The Flügelhorn Music of David Sampson: A Study of Selected Works

THE FLÜGELHORN MUSIC OF DAVID SAMPSON: A STUDY OF SELECTED FLÜGELHORN WORKS

___________________________________ DMA DOCUMENT ___________________________________ A document submitted in partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in the School of Music At the University of Kentucky

By David Charles DeArmond Lexington, Kentucky Chair: Dr. Ronald Pen, Professor of Music Lexington, Kentucky 2012 Copyright © David Charles DeArmond 2012

v

to my dad

vi

ACKNOWLEDGEMENTS

I would like to thank Dr. Ron Pen for his advice and support throughout the entire writing process of this paper. I would also like to thank Mark Clodfelter, my major professor, for all of his advice and instruction and his assistance with earning my current position with the United States Naval Academy Band. I am grateful to the rest of my committee, Professor David Elliot, Dr. Eric Birdwell, Dr. Kevin Holm-Hudson and Dr. Eric Grulke, for your patience and fortitude throughout this process.

This paper would not be possible without David Sampson, a composer whose music has inspired me since the first time I heard it. I was in touch with him throughout the writing of this paper and he was very helpful in providing insights and interviews. I would also like to thank him for his permission to use his scores for the educational purpose of this document.

To my Mom and Dad, thank you for supporting me throughout my musical career. To my colleagues at the Naval Academy Band, thank you for your help and guidance both musically and academically. And to my wonderful wife Holly, thank you for everything you do and everything you give me every single day.

vii

TABLE OF CONTENTS Acknowledgements………………………………………………………………vii List of Figures…………………………………………………………………….ix Chapter One: Introduction………………………………………………………1 Thesis Statement…………………………………………………………1 History and Development of the Flügelhorn……………………………..3 Flügelhorn Music in the “Classical” Realm……………………………...4 Chapter Two: David Sampson and his Flügelhorn Music……………………….6 Biography………………………………………………………………...6 Sampson’s Flügelhorn Works…………………………………………...12 Chapter Three: Analysis of Serenade…………………………………………...22 Background……………………………………………………………...22 Section 1…………………………………………………………………23 Section 2…………………………………………………………………29 Section 3…………………………………………………………………36 Section 4…………………………………………………………………41 Chapter Four: Analysis of Passage……………………………………………..51 Background……………………………………………………………...51 Movement I……………………………………………………………...52 Movement II……………………………………………………………..57 Movement III……………………………………………………………61 Movement IV……………………………………………………………63 Chapter Five: Conclusion……………………………………………………….69 Appendices Appendix A: The Flügelhorn Works of David Sampson……………….73 Appendix B: Discography of Works by David Sampson……………….80 Appendix C: Programs and Program Notes from Doctoral Recitals……82 Trumpet in Chamber Music Recital……………………………..83 Trumpet and Organ Recital………………………………………89 Trumpet and Clarinet Recital…………………………………….94 References……………………………………………………………………….99 Biographical Sketch……………………………………………………………..101

viii

LIST OF FIGURES

3.1

Serenade mm 23-33…………………………………………………………24

3.2

Serenade mm 23-34…………………………………………………………25

3.3

Serenade mm 43-54…………………………………………………………26

3.4

Serenade mm 63-68…………………………………………………………27

3.5

Serenade mm 76-91…………………………………………………………28

3.6

Serenade mm 96-99…………………………………………………………30

3.7a

Serenade mm 101-105………………………………………………………31

3.7b

Serenade mm 101-106………………………………………………………32

3.8

Serenade mm106-111……………………………………………………….33

3.9

Serenade mm 112-118………………………………………………………34

3.10a Serenade mm 122-143………………………………………………………35 3.10b Serenade mm 122-129………………………………………………………36 3.11a Serenade mm 156-167………………………………………………………37 3.11b Serenade mm 156-157………………………………………………………38 3.12

Serenade mm 160-172………………………………………………………38

3.13

Serenade mm 184-216………………………………………………………39

3.14

Serenade mm 217-238………………………………………………………40

3.15

Serenade mm 249-258………………………………………………………40

3.16

Serenade mm 273-283………………………………………………………41

3.17

Serenade mm 286-302………………………………………………………42

3.18

Serenade mm 303-311………………………………………………………43

3.19a Serenade mm 316-333………………………………………………………45 3.19b Serenade mm 317-348………………………………………………………46 ix

