

Scott Hartman has recently joined

degree from the University of South

in the Ima Hogg Houston Symphony

the brass faculty of the New England

ern Mississippi. His teachers include

Young Artist Solo Competition. As

Conservatory of Music. He was a

Elliot Chasanov and Marta Hofacre.

member of the Empire Brass from 1984

phony Concerto Competition, he

to 1993.

will perform Wagenseil's Concerto

Anthony Garcia recently joined the

Northwestern University music facul

Chris Card has been appointed

ty as a jazz specialist. He previously

instructor of low brass and director of

served as coordinator of jazz studies

bands at West Virginia State College.

at Northern Illinois University.

He holds a bachelor's degree from

Jon Lindsey recently accepted a

James Madison University and a

position as director of jazz studies at

master's degree from the University

Nicholls State University and low

of Illinois. His teachers include Elliot

brass instructor. He is a graduate of the University of Southern Missis sippi and the University of Illinois. His teachers include Douglas Lem-

mon, Robert Gray, Fritz Kaenzig, and Marta Hofacre.

Douglas Farwell was recently ap pointed visiting assistant professor of

trombone

the

University

Missouri-Kansas City to fill in for John Leisenring during his leave. Farwell holds a bachelor's degree from the North Carolina School for the Arts and a master's from SUNYStonybrook. His teachers include Elliot Chasanov, Robert Gray, Ronald Borror, and Andrew Russell. David Mathie, trombone instruc

Chasanov and George West. NEWS BITS

Denis Wick was the trombone lec turer at the annual brass seminars

sponsored by Gerassirnos Raimundis and John Elephantis in Athens, Greece in October 1993. Iowa Trombones, Opus VI was

held this past July in Cedar Falls. The event, coordinated by Bill Shepherd, included a successful day of master classes and concerts.

Carl Fontana was the featured guest artist at the 1993 Pensacola Jazz

Festival held April 17-18 at Seville Square in the historical section of

tor at Boise State University, was

downtown Pensacola, FL. Fontana

recently appointed second trombonist

performed Carl by Bill Holman,

in the Boise Philharmonic Orchestra.

Emily, China Town, and My Town, all

Daniel Toomey was recently

arranged by Rob Prok and Cherokee,

appointed principal trombonist of the

arranged by Frank Mantooth, with

Singapore Symphony Orchestra,

the Pensacola Junior College Jazz

replacing Wayne Groves.

Band. He performed with the Lloyd

Bradley

Payne

was

recently

appointed bass trombonist of the Mil waukee Ballet Orchestra.

Ellis Quartet the following day. Ron Barron, the Boston Sym

the winner of the Mississippi Sym

for Alto Trombone on the orchestra's

Chamber Concert series. He recently

graduated from the University of Southern Mississippi as a student of Marta Hofacre, and is currently studying at the University of North Texas with Vern Kagarice. He has also studied with Christian Lindberg and Robert Schmalz. Trombonist Don Lusher was pre

sented with the "Freedom of the City

of London" at a ceremony at the

Guildhall on February 22, 1993. This ancient honor has been awarded to outstanding British citizens through

the ages, Sir Winston Churchill among them.

Hugh E. McMillen, author of A Guide to Bass Trombone Playing pub lished by Olds Instrument Company,

and director of bands at the Uni versity of Colorado from 1936 to 1941, died November 6, 1992, in

Mesa, AZ. He also directed instru

mental music for the Boulder Valley public schools and conducted the Boulder Civic and Concert Bands. Jazz trombonist Charles "Majid" Greenlee died on January 22, 1993.

Having performed with Lucky Mil liner, Duke Ellington, Dizzy Gillespie, Archie Shepp, Lionel Hampton,

phony's principal trombonist, was fea

and many more, he had recently be

tured soloist with the New England

come active in jazz education in the

from her position as principal trom

Intercollegiate Band at the MENC

Springfield, MA area.

bonist of the New Mexico Symphony

Eastern Conference in Springfield, CT

Orchestra to serve as principal trom

on March 21,1993.

Debra Taylor has taken a leave

Otto S. Rosin, (1902-1993), retired solo trombonist of the Bamberger

bonist of the San Diego Symphony

Bass trombonist Jay Heltzer won

Symphoniker, recently died. Otto is

Orchestra. She replaces Heather Buch-

the Round Top Music Festival Young

the father of noted German trombone

man, who is on a leave of absence.

Artist Competition, and as such per

soloist Armin Rosin. FALL

1993

MANNES COLLEGE

MUSIC

TROMBONE STUDIES

Artistry & Community At Mannes they go together. The skills, understanding and originality of artistry are fostered by a superb faculty in a caring and supportive community. That's why Mannes graduates succeed. New York Audition Dates: January 5,1994;

March 7, 8, 9,10,11,1994; May 24, 25, 26, 27,1994; August dates to be announced.

Chicago Auditions: February 1,1994 at the Fine Arts Building.

Los Angeles Auditions: February 2,1994 at The Music Center of Los Angeles County. San Francisco Auditions:

Faculty Per Brevig

Donald Harwood David Taylor Brass Chamber Music David Taylor Programs of study: Master of Music, Post-Graduate Diploma, Bachelor of Music, Bachelor of Science, Diploma, Professional Studies Certificate

Wind/Brass Repertory Ensembles Chamber Music Master Classes with Distinguished Artists

February 3,1994 at War Memorial Opera House.

Scholarships are available.

Call 800-292-3040 or 212-5800210 for farther information.

Dormitory rooms are available.

New School for Social Research

For additional information: Write or call Marilyn Groves, Director of Admissions, The Mannes College of Music, 150 West 85th Street, New York, N.Y. 10024, 800-292-3040 or 212-580-0210.

ITA

JOURNAL

MUSIC COMPANY

Brook Mays Band

Pro Shop

Seivice! Service! Service! ..mm

iii

W'fl

m..

■ WM

• Private appointments for the attention you deserve • Play before you buy so you know what you're getting • Stock from every major manufacturer giving you the choice • OnsKe tweaking so it plays as good as it looks • Multiple instruments of the same model to compare • Extended warranty for piece of mind for 5 years • Mouthpiece exchange to help you find the right sound • Case options for your specific transport need • Financing to fit your budget so you get the instrument you need • Trade-ins accepted to provide a "home" for your old horn • Huge selection of instruments and mouthpieces • Close to Love Field and D/FW Airport if you want to fly • Discounts on instruments, mouthpieces, and accessories.

Where the pros shop! Brook Mays Band Pro Shop

5756 LBJ Freeway

214/233-9633

Dallas, TX 75240

800/442-7680 FALL

1993

=r mm

Hugo

Magl

-,,.**

Cleveland Trombone Choir

fiijl1"1! W1I

IliV 1993 In Review compiled by George Broussard

work of many. Special thanks to John Drew, Bill Hartman, Marta Hofacre, Paul Hunt,

ITW photos by Russell Widener

••'^

The world-traveling Interna tional Trombone Workshop blew into Cleveland, Ohio for

■

its 22nd annual celebration of

iiillliiiiiHilH ■■■iiifiiiiill!

;o\^

the trombone. This zephyr,

fresh from an outstanding European so journ, continues to blow its way from musi cal peak to peak. Although the Detmold vet erans missed the trek up "the hill/' the hospi tality and facilities at Cleveland State Uni versity were "world-class/7

Continuing in the tradition established by Henry Romersa, Tom Everett, and Neill Hum-

feld, Steve Wolfinbarger and Paul Ferguson staged another trombone spectacular. It was an exciting week of seeing and hearing old

friends and discovering new ones. The con certs, master classes, and exhibits kept every

one busy from the 8:00 a.m. warm-up sessions (a new and appreciated feature) to the late nights at "Rhythms" (a great jazz room). From the traditional Sunday trombone choir at Trinity Cathedral led by Paul Hunt until the

final strains of Thursday night's jazz concert at Swingo's, ITW '93 was a well-organized, smooth-running machine. Congratulations to all for a job well done.

Like the ITW itself, this re port repre

sents the

Robert Lindahl, Gary Shaw, and Steve Sudduth for their contributions. Sunday evening's brief welcoming ceremo ny, like the rest of the week, packed a wealth

of information into a small package. President Hugo Magliocco introduced the current offi cers, President-elect Steve Wolfinbarger, the IPV representative Reinke Eisenberg, and the many scholarship winners. The winners were as follows: Rob Stone, London, Ontario—Frank Rosolino Memorial Scholarship; Barry Hearn, Arlington, TX—Robert Marsteller Memorial Scholarship; Steven Brown, Hays, KS—Donald Yaxley Memorial Scholarship; Aaron Kadrmas, Fargo, ND—ITA Scholarship; and James Fantz—Frank Smith Memorial Scholarship. Donald Beyer has been helping students attend the International Trombone Workshop for many years. Kyle Wicks was this year's recipi

ent of the newly instituted Donald Beyer Annual Incentive Scholarship.

The 1993 ITA Award was given posthu mously to Larry Wiehe. In accepting the award

for the family, Wanda Wiehe, his widow, an nounced the establishment of the Larry Wiehe

Memorial Scholarship Fund (send contributions to Vern Kagarice, College of Music, University of North Texas, Denton, TX 76203).

The workshop's first concert was presented by the High Anxiety Bones. They provided not high anxiety but high artistry as they filled Waetjen Auditorium with well-balanced musical excitement. From Mozart to Irving Berlin, Paul

st,

eve *W h<*dle (l-r) Ben van Dyk, Vern Kagarice, Heinz Fadle, and John Marcellus

ITA

JOURNAL

United Musical Instruments plant in action

]^ SteveAnderson

"HfT

Ferguson, Ray Premru,

Steve Witser, and Ed Zadrozny set a standard for the week. Their

performances of Alfred Hornoffs Suite fur Vier Posaunen was just one of the many "highs." Raymond Premru led the Cleveland Trom

bone Choir through a well-balanced program,

featuring the works of Walter Hartley, William

Byrd, George F. Handel, and Hoagy Carmichael. The compositions and arrangements of Premru and the legendary Ernest Miller (in attendance) were well received. The choir ended with a rousing rendition of Rayburn Wright's Stardust for the Chief Can anyone forget Tim Anderson's

demonstration of flexibility? It was a great and enjoyable beginning.

8:00 a.m. was early to some, but the new

group warm-up sessions made rolling out early a worthwhile task. Kudos to the man behind the idea and thanks to Steve Anderson, Royce

Lumpkin, Dee Stewart, and Reginald Fink for helping us get off to a great start each day.

There were new ideas and exercises, as well as a comfortable reacquaintance and reassessment of the most often used ones.

Clinics and Master Classes

professor of trombone at the University of North Texas, ITA Journal editor and executive man

Li :J

ager, and an active international performer and clinician; or Stuart

Dempster, a trombone professor at the University of Washington

and internationally acclaimed soloist, recording artist and pro ponent of avant-garde music. Heinz Fadle's presentation,

titled "The German Trombone: Traditional, Style, Solo Literature,

and Schooling," concerned just that. He began with a discus

sion of the aspects of perfor mance which have affected German

WorkshoP Be

composers of trombone music. Al though, as he pointed out, in actuality not much has been written for trom

bone in Germany. The extant works show the influence of the proficiency level of available trombonists, and the style of playing as affected by the nature of the German language, the

9:00 a.m. was the master class hour. Each day

military heritage, the lack of jazz and

participants could attend one of three master

pop influences, and the differences in

classes. They were presented by Heinz Fadle,

sound and style of playing created by

currently ITA second vice president for

the physical properties of German

International Activities and trombone professor

trombones (in particular the dual

at the Hochschule fur Musik in Detmold,

bore and larger bell size). He cred

Germany, formerly president of the Inter

its the survival of the "German

nationale Posaunen Vereinigung and orchestral

style" to the players in Berlin

trombonist throughout Germany; Vern Kagarice,

who choose to maintain it and to

Heinz

the fact

'"d Steve Witse

. â&#x20AC;˘ "5f,

Hugo Magliocco and Wanda Wiehe

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OOP QJ)QJ>QJ>Q(1O O O Op <?OO p OO Q^qpOp Q 0(^000COSJ FALL

1993

hIMi^^^m^^s^s ■Hill li

Cleveland Trombone Choir

IliV 199? In Review compiled by George Broussard

work of many. Special thanks to John Drew, Bill Hartman, Marta Hofacre, Paul Hunt, Robert Lindahl, Gary Shaw, and Steve Sud-

ITW photos by Russell Widener

The world-traveling Interna tional Trombone Workshop

blew into Cleveland, Ohio for its 22nd annual celebration of the trombone. This zephyr, fresh from an outstanding European so journ, continues to blow its way from musi

cal peak to peak. Although the Detmold vet erans missed the trek up "the hill," the hospi

tality and facilities at Cleveland State Uni versity were "world-class." Continuing in the tradition established by

-IS

Henry Romersa, Tom Everett, and Neill Hum-

feld, Steve Wolfinbarger and Paul Ferguson staged another trombone spectacular. It was an exciting week of seeing and hearing old

friends and discovering new ones. The con certs, master classes, and exhibits kept every one busy from the 8:00 a.m. warm-up sessions (a new and appreciated feature) to the late

nights at "Rhythms" (a great jazz room). From the traditional Sunday trombone choir at Trinity Cathedral led by Paul Hunt until the

final strains of Thursday night's jazz concert at Swingo's, ITW '93 was a well-organized,

smooth-running machine. Congratulations to

all for a job well done.

Like the ITW itself, this re port repre

sents the

s*e*e

duth for their contributions. Sunday evening's brief welcoming ceremo ny, like the rest of the week, packed a wealth

as follows: Rob Stone, London, Ontario—Frank

Rosolino Memorial Scholarship; Barry Hearn, Arlington, TX—Robert Marsteller Memorial Scholarship; Steven Brown, Hays, KS—Donald

Yaxley Memorial Scholarship; Aaron Kadrmas, Fargo, ND—ITA Scholarship; and James

Fantz—Frank Smith Memorial Scholarship. Donald Beyer has been helping students attend the International Trombone Workshop for many years. Kyle Wicks was this year's recipi

ent of the newly instituted Donald Beyer Annual Incentive Scholarship.

The 1993 ITA Award was given posthu mously to Larry Wiehe. In accepting the award for the family, Wanda Wiehe, his widow, an

nounced the establishment of the Larry Wiehe Memorial Scholarship Fund (send contributions

to Vern Kagarice, College of Music, University of North Texas, Denton, TX 76203).

The workshop's first concert was presented

by the High Anxiety Bones. They provided not

high anxiety but high artistry as they filled Waetjen Auditorium with well-balanced musical excitement. From Mozart

to Irving Berlin, Paul

Olfi«ba

(l-r) Ben van Dijk, Vern Kagarice, Heinz Fadle, and John Marcellus 24

ITA

JOURNAL

United Musical Instruments plant in action

i Steve Anderson

j^jjp^j

Ferguson, Ray Premru,

Steve Witser, and Ed

Zadrozny set a standard for the week. Their

performances of Alfred Hornoffs Suite fiir Vier Posaunen was just one of the many "highs." Raymond Premru led the Cleveland Trom bone Choir through a well-balanced program,

featuring the works of Walter Hartley, William

Byrd, George F. Handel, and Hoagy Carmichael. The compositions and arrangements of Premru and the legendary Ernest Miller (in attendance) were well received. The choir ended with a

rousing rendition of Rayburn Wright's Stardust for the Chief Can anyone forget Tim Anderson's demonstration of flexibility? It was a great and enjoyable beginning.

8:00 a.m. was early to some, but the new group warm-up sessions made rolling out early

a worthwhile task. Kudos to the man behind the idea and thanks to Steve Anderson, Royce

Lumpkin, Dee Stewart, and Reginald Fink for helping us get off to a great start each day. There were new ideas and exercises, as well as a comfortable reacquaintance and reassessment of the most often used ones.

professor of trombone at the University of North Texas, ITA Journal editor and executive man

ager, and an active international performer and clinician; or Stuart

Dempster, a trombone professor at the University of Washington

and internationally acclaimed soloist, recording artist and pro ponent of avant-garde music. Heinz Fadle's presentation,

titled "The German Trombone: Traditional, Style, Solo Literature,

and Schooling," concerned just that. He began with a discus

sion of the aspects of perfor mance which have affected German

op Bones

composers of trombone music. Al though, as he pointed out, in actuality not much has been written for trom

bone in Germany. The extant works show the influence of the proficiency

level of available trombonists, and the

Clinics and Master Classes

style of playing as affected by the

nature of the German language, the

9:00 a.m. was the master class hour. Each day

military heritage, the lack of jazz and

participants could attend one of three master

pop influences, and the differences in

classes. They were presented by Heinz Fadle,

sound and style of playing created by

currently ITA second vice president for

the physical properties of German

International Activities and trombone professor

trombones (in particular the dual

at the Hochschule fiir Musik in Detmold,

bore and larger bell size). He cred

Germany, formerly president of the Inter

its the survival of the "German

nationale Posaunen Vereinigung and orchestral

style" to the players in Berlin

trombonist throughout Germany; Vern Kagarice,

who choose to maintain it and to the fact

/ I' .«?£«

iJ«|i:;Ji*K«iui

ijfcH

Hugo Magliocco and Wanda Wiehe

i.A*

that East Germany ljiad no access to

how beginner band method books

new Western instrunients after World

often stymie natural musicianship and

War II.

enthusiasm with boring, non-melodic

Fadle illustrated his points by per

forming brief excerptjs of German solo

literature which he divided into three "I play exclusively Thein Bass- and Contra basstrom bone'

include vibrato. Playing familiar

Grand Concerto by Grafe; (2) the David

melodies by ear and then transposing

Concertino and Reiche Concerto; and

them into various keys is a productive

(3) the Alschausky Concerto.

way to balance musicality and tech

book by Daniel Kohut titled Musical

musicians in Germany, from its earli

Performance Learning Theory and

est days of family-centered stadt-

Pedagogy. He also provided a handout

pfeifer guilds to the current four-year

devised by internationally acclaimed

hochschule which requires stringent

hornist Froydis Ree Wekre, which cat

exit performances. Following the four

egorizes, combines, and contrasts ele

years, a musician can enter a two-year

ments of music and communication in

program and earn a certificate as a

a most unique way.

titled

German instrumentalists obtain and

Trombonist," began with a demon

maintain orchestral positions.

stration of how trombone teaching

the

and learning can be enhanced by new music and new music techniques. He

mental number one; (2) A "recipe approach" to learning leads to "trom

bone operator" perfection and takes musicality for granted; (3) Balance all elements with the primary goal always

on the music; (4) Develop a clear idea in your mind about the word "musi

cality" and what it means to you; (5) Moods, characters, and/or atmos

pheres are always created in a perfor Ben van Dijk,

mance (often the performer is the last

Netherlands Radio

to know); (6) Melodic playing is critical

Philarmonic

to success; (7) Start your day with music; (8) Don't let your musicality go on automatic pilot while the focus and mental energy is on technical excel

lence—they should go hand in hand;

(9) Music dictates the development of technique; (10) Etudes and exercises must serve some musical purpose— Fine Brass

otherwise they are of no use; (11) The

Instruments from

answer to the dilemma of technique

JOURNAL

for

provided each participant with a list

points were: (1) Musicality is funda

ITA

Directions

sicality." His discussion centered

around a 12-point list of ideas that

"New

class "Balancing Technique and Mu-

may help to achieve this balance. The

PHONE / FAX ++49 421 32 56 93

Stuart Dempster's master class,

discussed the process by which

Vern Kagarice entitled his master

STAVENSTR.7, 28195 BRE1VIEN

nique. In closing, he recommended a

ed of an overview of the schooling of

soloist. In conjunction with this he

Thein

importance of making the daily warm-up musical and lyrical, and

groups: (1) Concertino by Sachse, and

The remainder of the class consist

Germany

trombone parts. He stressed the

versus musicality may lie in the ap

ing of techniques and their pedagogi cal applications: (1) Multiphonics (using the voice with the buzzed lip

for fifths, tenths, etc.), which relax neck and throat, and are good warm-

ups; (2) Vowels (a-i-u-e-o) which teach recognition of bel canto "a" (ah) or "o" (oh) within the context of a continu

um, the vowels "i" (ee), "u" (oo), "e" (a, as in hay), and combinations such as "ai" (ah-ee) being the rest of that continuum. One becomes sensitive to even the slightest drift away from traditional

(bel

canto)

sound;

(3)

Consonants which teach many differ ent ways of starting a pitch (with B, Ch, F, S, Th, H, etc.), clarifying "nor mal" T and D tonguing—(doodle-

tongue clarifies double and triple tongue); (4) Scale slurring (slurring "against the grain") which can teach

the sense of third or fourth position as "home"; (5) Microtones whch teach sensitivity to intonation; (6) Vibrato

and multiple vibratos which teach

proach to ensemble playing; and (12)

decision-making and multitasking, as

The player must meet the demand of

well as mute sensitivity; (7) Plunger

the conductor and still maintain an

mute use which requires one to

individual musical integrity.

reevaluate and probably relearn how

To illustrate these 12 points, Kaga

to hold the trombone—other mutes

rice reminded us of how eager young

teach timbre sensitivity, particularly

trombonists are to play "tunes" and

the wa-wa mute; (8) Circular breath-

past 75 years have come from the

favorite. He began his session with a

"school of hard knocks," Fedchock

free improvisation which he used as an introduction to his formal reading

tom of the air cavity; (9) Reverberant

and Herwig are both products of the American university system (Fed

space (including a piano prepared

chock holds degrees from Ohio State

way? He masterfully incorporated lit

ing which teaches sensitivity to the breath, specifically inhaling through the nose and exhaling from the bot

of a paper entitled Music, so what...no

University and the Eastman School of

with a held sustain pedal) which

erary quotes, humor, and personal

Music, and Herwig is an alumnus of

teaches awareness of tonal center and

anecdotes into a presentation which

the University of North Texas). Jiggs

tuning; and (10) Dead space which

ranged from practical tips for success

Whigham has been professor of jazz

teaches one to find his or her own res

in a jazz environment to purely aes

studies at one of the largest and most

onance. During the discussion of these

thetic concepts of motivation, goals,

prestigious universities in Europe—

techniques, Dempster demonstrated

and musical emotion.

Cologne University—since 1979 and is

each to underscore its importance. It is

Conrad Herwig won the first

no stranger to academia. The three

always a treat to hear him execute

Frank Rosolino Scholarship in 1979

clinicians not only offered ideas on

new music techniques. His execution

and hasn't slowed down since.

how to play, but what one might think

is always effortless and demonstrative

Herwig, formerly with Clark Terry

about while playing.

of total mastery.

and now following a successful solo

John Fedchock, former lead player

Also provided was a short list of

career based in New York, may have

and arranger for Woody Herman's band, gave a well-organized clinic

trombone solos (and their publishers) which incorporate these techniques. In

set a speed record for the sheer amount of material covered in a sin

which offered some specific ideas

closing, he pointed out that most of

gle clinic. Also opening his clinic

about warm-up, use of vibrato, lead

the techniques discussed have become

with a few minutes of freely impro

and section playing, range building,

standard over the past 15 to 20 years.

vised music, this human dynamo

and use of a microphone. With the

John Fedchock, Conrad Herwig,

and Jiggs Whigham represent a differ ent "breed" of jazz trombone player-

one trained in academic approaches to

help of pianist Joe Hunter, he opened

waxed eloquently and effectively on

his clinic with Autumn Leaves and

the current direction, as well as the

closed with In a Mellotone.

future, of jazz. He had a great deal to say about the mental approach to jazz

Cleveland native Jiggs Whigham

music making as well as in the art of jazz improvisation. While many (but

came home again and quickly demon

definitely not all) jazz artists of the

strated why he is an international

Give your favorite

playing and specifically addressed the technique of doodle tonguing.

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FALL

1993

The truly great thing about these

, Betty Glover

three clinicians was that their mes

Orchestra in 1974. He has been a

sage was not specifically jazz. All

bone and eupho-

three had plenty to say about the cre

nium, she ad

ative process, about their chosen

vised careful con-

form of musical expression, and

sideration be

about dealing with life experiences.

given to the dif

There may have been a time in the

ferences—tonal

past when being associated with

concept, intona

teaching was viewed as a weakness

tion problems,

for the performer (the old "Those

and

who can't play, teach" stigma). It was

more "d" than

any of the jazz clinics that the idea of being an educator as well as an artist Former Cincinnati Symphony bass

trombonist Betty Glover's presenta tion //rThe Trombonist and the Tenor

Tuba" was well paced, informative,

tonguing

adjustments, i.e.,

evident, however, to those attending

is no longer a burden.

active solo career, teaches at the

Hochschule fur Musik in Cologne. He

quickly listed the most frequently played solos in France—David, Concertino; Tomasi, Concerto; Martin, Ballade; Guilmant, Morceau Sympho-

nique, and Dutilleux, Choral, Cadence at Fugato—adding the humorous

anecdote that the year the Tomasi

"t." Among the

servatory, no one won first prize!

sed were Hoist's The Planets, Strauss' Don Quixote and Ein Heldenleben. She described them as "the fun parts." This was one of the "fun" sessions.

retired from trombone playing, her

of the great solo performers on trom bone today, began his session with a

of Dee Stewart). She stressed both the

bit of information on his life and career. Of interest was the fact that he entered the Paris Conservatory at age

practicality and the "contract enhanc

15, received first prize at age 17, won

ing" of doubling. Although there are

his first professional orchestra posi

obvious similarities between trom-

tion at age 18 (Orchestre de la Suisse

Harvey and Cecil Benjamin (students

Quartet for 23 years and, besides his

excerpts discus

Michel Becquet, recognized as one

in evidence as she coached Darren

member of the Paris Trombone

was the required solo for the Con

and entertaining. Although she has musicianship and teaching skills were

Romande) and joined the Paris Opera

The remainder of the class was

devoted to critiques of two volunteers: David Horger from the University of

Akron, who performed the Dutilleux and Jonathan Winkle from the Uni versity of North Texas, who performed

the first movement of the Tomasi. Becquet offered many helpful sug gestions on articulation, phrasing,

and other technical and musical con siderations, but perhps his most ef

fective pedagogical tool was his demonstration of passages to the stu-

International Trombone

Cleveland State University June 27-July 1, 1993

The concerts, lectures, and master classes of the 1993 International Trombone Workshop are being recorded by Cleveland State University Recor ding Services, and are available for purchase. Cassettes are duplicated on high-quality TDK-SA tapes, in real-time from digital masters thus assur ing the highest fidelity possible.

If you would like a copy of any of these events please check your selections below and mail it with your check to: Cleveland State University, Music Department, 1983 East 24th Street, Cleveland, OH 44115 Sunday

June 27

Monday

June 28

Tuesday

June 29

Opening session, welcoming statements, announcements High Anxiety Bones/Cleveland Trombone Choir

Stuart Dempster master class John Fedchock clinic Betty Glover clinic Michel Becquet clinic Stuart Dempster recital Alain Trudel/John Fedchock concert Vern Kagarice master class

U. of Illinois Trombone Choir/concert Alain Trudel clinic Chuck Ward clinic Michel Becquet recital

Wednesday

June 30

ITW Faculty Showcase recital Heinz Fadle master class

ITA Student Competition Winners Showcase concert Lewis Van Haney Mock Orchestral audition finals

Scott Hartman clinic Jiggs Whigham clinic

Cleveland Orchestra Trombone Section clinic/recital Thursday

July 1

PRISMA concert Ben van Dyk clinic

William F. Cramer Trombone Choir reading session Special recognition session Conrad Herwig clinic ITA business meeting Final concert at Swingo's

ITA

JOURNAL

Price is $10.00 per each cassette

THE FIRST MUTE GOOD ENOUGH TO BE A BACH STRADIVARIUS Michel Becquet and Jonathan VJinkle

dents. His opulent tone, complete

and relaxed control, and total ease of execution are the ultimate goals of all

Everything you look for in a

The Stradivarius Ultra

mute has finally come together

Flat stainless steel bottom.

in the new Bach Stradivarius

Excellent all-purpose straight

Ultra and Bite straight mutes

for trumpets and trombones.

mute capable of cutting through large ensembles.

A spun aluminum body

The Stradivarius Elite

phony principal trombonist Jay

is precisely fitted to a reso

Patented tone intensifler

Friedman's question to Becquet sum

nant, dent-resistant stein-

creates unequaled focus

med up the entire master class best.

less steel bottom, giving

and projection. Ideal

trombonists. Perhaps Chicago Sym

"How come you're better than every

the Stradivarius mute light

for professional players

agreement was an appropriate end to

weight, durability, and

who need a vibrant,

the session.

incredible projection,

penetrating tone.

one else?" Enthusiastic applause of

"Everything You Wanted to Know,

But Were Afraid to Ask" was the topic of Alain Trudel's clinic. Trudel, from Quebec, Canada, is becoming a

major force in the trombone world as

Its responsiveness and versatility will make the

Stradivarius the last

a soloist both in recital and with orchestras worldwide. He is an active

ensemble performer, currently with his own jazz ensemble, the Ensemble de Cuivres Philharmonia and the Nouvel Ensemble Moderne. Steven Sudduth, a graduate stu

dent at the University of North

Carolina-Greensboro, performed the

Bernhard Krol Capriccio da Camera for Trudel's class. Trudel suggested that articulation does not necessarily mean tounguing, and stressed the concept of continuity in musical line. In closing, Trudel reviewed his approach to warming up, stressing

air attacks, ease in blowing and play

ing by using glisses and slow and easy lip slurs. Trudel's mastery of the instrument, his superb musician

ship and his penchant for jocularity combined to create an extremely valuable presentation.

Manager of engineering and quali ty control at United Musical Instru ments Eastlake facility, Chuck Ward is no stranger to the ITW. Through FALL

1993

comparison to the figure skater, who

After a busy day of master classes,

like the musician, practices his/her

clinics, visiting exhibits, factory tours,

art 99.9% of the time so he/she can

etc., the late afternoon recital hour

perform gracefully in public. Also

(4:15 p.m) allowed everyone to kick

notable was his definition of tech

back, relax, and enjoy.

nique—any process that aids us in

achieving a musical goal.

Assisted by Ed Zadrozny, Tim Anderson (tenor trombone), Ray

his many hours in exhibit areas and his Nashville (ITW 1987) session, many trombonists have come to

know this interesting gentleman. Ward has been with UMI for 20 years

and oversees the production of 43

models of trombones. He discussed

superb. In his program of not so new

combe (bass trumpet), and Gary

contemporary works (the most re

trombonist from Hilversum, Nether

lands, demonstrated his mastery of the contrabass trombone (a double-

session. He provided information

about Van Dyk's career as well as the excerpts to be performed. Van Dyk

spoke through his horn—and how!

aspects are quite different. There are

The section performed excerpts from the works of Wagner, Verdi,

many variables in trombone design—

Puccini, Strauss, Schonberg, and Berg.

lead pipes, bell throats, f valves, open

The leitmotifs of the Ring Cycle took

or closed wraps, finishes and plat

on a new life and power. The bass

ings. He stressed the importance of

trumpet added an interesting timbre

absolutes in design, and that the players' needs are primary. One last piece of advice—"Don't confuse change with improvement." Scott Hartman's clinic emphasized

the importance of the trombonist's awareness of his/her function within

the performance context. He highly recommended that all aspiring play ers get as much small ensemble expe rience as possible, which will aid

aspects of playing such as balance, tone color, and melodic phrasing. These elements along with other "tools," such as dynamics, intonation, and articulation all relate to our spe

cific function in performance. It is the player's responsibility to have an awareness of styles and ensemble technique so that he/she can best use

(taped sounds, didgeridu), and stag ing (General Speech by Robert Erick-

double-slide design.) Heinz Fadle

talk as well as play—at times the two

metal). He believes that there are no

ed variety in timbre, effects, medium

assisted by serving as narrator for the

Drinko Hall must still be ringing!

the brass by heating it to soften the

cent written in 1982), he demonstrat

valved Thein of single rather than

the importance of listening to players

the annealing process (the aging of

cital. His trombone virtuosity, musi cianship, and sense of timing were

Premru (bass trombone), Greg Lus-

Adams (tuba), Ben van Dyk, bass Chuck Ward

Stuart Dempster presented ano

ther wonderful solo trombone re

to the low brass section. Eveyone was a standout, but it was Van Dyk's

show. He should be named a Nether lands national treasure.

Concerts The University of Illinois Trom bone Choir directed by Elliot Chasanov performed on Tuesday morn

ing as the winner of the 1993 Emory Remington Choir Competition. The program was a delightful assortment

of pieces utilizing full choir (Bach Contrapunctus I and Grieg Landerkennung), split-choir (Hassler Mein Lieb), works for smaller ensembles and even a spirited presentation of

the Thorn Ritter George Aria and Dance, which featured JoDee Davis

(Kent State University) as soloist. Without exception the full ensem

Stuart Dempster

son). In his Roulette for Trombone and

Audience, the audience was asked to hum on E-flat, creating a meditative

effect as Dempster walked around the theatre playing his trombone with a harmon mute for "mute vibrato." Throughout his perfor mance, Stuart Dempster offered instruction and information on the

music. His humorous presentation

of Sequenza V by Berio was enlight ening and a reminder of the impor

tance of this work to our repertoire. Stuart Dempster is a performer who

involves his audience and makes lis tening to contemporary music enjoy

able and exciting.

After we have heard Michel Becquet and the Paris Quartet on record ings, it was a pleasure to hear him in person at Cleveland State University.

ble and its various components dis

As expected, he demonstrated beauti

played a wonderful sense of balance,

fully clean staccato and legato articula

blend, and awareness of appropriate

tion as well as great security in all reg

musical styles. The preparation was

isters. Most impressive was the light

enhance the performance. Hartman

meticulous and was reflected in

ness of Michel Becquet's sound, even

used several comparisons of musi

every detail by the performances. In

at loud dynamics. In general, his tem

cians to athletes, writers, speakers,

all, it was a very strong concert by an

pos were quick, but always demon

and architecture, most notably the

ensemble of talented players.

strated perfect technical execution and

the acquired technical skills to

ITA

JOURNAL

On Tuesday evening the ITW

straightforward, well-conceived musi

Faculty Showcase Recital began with

cal thought. He did digress from the printed program of mostly French

Steve Witser playing four Mendels

music, substituting David's Concertino

sohn Songs Without Words. Perform

for the Chorale, Cadence and Fugato of

ing on alto, he demonstrated a won

Dutilleux and the Romance of Mer-

derful mastery of the instrument with

candante. His musicianship breathed

his crystal clear upper register. His

new life into the often heard Guilmant

performance was to set the tone and

Morceau Symphonique. This wonderful

standard for the evening. What followed was a piece initial

recital ended with an elegant perfor

ly commissioned by the Internationl

mance of The Swan by Saint-Saens,

Trombone Association from Donald

showing all us us how much he still

Erb—Rainbow Snake. Requiring two

had left to offer.

Alain Trudel

The Cleveland Orchestra trom

percussionists and one person on keyboards, Cleveland Orchestra prin

bone section, Jim Desano—principal, Steve Witser—assistant princiapl,

Allen Kofsky—second, and Thomas

Monday evening's concert began

with Alain Tradel's masterful perfor

Klaber—bass, presented a session on

mance of Michael Haydn's Concerto

orchestral excerpts and auditions.

for Alto Trombone. The consummate

The presentation began with a per-

elegance and finesse displayed on

this piece contrasted the virtuosic Reiche Concerto

which fol-

lowed. The world pre-

;r Jiil

miere of Dennis Dion's

A Second Lieu with the composer accompany

ing on a Yamaha syn

thesizer, was both cle ver and accessible. It is a

Cleveland Orchestra trombone section — (l-r) Steve Witser, James DeSano, Allen Kofsky and Tom Klaber

very

entertaining

piece and a welcome addition to this genre.

A refined reading of the Sonatine by Caster-

formance of Quatuor De Forme Litur-

ede was followed by Arthur Pryor's

gique by Jacques Charpentier. The

Fantastic Polka. Trudel displayed his

excerpts performed included Tann-

incredible control and abilities in a

hauser—Wagner, Hungarian March—

tribute to his American idol, Arthur

Berlioz, Symphony No. 4—Brahms,

Pryor. For an encore he was joined by

Till Eulenspeigel—Strauss, Ride of the

a bassist for a swinging rendition of

cipal trombonist Jim DeSano per formed the solo with the composer

conducting. This forceful and ex

tremely demanding work was played very well.

Vern Kagarice followed, first with his own arrangement of Berlioz' Recitative and Prayer, which he played with organ from the organ loft. He continued with a second work with organ, Charles Ives' Variations on

America. Not only was the playing first rate, but he provided two won derful new arrangements which are most welcome to the repertory. Next Allen Kofsky, second trom

bonist of the Cleveland Orchestra for nearly 40 years, performed two move ments of Frantisek Domazlicky's

Concerto, the demands of which he handled very nicely. Bass and contrabass trombonist

Ben van Dyk premiered Serenade for solo bass trombone and trombone quartet by Nick Woud. He was assist

ed by John Marcellus, Paul Hunt,

Heinz Fadle, and Vern Kagarice. This

Walkyrie—Wagner, and Symphony No.

Thelonius Monk's Straight No Chaser.

5—Mahler. The section produced a

It is easy to see why he is considered

beautiful sound and displayed a

to be one of Canada's best natural

wonderful blend. The important

vehicle for van Dyk's awesome tal

resources.

ents. A standing ovation greeted the

points discussed during the session,

Trudel's jazz encore made a per

exciting work with much audience

appeal proved to be an excellent

end of his performance.

mainly by Desano and Witser, were

fect transition to the second half of

that one needs to have a "knock

the evening's program, which fea

bonist Thomas Klaber performed the unaccompanied Four Concert Etudes by

Cleveland Symphony bass trom

down, gorgeous sound" and great

tured the jazz artistry of John Fed-

consistency to place among the top is

chock, who now leads his own New

any audition. All agreed that many

Samuel Adler. Klaber, playing from

York-based big band. Everything

trombonists play too loudly, especial

memory, negotiated this demanding

about his playing and demeanor

work with great skill and proficiency.

ly in auditions. It is also most impor

exudes class. Paying tribute to sever

tant to know the orchestral piece well

al jazz masters, Fedchock and the

by performing the Bach/Gounod Ave

Scott Hartman showcased his talent

so that one is aware of more than just

rhythm section performed standards

Maria and Martin's Ballade. The Em

the trombone part. It was nice to hear

such as Caravan (Ellington), Laura

pire Brass Quintet trombonist demon

comments from each member of the

(Raksin), and Oleo (Rollins). Tasteful

strated that he is as comfortable (and

section. We thank them all for their

and sophisticated, John's playing is

as impressive) in the solo environment

time and their beautiful playing.

always impressive.

as he is with chamber music. FALL

1993

Those in attendance at the Faculty Showcase Recital were treated to a

from his A Minor Cdncerto was excit

ing, and the antiphc^nal presentation

truly outstanding series of perfor

of Moritz Eggert's Seraphim was very

mances by some of our premier trom

effective and moving. All four mem

bonists.

bers of PRISMA should be commend ed on their sound, individually and as

an ensemble throughout the perfor mance. The colorful program notes provided a lot of information and an

extra touch of class. The final two numbers were as much fun to watch

Elmer Fudpucker Award Winner Steve

as they were to hear. Russian Sailor's

Wolfinbarger and Heinz Fadle.

Dance and Bohemian Rhapsody were

both creative arrangements, the latter

concluded with a rousing perfor

utilizing taped accompaniment (not to

mance of Derek Bourgeois' Funebre

mention the "shades" and "leather").

and Scherzo for Eight Trombones.

"Loud is Good" was right, but PRISMA — (l-r) Julie Josephson, Jeannie Henniss, JoDee Davis, and Jan Kagarice Wow! What a presentation Wed nesday night! PRISMA, featuring JoDee Davis, Jeannie Henniss, Julie

Josephson, and Jan Kagarice brought

the house down with a musical pre sentation that included great reper toire, dramatics, and stage presence. From its opening selection, Defaye's

Quatre Pieces, until the unusual but entertaining finale Bohemian Rhapsody arranged by Mike Bogle, PRISMA

displayed virtuosic ensemble tech nique that included wonderful bal

ance, dynamic contrast, and intona tion. Creative staging, costume

changes, and lighting enhanced the presentation. JoDee Davis displayed

superb alto trombone musicality on two Vern Kagarice arrangements—

Capriol Suite by Peter Warlock and Mozart's Die holle Rache from Die

Zauberflote. Tomasi's ttre ou ne pas etre featured Jan Kagarice on bass trombone with an emotional perfor mance that captured the es sence of the soliloquy both

visually and audibly. Men

delssohn's Die Nachtigall was gorgeous, Vi

valdi's Allegro

ITA

JOURNAL

The 1993 ITW Banquet was held

only with the dynamic and stylistic

Thursday night at Swingo's. In addi

contrast provided by the William F.

tion to good food and good friends,

Cramer Trombone Choir. Under the

there was great entertainment. After

direction of John Marcellus, this

introductions, there was a series of

group provided yet another great

presentations. Heinz Fadle made one

ITW concert. The program began

of the most important—the Elmer

with the powerful A Rite for Twelve

Fudpucker Award. Accepting the

Trombones by Carl Vollrath, and con

honor most graciously, Steve Wolfin

tinued with the wonderful Leon

barger noted "of all the awards I've

Brown arrangement of Wagner's

won, this has to be the most insig

Parsifal. Next was a special feature of

nificant!" In addition, Dee Stewart pre

the evening for two reasons: one

sented Jon Etterbeek with the first Van

because Alain Trudel was soloist, and one because this was the piece com missioned by the ITA Commission Committee. Contributions from the Eastman School of Music, the Harvey

Phillips Foundation, the Ithaca College Trombone Troupe, the Penn State University Trombone Choir, and the Bowling Green State Uni versity Trombone Choir made the

Sydney Hodkinson composition Antiphon and Toccata for Solo Trombone

and Two Trombone Quartets possible.

Nancy Jo Humfeld

In addition to Trudel's excellent per

formance on both alto and tenor, the piece featured wide timbral contrasts through the use of mutes as well as unique combinations within the quartets and soloist. The next selec

tion, Satanic for Solo Trombone and

Seven Trombones by Serge Filiatraul, also featured Trudel. Throughout the

Haney Philharmonic Prize. Nancy Jo Humfeld announced the presentation of the Neill Humfeld Award for Ex cellence in Trombone Teaching to Albert Lube (see ITA Journal Vol. 21, No. 3, pgs. 8-10). Tom Plsek read a

brief narrative of Lube's career.

concert, especially on this tune, the

PRISMA and Karisma (Heinz

contrabass trombone talents of Ben

Fadle, John Marcellus, Vern Kagarice,

van Dyk were very evident. The pres

and Ben van Dyk) provided some

ence of this rare (hopefully not for

melodious counterpoint to the eve

long) instrument was a treat to the

ning (apologies to Ferdinand David)

JoDee Davis

audience as it gave more depth to the

before the Airmen of Note, Jiggs

with PRISMA

trombone choir format. The evening

Whigham, Conrad Herwig, and 1993

Russ Widener gave a very intrigu

ing lecture titled "New Impetus in

Teaching and Learning Music" Wide ner, trombone professor at Wichita State University, presented a seeming

ly high-tech but approachable method for studio teaching. Using a Macintosh Ilsi with CD ROM, a Mac Recorder (digital microphone), a portable DAT machine, and the software SOUNDEDIT PRO, he demonstrated how computers can be used for effective

teaching. After introducing the equip ment (all obtained through grants), Widener explained how he uses it

with students. He records a student's

(l-r) Kenneth Toy, Al Lube, and Tom Plsek Rosolino Scholarship winner Rob

The Musical Woman, volume 3, is a

Stone proceeded to really swing at

catalogued list of women composers

Swingo's. The Note opened the final

of brass music. Her present list in

concert of ITW 1993 with a great arrangement of Love for Sale by alum nus Tommy Newsome. Trombonists

Joe Jackson, Doug Elliott, Gary Hall,

and Dudley Hinote had the spotlight for Mike Crotty's treatment of the Miles Davis classic Tourâ&#x20AC;&#x201D;great chart, great bone section. It was a home coming for lead alto saxophonist Joe

Eckert as well as Jiggs Whigham. They made Cleveland proud! In addition to their solo features, Con rad Herwig and Jiggs Whigham teamed up with Rob Stone for a great

blues before the two "old pros" blew the walls out on a Newsome arrange

ment of Tlying Home. The Airmen of Note, Conrad Herwig, Jiggs Whig

hamâ&#x20AC;&#x201D;"If Don't Get No Better than../' whoops, don't want to pay a royalty. All in all, it was a great evening at the end of a great week.

cludes over 160 different women and 785 works. Buzzarte has discovered that only 32% of all published trom

bone works and only 5% of the avail

able trombone recordings are of music by women. Using recordings and information about current out

standing women musicians, Buzzarte

shared the hope that more women

will write music for brass and be published. Her research is ongoing,

discusses ways to improve the sound and has the student try again. He then compares the two pictures. Students were able to hear and see the difference

in their playing. The results in all the samples he shared were extremely positive. Widener explained that he is not a computer expert, and that the equipment is user-friendly and acces sible to everyone. Steven Sudduth gave a presenta

tion entitled "The ITA: A History The information he shared is some

Buzzarte, 110 Seaman Avenue, No.

thing all trombonists should be famil

5L, New York, NY 10034.

iar with. Sudduth traced the events

Andrew Glendening, assistant

and people related to ITA from the

professor of trombone at Morehead

late '60s to the present. Using slides,

State University, discussed Schubert's

he re-created the events and accom

use of the trombone in "The Symphony

plishments of the ITA and shared

No. 10, D936a. As a Symphonic Hom age to Beethoven." Glendening pre

sented facts that suggest Schubert

recordings, Glendening shared evi

dence relating to Schubert's life and

papers began in Nashville many

writing habits. Schubert, a torchbearer

years ago and continues to be an

in Beethoven's funeral procession,

important facet of the International

would have heard the Equali many

Trombone Workshop. This year's

times over. He admired Beethoven

selections were excellent.

and tended to score for three or more

"Women's Contri

intensity, volume, release, etc. He then

obtained by writing to Monique

The presentation of research

tion entitled

sound(s) played, showing attack,

from Its Inception to the Present."

1 in his last symphony. After playing

In Monique Buzzarte's presenta

the student a visual picture of the

and information may be sent or

quoted part of Beethoven's Equali No.

Special Events

playing through the computer, giving

information from his interviews of the people who were responsible. Much of the information and pictures

came from the Glenn D. Bridges

Archive-Library of the ITA housed at the University of North Carolina at Greensboro. Sudduth has catalogued the publications of the ITA and his historical research is ongoing.

The ITW honored four men who have dedicated their lives to enrich

trombones. The Tenth Symphony has

ing the lives of others through teach

four trombone parts and a chorale sec

ing. Leon Brown, Robert Gray,

butions to Brass Repertoire: A List of

tion remarkably similar to the Equali

Matthew Shiner, and Glenn Smith

Works," Monique Buzzarte shared

No. 1. Glendening indicated that

have had a profound effect on music

Schubert greatly admired Beethoven,

of the 20th century. Their students

especially in later life.

continue to pass along their love of

some

very

new

and

shocking

insights. Her research, published in

FALL

1993

music, the trombone, and all musi

Frank Rosolino Scholarship winner

E.K. Blessing

cians. Thursday's panel discussion

Rob Stone, Conrad Hprwig, and Jiggs

Getzen Company

allowed the audience to learn from

Whigham—great pl^ce for relaxing

and honor these great trombon

and enjoying some outstanding jazz!

ists/teachers.

Ray Premru, Dee Stewart, and Jay

Hickey's Music Center Humes & Berg

G. Leblanc Corporation

The Weekend Warriors continue

Friedman conducted excerpt coaching

to be an important part of the ITA

sessions, and John M&rcellus and the

Lentines Music, Inc.

and the ITW. Randy Kohlenberg con

Cramer Choir read new works and

Jet-Tone, Inc.

ducted this year's Weekend Warriors'

arrangements on Thursday afternoon.

PP Music

The exhibits, organized by Mike Lewis, get bigger and better each

Rayburn Musical Instrument Co.

ensemble. These dedicated nonpro-

fessionals take a back seat to no one; their performances have always been exciting and entertaining. This year's

Parlor Hall concert was excellent.

The ITW took advantage of an obvious asset—the proximity of the United Musical Instruments plant in nearby Eastlake. The tour of this

modern facility, combined with

year. Many left considerably poorer

after numerous purchases from this "cornucopia of trombone stuff." The exhibitors are critical to the success of each year's ITW, and they must not go unrecognized. The following

is a list of companies who exhibited in Cleveland:

a "bird's eye view" of a little seen aspect of the world of trombone.

Robert King Music Sales, Inc. Stanton's Sheet Music T.A.P. Music

Thayer Valve International Tuneup Systems, Inc.

United Musical Instruments, Inc. University of Akron c/o Temarex Corporation

Selmer Company

Williams Music Co.

AAIIRR Acoustics

Chuck Ward's session, gave everyone

International Music Suppliers

Aerospace Lubricants, Inc.

The Woodwind and the Brasswind

Altieri Instrument Bags

Yamaha Corporation of America

Bob O'Rourke Company

Everyone at United Musical Instru

Boosey & Hawkes, Ltd.

ments deserves our thanks.

Central Instrument Company, Inc.

For many each day ended at

"Rhythms" on Euclid Avenue. Jones

ITW '93 is firmly implanted in the

memories of all who attended. They

Doug Elliott Mouthpieces

are great memories, but there will be

E & R Music Engravers

more to come. Join us for ITW '94 in

'Bones did yeoman service all week

Educators Music

providing backup for John Fedchock,

Minneapolis, MN and ITW '95 in Las

Edwards Instrument Company

Vegas, NV.

TROMBONE ENSEMBLES from NICHOLS MUSIC Seven Arrows

4t, 2b; 4t,lb,ltba

John Harmon

The seven contrasting movements depict the ways and environment of the American Indian. This piece was brilliantly performed at the 1991 ITW by the William F. Cramer Trombone Choir, and again at the JTW93 by the Workshop Trombones Duration: 11 min. 30sec

Lamentation

Sc. & Pts. $20.00 Extra pts. $8.00/set

4t,lb

Donald L. Appert

A moving piece with a stunning fugal section culminating in a somber

reflection on the loss of a good friend. Premiered by the N. Texas State

Trombone Choir and also played at ITW93 by the Workshop Trombones. Duration: 8 min Sc. & Pts. $15.00 Extra pts. $7.00/set

Autumnal Winds

3T,1B

John Harmon

An exciting new work with shifting meters and harmonies suitable for a college or well rehearsed high school group.

Duration: 7 minutes Suite, Gymnopedes 1,2,3

Sc. & Pts. $7.00 3t,lb

Extra Pts.$4.00/set Erik Satie/Welts

Accessible to the intermediate high school quartet, each voice has a solo in this transcription ofSatie's early work. Reviewed in Summer '93ITA Journal.

Duration: 6 min

Sc. & Pts. $5.00 Extra Pts.$3.00/set

NICHOLS

ITA

MUSIC

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1994 INTERNATIONAL

TROMBONE WORKSHOP University Of Minnesota School of Music

Featuring the world premiere of the

Minneapolis, Minnesota, U.S.A.

Concerto for Trombone and Orchestra

May31-June4,1994 The 1994 International Trombone Workshop will feature an impressive faculty comprised of the world's leading soloists, orchestral musicians, jazz artists, and educators.

Toru Takemitsu with

Christian Lindberg and the

Saint Paul Chamber Orchestra Dennis Russell Davies, conducting

Concerts will be in the University of Minnesota School of Music's new 1,250seat Ted Mann Concert Hall.

You are encouraged to register early for this exciting event. The upcoming Winter 1994ITA Journal will include a

registration/housing form, complete listing of featured artists, and information regarding unique

performance opportunities for all Workshop participants. Plan on attending the 1994

International Trombone Workshop.The

earlyregistrationrate($150.00/$135.00 for students) will be in effect until April 15,1994, and will include a reserved

tickettotheLindberg/Takemitsu/SPCO World Premiere concert. Contact Tom Ashworth immediately for special advance registration/housing information.

Tentative Faculty Includes: Ray Anderson Renowned jazz musician and trombone innovator Heather Buchman

Principal trombonist, San Diego Symphony Orchestra, soloist Dallas Brass Unique and exciting brass and percussion ensemble Urbie Green New York studio musician and jazz legend Slide Hampton Internationally acclaimed New York jazz trombonist John Kenny Scottish contemporary trombone performance artist

John Kitzman Principal trombonist, Dallas Symphony Orchestra, soloist Christian Lindberg

Acclaimed Swedish trombone virtuoso and recording artist Curtis Olson Professor, Michigan State University Ava Ordman

Principal Trombonist, Grand Rapids Symphony Orchestra, soloist Send all inquiries to: Tom Ashworth School of Music University of Minnesota

2106 4th Street South Minneapolis, MN 55455 U.S.A.

Jeffrey Reynolds Bass trombonist, Los Angeles Symphony Orchestra, soloist Ingemar Roos

Respected Swedish trombone pedagogue and performer Henry Charles Smith World famous trombonist, conductor, and music educator

FALL

1993

at Manhattan Siool of Music • Trumpet •

• Trombone •

• Horn *

Cecil Bridgfewater (jazz)

Per Brevigf

Mel Broiles

Principal, Metropolitan Opera Orchestra

Vincipal, Metropolitan Opera Orchestra

Stephen Burns

Jerome Ashhy

David Finlayson j New York Philharmonic j

Jack Gale (jazz)

Concert Artist

Vincent Penzarella

Metropolitan Opera Orchestra

New York Philharmonic

Stephen Norrell

T^V

David Jolley

Philip Smitk Principal, New York Philharmonic

John Swallow

Lew Soloff (jazz)

New York Brass Quintet New York City Balljet Orchestra

■I

Ne w York City Ballet Orchesstra i

Metropolitan Opera Orchestra

New York Philharmonic

Paul Ingfraham New York Brass Quintet

Hal Janjks

Former Principal,

Howard T. Howard Prin cip.al, Metropolitan Opera O re he stra

Harold Lieberman (jazz)

William \acchiano

Associate3 Principal, New York Phil hamnon

Princit)al,

JJavid laylor (classical/Jazz)

Steve Turrej (jazz) j

Saturday Night live Bane)

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Artists-in-Residence turday Brass Quintet

Carlrhine Caruso Chair, 1993-94

Laurie Frink, trumpet

Offering Bachelor of Music, Master of Music aiid Doctor of Musical Arts degree programs in Performance; Master of Music in Orchestral Performance; and Bachelor and Master of Music degree programs! in Jazz/Commercial Music.

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ITA

JOURNAL

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Tel:: 414-248*8314 For USA and Canada FALL

1993

Another

trombone

bonanza was pre sented at the Hotel

you may be able to get a chance to The Brass Collective, a quintet

three

trombones

John Mosca, who shares most of the trombone solos with another very

Roosevelt this past

which

April 2-4. Dozens of

(leader Mike Christianson, Bruce

exciting and original player, Ed

the best players, educators, and stu

Eidem, and Nathan Durham, who

Neumeister. Their section mates are

dents from the U.S. and Canada

doubles on tuba), followed. They

Earl Mclntyre and Doug Purviance.

graced the stages for three full days

opened their program! with a Madrigal

Multi-instrumentalist Scott Robinson,

and nights of performances, master

Suite which included four 16th-centu

who usually plays tenor, switched to

classes and workshops, as well as a

ry pieces and one by Paul Hindemith.

an E-flat bass trumpet for the benefit of

grand salute to Phil Wilson.

This was followed by Five Easy Pieces

the Brass Conference audience. Except

by Igor Stravinsky and a set of jazz

for its annual Euro-Festival Tour every

David Sporny, professor of trom

utilizes

edge arranging and brilliant soloists. The band's nominal leader is now

hear them soon.

bone at the University of Massa

compositions ranging from Arm

summer, this great band can be heard

chusetts, did a clinic on "Basics"

strong to Clifford Brown. Mike Chris

every Monday night at the Village

which condensed a semester's worth

tianson was featured on his own com

Vanguard in Greenwich Village. As a prelude to the eve

of information into an hour!

ning's salute, Kirby Jolly led

He covered everything from

his Old Bethpage Village

the history of the instrument

Brass Band—a nonet plus

to embouchure, articulation,

two drummers, who not

breathing, posture, common

only appear in authentic old

problems, mouthpiece and

uniforms and play authentic

instrument selection and

turn-of-the-century music

maintenance, daily routines,

(marches, quicksteps, over

the ITA and other organiza

tures, polkas and waltzes),

tions, and role models (from

but as far as possible they

Pryor to Bill Watrous to

play authentic instruments

Christian Lindberg to many

of the period. Although

others). Whew!

David Abt and Frank Pedul-

The Kentuckiana Brass

la play baritone, and Brad

and Percussion Ensemble is

DeMilo and Al Dickerson

made up of the best musi

are listed as E-flat alto horn

cians from the eight state uni

players, someone in the front

versities in Kentucky. The

row sure looks like he's

'bone section was William

playing a valve trombone! A

Bootz, David Henderson, and

most enjoyable program.

Mark Thompson. Earl Lou

The evening's" main

der was one of the featured

event" was a salute to a

soloists, playing the Mantia

man who needs no intro

arrangement of Believe Me, If

duction—Phillips Elder Wil

All Those Endearing Young

son, Jr., pianist, composer,

Charms on euphonium.

arranger, unique trombon

John Fedchock presented

his

screamin'

big

ist, conductor, recording

band,

artist, and most of all, edu

which included many Herman alum

position, Hacksaw's Lament, and dis

cator... the man does it all. The Con

ni. John is as inventive a writer as he is

played some first-class plunger work.

ference Journal reprinted an excellent

a player, yet he's more than willing to

Struttin' With Some Barbecue brought

interview originally done for Cadence

share his solo space with the other

one of my favorite improvisors, Bruce

magazine, suppemented with some

sterling 'bone men in his group—

Eidem, to the fore. Backed only by

40 photos which trace much of his

Keith O'Quinn, Clark Gayton, and

Durham on tuba and Matt Lemmler,

career. Room doesn't permit me to

George Flynn.

piano, they really examined the tune

elaborate further, but you can get a

from every possible angle.

copy by sending a donation to the

Up next was a tentet led by anoth

er excellent trombonist-arranger,

Twenty-eight years is a long time

Brass Conference at 315 West 53rd

John Fumasoli, who is able to make

for what is basically a rehearsal band

Street, New York, N.Y. 10019. The

his group, Jones Factor, sound like a

to hang around, but considering that

issue also includes several other arti

much larger band by by judiciously

its membership over the years has

cles of interest, including an exten

voicing two trumpets, two trom

included most of the top studio play

sive interview with Red Rodney, the

bones—Don Hayward and himself, a

ers in the area, the Vanguard Jazz

other guest of honor. The erudite

French horn, two tenors and rhythm.

Orchestra carries on the tradition of

Tom Everett served as m.c. for the

They've just finished a new CD, so

big band swing coupled with on-the-

evening, and the Berklee Faculty

ITA

JOURNAL

;.;\

John Fedchock with the Jeffjarvis Sextet

Hodges, and Brent Macha. The next group of special interest is listed in the program as the Brass-

lancers around. He's currently working

on two recording projects, one of clas

sical pieces and the A

other is a George

^ Roberts-type album Brass Ensemble, which included Tom

with strings. His codirector is Jay

Plsek and Tony Lada, provided

Evans, and the other members are

another exciting evening of jazz solos

Nitzan Har-oz, the new assistant prin

and compositions, just as it did last

cipal of the New York Philharmonic;

year when Phil was "only" a featured

Carl Mazzio, principal of the New

composer-sideman. Tony is a very

Haven Symphony; Bruce Bonvissuto,

creative soloist in the bebop tradition

another busy freelancer and Broadway

and acquitted himself admirably,

Pit staple; Paul Bellino; Michael

while the old Zen Master really de

Hosford; and Dan Satterwhite. Their

monstrated that less is more and

varied program, conducted by Charlie

broke things up. "Brother" Dennis

Baker, principal of the New Jersey

Wilson and Art Baron did a wonder

Thee, which was a mini-history of his

commercial work that is the bread and butter of the professional musi cian. Among them were several familiar faces from the Vanguard

Jazz Orchestra, including John Pur-

viance, John Mosca, and Doug Purviance. Their section mates were

Larry Farrell and Dave Taylor. A scintillating set!

Simon Karasick is one of the best kept secrets in the music education business. He's one of Emory Rem ington's early students at Eastman.

His roommate was Gordon Pulis, and

The evening closed with a salute

to the astounding Robert Chudnick,

better known to his many fans as Red

pretty much fill in the warmth, love,

Rodney. At 66 he's playing better

and hilarity that supplemented the

than everâ&#x20AC;&#x201D;which means better than

brilliant playing by all concerned. It

just about anybody you'd care to

was an outstanding presententation

name. He's also one of the nicest fel

from every aspect.

lows you'd ever want to meet.

Ace studio bass trombonist Alan

Another great thing about the confer Mike Christianson

ence is that you can meet brass giants

like him when you attend these

the Danbury Brass Band, which fea tured Mary Ann Craig as euphonium

Symphony, included Charlie Small's

soloist, but he also gave a lecture/

arrangements of the Overture to Die

demonstration entitled Trombone

Meistersinger and Night on Bald Moun

Plus. It is easy to see why he is al

tain, Harry Betts' adaptation of Getting

ways in great demand for a variety of venues. Alan's master class was fol lowed by a performance by the U.S.

Sentimental (Over You), which fea tured Bruce, and Jack's transcription of Gene Puerling's arrangement of All

Air Force Brass Quintet, which uti

The Things You Are as done for Singers

lizes Master Sergeant Mark Williams'

Unlimited and revoked for eight trom

trombone talents. This is a very ver

bones. A most enjoyable and

satile group that not only plays the

challenging program.

annual get-togethers. Fred Snyder is another versatile trombonist-educator who has a long

list of credits as well as renowned students. Only his modesty keeps him from a wider reputation. He

always presents a varied and enter

taining hour of music for those hardy enough to rise with the sun on Sun day morning.

The Kansas State University

traditional and contemporary, but

Brass Ensemble, some 17 mem

film soundtracks and premieres of

bers strong, came up next. Its

specially commissioned works. In a

repertoire encompassed the full

bid for wider program acceptance by

range of music for brass from

the general public it even plays jazz-

the baroque to pieces commis

oriented arrangements by masters

sioned in 1993. The trombone

The New York Trombone Ensem

and jazz men, but do all kinds of

Symphony for Brass and Tympani.

elaborate on all the highlights of the evening, but knowing Phil, you can

such as Jack Gale and Joe Tarto.

cians who are not only great readers

performed was Herbert Haufrecht's

shortage of space won't allow me to

standard classical repertoire, both

er gathering of those first-call musi

lancer in New York. Among the pieces

torical trombone styles. Again, the

morning. Not only did he conduct

the name mislead you. This is anoth

after graduation he became a free

ful reading of Just A Closer Walk With

Raph wore two hats on Saturday

works Brass Ensemble, but don't let

section consisted of Marcus Tiegel, Jennene Shuey, Cheryl

ble is an octet of top Metro-area play ers directed by bass trombonist Jack

Schatz, who is one of the busiest free-

John Mosca FALL

1993

There were another 13 groups, master classes and lecture/demonstra

tions that I haven't discussed because they were not directly related to the

trombone. Topics such as performance stress, pitch, proper practicing tech

niques and electronics and audio tapes would be of great interest to all instrumentalists. I mention them to try to encourage you all to make the effort

of catch the 1994 Conference next spring. There are always dozens of

exciting performances, classes, and

also rooms full of displays of the latest instruments and accessories of all

(l-r) Phil Wilson and Dennis Wilson

kinds by all of the major manufactur ers as well as many small, indepen

Continuing the international fla vor of this year's conference, the next big band on the stage was from the University of Regina, Saskatchewan,

Canada, led by Ed Lewis, a Severinsen-type trumpet player in his

own right and known to his friends as "Mr. Ebullience."

from year to year but the quality is

dent companies who cannot or will

always top-notch. This year's four

not travel beyond the Metro area to

some included Mitchell and Lawrence

offer their unique wares. After all,

Ross and the Biddlecome brothers,

there's only one Big Apple; the best

James and Robert. Wayne Andre, one

come to us. Hope to see you then!

of the busiest studio play ers in the city, always

makes time in his sched

ule to write a couple of charts for the 40-plus out

fit, which spotlights his gorgeously tasty tone and

jazz chops, as well as

plenty of open spaces for several of the other fine players.

The finale of the 1993 Brass Conference was provided by The Im

perial Brass (formerly the Rutgers Tony Lada

The American Trombone Quartet

and Friends, directed by Mitchell Ross,

has become an annual staple of the Brass Conference. Personnel may vary

University Alumni Concert Band)

David Taylor

directed by composer/conductor Brian Bowen. The band follows in the traditional British instrumentation of

brass and percussion. It blends its tal ents to produce a really fine sound ing ensemble.

Reminder Nominations for the 1994

Neill Humfeld Excellence in Teaching Award are

(l-r) Jim

due by February 1, 1994.

Biddlecome,

Send you nomination to:

Lawrence

Ross, Mitchell

Neill Humfeld Award

Ross, Robert

Jim Clark

Biddlecome

Music Department

East Texas State University lim.$M&j'n ' ■•■"i:'.:

ITA

JOURNAL

Commerce, TX 75429

Itfcf

In the spring and fall of the year the

band would make concert tours to dif Sergeant Larry Wiehe's most famous publicity photograph, when he was trom bone soloist for the U.S. Air Force band.

ferent areas of the country playing

smaller band to hold down expenses.

two and three concerts a day. So it

Of course it was a great deal more dif

was about the

ficult physi

third or fourth

cally because

".. .toy $ki)b\C) two matinee* of m

concert that

by Larry Wiehe (1929-1992) edited by John Marcellus

tob 19 tokutet'&umUoh, kaoincj to

summer when

I was called

atmott ccHthudly, and tken ttmb up k

on to do Blue

"Onward and Upward" (1951-1985)

ded great, as it always did. Having a

civilian booker, we traveled with a

Bells of Scot

tke et/emf awb bo a bi$$wtk teckwd }tain'teaty,

land at the

there was no one to spell

you

and

when you got tired. (Editor's Note: During

It was around the first of July, 1951

Capitol Steps.

and anyone who has ever visited or

Of course, this

lived in Washington knows about the

time I wasn't

Capitol Steps and the Potomac Water

told to turn around ^nd play into the

tant when there was luxury with four

trombones in the section.)

the tours of the '60s I was Larry's assis

gate concerts given in the summer by

band. This was a normal solo shot.

die four service bands, each at a differ

Man, I can remember that first time

Gib Sandefer was the booker. He

ent spot on different nights, so every

like it was yesterday. I played that

was a nice guy, but not being a musi-

weekday night there was a concert to

solo fast and furious and being out

attend. They were going

side you could really let

on when I entered the

out.

Commander

band in the Korean era,

Brendler even smiled

as were funerals

and shook my hand

Arlington, recordings of

during the applause. So

the Navy Hour broad

that was my first public

cast on Saturday, par

solo shot of my Navy

ades, more concerts,

Band career and it felt

functions for visiting

great. That was on a

dignitaries and occa

Monday evening. On

sional jobs at the White

Thursday evening we

House and State De

did a different concert

partment. The winter series of concerts were

performed in the De partment of Agriculture

Wiehe in Oakland, CA

at the Watergate Barge,

in 1946. He had recently

but I was the soloist

joined the navy.

doing Blue Bells once

Auditorium, or as everyone called it,

again and it went better

than the first time.

"Departmental Auditorium/' on

After the summer series, rehearsals

Constitution Avenue. During one span

began on the tour music, starting

of time we even played a series of

about a week before tour. We were to

weekly concerts at the Carter-Barron

go on the road with a 45-piece band

Amphitheater. So, the Navy Band did

and make it sound like a 65-piece

a lot of work in a week's time.

band. Needless to say, the band soun

ITA JOURNAL

Wiehe solos with the USAF band

through a good size town or city

about every two weeks that we would be returning to a few days later, on our way to another concert

site. We all would leave off laundry and cleaning and pick it up in a few days. It was a mess but it was logical ly the only way. Of course, years

later, with the introduction of oneday cleaners, Laundromats, drip-dry

and non-press clothes, most of these types of problems were solved. Commander Brendler's evening

concert was usually two and a half hours long, and CWO Richard Townsend conducted the matinees, so con

USAF ConductorArnald D.Gabriel (left) and the entire Wiehefamily, including wife Wanda, their two daughters and Larry's parents, meet Skitch Henderson. dan, he had no idea how difficult the tours were. Sometimes we would be on the bus at four in the morning to

go to the next town to play two, three, and sometimes four concerts in one day.

There were no interstate highways, and we never ever took a turnpike because we always played in towns, not cities. Gib's philosophy on that position was that you could not draw audiences in big cities because there were too many other events going on.

concert site could seat mostly adults. A morning concert would be re

quired at times if we happened to be within range of a veteran's hospital or base. This, of course, helped to jus tify the need of these tours (to the Defense Department). Thinking back to those tours, I wonder how on earth we ever came out of it alive. The tours were from six to 10 weeks in

quired to play two matinees, simply

about 20. You have to think about this

um wasn't big enough to hold all the

(problem) now. There were no one-

students from the surrounding areas.

day cleaners, no drip dry shirts, socks

on many afternoons we were re

That strategy meant, of course, that there would be very few stu

dents at the evening concerts and the

Because of the heavy scheduling of the tours, the instrumental soloists were alternated. As an example, Gordon Finley would play Arban's Carnival of Venice and an encore one

night and I would do Blue Bells and

day. No days off! We were required to travel in uni

because the auditorium or gymnasi

America, which was the reason why

bed was sheer luxury!

length, and we played concerts every

form and most of the guys took two or three which had to be cleaned. We had to take as many white shirts as we could muster and I usually took

So we always stuck with small-town

sidering all of this there was very lit tle time to call your own. Sleep in a

or underwear and no Laundromats.

Well, here's the answer: Gib had the tour booked so that we would pass

Larry in 1972 at the National Trombone Workshop at Peabody College in Nashville, TN with Bill Watrous, John Marcellus, and others. an encore the next night. This meant

that on a 10-week tour each of us would "be in the barrel," as we called it, and perform our solos 35 times. On a six-week tour, 21 times, etc.

All this may not seem difficult, but try playing two matinees of an hour and 15 minutes' duration, having to

play almost continually and then stand up in the evening and do a difficult technical solo. It ain't easy, brother!!

I did this twice a year for 12 years

in the Navy Band, plus a lot of solos in the concert series in Washington.

Of course, being on tour, there were

Colonel Gabriel conducts the USAF Band and cues another Wiehe solo.

fringe benefits, but not money.

FALL

1993

While Cmdr. Brendler conducted the concert, Lieut. Fultz went to the

Embassy to pay respects for Brendler and the band. After the concert Mr. Fultz informed the band that President Eisenhower would be in Rio in a week

and a half and that the Embassy had requested that an orchestra from the

band be available to play for the din ner in the President's honor. Nothing more was said about it and everyone

Wiehe at a reception greeting Boston Pops Conductor Arthur Fiedler in the early 1970s. In all the towns we played there was at least one person who would

influence your career in some way, be it by an everlasting friendship, a pro fessional musician, or an educator. This was extremely valuable to me, not only from a friendship position but a professional position. A great many of these persons, later on, were influential in making possible many guest-artist appearances around the

country or teaching and appearances at summer music camps. For exam

ple, Commander Brendler and I were on the staff at Gunnison Music Camp for years. We both saved our leave time for this event. It was an incredi ble music camp with faculty consist ing of the finest instrumentalists and educators, including Col. Santleman and Cmdr. Brendler from the service bands. Among others were Arthur Fiedler (Boston Pops), Guy Fraiser Harrison (Eastman School and Okla homa Symphony), William Revelli (University of Michigan), Arnold Jacobs (Chicago Symphony), Edward Kleinhammer (Chicago Symphony), Bill Bell (New York Philharmonic), Harvey Phillips (New York Brass Quintet), Frank Scimonelli (U.S. Navy Band), Earl Louder (U.S. Navy Band), Milan Yancich (Eastman School and Rochester Philharmonic), and Leo nard Sharrow.

The Navy Band also performed in Toronto, Canada every four years for

the Canadian Exposition for 16 days of concerts, one in the afternoon and one at night. (Since the band had a

tremendous repertoire, there were never any rehearsals, only a talk-

was like a vacation compared to other duties we had back home. Some members of the Canadian

Army Band were always around the bandstand and they treated us royally. A great group of guys! My wife was with me the last two trips and we stayed in the Seaway Motel. On one of

the trips my wife even baby-sat one of the Canadian Army Band member's grandbaby for several hours one evening while he performed in the sta

dium. The Navy Band always sound

left for liberty (free time). The crew and the band would have to be back aboard ship by an hour before "up anchor," which was daybreak the next morning. We set sail for Buenos Aires,

and after arrival the ship tied up at the dock, and liberty was called for all

hands except a portion of the crew that would remain aboard.

On the 25th of February the mem bers of the orchestra were awakened at 0500 (5:00 a.m.) for the flight back

to Rio for the President's reception and dinner. A U.S. Navy transport

plane had flown in from D.C. to pick up the orchestra (12 Navy techni

ed fresh and happy in Toronto, mostly,

cians, who were sent to help the

I suppose, because of the enthusiastic

Argentine Navy hunt a mystery sub

support and appreciation given by the

marine, had hitched a ride from

predominantly Canadian audiences.

D.C). The airport was about a halfhour away. Evidently they were in terrible weather as they got close to

In January 1960, and with my wife,

Wanda, pregnant with our first child, we departed Boiling AFB by air on our disastrous tour of South America.

Rio. Heavy fog was reported.

And then a midair collision with a

No person, or their wives, on the trip

civilian airliner and 19 exceptional

will ever forget it. The first leg of the

musicians and friends were lost in

tour was a flight to the Port of Spain,

the blink of an eye. They were Lt.

Trinidad where we stayed overnight.

Harold Fultz, Walter Penland, Bruce

In the morning we looked out toward

Young, James Mohs, Milton Bergey,

the ocean and saw nothing but a

Richard Had, Reyes Gaglio, Ray

heavy cruiser, the USS Macon CA 132.

mond Micallef, Robert Clark, William

For those who don't realize the size of

Albrecht, Gerald Meier, Earl Richey,

a heavy cruiser, it is slightly smaller than a battleship, only about 900 feet

Jerome Rosenthal, Roger Wilklow,

long. Later in the day we went aboard

ger, Anthony D'Amico, Henry Bein,

and made sail for Rio de Janeiro.

Vincent Tramontana, Elmer Armin-

and Albert Desiderio. I can still see

A couple of days out separated the

every one of them in my mind's eye,

men from the boys. Seasickness! Most

even after 25 years, and they will be

of the Navy Band personnel had never

there the day I leave this world.

been to sea and, of course, we all felt real sorry for them! Poor guys! But

most had completely recovered in time for Rio. We dropped anchor about a mile out and took boats into shore to

(Editor's Note: Larry Wiehe's body is buried in Arlington National Ceme tery with his 19 colleagues.) Well, you can imagine the effect the crash had on many of the band. We

through with Cmdr. Brendler about

play a noon concert in a park a half

an hour before the concerts.) This

still had the west coast of South

block or so from the U.S. Embassy.

America to tour, which meant we

ITA

JOURNAL

would be leaving the U.S.S. Macon

You know, or would you believe

At his retirement in the Sail Loft,

and flying over the Andes to Santiago,

that most of us took out an extra

after 49 years in the Navy, many a

Chile. Mountains were up to 19,000

insurance policy to cover us of the

tear was shed and many a note was

feet high and we would be flying in

South America tour? Forty dollars it

dropped as he inspected the band

Navy aircraft that could fly 11,000 feet

cost each of us. And would you

which was all lined up in a marching

at the highest. Several of the guys

believe the insurance (company)

band formation. He was a man com

mentioned that they would have to be

refused to pay the insurance claims to

pletely dedicated to the Navy and to his great band. It's incredible how

carried off the plane if they had to fly

the widows? They had a clause in

again. There were discussions with

small print that the policies would not

Rear Admiral E. C. Stephan about can

cover an operation. In other words,

celling the rest of the tour but Admiral

they (mis)construed the fact that

Arleigh Burke, the Chief of Naval Operations, vetoed that (idea) and

President Eisenhower's Operation

to get the job done.

Amigo (separate from the Navy Band tour) was a military operation. The

Anthony Mitchell, who had become

ordered the tour to proceed. So off we went flying around and through the Andes into Santiago, where we played several concerts around the city and then back across the Andes to Monte video, Uruguay and more concerts. Our presence in all these cities pre ceded President Eisenhower by a few

days, and when we arrived in Monte video, there were many newsmen

around the hotel where "Ike" would be staying. A couple of buddies and I walked up to the bar in the hotel to have a beer and standing beside me were three newsmen talking. The one next to me looked very familiar, and at that time he turned to me and asked if we were with the Navy Band

one man such as Charles Brendler could absolutely dominate military music as he did. He really knew how After Brendler's retirement CWO

widows fought the case for 10 years

assistant leader after Townsend's

and got nowhere. There have been many years of shock and agony for

promptly promoted to lieutenant and

retirement, became leader and was

the surviving families of the deceased

then later on retired as a commander.

members of the U.S. Navy Band. We were given four or five days off

principal clarinet and soloist for years

Tony had been in the Navy Band as

before spending a couple of days get ting ready for (the spring) tour and

under Brendler. He was a great tech

then we were off again for several weeks. All of us had sat in the same seats on the buses for years and there

tour before my entrance in the band.

were obviously some empty seats to

remind us of our South American tour.

Cmdr. Brendler, who at the time of the South America trip had about 47 or

48 years in the Navy, often mentioned

nician and performed many solos on

He played only occasional solos

while I was there. He also was a good dance band musician, which helped with his great flexibility.

Being near the end of my final six-

year enlistment in the Navy and after having not made Chief Petty Officer, which made me madder than hell, I

and I said, yes we were. He ex

decided to have a look at the other

pressed his regrets concerning the air

bands in Washington. First was the

disaster and we thanked him for his concern. He then introduced himself to us as Bob Considine, with whom we were all familiar. I believe he was a syndicated columnist with the Chicago Tribune at that time. He

Marine Band a couple blocks away on

asked if we had been able to contact

Erdman, the current soloist; and

Eighth Street, SE, mostly because of my association with Lieutenant Col. William Santleman, who had retired some years before; Bob Isele, their for mer premier trombone soloist; Jimmy

our relatives, and we told him we

Chuck Erwin, cornet soloist.

had not. So he said we could use his phone in his room to call home by

Lieutenant Colonel Schoepper

was the man I had to deal with. He

way of Chicago to Washington to

was never friendly and seemed to get

home. We managed to give our fami

more irritated as time went along.

lies all the information we had about

Now, this started eight months

the air crash, which at the time was

before my enlistment was up and

still fairly limited.

finally my acceptance in the Marine

Leaving Montevideo, we again

landed at Trinidad, spent the night,

and the next morning took off for Washington, D.C. and home. We were all reluctant to leave the plane, for we all knew that some of the wives of our lost comrades would be standing there and we were right, some were there and embracing them was a real tearjerker. What could we say or do? Just hold them.

Larry Wiehe, 1974

that it was his goal to hit the 50 year mark. Somehow or other, he received

Band was firm.

However, for curiosity's sake, and with only three days left in the Navy,

I decided to go to Boiling AFB and

much of the blame for the disaster and

have a talk with Colonel George

consequently we witnessed his slow but sure decline of self-assurance and

Howard about his Air Force Band. Captain Harry Meuser, Captain

health. He was like a father to me, hav

Robert Landers and Chief Master

ing given me so many opportunities in

Sergeant Zukouski led me into

my chosen profession.

Howard's office. Col. Howard was FALL

1993

no stranger to me! He shook hands

with me and asked what he could do for me. I responded, "Could you use an old, broken-down trombone soloist in your band?" He asked, "When is your Navy enlistment up?" "In three days, Sir." He said to the other officers, "Let's call the recruiter and all the other people involved and get this thing going! We don't have

much time!"

That was the end of the meeting, the end of my involvement with the Marine Band, and last, but not least, my involvement with the Navy Band.

(I) never did talk with Col. Laboda,

(of the U.S. Army Band) because they never took tours. So, three days later and one day of broken service spent at the recruiter, I was a member of

The announcement then came that we would be flying to San Antonio to do a concert for the Texas Bandmas ters Association and old Larry was to be the soloist, playing the baritone solo, Those Endearing Young Charms. The band played great and the solo went superbly, if I do say so myself. Standing ovation and everything. The encore even went great Just a wonder

ful evening. There's not much doubt

that musicians seem to rise to the occa sion. The next morning, before leaving San Antonio for our return to Wash ington, Col. Howard said to my broth er, who was sitting with me at break fast, and loud enough for everyone in the room to hear, "You can tell Larry

After Ottawa we headed home with an intermediate stop in Col. Howard's home town and again he had me do the solo. That concert was to be Howard's last public concert outside

of Washington. He retired shortly afterward and, a little later, moved to San Antonio. Captain Harry Meuser took over interim command and everything went along as usual with

tours and concert series continuing.

Going on tour was consistently easier as the years went by because of

the types of clothing available, the Laundromats, and the greatly improved chains of motels and restaurants, turnpikes and the inter

state highway system growing by

leaps and bounds. The tour concert schedule seemed easier even though

the Air Force Band at Boiling AFB.

the Air Force Band was also booked

Col. Howard gave me some time to get adjusted and acquainted with

by Gib Sandefer and every day was at least two concerts. The difference

everyone. Nothing really was new to

was travel time, of course.

me except the people and getting

In 1964 came the man who would

used to them was very easy. Military

put the U.S.A.F. Band on the highest

musicians have a camaraderie like no

pedestal of its existence. He would

other people in the world, I guess. It makes a person very comfortable just

become the predominant figure in

being around them, maybe because

He, like Brendler, would become the

concert band music and performance.

the bands in D.C. were permanent

president of the American Band

duty jobs and they were filled with

masters Association and the most

highly qualified instrumentalists. A very relaxed and gifted group. Of

course, like anything else there were

a few exceptions, but very few. Firsttermers usually.

Col. Howard allowed me to go to Gunnison Music Camp that summer, which we had discussed at our first meeting. Sadly, Gunnison was to fold

after that two-week session and would be no more. However, the fol

lowing year, Bob Hawkins, who started the Gunnison Camp 27 or 28 years before, left Gunnison and

became director of bands at Morehead State University in Morehead, Kentucky. He immediately started

the Daniel Boone Music Camp and was quite successful for many years

and although he died a few years ago, his wife, Kate, is keeping it

respected conductor of his organiza

Larry Wiehe shortly after his retirement

from the U.S. Air Force Band.

tion. I'm talking about Col. Arnald D.

Gabriel, of course. He was, as

Brendler, very well educated in con

that he is, as of now, promoted to mas

cert band and military band music

ter sergeant." A very pleasant surprise to say the least.

a special place in the world for con

and dedicated to the fact that there is cert bands. There was never a word

A few weeks later we were to leave for the Ottawa, Canada Exhibition for 16 days. Like the trips with the Navy Band to Toronto, this was equally as nice. However, I had booked a guest appearance with Gene Braught at the University of Oklahoma, so Colonel Howard allowed me to arrive in Ottawa a couple of days later. The University of Oklahoma band and I did the Rimsky-Korsakov Concerto, a piece that is fairly difficult but really isn't my favorite music. From there it

cept for Wiesbaden, Germany and

spoken by him to even hint other wise. When Gabriel came to the

U.S.A.F. Band, he did have consider

able experience. After his tenure in the Army as a machine gunner in Europe during World War II he attended Ithaca College in Ithaca, New York, graduated with a master's degree and then joined the U.S.A.F. under the warrant officer program.

I'm not sure of his assignments ex

was on to Ottawa to spend two

the Air Force Academy.

weeks, which seemed like a vacation even though I did a solo about every

Camp then came to Morehead. Of

Europe and performed in Wiesbaden.

concert. Being in a nice band shell

course, any camp would be hard-

outside is an easy place to play so it

There was no doubt about the feelings

pressed to come close to Gunnison.

really didn't put any pressure on me.

going along with Earle Louder. Many

of the faculty at the Gunnison Music

ITA

JOURNAL

In 1969 we made a concert tour of

of the natives for Gabriel. It was an experience I've never witnessed

before. The people there were ab

solutely in love with him. He was and still is a master of public relations. After a short time at the Air Force Academy he came to Washington as

commander and conductor of the

U.S.A.F. Band in 1964 to give the band

a reputation in the music world like nothing before and that, probably, will never be matched in the future. The tours were still much the same as before but that really didn't last

long. Under Gabriel, the idea was developed to have the tours booked by an officer of the band and to limit

concerts to one a day. There would only be an occasional day when two concerts would be played. Again, I was the soloist every night. After doing Enduring Young Charms for a few years under Brendler, Howard, and now Gabriel, Gabe decided to have a production number written

When the tours changed to only an evening concert, Major Al Bader,

assistant leader, Johnny Woody, prin cipal French horn, Jim Hutchinson, principal trumpet, and I decided that since we usually arrived in the con cert towns around noon we should at least get some physical exercise so we started playing golf every afternoon. We played countless courses through out the years, in fact, some of the most famous golf courses in the coun try. In most instances and with men

eight rhythm in the first and third movements and a three-four ballad

tion that we were with the Air Force Band, we were more than welcome to play. Playing golf really broke up the boredom of a tour and was really what we needed. What was so outstanding in both bands was the closeness of the mem bers. It was like a big family, for what reasons I do not know, and those friendships are the same today even

it a few times in public. Doc and Harvey are a couple of classy guys. Great players! Gabe then asked if I would consider doing the thing on tour with John Maiocco on cornet and Bob Chab on tuba, and I agreed. Even

for me by Floyd Werbe, chief com poser and arranger for many years. It

contained Bach, a typical technical

really a great work with tremendous audience appeal. If I'm not mistaken, it was performed on every evening

In my tenure in the Navy and Air

lege to take anyone I chose to fill out the section when vacancies occurred from retirement or for other reasons.

No one ever argued with me or tried to change my mind. (I chose) people like John Marcellus, who has had an illustrious career with the Baltimore Symphony, the National Symphony in D.C. and is presently professor of trombone at the Eastman School of Music. It is always nice to see any of the former service band people do great things when they leave, but in particular, guys who were my sec tion-mates and close friends. Of course, many of the real fine players like Oscar Short, Art Will, Bob Isele, and numerous others spent practical ly their entire professional career of 20 or 30 years in service bands.

really didn't have great public appeal, probably because the two movements

went by so fast the public couldn't gather it all in and consequently

world of dog-eat-dog people. My God, what a way to live. The music business is in the depths of despair,

stuff and even a bit of rock. It was

Force Bands it was always my privi

though it was an excellent work, it

retired to a really messed up civilian

solo, Dixieland, some Tommy Dorsey

gave it a workout.

player, a particular tuba player and a particular trombone player, namely, Doc Severinsen, Harvey Philips, and Larry Wiehe. The Concertino was fast and furious in the outside movements and slow and pretty in the inside movement. So, the three of us played

ever, we did it for a few tours. It wasn't too long after that I

with tremendous audience appeal. It

other isolated concerts. We really

type second movement. The chart was written for a particular trumpet

couldn't appreciate it. Kind of went over their heads so to speak. How

turned out to be a true masterpiece

concert on tour for eight years, and countless times in Washington and

Three Brass with band accompaniment

in three movements with a seven-

Larry Wiehe at the 1982ITW in Nash ville (photo by Bruce Doucherty). tough we don't see or hear from one another for years at a time. It's incred ible how this happens. This feeling is also so obvious at the International

Trombone Workshop, which is held in Nashville (and at other places in the U.S. and Europe recently). No jealousy, no criticism, nothing but the highest respect and friendship for each other. Amazing! Wouldn't it be great if our country and the entire

world would operate like that?

The last few years in the Air Force Band were somewhat lost years. I was

tired of playing solos, which at the time seemed reasonable but wasn't.

Col. Gabriel abided by my wishes but at the same time had in the works a brass trio being written by Floyd Werle. When Floyd completed it, we read it down. It was the Concertino for

no more ballroom dances with the great dance bands such as Les Brown, the Dorsey Brothers, Jimmy Ltinsford, etc. No more great civilian bands, such as the Band of America touring the world and even the great sym

phony orchestras practically existing on donations. No more live studio bands. What about all the thousands of youngsters coming up with high aspirations of making a career in music performance, or for that matter, in music education?

At the time of this writing I am 56 years old and have played trombone for 52 years. My career has been extremely successful and interesting, meeting many of the great musicians

of the past and performing with many of the greats of the present. Will the young musicians coming up have the opportunity to be successful in their chosen profession? It's really up to all of us, isn't it? By our support, or more importantly by our attendance,

the music world can become, once

again, a healthy and vital part of all

our lives. It's up to you, folks! FALL

1995

While Cmdr. Brendler conducted the concert, Lieut. Fultz went to the Embassy to pay respects for Brendler and the band. After the concert Mr. Fultz informed the band that President Eisenhower would be in Rio in a week

and a half and that the Embassy had requested that an orchestra from the

band be available to play for the din ner in the President's honor. Nothing

more was said about it and everyone

Wiehe at a reception greeting Boston Pops Conductor Arthur Fiedler in the early 1970s. In all the towns we played there was at least one person who would influence your career in some way, be it by an everlasting friendship, a pro fessional musician, or an educator. This was extremely valuable to me, not only from a friendship position but a professional position. A great many of these persons, later on, were influential in making possible many guest-artist appearances around the

country or teaching and appearances at summer music camps. For exam

ple, Commander Brendler and I were on the staff at Gunnison Music Camp

for years. We both saved our leave time for this event. It was an incredi ble music camp with faculty consist ing of the finest instrumentalists and educators, including Col. Santleman and Cmdr. Brendler from the service bands. Among others were Arthur Fiedler (Boston Pops), Guy Fraiser Harrison (Eastman School and Okla homa Symphony), William Revelli (University of Michigan), Arnold Jacobs (Chicago Symphony), Edward Kleinhammer (Chicago Symphony), Bill Bell (New York Philharmonic), Harvey Phillips (New York Brass Quintet), Frank Sctmonelli (U.S. Navy

Band), Earl Louder (U.S. Navy Band), Milan Yancich (Eastman School and

Rochester Philharmonic), and Leo nard Sharrow.

The Navy Band also performed in Toronto, Canada every four years for

the Canadian Exposition for 16 days of concerts, one in the afternoon and one at night. (Since the band had a

tremendous repertoire, there were never any rehearsals, only a talk-

was like a vacation compared to

other duties we had back home. Some members of the Canadian Army Band were always around the

bandstand and they treated us royally. A great group of guys! My wife was

with me the last two trips and we

dock, and liberty was called for all

hands except a portion of the crew that would remain aboard.

On the 25th of February the mem

the trips my wife even baby-sat one of

at 0500 (5:00 a.m.) for the flight back

the Canadian Army Band member's

to Rio for the President's reception

grandbaby for several hours one

and dinner. A U.S. Navy transport

evening while he performed in the sta

plane had flown in from D.C. to pick

dium. The Navy Band always sound

up the orchestra (12 Navy techni

ed fresh and happy in Toronto, mostly,

cians, who were sent to help the

I suppose, because of the enthusiastic

Argentine Navy hunt a mystery sub

support and appreciation given by the

marine, had hitched a ride from

predominantly Canadian audiences. In January 1960, and with my wife,

Wanda, pregnant with our first child, we departed Boiling AFB by air on

our disastrous tour of South America.

D.C). The airport was about a half-

hour away. Evidently they were in terrible weather as they got close to Rio. Heavy fog was reported. And then a midair collision with a

No person, or their wives, on the trip

civilian airliner and 19 exceptional

will ever forget it. The first leg of the

musicians and friends were lost in

tour was a flight to the Port of Spain,

the blink of an eye. They were Lt.

Trinidad where we stayed overnight.

Harold Fultz, Walter Penland, Bruce

In the morning we looked out toward

Young, James Mohs, Milton Bergey,

the ocean and saw nothing but a

Richard Harl, Reyes Gaglio, Ray

heavy cruiser, the USS Macon CA 132.

mond Micallef, Robert Clark, William

For those who don't realize the size of

Albrecht, Gerald Meier, Earl Richey,

a heavy cruiser, it is slightly smaller

Jerome Rosenthal, Roger Wilklow,

than a battleship, only about 900 feet

Vincent Tramontana, Elmer Armin-

long. Later in the day we went aboard

ger, Anthony D'Amico, Henry Bein,

and made sail for Rio de Janeiro.

and Albert Desiderio. I can still see

A couple of days out separated the

every one of them in my mind's eye,

men from the boys. Seasickness! Most

even after 25 years, and they will be

of the Navy Band personnel had never

there the day I leave this world.

been to sea and, of course, we all felt real sorry for them! Poor guys! But most had completely recovered in time

for Rio. We dropped anchor about a mile out and took boats into shore to play a noon concert in a park a half block or so from the U.S. Embassy.

JOURNAL

morning. We set sail for Buenos Aires,

and after arrival the ship tied up at the

bers of the orchestra were awakened

an hour before the concerts.) This ITA

aboard ship by an hour before "up anchor," which was daybreak the next

stayed in the Seaway Motel. On one of

through with Cmdr. Brendler about

left for liberty (free time). The crew and the band would have to be back

(Editor's Note: Larry Wiehe's body is buried in Arlington National Ceme tery with his 19 colleagues.)

Well, you can imagine the effect the

crash had on many of the band. We

still had the west coast of South America to tour, which meant we

would be leaving the U.S.S. Macon

You know, or would you believe

At his retirement in the Sail Loft,

and flying over the Andes to Santiago,

that most of us took out an extra

after 49 years in the Navy, many a

Chile. Mountains were up to 19,000

insurance policy to cover us of the

tear was shed and many a note was

feet high and we would be flying in

South America tour? Forty dollars it

dropped as he inspected the band

Navy aircraft that could fly 11,000 feet

cost each of us. And would you

which was all lined up in a marching

at the highest. Several of the guys

believe the insurance (company)

band formation. He was a man com

mentioned that they would have to be

refused to pay the insurance claims to

pletely dedicated to the Navy and to his great band. It's incredible how

carried off the plane if they had to fly

the widows? They had a clause in

again. There were discussions with

small print that the policies would not

Rear Admiral E. C. Stephan about can

cover an operation. In other words,

celling the rest of the tour but Admiral

they (mis)construed the fact that

music as he did. He really knew how

Arleigh Burke, the Chief of Naval

President Eisenhower's Operation

to get the job done.

Operations, vetoed that (idea) and

Amigo (separate from the Navy Band

one man such as Charles Brendler could absolutely dominate military

After Brendler's retirement CWO Anthony Mitchell, who had become

ordered the tour to proceed. So off we

tour) was a military operation. The

went flying around and through the

widows fought the case for 10 years

Andes into Santiago, where we played

and got nowhere. There have been

retirement, became leader and was

several concerts around the city and

many years of shock and agony for

promptly promoted to lieutenant and

then back across the Andes to Monte

the surviving families of the deceased

then later on retired as a commander.

video, Uruguay and more concerts.

members of the U.S. Navy Band. We were given four or five days off

Tony had been in the Navy Band as

Our presence in all these cities pre

ceded President Eisenhower by a few days, and when we arrived in Monte video, there were many newsmen

around the hotel where "Ike" would be staying. A couple of buddies and I walked up to the bar in the hotel to have a beer and standing beside me were three newsmen talking. The one

next to me looked very familiar, and at that time he turned to me and

principal clarinet and soloist for years

before spending a couple of days get

under Brendler. He was a great tech

ting ready for (the spring) tour and then we were off again for several

nician and performed many solos on

tour before my entrance in the band.

weeks. All of us had sat in the same

He played only occasional solos

seats on the buses for years and there were obviously some empty seats to

while I was there. He also was a good

remind us of our South American tour.

with his great flexibility.

Cmdr. Brendler, who at the time of the South America trip had about 47 or

48 years in the Navy, often mentioned

asked if we were with the Navy Band

dance band musician, which helped Being near the end of my final six-

year enlistment in the Navy and after having not made Chief Petty Officer,

which made me madder than hell, I

and I said, yes we were. He ex

decided to have a look at the other

pressed his regrets concerning the air

bands in Washington. First was the

disaster and we thanked him for his

Marine Band a couple blocks away on

concern. He then introduced himself

Eighth Street, SE, mostly because of

to us as Bob Considine, with whom

my association with Lieutenant Col.

we were all familiar. I believe he was

William Santleman, who had retired

a syndicated columnist with the

some years before; Bob Isele, their for

Chicago Tribune at that time. He

mer premier trombone soloist; Jimmy

asked if we had been able to contact

Erdman, the current soloist; and

our relatives, and we told him we

Chuck Erwin, cornet soloist.

had not. So he said we could use his

Lieutenant Colonel Schoepper

phone in his room to call home by

was the man I had to deal with. He

way of Chicago to Washington to

was never friendly and seemed to get

home. We managed to give our fami

more irritated as time went along.

lies all the information we had about

Now, this started eight months

the air crash, which at the time was

before my enlistment was up and

still fairly limited.

finally my acceptance in the Marine

Leaving Montevideo, we again

landed at Trinidad, spent the night,

assistant leader after Townsend's

Larry Wiehe, 1974

and the next morning took off for

Band was firm.

However, for curiosity's sake, and

with only three days left in the Navy,

Washington, D.C. and home. We

that it was his goal to hit the 50 year

were all reluctant to leave the plane,

mark. Somehow or other, he received

I decided to go to Boiling AFB and

for we all knew that some of the

much of the blame for the disaster and

have a talk with Colonel George

wives of our lost comrades would be

consequently we witnessed his slow

Howard about his Air Force Band.

standing there and we were right,

but sure decline of self-assurance and

Captain Harry Meuser, Captain

some were there and embracing them

health. He was like a father to me, hav

Robert Landers and Chief Master

was a real tearjerker. What could we

ing given me so many opportunities in

Sergeant Zukouski led me into

say or do? Just hold them.

my chosen profession.

Howard's office. Col. Howard was FALL

199*

U.S.A. from Qualiton Imports, 24-

The Encyclopedia of Re

02 40th Avenue, Long Island City,

corded Sound in the United States, which

has been in the pro cess of publication for

quite a few years, is now available from Garland Publishing, Inc., 1000A Sherman Avenue, Hamden, CT 06514.

The book consists of a Preface, Ad

RECORD

REVIEWS

NY 11101)

Scott Joplin: The Cascades for Four Trombones; Pleasant Moments for Four Trombones. Frigyes Hidas: Scherzo e Chorale per Quattro Tromboni. Antonin Dvorak: Humoreske (Aus Op.101). Bart Howard: Fly Me

visory Board, Authors of Articles (with

to the Moon. Alan Raph: Burlesque.

biographical information), Acknow

Brian E. Lynn: Bachy Things. Kazi-

ledgements, Introduction, List of Ar

EDWARD R. BAHR, EDITOR

mierz Serocki: Suite fiir vier Posaunen (1953). Hoagy Carmichael:

ticles, Bibliography and Key to Citations,

Stardust for Four Trombones. Henri

and an 85-page Index, which are all

important additions to the main writ

Tomasi: ttre on ne pas etre (Mono

ten section.

logue d'Hamlet) pour Trombone-

The Encyclopedia has an elaborate

basse et trois Trombones. John

scope of information and facts. In the

Lennon/Paul McCartney/Ingo

786 pages of the "Encyclopedia" section,

Luis: Hey Jude.

one finds categories like performers, commercial organizations, inventors,

Lovers of trombone ensemble

sound archives, patents, and sound

music, here is a recording to add to

recording periodicals, and specific list

your Christmas/birthday/whatever

ings such as microphone, Thomas

wish list! Trombonissimo is a musical

Alva Edison, Victor Talking Machine

offering from the trombone section of

Company, jazz, orchestra, military

the State Philharmonic in Rheinland-

band, or opera recordings, preserva

Pfalz. But don't expect to hear

tion of sound recordings, plus Arthur

Bruckner or Wagner from this group.

Pryor and J.C. Higginbotham.

The works are drawn from a variety

of unexpected musical locations.

Upon observing the Encyclopedia,

Everything from turn-of-the-century

one may find that some subjects are not included or realize that errors may

upon observing this book the effort

ragtime to contemporary arrange

have occurred. For example, this

that has gone into its production. It is

ments, works a la Bach to Henri

writer's Brass Instrument Recordings

an important reference source (for

Tomasi; it's all here.

section, even after proofreading, con

performers, recording engineers,

tains an accidental change from

librarians,

etc.)

that

The entire recording features only

cannot be

trombones, and even on the contem

"enlargement of the brass repertoire

ignored. Like many publications

porary jazz works where a rhythm sec

in the 20th century" to "19th century,"

printed today the book costs $125

tion could have been used, the rhythm

and a sentence stating, "some artists

plus $3 for shipping and handling in

section responsibility rests firmly on

who recorded" rather than "some jazz

the U.S.A. and Canada plus an addi

the shoulders of the bass and third

and swing artists who recorded"

tional $6 to ship elsewhere (to order

trombone players. Both are to be com

occurred. But regardless of this, here

phone 1-800/627-6273). Regardless of

mended for their agility, sense of time

is a book compiled by a very rep

cost, this is a factually thorough

and the tasteful treatment of these

utable editor, Guy Marco (who actual

book. I highly recommend it.

parts. Especially enjoyable are Brian

ly wrote most of the book), who was

Lynn's Bachy Things and Kazimierz

supported by a very respectable advi

Serocki's Suitefor Four Trombones.

sory board which included individu

Reviews

Expect to be surprised by the abili ty of this group to change styles. It is

als such as Gerald Gibson (Motion

Picture, Broadcasting, and Recorded

TROMBONISSIMO

easy to imagine this trombone section

Sound Division, Library of Congress),

THE TROMBONE SECTION OF THE

pulling out all the stops and playing

David Hall (formerly curator, Rodgers

STATE PHILHARMONIC RHEIN-

the Bruckner 4th...but you should hear

and Hammerstein Archives of Re

LAND-PFALZ. Werner Schrietter,

them swing on Stardustl The quality of

corded Sound), Allen Koenigsberg

Armin Fischer-Thomann, Henning

the recording is generally excellent

(Antique Phonograph Monthly), and

Wiegrabe, Hans Breika, Jeff Haigh,

(viva la compact disc) and consistent

Brian Rust (author, American Dance

trombone.

throughout. One suggestion, however,

BAYER RECORDS BR 100 158 CD

would be to liven up the sound of the

Anyone who has done detailed

(Pforzheimer Strabe 30, 7120 Bie-

bass trombone. At times a dryness (or

research will readily understand

tigheim-Bissingen; available in the

lack of ring) could be heard from this

Band Discography; Jazz Records, etc.).

ITA

JOURNAL

part, which was not an asset. This

disc is certainly one to consider adding to your collection.

and Peter Parkes, have rescored

these pieces, which were originally

HALF PRICE OFFER

written for full orchestra.

—Daniel C. Macpherson

These arrangements highlight the

Rochester, NY

strengths of this ensemble. Most

notable is the E^ solo cornet, trumpet

If you teach Private

A TRIBUTE TO ELGAR,

and flugelhorn playing. Charged

DELIUS & HOLST

with covering the majority of upper

Trombone Lessons, Your

melodic material, these musicians

Beginners are about to

JOHN

FOSTER BLACK

DYKE

MILLS BAND. Major Peter Parkes,

perform in impressive and, some

conductor.

times, dazzling fashion. Overall, the

CHANDOS RECORDS CHAN 4507

blend

the

group

(made in England, disributed in

However, the trombone section con sistently plays fortissimo through

177 Cantiague Rock Road, West-

out the recording with little regard

bury, NY 11590)

for blend or pitch. This is clear in the

The Wand of Youth. Frederic

Adventure in Trombone

good.

the U.S.A. by Koch International,

Edward Elgar/Gordon Langford:

EmbarkonaTrailblazing

Performance.

opening to the Hoist Ballet - The

Perfect Fool, which begins with a uni

Delius/Gordon Langford: March

son trombone fanfare that loses con

Caprice. George Frideric Handel/

trol as tones begin to split and crack.

Edward Elgar/Gordon Lang

This over-blowing grows tiresome

ford: Overture in d Minor. Gustav

and detracts from the overall perfor

Hoist/Peter Parkes: Ballet - The

mance. In contrast, the tuba and

Perfect Fool. Edward Elgar/Peter

euphoniums display great sensitivi

Parkes: Bavarian Dances.

ty and skill even when negotiating

fast string bass and cello passages. For lovers of brass bands here is

The music of Elgar is bombastic

a recording by the award-winning

and exciting. The Wand of Youth is a

John Foster Black Dyke Mills Band.

series of childhood sketches Elgar

Based in Yorkshire, this ensemble is

created to depict as he describes,

one of the premier brass bands in

"the imaginary despotic rule of my

the United Kingdom and has taken

mother and father." Made up of

top honors in the British national

seven movements with names such

brass band competition several

as Fairies and Giants and The Tame

times during the band's existence.

Bear, this work depicts several

This recording, made in 1985,

scenes of Elgar's childhood fan

showcases the music of three

tasies. The Bavarian Dances is a

British composers, Elgar, Delius,

series of three choral songs based on

and Hoist. Two staff arrangers for

poems written by his wife, Alice

the ensemble, Gordon Langford

Elgar. Delius' March Caprice is what

YAMAHA TROMBONE STUDENT If you enjoy being on the cutting edge of new teaching developments, prepare to marvel at the next generation of instructional methods for beginning trombonists. With the Yamaha Trombone Student, your be* ginners will play music and etudes designed to help them forge ahead with enthusiasm. They'll play along with an accompaniment cas

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FALL

1993

Delius himself termed an "apprentice

TROMBONES UNDER THE TREE

Bates/Howe: Joy To The World.

piece/' but it translates very well for

JOSEPH ALESSI, MARK H. LAW

Trad./Cobine: God Rest Ye Merry

brass band. Ballet - The Perfect Fool, the

RENCE, CARL LENTHE, ALTO

most exciting work on the recording,

AND TENOR TROMBONE, M.

is vintage Hoist with beautiful folk

DEE STEWART, BASS TROM

melodies and interesting harmonies

BONE

that sound great in a brass band.

SUMMIT RECORDS DCD 146 (Box

For those people who are looking

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be worth their while. This CD is

Berlin/Cobine: White Christmas,

interesting and a good addition to

Hopkins/Elkjer: We Three Kings. Trad. American/Hanby/Cobine:

one's collection.

—Gerard J. Amoury

Jolly Old Saint Nicholas - Up On the

West Point NY

Housetop. Handel/Reichenbach &

Gentlemen. Trad. English/Reichen bach & Bates: Wassail Song. Torme

& Wells/Elkjer: The Christmas Song. Tschaikovsky/Lenthe: Nut

cracker Sketches - Overture; March; Arabian Dance; Chinese Dance;

Trepak; Dance of the Reed Pipes. Trad. Welsh/Reichenbach & Bates:

Deck The Halls. Mendelssohn/

Reichenbach

& Bates: Hark The

Herald Angels Sing. Trad. German/ Reichenbach & Bates/Elkjer: O

Christmas Tree - The First Noel. Styne/Elkjer: Let It Snow. Trad. English/Vaughan Williams/Roby: What Child is This? Trad. Eng

Presenting the state of the art gig bag for

lish/Picket: Coventry Carol. Trad.

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English/Reynolds:

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INpIANA

UNIVERSITY School of MUSIC The playing was remarkable. ThereNwas ah especially incisive full-bodied tone rom the brass. Above all there was a frishnes:s of approach to the music."

—Bill Zakariasen, New,Xork Daily Neps \ \ \

Jl| FLOW BRASS FACULTY: Edwin Anderson, trombone;

ff1 Keith Brown, trombone; Harvey Phillips, tuba; M. Dee Stewart, trombone/euphonium

Auditions: Nov. 12-13,1993; Jan. 28-29, Feb. 18-19, Mar. 4-5,1994

Office of Admissions, Indiana University School of Music

Bloominetonjiridiana 47405 (812) 855-7998

ITA

JOURNAL

Gruber/Elkjer: Away in the Manger

The four trombonists need no intro

bonists a new perspective on the

perennial holiday favorite. All in all,

- Silent Night. Trad. English/Elkjer:

duction. Joe Alessi, Mark Lawrence,

We Wish You a Merry Christmas.

Carl Lenthe, and Dee Stewart are

this is enough "great stuff" to give

exceptional players, and their perfor

pause to all of those "valved contra

mances here are up to their impressive

bass trombonists" (in whatever key)

become a trite cliche, but as I sit writ

standard. Opening with Al Cobine's

and their holiday outings.

ing in the 100 plus-degree weather of

treatment of Irving Berlin's American

the summer of '93, it came to mind.

classic White Christmas (the largest sin

Song, this CD deserves to be heard

gle seller of all times), the ensemble

year-round. It is a first-class product

runs

in every respect - congratulations to

"Christmas in July" has long since

Make no mistake, there is nothing trite or cliched about Trombones Under The Tree. Four "world-class" trombonists aided by some inventive

arrangers and their various cohorts

provide 58 minutes and 12 seconds of "The Christmas Spirit."

the

gamut

Like Mel Torme's The Christmas

traditional

Christmas fare, from a 5/4 W^ Three

all!

Kings to a rousing, multi-styled We

Christmas party, kick back, and

Invite

Wish You A Merry Christmas. Carl

ENJOY!

Lenthe gives Tschaikovsky's Nut cracker a treatment that will give trom-

these

guys

your

—George Broussard East Carolina University

All cliches aside, this is a profes sional job. In his liner notes Dee Stewart explains how the project (22

MUSIC FOR TROMBONE

years in the making!) grew from a "Low class brass" (his weekly low

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brass class during his tenure with the

Brass Quartet • Brass Quintet

Philadelphia Orchestra and the Curtis Institute of Music) session to

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Denis Wick enjoys an

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mouthpiece design was fostered b

bailable in gold or silver plated finish. The rims

many years of careful research in the

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FALL

1993

BRASSY AND SASSY

be awed. Those of you who will get

McDougall's Blue Serge Suit(e). He

ROB McCONNELL AND THE BOSS

the pleasure of hearing this recording

explains that for years a dark blue

BRASS; Rob McConnell, valve trom

will enjoy 67 minutes of intense, daz

serge suit was part of the "standard

bone; Moe Koffman, John Johnson,

zling, even romantic big band jazz.

equipment for gigging musicians."

flute, clarinet, soprano and alto sax

Large amounts of credit should be

By adding an "e" to "suit" he gives

ophone; Eugene Amaro, flute, clar

given to the arrangers who con

us a description of the work: a three-

inet, tenor saxophone; Rick Wilkins,

tributed to this CD. McConnell is

piece suite of the blues. The first

clarinet, tenor saxophone; Bob

responsible for five of the seven cuts

movement, Club Sirocco, is the place

Leonard, flute, clarinet, bass clarinet,

while the other two are by trombonists

where Ian wore his first blue serge

baritone saxophone; Arnie Chy-

Ron Collier, Scrapple from the Apple,

suit. Somnablues is a relaxed, laid-

coski, lead trumpet, flugelhorn;

and Ian McDougall, Blue Serge Suit(e).

back adaptation of the style, and

Steve McDade, assoc. lead trumpet, flugelhorn; John MacLeod, Guido

Listeners will also enjoy an assort

Blues Unblue is just that—happy

ment of soloists who are credited

blues. All together this 19-minute

Basso, Dave Woods, trumpet, flugel

sequentially on the inner sleeve.

composition adds a nice finishing

horn; Ian McDougall, lead trom

Although the project is under the

touch to the CD.

bone; Bob Livingston, Jerry Johnson,

name of valve trombonist McConnell,

trombone; Ernie Pattison, bass trom

it is not trombone-oriented (he him

The Boss Brass undoubtedly en joyed recording this album. Like a

bone; Gary Pattison, James Mac-

self solos only thrice). Other mem

quality comedy, the more this re

Donald, French horn; Don Thomp

bers of this 22-piece Canadian band

cording is listened to, the more musi

cal jokes or humorous quotes jump

son, piano; Ed Bickert, guitar; Steve

who

Wallace, bass; Terry Clarke, drums;

Chycoski, whose stratospheric trum

out and slap you on the ear. Thanks,

Brian Leonard, percussion.

pet screams pepper the recording,

Rob and the band—keep up the

George Gershwin/Ira Gershwin: Strike

and drummer Terry Clarke, who

excellent work.

up the Band. Rob McConnell: Hey.

anchors the super-tasteful rhythm

—Doug Scarborough

Bill Evans: Very Early. Ted Persons/

section. The woodwind playing by

Delta State University

Mercer Ellington: Things Ain't What

Eugene Amaro also contributes great

stand

out

include

Arnie

They Used To Be. Charlie Parker:

ly, particularly on the medley which

Scrapple from the Apple. George

McConnell calls Embraceable Choose.

Gershwin/Ira Gershwin - Herbert

Some of the up-tempo tunes, espe

TROMBONE ODYSSEY—20TH

CENTURY LANDMARKS FOR TROMBONE AND ORCHESTRA

Martin/Michael Leonard: Embrace-

cially Strike Up the Band, are full of

able You/Why Did I Choose You? Ian

twists and turns like a thrilling roller-

BONE; Swedish Radio Symphony

McDougall: Blue Serge Suit(e).

coaster ride. The ballads are equally

Orchestra; Leif Segerstam, conduc

Fasten your seatbelts and prepare to

captivating. Of particular interest is

tor.

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ITA

JOURNAL

New Sc Challenging Etudes "James Biddlecome's compilation ofthe Thirty-two Etudes ofGiampieri

GIAMPIERI

will aid all trombonists with good, logical techniques for selecting alternate positions. His method very often correlates with mine. I highly

32 Etudes

recommend Mr. Biddlecorhe's book."

Edited for Trombone with F Attachment

Joseph Alessi

by James Biddlecome

Principal Trombone,

New York Philharmonic

Price $8.00

"Jim Biddlecome and I have the identical opinion about the use ofalternate positions to facilitate slide technique and to make seemingly difScult passages easy.... The Weissenborn "SO Advanced Studies" is a book ofrather difScult but interesting studies....This book would be an excellent addition to anyone's library

WEISSENBORN 50 Advanced Etudes

whetherprofessional or student "

Edited for Trombone with F Attachment

AlLube

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Former Principal Trombone

Houston Symphony

Price $10.00

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Doodle Studies and Etudes for Slide Trombone with Demonstration Cassette by Bob McChesney A Complete Course of Study Using Doodle Tonguing

A step-by-step method with recorded examples a logical progression from novice level to advanced Goes beyondrepetitive syllable patterns Uses syllable combinations that maximize definition and feel

25 minute demonstration cassette included 140 pages • 141 exercises • TEN JAZZ ETUDES

"I am impressed with Bob McChesney9s book ...I highly recommend it to all serious students of the trombone."

Etude Practice Cassette Rhythm section accompaniment for the 10 jazz etudes Perform each etude at three different tempos Etude Practice Cassette $7.95 (US.) (plus shipping and handling if ordered separately $2 US. & Canada - $3 overseas)

- Carl Fontana

"... your book has helped me significantly improve my overall doodle-tonguing abilities. Clarity of articulation and new melodic skills in be-bop phrasing are dearly emerging in my playing, I am recommending your book and cassettes to all my students

"...a welcome addition... McChesney has codified the fast articulated style... workable and concise..."

and colleagues.

"... playing is very impressive... A super book and extraordinary tapes. A must for serious jazz or commercial trombone students."

- Paul Brewer Univ. of So. Colorado

"Fantastic playing and instruction..." - Alan Kaplan studio trombonist

(plus shipping and handling - $4 US. - $8 Canada - $15 overseas)

Also Available!

a student do."

- Bill Watrous

The 10 jazz etudes are based on chord progressions of standard tunes and are recorded with a rhythm section Doodle Studies and Etudes wf demo cassette $29.95 (US.)

"Precisely the exercises I would have

"Bob McChesney is currently working in my band ...an excellent musician. I thoroughly enjoyed the demonstration

cassette."

- John Marcellus Eastman School ofMusic

-Bill Booth UCLA/studio trombonist

"Outstanding ideas... Enjoyable - well thought out." - Glen R. Lunde Carroll College, Waukesha,WI

- Horace Silver

Available only from:

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FALL

1993

BIS CD-538 (Grammofon AB BIS,

11 ASS ((UrUl DISCS CD125:

BOBISSIMO, The Best of Roger Bobo,

Tuba. Hindemlth, Tuba Sonata; Galliard; Barat; Kraft; Wilder, Effie the Elephant; Lazarof; Spillman.

The Swedish Radio Orchestra

holm, Sweden; available in U.S.A.

provides stunning accompaniment.

from Qualiton Imports, 24-02 40th

This disc is strongly recommended

Ave., Long Island City, NY 11101)

for study purposes, if not purely

"Heifetz

Frank Martin: Ballade for Trombone

ofthe Tuba. Astonishingperformance'', Stereo Review.

and Orchestra. Kazimierz Serocki:

CD200: BRASS BONANZA!

Concerto for Trombone and Or

Bobo.tubist L. A. Philharmonic for 25 years.

New York, Ber

lin, Annapolis, Dallas, I-5, St. Louis, & Metropoli tan Brass Quintets. Arnold: Quintet; Hovhaness: Six Dances; Dutton: Carnival of Venice; Leclerc; Gabrieli; Speer; Liadov-Glazunov; Horovitz; etc. CD232:

MUSIC FOR FESTIVE OCCASIONS.

Richard Giangiulio, trumpet; Dallas Trumpets. Purcell: Trumpet Tune; Handel: Royal Fireworks; Mouret: Suite; Clarke: Trumpet Voluntary; Wagner & Mendelssohn: Wedding Marches; etc.

Trombone and Orchestra. Jan Sand-

NEW AMERICAN BRASS AMERICAN BRASS QUINTET.

Orchestra.

Raymond Mase, Chris Gekker,

The selections for this Christain

Michael Powell, tenor trombone;

trumpet; David Wakefield, horn; Lindberg CD are both important

John D. Rojak, bass trombone.

and frustrating. Important because

SUMMIT DCD 133 (Box 26850, Tem-

these "20th century landmarks" are, arguably, among the main solo

THE TUBADOURS.

Disneyland's

favorite tuba quartet. 25 favorites including Nut cracker, Fledermaus, March of Toys, Mouret Rondo, Bach Fugue, Comedians1 Galop, Eine Kleine Nachtmusik, Too Fat Polka, Mood Indigo, Satin Doll, Jingle Bells, God Rest Ye, First Noel, 0 Little Town of Bethlehem, O Tannenbaum, etc. CD431: THE BRASS & THE BAND.

Chicago

Chamber Brass & Dallas Wind Symphony. Gordon Jacob: Music for a Festival; Arutiunian: Trumpet

Concerto; Mozart: Concert-Rondo (Horn); Llewellyn: My Regards (trombone & band); Clarke: Bride of the Waves (tuba); Bozza: Rustiques (trumpet) CD432 MAKE BELIEVE BRASS. 18 Wild, Wacky,

& Winsome Works for Brass Quintet. Disneyland's full-time brass ensemble performing special treat

ments of well-known classics & big-band favorites. CD433 MILLAR BRASS ENSEMBLE. Big brass

group from Chicago. Wagner: Prelude Die Meister-

singer & Funeral March from Die Gotterdamerung; Brahms: Festive and Commemorative Music; J.S. Bach: Suite of Dances; Fisher Tull: The Binding; Henri Tomasi: Fanfares Liturgiques. CD560

NEW MEXICO BRASS QUINTET.

Cheetham; Luedeke; Beveridge; Handel; "Jelly Roll" Morton: Dead Man Blues.

Arban;

CD561: BRASS RING. Berio; Praetorius; Gabrieli;

Bach; Ewald: Quintet No. 1; Kelly: Suite Parisienne. CD562: CHESTNUT BRASS COMPANY. Re

naissance, Baroque, and 19th Century music per

formed on authentic brass instruments of the period: cometti, sackbuts, ophideide, bugles, saxhorns, etc. Also new quintets by Denise Roger & John Davison. CD691:

MARK NELSON, TUBA. Persichetti,

Parable; Cummings, Fantasia Breve; Corwell, New Ross, Escher's Sketches; Calabro, Sonata-Fantasia. England Reveries;

CDs $16.95, Cassettes $10.98, add $2/order shipping. Cassettes available on all except CD200.

—Joel Elias Sacramento Symphony

strom: Concerto for Trombone and

NFB HORN QUARTET. David Kappy,

CD420:

aesthetic ones.

chestra. Ernest Bloch: Symphony for

Jay Wadenpfuhl, Ricardo Almeida, Bill Hoyt. Hindemith, Sonata for 4 Horns; Gallay, Grand Quartet; Wadenpfuhl, Tectonica for 8 Horns.

CD241:

slide show (pardon the pun).

Bragevagen 2, S-182 64 Djurs-

orchestral pieces of the last half-cen

pe, AZ 85285; distributed world

wide by Koch International) Eric Ewazen: Colchester Fantasy

tury. The material is also disap

(1987). David Sampson: Morning

pointing for the same reason.

Music (1986). Bruce Adolphe:

Certainly Lindberg could have

Triskelion (1990). Robert Dennis: Blackbird Variations (1987). David

selected other more illuminating and far-reaching works such as Paul Creston's Fantasy for Trombone and Orchestra, Donald Erb's Concerto, and Ellen Zwilich's Con certo. [Editor's Note: These works have recently been recorded by Lindberg and will be released in November 1993.] All of the performances are high ly virtuosic, keeping with Lindberg's past efforts. The relatively common musical demands of the Martin and Serocki are flawlessly executed. In fact, the pieces receive more powerful and flamboyant readings than the square corners of the music would seem to suggest,

Snow: Dance Movements (1981).

With this CD, the American Brass Quintet presents an exciting array of

American brass quintet music dat ing from 1981 to 1990. Many of the works have either been written for, commissioned by, or premiered by the American Brass Quintet. The American Brass Quintet has been performing for more than 30 years and has commissioned works

by Jan Bach, William Bolcolm, Elliot Carter, Jacob Druckman, William

Schuman, Ralph Shapey, Robert Starer, Virgil Thomson, Charles

Whittenberg, and Maurice Wright,

sometimes producing more heat

substantially adding significant

than light. Still, they are important

repertoire to the genre.

contributions to the trombone recording world. The darker, more

from music for the theater, music

introspective Bloch Symphony is

for dance, personal reactions to a

only the second recording since that

composer's brother murdered by

of New York freelance legend Howard Prince's exemplary version

the Ku Klux Klan, and music based

with the Portland Youth Orchestra

named after old Colchester pubs.

some 20 years ago.

The performance of the works on this CD is first class. The musicality, intonation, blend, balance, articula tion, plus the excellent dynamic contrasts and mature interpretation of contemporary brass quintet

The newest work, Sandstrom's Concerto, is subtitled Motorbike Con

certo as it evokes the sounds of that vehicle while musically traversing the landscapes of the Florida Ever

The literature on this CD varies

on structural design, to works

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sional content of the travelogue.

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ITA

JOURNAL

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Slokar Trombone Quartet (CH), Mark Nightingale (GB), Alain Trudel (CAN), Gustav Hoena (H), Winner of the Int. Trombone Quartet Competition: Quatuor Courtois (F), Anatolij Skobelev and the Low Brass Section of the National Russian Symphony Orchestra, Armin Rosin (D), Oliver Siefert (D), Ricardo Casero (ES), W.F. Cramer Choir (USA), Michel Becquet (F) & Ensemble, hr-brass (D), II Concerto Palatino Bologna (I), Bobby Burgess (USA) & Ensemble, Marc Godfroid (B) & ITW Rhythm Section, WDR Big Band Cologne (D) Solotrombones: Bill Watrous & Jiggs Whigham, Dir.: Jerry van Rooyen Please order from: Internationale Posaunen-Vereinigung e.V., Innsbrucker Str. 11, W - 4800 Bielefeld 14, Fax: ++49-521-45 24 61 FALL

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Announcing a Major Contribution to the History of the Teaching and Performance of Brass Instruments

RESPIRATION FOR WIND MUSICIANS: FROM THE BRONZE AGE TO THE END OF THE 20th CENTURY A Synoptic Review by Andre M. Smith

TUBA Journal, vol. 20(4), August 1993 The greater part of this issue of the TUBA Journal is devoted to this important topic. The article is profusely illustrated with rare and unusual pictures, most of which are unknown to musicians and which now have been published in a music journal for the first time. It also contains the first extended serious attempt at an analytical understanding of the teaching of Arnold Jacobs.

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ITA

JOURNAL

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FALL

1993

Jane Viemeister's Three Cactus

Announceraents David Uber has started his own

music publications under the name of

Rebu Music Publications, Box 504,

RD 1, Wallingford, VT 05773. Write to him for a free catalog. James Fulkerson's Mini Concerto

for solo trombone and seven brass instruments is now available from

Donemus, Paulus Potterstraat 16, 1017 CZ Amsterdam.

Ivo Nilsson's To No for saxophone

Pieces for trombone, percussion and

LITERATURE

ANNOUNCEMENTS PREMIERES

PROGRAMS

Um-Riss for trombone and piano are

on February 14. The trombone soloist was Byron Herrington.

Mickey Nicolas' Sequences Con-

certantes (Concerto for Trombone and Percussion) received its German pre miere at the Hochschule for Musik Detmold, Carsten Kittan, trombonist. Ed Neumeister premiered his Trio

for Cello, Trombone and Clarinet at New York City's Knitting Factory last February with Tom Cora, cello, and

and trombone and Lars Sandberg's now available from the Swedish

piano was premiered in Albuquerque

KARL HINTERBICHLER, EDITOR

Music Information Center.

Don Byron, clarinet and bass clarinet. David Loeb's Concerto for Four

Trombones and Orchestra was pre

San Marco Press is an new pub

miered by the trombones of the

lisher of works for brass, including-

Curtis Institute of Music on February

works for trombone(s). The majority

13, 1992, at the school in Philadel

of the catalog is brass choir arrange

phia, with the orchestra conducted

ments of Renaissance works by chief

by David Hayes. The solo trombon

arranger Roger Cody. An annotated

ists were Kevin Roberts, Paul Jacob

catalog is available at 204 W. La

Bryan, J. Chris Clark, and W. Barry

Harpe, Kirksville, MO 63501.

McCommon. David Loeb is on the

Tim Risher's JW Music for bass

faculty at the Curtis Institute and the

trombone and piano is now available

Marines College of Music

from PP MUSIC, Box 10550, Portland, ME 04104.

Programs

MMB Music, 10370 Page Industrial

Blvd., St. Louis, MO 63132 lists the

following works for trombone in its

FACULTY AND PROFESSIONAL

latest catalog: David Baker - Concert Piece for Trom

bone and Strings George Chave - Trombonics for Trom

bone and Piano

Canlos Franzetti - Concertino for Bass Trombone and Strings

John Heiss - Mosaics No. 3 for Trom bone Choir

George Walker - Trombone Concerto Kagarice Brass Editions, Box 5302, Denton, TX 76203, has announced the

Robert Blossom, trombone, Asociacion

Reinhold Gliere - Russian Sailor's Dance for four trombones (PRISMA Series), arranged by Lloyd Roby Pivot Talk is a newly created brass

and Bass Trombone Steven Frank - Variations on Barnacle

Bill the Sailor for bass trombone and piano

Hector Berlioz - Recitative and Prayer for trombone and organ (original key), arranged by Vern Kagarice Giovanni Gabrieli - Sonata pian'e Porte for eight trombones, ar ranged by John Marcellus

Ernst Sachse - Concertino for bass trombone and large brass ensem ble, arranged by Shawn Pollard 60

ITA

JOURNAL

Concertino—David

Preludes— Shostakovich Sonata—Sulek

Sonata—Vivaldi

Ronald McDifficult—Baxley

magazine devoted to the teachings of

brass pedagogue Donald S. Rein-

hardt, inventor of the term "Pivot System." For information write Airstream Dynamics, 215 East Jim Leeds

Road, Absecon, NJ 08201.

Brian Brink, bass and tenor trombones,

Florida Southern College, 3/25/93 Introduction, Romance and Allegro—Lantier Songs of a Wayfarer—Mahler Tetra Ergon—White Sonata—Sulek Cavatine—Saint-Saens

following new listings:

Charles Small - Conversation for Tenor

Musical Fuente Dorada, Espana, 5/11/93

Premieres Wendy Chambers' Mass for 77

Morceau Symphonique—Guilmant Heinz Fadle, trombone, Alexander Fedianin, trombone, Kanat Achmetov, trombone, with

the State Symphony Orchestra of Kazachstan,

Trombones was premiered in New

5/19/93

York City at the Cathedral of St. John

Concerto—Novakovsky (Fedianin)

Divine on June 6.

Concerto No. 2—Reiche (Achmetov)

Anders Hillborg's Strange Dances

and Singing Water for trombone solo

Concertino—Larsson (Fadle) Heinz Fadle, trombone, Kanat Achmetov,

and orchestra was premiered on

trombone, Pavel Slobodenyuk, bass trombone,

March 6 in Lahti, Finland. The soloist

with de Kazackstan State Wind Symphony,

was Christian Lindberg, accompa

nied by the Lahti Symphony Orches tra, Asmo Vansa, conductor.

5/20/93

Blue Bells ofScotiand—Pryor (Achmetov) Rhapsody—Hidas (Slobodenyuk) Concerto—Grondahl (Fadle)

Western Washington University Trombone

Dan Frizane, trombone, Independence

Bone Appetit, Chris Bedell, Peter Bouchard,

Community College, 3/30/93

Frank Mehaffey, Randy Wheeler, Burlington,

Ensemble, Gregory Cox, director, 5/4/93

La Hieronyma—Cesare

VT, 5/4/93

Psalm XIX—Marcello

Concerto—Serly

Drei Equate—Beethoven

Chorales—Handel

Concerto—Mozart

Marienlieder—Brahms

Fugues—Bach

Manipulations—Molineux

Air—Bach

Crucifixus—Lotti

Piece Concertantes—Rousseau

Deux Chansons—Debussy

Christus Factus Est—Bruckner

The Patriot—Pryor

Sicilienne—Faure

Drei Equale—Beethoven

Bones Trombone—Fillmore

Harlem Express—Gale

Ricercare—Gabrieli

Von Himmel Hoch—Bach

Hey Jude—McCartney

Aria and Dance—George

Recitative and Fugue—McCarty

Two Bagatelles—Reed Fiesta—Solomon Inveni David—Bruckner Yesterday—McCartney Two Affairs—Hartzell

Crane Trombone Ensemble, Mark Hartman,

Chaconne and March—Presser

conductor, SUNY Potsdam, 3/28/93

Achieved is the Glorious Work—Haydn

Dolcissima Mia Vita III—Gesualdo

Canzona—Marini

Passacaglia in c minor—Bach

Scarborough Fair—arr. Reichenbach

Pan and Syrinx—Boyce

Paul Hunt, alto and tenor trombones,

Love's Longing—Schubert

Bowling Green State University, 9/15/93

Quatuor—Dubois

Brittle Beauty—Molineux

Three Pieces—Smith

Concerto—Francaix

STUDENT RECITALS Daniel Aldag, alto and tenor trombones, DMA

Recital, University of North Texas, 9/27/93 Graduate Trombone Quartet, Ohio State

Concerto—L. Mozart

Life Cycles...—Beall

University, Todd Cunningham, David King,

Romance—Jorgensen

Randy Lukart, Bill Myers

Keren—Xenakis

Vern Kagarice, alto and tenor trombones,

Three Motets—Bruckner

Ballade—Martin

Suite—Hornoff

Conversa tion—Small

Jesu, Meine Freude—Bach

Sonatina—Serocki

Sonata—Sulek

University of North Texas, 9/28/93 Alleluia, Laudate—Anonymous

Sonata, op. 1 no. 4—Handel Four Preludes—Shostokovich Fantaisie Lyrique—Semler-Collery

Barcarolle et Chanson Bachique—Semler Collery Madrigal—Gabrieli-Kenney

Canzona Bergamasca—Scheidt-Anderson David Mathie, trombone, Boise State University, 5/9/93 Elegy for Mippy II—Bernstein Commedie—Campo

Sonatine—Casterede Sonata—Sulek

Suite—Serocki

Fugue in d minor—Bach

Charles Allison, trombone, Senior Recital,

La Bavara—Cesare

University of Southern Mississippi, 6/14/93

Texas Christian University Trombone

Ensemble, Dennis Bubert, conductor, 4/18/93 Fanfare—Archambault Three Equali—Beethoven Sinfonia—Bach

Lift Thine Eyes—Mendelssohn Sonatina—Mozart

Aequale—Bruckner Trio—Culver

Concerto—Grondahl

Sanctus—Schubert

David Sporny, trombone, University of

University of Southern Mississippi

Massachusetts, 9/28/93 Sonata—Loeillet-Sturzenegger

Conversation—Small Sonata—Sulek Sol la si—Macchia

I Let a Song Go Out of My Heart—Ellington Green Dolphin Street—Kasper

Softly, As in a Morning Sunrise—Romberg M. Dee Stewart, bass trombone, Indiana University, 7/19/93

Arioso of King Rene from Iolanthe—Tchaikovsky Little Ballade—Arensky Dance—Dubovsky Ballad—Schelokov

Two Songs—Wolf Sonata in F Major—Tessarini

ENSEMBLE CONCERTS Arkansas State University Trombone Choir,

Tromhone Choir, Marta Hofacre, director Sinfonia—Bach

Lift Thine Eyes—Mendelssohn Sonatina—Mozart

Aequale—Bruckner Trio—Culver

Sanctus—Schubert

University of Southern Mississippi Trombone Choir, Marta Hofacre and Jon Lindsey, directors, 4/18/93

Tower Music—Nelhybel Canzon—Massaino Trombones—Fenner

Vignettes—Adler

Salvation is Created—Tschesnokov Vertigo—Fritze

Aria and Dance—George Jazz Selections

University of Texas at Austin Trombone Choir,

Neale Bartee, director, 4/22/93

Donald Knaub, conductor, 4/15/93

Fanfare—Fox

Fanfare—Williams

Seven Arrows—Harmon

Allegro—Schubert

Canzona—Hartley

Feierlicher Einzug—Strauss

Concert Piece—de la Nux Concerto—Tomasi

Sonata—White Sonata—Hindemith

Ronald Babcock, trombone, DMA Recital, University of North Texs, 7/5/93 Concerto—Gouingeuene

Romance—Weber Ballade—Bozza Concertino—Larsson

Thoughts of Love—Pryor

Richard Begel, trombone, Senior Recital, SUNY-Potsdam, 3/13/93 Variations—Fetter

Concerto—Grondahl Decaloop—Steinberg Blue Bells of Scotland—Pryor

The Saints' Hallelujah—Henderson

Michael Bravin, trombone, Junior Recital, University of North Texas, 10/5/93 Sonata in g minor—Marcello Concertino—David Cavatine—Saint-Saens

Waltz for Debby—Evans

Ruby my Dear—Monk What is This Thing Called Love—Porter

David W. Brubeck, bass trombone, DMA Recital, University of Miami, 5/26/93 Five Songs—Debussy Sonata—Beethoven

Fantasy Pieces—Schumann Sonatina—Stevens

Eberhard Budziat, trombone, Senior Jazz

For the Beauty of the Earth—arr. Bartee

Song of Democracy—Hanson

Bone Out—Carney

Attendite—Schiitz

Carnival—arr. Pethel

Passacaglia—Bach

Some Other Blues—Coltrane

K.C. Yesterday—Zoller

Les Animaux Modeles—Poulenc

Sea Journey—Corea

Darlin LiV Flashback—-Wheeler

Chief and Frank—Reichenbach

Waltz for Wendy—Budziat

Birdland—arr. Himes

Stardust for the Chief—Wright

Along Came Betty—Golson

Recital, University of North Texas, 4/28/93

FALL

1993

Nocturne—Chopin

Sonata—Marcello

Mike Nystoriak, trombone, SUNY-Potsdam,

Tones for Joan's Bones—Corea

Concerto—David

3/13/93

In a Sentimental Mood—Ellington

Three Pieces—Maurer

Larghetto—Haydn

Donna Lee—Parker

Quintet—Ewald

Fantasy—Creston

Conversation with Roger—Oakes

Behind Those Eyes—Daniel Edward B. Gadberry, trombone, Victoria L.

Doubles Sur On Chorale—Duclos

Claude Caillet, trombone, DMA Recital,

Smith, trombone, University of Illinois, 5/2/93

Tissington Variations—Premru

University of Wisconsin-Madison, 4/27/93

Sonata—Jacob

Concerto—Grondahl

Thoughts of Love—Pryor

Sonatina—Jones

Variations, Coral and Fugue—Roikjer

La Femme a Barbe—Berghmans

Romance—Weber

Cavatine—Saint-Saens

Morceau Symphonique—Guilmant

Sonatina—Serocki

Eric A. Gallaway, trombone, Master's Recital, John Cisar, trombone, DMA Recital, University of North Texas, 9/27/93 Suite—j0rgensen Concerto—Gregson Five Pieces—Krenek

Quartet—Bozza Joseph E. Curulla, trombone, Western Washington University, 5/3/93 Ballade—Martin

Elegy for Mippy II—Bernstein Sonata—Telemann Serenade—Persichetti

Andante—Tchaikovsky In Memoriam—Premru

Fantasie—Stoj owski Christian Dickinson, trombone, DMA Recital, Catholic University, 3/30/93 Sonata—Davison Sonata—White

Sonatine—Casterede Sonata—Sulek Dyne C. Eifertsen, trombone, Senior Recital,

Berklee College, 4/7/93 Single Petal of a Rose—Ellington Concerto—Grondahl

Blue Window—Lishman/Eifertsen Piece—Ravel Dad's Song—Wilson Sarabande—Bach

These Blues I Use—Eifertsen/Lishman James Forney, trombone, Graduate Recital, SUNY-Potsdam, 4/18/93 Sonata—Finger

Sonatine—Casterede Sonata—Childs

A Nightingale Sang in Berkeley Square—Sherwin Achieved is the Glorious Work—Haydn

Eastern New Mexico University, 4/16/93

Concerto—Gouinguene

Vocalise—Rachmaninoff Concertino—Larsson Fantaisie—Stojowski

Episodes—Siekmann Quadrabones—Hyman Jay Heltzer, bass trombone, with the Texas Festival Orchestra, 6/15/93 Concerto—George

Erik Hermanson, trombone, Gustavus

Adolphus College, 5/1/93 Sonata V—Galliard Inveni David—Bruckner

Hochschule fur Musik Trossingen, 4/22/93 Sonata—Marcello Concerto—Tomasi

Horn Concerto—Mozart

Three Renaissance Pieces Fantasia—Purcell Concertino—David Lauren Russell, trombone, Senior Recital,

Southern Arkansas University, 3/30/93 Concertino—David Aria—Handel Sonata—Cage

Light—Mahler Elegy for Mippy II—Bernstein

Freddie Freeloader—Davis Samuel Shackleton, trombone, SUNY Potsdam, 3/20/93 Sonata—Telemann

Six Studies—Vaughan Williams

Dance of the Tumblers—Rimsky-Korsakov

Concerto—Rimsky-Korsakov Dances—Culver

Stephanie L. Sparacino, trombone, Sophomore

Concertino—David

Recital, University of Southern Mississippi, 4/7/93

Will J. Jayroe, trombone, Sophomore Recital,

Sonatina—Jones

University of Southern Mississippi, 4/28/93

Suite Impromptu—Lafosse

Hommage a Bach—Bozza

Sonata—Marcello

Concerto—Grondahl

Sonata—Monaco

Camel Music—Buss Sonate—Genzmer

David Stratkauskas, trombone, Artist Diploma Recital, Vancouver Academy of Music, 4/22/93

Douglas Lawrence Mark, trombone, Master's Recital, New England Conservatory, 2/12/93 Morgenmusik—Hindemith

Sonata—Stevens

Ritornelli—Hoddinott Sonatine—Casterede Gregory McCrea, trombone, Senior Recital, SUNY Potsdam, 3/20/93 Quatuor—Dubois

Sonata for Alto Horn—Hindemith Sequenza V—Berio Piece—Ropartz

Sonata—Sulek

Greg Milton, trombone, Senior Recital, Dale Fredericks, alto and tenor trombones,

Lynda Robbins, trombone, Statliche

Eastern Montana College, 4/20/93

DMA, Catholic University, 6/8/93

Sonata—Marcello

Cavatine—Saint-Saens

Concert Rondo—Mozart

Choral, Cadence et Fugato—Dutilleux

Morceau Symphonique—Guilmant

Sonata—Finger

Starlight—Pryor

Sonatina—Serocki

Concert Piece No. 5—Blazewitch

Six Studies—Vaughan Williams

Concerto—Handel Suite—Bassett Ricercar—Gabrieli

Canzona—Gabrieli Fantaisie—Stojowski Sonata—Davison

Trent Taylor, trombone, Gustavus Adolphus

College, 4/23/93 Concert Piece—Guilmant Inveni David—Bruckner

Sonata—Marcello Frippery No. I—Shaw Andante et Allegro—Barat Stephen Wampler, trombone, Graduate Jazz Recital, University of Washington, 5/31/93

What They Did—Scofield Windows—Corea Until I Met Vow—Green

Roof Gardens—Jarreau Soul-Leo—Miller Giant Misterioso Steps—Coltrane

Sonatine—Casterede

Melanie M. Morgan, trombone, Sophomore Recital, University of Southern Mississippi,

Stephen Wampler, alto and tenor trombones,

Stephen J. Freeby Jr., trombone, Sophomore

3/10/93

DMA Recital, University of Washington,

Recital, Miami-Dade Community College,

Sonata—Sulek

6/14/93

5/13/93

Sonatina—Serocki

Suite—Bach

Ave Maria—Schubert

Fantaisie—Stojowski

Three Sketches—Imbrie

Chanson Espagnole—Ravel

Concertino—Larsson

Suite—Hornoff

ITA

JOURNAL

Arrangements for Trombone Ensemble by Stephen Bulla and William Broughton Great things happen when trombone players get together! On this occasion six individuals—all from different backgrounds—came together with two principal interests in common; all play the trombone and all are active members of The Salvation Army in the USA Southern Territory. "This is 'world class' trombone playing and is a must for all trombone players. Even if you don't play the trombone, it makes for good listening." —00N LUSHER, W/Radio/Recording Jazz Trombone Artist, London, England

"From start to finish this album is delightful! ...in my opinion, it will be sought by many and enjoyed by all" —OR. TOM WALKER, Professor of Music, Oklahoma State University "This recording is going to rip you out of your seat! It is one of the most creative, inspired trombone ensemble albums to be released in some time." —DOUGLAS YEO, Bass Trombone, Boston Symphony Orchestra, Boston, MA

"There is a bubbling spirit ("Let me at it!") and cohesiveness that is rare. I enjoyed the whole endeavor. Wouldn't have missed it for the world. It's all quite wonderful."

—DICK HASH, Studio Trombonist, Hollywood, CA

"What a wonderful album! Great playing! Great arrangements! Great recording! My, there are some wonderful^\s out there!" —LLOYD ULYATE, Studio Trombonist, Hollywood, CA

"The quality of playing, ensemble, backing, arrangements, and production compare more

than favorably with any established group, professional or otherwise, that I have heard." —ANDREW JUSTICE, Principal Trombone, International Staff Band, London, England

#014-006-0483-CompactDisc $14.95 US retail #014-006-0482-Cassette $9.95 US retail For more information including a list of distributors, contact

Music Department, The Salvation Army, 1424 Northeast Expressway, Atlanta, GA 30329

Telephone 1-404-728-6736

Fax 1-404-728-1331

land, ME: Wehr's Music House, 1993.

Trombonists are a pas

Score and parts. (PP Music).

sionate lot when it

comes to trombone music. We go to great

lengths to protect it,

support it, and expand it. I recently ran

into Mike Panashee at the ITW in

Cleveland. Mike, a Detroit-based, free

REVIEWS

lance trombonist, was carrying some

arranged for brass trio by David Harris. Oberlin, OH: E & R Music

Engravers, 1993. Score and parts. $10.00. Lombardo, Ricky. Holiday Magic

for trombone trio and piano. Dele-

music with him that he intended to donate to the ITA lending library. It

Locke, Matthew. The Flat Consort for My Cousin Kemble, Suite No. 1,

PAUL

HUNT,

EDITOR

seems that for for a long time he had

van, NY: Almitra Music, 1993. Score

and parts. $7.50. (Kendor) Niehaus, Lennie. Yuletide Jazz

wanted to make a recording of some

Suite No. 2 for brass quartet (2-0-2).

charts for trombones and rhythm he

Delevan, NY: Cojarco Music, 1993.

had "commissioned." He decided that

Score and parts. $15.00. (Kendor)

if he was going to pay for a recording

Parker, Charlie. Yardbird Suite,

session, he might as well assemble the

arranged for six trombones and rhy

best one he could afford. With no more

thm section by Walt Szymanski. De

introduction than, "Hey, I'm a fellow

troit: Duct Tape Productions, 1992.

trombonist and I have these charts I

Manuscript, score only.

want to record," he called Steve Turre

Power, James, Compiler. Three's a

in New York and asked him if he

Crowd for brass trio (2-0-1). Bradford,

might be willing to play on a recording

England: Power Music Co., 1987.

session. Steve graciously agreed and

Playing score. $10.75. (Theodore

even offered to put the section toge

Presser)

ther. It included, among others, Robin

Rabson, Carolyn. An Index to

Eubanks, Benny Green, and Conrad

Orchestral Excerpts for Trombone and Tuba, extracted from Orchestral Ex

Herwig. Mike contracted the players

cerpts: A Comprehensive Index.. Ber

and the studio time and together they

keley, CA: Fallen Leaf Press, 1993,

spent an afternoon recording three or

four very difficult charts (one of which

Bryn Mawr, PA: Theodore Presser,

Reprinted by E & R Music Engravers,

is represented below in the "New

1993. Score and parts. $16.00.

Oberlin, OH. $8.00.

Music Received" section). The record ing may never see the light of day com

Brahms, Johannes. Hungarian Dance No. 5, arranged for brass quin

mercially, but Mike was really pleased

tet by Michael Brenner. Portland, ME:

with the whole experience. What more

Wehr's Music House, 1993. Score and

can one ask from our fickle muse?

parts. (PP Music).

We welcome the donations of a

Conley, Lloyd, Arranger. Chris

new publisher, E & R Music Engra

tmas Cameos, Part 3 for trombone and

vers, 67 King Street, Oberlin, OH

piano. Delevan, NY: Almitra Music,

44074. Its "Brass Unlimited" Series,

1993. $9.00. (Kendor)

edited by David Harris, is "a series of

Gabrieli, Giovanni. Canzon per

masterworks faithfully transcribed

Sonar Quarti Toni, arranged for three

for a variety of brass ensembles."

brass

The following pitch indications are

used in these and all subsequent

quintets by Walt

Oliver.

Portland, ME: Wehr's Music House,

1993. Score and parts. (PP Music). . Jubilate Deo, arranged for

reviews:

three brass quintets by Walt Oliver. Portland, ME: Wehr's Music House,

1993. Score and parts. (PP Music).

8ve

New Music Received

. Nunc Dimittis, arranged for three brass quintets by Walt Oliver. Portland, ME: Wehr's Music

Rumbell, Michael H. Partita on

Old Hundredth for eight trombones. Ms, 1993. Score and parts. Satie, Erik. Three Gnossiennes, arranged for brass quintet by David Harris. Oberlin, OH: E & R Music

Engravers, 1993. Score and parts.

$12.00. Three Gymnopedies, arran ged for brass quintet by David Har ris. Oberlin, OH: E & R Music En

gravers, 1993. Score and parts. $12.00. Scheidt, S. and J. S. Bach. Two Arrangements

of Vater

Unser im

Himmelreich, arranged for brass quar tet by David Harris. Oberlin, OH: E &

R Music Engravers, 1993. Score and parts. $7.00. Strauss, Richard. Feierlicher Einzug der Ritter des Johanniterordens, ar ranged for brass ensemble (4-1-4-1) and timpani by Karl Kramer. West

House, 1993. Score and parts. (PP

Haven, CT: Brass Ring Editions, 1992.

Music).

Score and parts.

Bach, P. D. Q. Canzonetta "La

Hassler, Hans-Leo. Lied "Mein Lieb

Hooplina," edited for brass sextet (2-2-

wil mit mir Kriegen," arranged for two

unaccompanied instruments, ar

1-1) by Professor Peter Schickele.

brass quintets by Walt Oliver. Port

ranged for two trombones by David

ITA

JOURNAL

Telemann, G. P. 18 Sonatas for two

Harris. (Vol. I, Sonatas 101-103; Vol. II,

bone Quartet). Maitland, FL: Wehr's

opens with pyramid attacks, followed

Sonatas 104-106; Vol. Ill, Sonatas 124-

Music House, 1990. Score and

by smooth lyrical lines gradually ris

129. Oberlin, OH: E & R Music En

parts. (PP Music)

ing over a four-measure crescendo.

gravers, 1992. Playing scores. Vols. I

and II, $10.00 each, Vol. Ill, $15.00.

Several special effects from the first

The Fruit of My Labour is a collec

section eventually return. Overall,

Trabaci, G. M. Canzona Francesa,

tion of seven short works, all in a

there is a greater use of subito piano

arranged for brass quartet by David

chorale style. Homophonic textures

and forte dynamics. At the conclusion

Harris. Oberlin, OH: E & R Music

are employed in each case. The pieces

of the waltz, both choirs combine,

Engravers, 1993. Score and parts.

are tonal with contemporary tertian

breaking away from the ubiquitous

$7.00.

harmonies and a sparse use of chro

Tunder, Franz. Prelude and Fugue,

arranged for brass quartet by David Harris. Oberlin, OH: E & R Music

Engravers, 1993. Score and parts.

$7.00. Wells, David. Sonata for Trombone and Piano, ms., n.d. Contact composer

c/o 4321

Northgate NE, Grand

Rapids, MI, 49505. $10.00.

maticism. There is good variance of key structures among the hymns, as well as contrast of meters, e.g.,. 3/4,

4/4, 5/4, and 7/4. All parts are in bass clef and the ranges are modest:

the first trombone ascends to a b-flat^ and the fourth part goes down to a C.

These short pieces would be good for use in a church service. They pro vide new material for the quartet looking for something fresh and dif

Reviews

ferent from the standard repertoire. Recommended. â&#x20AC;&#x201D;Harry Arling

Marco Bordogni. 17 Vocalises, ar

Georgia Southern University

ranged for two trombones by Earl Hoffman. San Antonio, TX: South ern Music, 1989.

David Uber. Concertante Antiphonale, op. 99, for 10-part trombone choir. Portland, ME: PP Music, 1988.

Earl Hoffman has taken selected

vocalises by Marco Bordogni and

Playing time, 5:30. Full score and parts.

added a second part to the original.

These etudes in their solo form, with

Concertante Antiphonale is a well -

and without piano accompaniment,

written work of medium difficulty.

appear in numerous editions and are

The piece, written for 10 trombones,

perhaps best known as Johannes

is divided into two antiphonal choirs

Rochut's Melodious Etudes, published

of four tenors and one bass each.

by Carl Fischer. Hoffman's treat ments result in a contrapuntal setting in virtually every case. Although har

monically questionable in a few places, they show originality. The preface states that the added

part is somewhat more difficult than the original. I did not find that to generally be the case. I suppose the

value of such a publication would be

to better capture the interest of some students (if that is what they need) and to provide another part with which to tune. The parts are moder ate in range, and the added part is

usually the lower voice, although the parts do at times cross. Both parts are in bass clef.

Uber recommends separating both

choirs on stage for an effective per

antiphonal texture, to articulate very loud, dissonant passages before enter ing the final section. Uber concludes the piece with a march. Both choirs often play against each other in this section as the piece

progresses to a loud, climactic end ing. Many of the special effects from the first section again return. Uber

saves one effect for the final three measures, a 16th-note half-step glissando on a G major seven, sharp nine

chord. The sound is very effective. Concertante Antiphonale would make a great opener or closer on any trombone choir program. It exposes

the potential of the ensemble and is

enjoyable to play. It's guaranteed to catch the audience's attention. â&#x20AC;&#x201D;David F. Wilborn Austin, TX John Prescott. Isorhythmic Toccata for eight trombones and percussion. Zumikon, Switzerland: Mark Tezak, 1986. Score and parts.

John Prescott, professor of theory and composition at Southwestern

Missouri State University, composed

optional octava alta passages which

Isorhythmic Toccata in 1984 for the University of Kansas trombone choir. It was chosen the winner of the 1985 ITA Composition Contest. According

lead up to (r while the bass trombone

to Prescott,

formance. The range of the first trom

bone parts extends up to b* (with

parts play no lower than BB-flat). All parts are notated in bass clef. Concertante Antiphonale is written

in three sections. The first, "Allegro Moderato," consists of antiphonal

"Harmonically, it is fairly con servative, relying on a mixture

of tertian and quartal sonorities

with pandiatonic implications.

tion while other passages simply

The expanding textures at the beginning of the work provide the melodic materials explored throughout. The usage of a modification of the medieval

entrances in homophonic textures.

These entrances are generally struc tured in a question-answer presenta

echo each other. Several special

isorhythmic technique also

effects such as forte-piano attacks,

occurs throughout the composi

piano-forte swells, and pyramid

tion as short rhythms repeat continuously regardless of the

attacks are utilized to achieve con

â&#x20AC;&#x201D;Harry Arling

trast. Overall, this opening section is

Georgia Southern University

tonal, but becomes very dissonant as

melodic and harmonic materials occurring at the same time."

it moves into the second section. James Wehr. The Fruit of My Labour

(Seven Wordless Hymns for Trom

The second section, 'Toco Alle gretto," is a moderately fast waltz. It

Isorhythmic Toccata is a challenging

work for the ensemble of trombones FALL

1993

Kagarice Brass

Editions Box 5302 â&#x20AC;˘ Denton, TX 76203 Fax. No. 817/382-3435

Berlioz, Hector, arr. Vern Kagarice Recitative and Prayer for trombone and organ Small, Charles

Conversation for tenor and bass trombone

$10.00

...$20.00

Frank, Steven Variations on Barnacle Bill theSailor for bass trombone and piano

Sachse, Ernst, arr. Shawn Pollard Concertino for bass trombone and large brass ensemble

$15.00

.$45.00

disposable melodic fragments. A

required of all parts except for the alto. The range covers d2 in Choir one to BB-flat in the bass trombone parts. Beginning in a quiet 4/4, the meter

shifts between 3/4, 5/4, and 4/4

which can cause wasted rehearsal time if not attended to in advance.

staccato and soft sections, all of which are creatively laced with the sounds available from the battery of percus Isorhythmic Toccata to the collegiate

full of drama and excitement. â&#x20AC;&#x201D;Maria Hofacre University of Southern Mississippi

$10.00

$ 8.00

Mendelssohn, Felix, arr. Wesley Hanson War March of the Priests $10.00 for 5 trombones Vejvanovsky, Pavel, arr. James Ryon

$12.00

Wagner, Irvin Mixtures $10.00 for 12 trombones with rhythm section

Wagner, Richard, arr. Wesley Hanson Elsa's Procession to the Cathedral $12.00 for 6 trombones

$12.00

Include $2.00 shipping/handling charge for each prepaid order.

Texas residents include 7.5% state sales tax.

JOURNAL

fourth parts. Straight mutes are

lent work for the trombone ensemble,

Hassler, Hans Leo, arr. Steven Frank Mein Lieb wil mit mir Kriegen for 8 trombones

ITA

arch form to support a conventional

trombone choir director. It is an excel

$12.00

In his Lamentation, Appert uses an

specifies alto trombone on Choir one, part one, and bass trombones for both

sion instruments. I highly recommend $15.00

Gabrieli, G., arr. Steven Frank CanzonaXIII for 12 trombones

Wagner, Richard, arr. Paul Hunt Love Feast of the Apostles for 12 trombones

into two four-part choirs. Prescott

Prescott's work is contrasted with

Frescobaldi, G., arr. Vern Kagarice

Offertorium ad Duos Chows for 8 trombones

and parts.

mance). The eight parts are divided

exist in both the score and in the parts

Erdmann, Jim/Rod Miller, arrangers Christmas Ornaments $10.00 for 4 trombones

Toccata for 6 trombones

MA: Nichols Music, 1990. Score

three players are required for perfor

throughout. A few printing problems

Gabrieli, Giovanni, arr. John Marcellus Sonata Pian' Forte $15.00 for 8 trombones Gliere, Reinhoid, arr, Lloyd Roby Russian SaiWs Dance for 4 trombones

and percussion (of which at least

dose of tertian harmonies and iairVy forceful chorale alternates, and is later integrated with, imitative scher zo-like passages. These sections, which proceed without transition,

fail to establish or imply any kind of mood, melancholy or otherwise.

Lacking melodic appeal and har

monic variety, the combination of materials in the latter stages of this short work lacks significant impact.

The music has simply been laid out and combined, not worked upon or, more importantly, been allowed to work upon the listener. Appert is an important composer

of music for trombone, as note his

Canticle for alto trombone and piano and Dialogue for trombone with viola or cello. Unfortunately, Lamentation is

not representative of his best efforts.

Donald Appert. Lamentation for five-

â&#x20AC;&#x201D;Joel Elias

part trombone choir. Waltham,

Sacramento Symphony

World Class Performance and Jo-RaF Mutes"

Left to Right - Philip Smith (Principal Trumpet), David Finlayson (Second Trombone), Vincent Penzarella

(Second Trumpet), Donald Harwood (Bass Trombone), George Coble (Associate Principal Trumpet), Joseph Alessi (Principal Trombone), Carmine Fornarotto (Fourth Trumpet).

The New York Philharmonic and JoRal Mutes. The best go hand in hand.

That's the reason professional artists like the brass players in the New York Philharmonic and other great performers worldwide make Jo-Ral their mutes of choice. When your reputation is on the line, the mute discerning players rely

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Jo-Ral MUTES Available in an assortment of models for trumpet, trombone and french horn.

Write for free descriptive brochure.

P.O. Box 597 Elkhart, IN 46517-0597

Telephone (219) 272-3270 Fax (219) 271-8113

FALL

1993

±11IA•inaLUJijLdl

4L1W1J

11U1

DEDICATED TO THE ARTISTIC ADVANCEMENT OF TROMBONE TEACHING, PERFORMANCE AND LITERATURE PRESIDENT

MEMBERSHIP COMMITTEE

Hugo Magliocco Music Department

Western Illinois University Macomb,IL 61455

FIRST VICE PRESIDENT

Western Michigan University ¥/-_irt

A 4T

AC\f\f\Q

Kalamazoo, Ml 49008

SECOND VICE

Sue Mudge, Steve Parsons, Jim Robertson, David Sporny

Steve Wolfinbarger Music Department

Heinz Fadle

NATIONAL AFFILIATE SOCIETIES

Internationale Posaunen Vereinigung (Germany):

Trakehnerweg 5

Joachim Mittelacher, President

(In charge of International Activities)

D-4930 Detmold, Germany

l'Association des

SECRETARY/ARCHIVIST

Randy Kohlenberg

PRESIDENT

Trombonistes (France): Guy Destangue, President

College of Music University of North Carolina -

Finnish Trombone and

Jonathan Winkle 6601 Bandera Ave.

Dallas, TX 75225

EXECUTIVE MANAGER/ PUBLICATION COORDINATOR

COUNCIL OF PAST PRESIDENTS

BOARD OF ADVISORS

Vern Kagarice

College of Music University of North Texas Denton, TX 76203 Tom Everett (1972-1976) Buddy Baker (1976-1978) Tom Ervin (1978-1980) NeillHumfeld (1980-1982) Irvin Wagner (1982-1984) Robert Gray (1984-1986) Stephen C. Anderson (1986-1988) John Marcellus (1988-1990) Royce Lumpkin (1990-1992) Joseph Alessi (1990-1994) Ron Barron (1990-1994)

Per Brevig (1992-1996) PiaBucher (1992-1996) Heather Buchman (1992-1996) AbbieConant (1992-1996) Glenn Dodson (1990-1994) Edward Kleinhammer (1990-1994) Mark Lawrence (1990-1994) Christian Lindberg (1992-1996) Byron Peebles (1992-1996) Ray Premru (1990-1994) Jim Pugh (1992-1996) Ralph Sauer (1990-1994) Milt Stevens (1992-1996) John Swallow (1990-1994) MikioWada (1992-1996) Jiggs Whigham (1992-1996)

NATIONAL AFFILIATE SOCIETIES COMMITTEE

'Anyone wishing to serve on these or any other committees should contact the ITA President for further information. The ITA President is an ad-hoc member of all standing committees. AIM COMMITTEE

(Assist an International Member)

John Drew, Chair Miles Anderson, Stephen C. Anderson, Bob Hess, Marta Hofacre, Phil Jameson, John Leisenring, John Marcellus, TT

1J X X

17*

A &

NOMINATIONS COMMITTEE

PUBLIC RELATIONS COMMITTEE

Andy Russell, Chair Leon Brown, Bill Haskett

CONSTITUTION COMMITTEE

FINANCE COMMITTEE

Buddy Baker, Chair Len Waters

Vern Kagarice, Chair Isaiah Cooper, Paul Hunt,

PUBLICATIONS AND LITERATURE COMMITTEE

RESEARCH COMMITTEE

RESOURCE LIBRARY COMMITTEE

RULES COMMITTEE

David Stagg, Chair Charles Campbell, James Montgomery, David Neill

Paul Bauer, Chair Jan Kagarice, Randy Mitchell,

Michael Lewis, Chair Nathaniel Brickens, Charles Campbell, Joel Elias, Laurie Penpraze, J. Mark Thompson, ITA Publications Coordinator

Richard Raum, Chair Stewart Carter, Randy Kohlenberg, Michael Lewis, Benny Sluchin, Steven Suddeth

Tom Ervin, Chair Charles King, Richard Obregon

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SCHOLARSHIP COMMITTEE

Ken George, Christopher Shook, Irvin Wagner, ITA Treasurer

LOCAL AFFILIATE CHAPTERS (U.S. & CANADA)

Buddy Baker, Jeanne

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T\**

COMPOSITION COMPETITION COMMITTEE

Tom Ervin, Chair

Stevens, Denis Wick

Stewart, Irvin Wagner

Christian Lindberg, Chair Tom Everett, Mark Lusk, John Marcellus, Benny Sluchin, Alain Trudel

Wolfinbarger, Co-Chairs Trevor Jones, Hidemi Morishita,

Williams, Heinz Fadle, Milt

Harold McKinney, M. Dee

COMMISSIONS COMMITTEE

Heinz Fadle & Steve

Irvin Wagner, Jiggs Whigham

Tuba Association (Finland): Petri Juutilainen, President

Greensboro Greensboro, NC 27412

TREASURER

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"WEEKEND WARRIORS' COMMITTEE

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CLASSIFIED AD SECTION Looking for a particular make or

model? Selling your personal instru ment, accessories or music? Look ing for information? NOW, you can tell the entire readership of the ITA Journal for

only S1O.OO!

Seeking former students of Donald S. Reinhardt or embouchure-minded performers interested in the Pivot System. Write PivoTalk (the newsletter), 215 E. ]im Leeds Rd. Absecon Nj 08201. PivoTalk is pub lished four times a year. For Sale: King 4B $495.00. F.E. Olds & Son 0-25 w/F & copper bell $595.00. All in excellent condi tion. Nashville, TN. 615-373-0559.

Limit 25 words. No commercial

ads, please. Deadlines concurrent with editorial deadlines. Make

Trombones for sale: (2) H.N. White Kings 2B Liberty. King 3B. Conn 72H Bass. Yamaha YSL-653R. Getzen (Super Deluxe) 614-393-2569 (Ohio).

For Sale: Alexander Contrabass Trombone. In-line double valves in F/C/D/BB-Flat. Single slide with handle. Excellent condition. $2000.00. Call Dan (518)861-5138.

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Wanted to Buy: F.E. Olds. "Marching" Short valve trombone made in California. Must be in good con dition. Call Norman. 412-287-5226.

checks payable to ITA. Submit ad copy to:

Jim Clark, Music Dept.

East Texas State University Commerce, TX 75429

ITA

JOURNAL

For Sale: Bach 42GH Bell Section. Open Wrap. Excellent condition. $650.00. 612-253-5481.

For Sale: King 3B Silver Sonic, 1965, excellent con dition, original lacquer. $950. Conn 30H, 1935, no lacquer. $250. Call 203-785-9207.

Yellow brass Conn 7H in excellent condition with adaptation of shoulder pipe and tuning slide to con vert to a yellow brass 8H. (7H and 8H bells are the same size). — $1000.00. Contact Russ Widener, Box 53, Wichita State University, Wichita, KS 67260 or phone 316/689-3103.

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