3.20

Serenade mm 355-368………………………………………………………47

3.21

Serenade mm 369-377………………………………………………………48

3.22

Serenade mm 380-396………………………………………………………49

3.23

Serenade mm 406-end………………………………………………………50

4.1

Passage Movement I, beginning – Aggressively ♩=168-176……………….53-54

4.2

Passage Movement I, Aggressively ♩=168-176 - Aggressively ♩=168-176..55

4.3

Passage Movement I, Aggressively ♩=168-176 - ♩=76…………………….56

4.4

Passage Movement I, ♩=76 – end…………………………………………..57

4.5

Passage Movement II, mm 1-17…………………………………………….59

4.6

Passage Movement II, mm 48-55…………………………………………...60

4.7

Passage Movement III, first page of solo flügelhorn………………………..62

4.8

Passage Movement IV, m 35………………………………………………...64

4.9

Passage Movement IV, mm 22-29…………………………………………..65

4.10

Passage Movement IV, mm 44-50…………………………………………..66

4.11

Passage Movement IV, mm 64-end…………………………………………67

x

CHAPTER 1 INTRODUCTION

Thesis Statement Although the flügelhorn1 is common among trumpeters, the choice to use the instrument is often an artistic decision made by the performer as opposed to a compositional directive. At the end of the twentieth century however, one composer began to write for the flügelhorn in both solo and chamber settings. Composer David Sampson, who is a trumpeter himself, has started a trend that should continue through his use of the flügelhorn as a solo voice unto itself. His repertoire merits inclusion in trumpet studios.

This paper attempts to bring to light two solo flügelhorn pieces of David Sampson: Passage, for muted flügelhorn and viola, and Serenade, for flügelhorn and string orchestra. Focusing on these compositions will provide insight to compositional style and performance techniques that may lead to more enlightened performances of these two pieces as well as Sampson’s other flügelhorn works.

1

Originally, a half-round, 18th-century, German hunting horn of animal horn or bugle proportions; later, the large bore German valved bugle. The flügelhorn or valved bugle was the parent of whole families of similarly proportioned valve instruments that made up the brass bands of the mid-19th century. Soprano flugelhorns in Bb have the same range as cornets or modern Bb trumpets.

1

Before delving into these two pieces, it is important to note writings concerning both the historical background of the flügelhorn and the literature available using the flügelhorn as a solo instrument in the “classical” genre. Using the term “classical” excludes flügelhorn from the jazz idiom. The flügelhorn has enjoyed much success in jazz; the subject alone could merit its own study. This paper will concentrate only on “classical” literature, specifically Sampson’s works.

Following the flügelhorn history and background, a biography of Sampson will be presented to place the music within the context of the composer’s career. Subsequently the selected works will be analyzed. Included in the appendix is a list containing all of David Sampson’s flügelhorn pieces as well as a selected discography of Sampson’s compositions noting the recordings that include the use of flügelhorn.

Much has been written about the history of the flügelhorn, so the author will only point to those sources relevant to this thesis. Dissertations, including some that address Sampson’s works which involve the flügelhorn, exist and will be used as references in this writing.2 However, none of these theses focus exclusively on the two pieces highlighted in this study. Although Sampson’s flügelhorn composition Solo was discussed in Peter D. Francis’ “A Performance and Pedagogical Analysis of Compositions for Unaccompanied Solo Trumpet by Persichetti, Wolpe, Sampson and Ticheli,”3 this will be the first work to offer performance analyses on Passage and Serenade.

2

Peter D. Francis, “A Performance and Pedagogical Analysis of Compositions for Unaccompanied Solo Trumpet by Persichetti, Wolpe, Sampson and Ticheli”, (Diss. DMA The University of Miami. 2005.) and Frederick Allan Beck, “The Flügelhorn: Its History and Literature”, (Diss. DMA The University of Rochester, Eastman School of Music, 1979).

3 Ibid.

2

History and Development of the Flügelhorn

The history and development of the flügelhorn is well documented. Two thorough sources that address this topic are Frederick Allan Beck’s thesis “The Flügelhorn: Its History and Literature”4 and Ralph T. Dudgeon and Franz X. Streitwieser’s book, Das Flügelhorn: die Geschichte des Flügelhorns, illustriert am Beispiel der Sammlung Streitwieser im Musikinstrumentenmuseum Schloss Kremsegg (The Fluegelhorn : The History of the Fluegelhorn as Illustrated by the Streitwieser Collection in the Instrument Museum of Schloss Kremseg.)5 This book details the history of the flügelhorn as well as all related instruments both in narrative and pictorial forms.

John Korak, of Southern Illinois University, Edwardsville, described the book in a review for the International Trumpet Guild Journal.6 The book begins with a narrative history of the flügelhorn ranging from the natural signal horns to the use of the modern flügelhorn in contemporary music. Following the history is over 200 color photos of more than one hundred instruments from the Schloss Kremsegg Music Instrument Museum, providing a visual history of the development of the flügelhorn. The third section of this book provides a detailed description of the instruments including

4

Frederick Allan Beck, “The Flügelhorn: Its History and Literature”, (Diss. DMA The University of Rochester, Eastman School of Music, 1979).

5 Ralph T. Dudgeon and Franz X. Streitwieser, Das Flügelhorn: die Geschichte des Flügelhorns, illustriert am Beispiel der Sammlung Streitwieser im Musikinstrumentenmuseum Schloss Kremsegg = The fluegelhorn: the history of the fluegelhorn as illustrated by the Streitwieser collection in the Instrument Museum of Schloss Kremseg. (Bergkirchen: Edition Bochinsky, 2004).

6 The International Trumpet Guild is a non-profit organization founded in 1974 to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet. The ITG Journal is published quarterly.

3

mouthpiece dimensions, pitch, material, shape, etc. Included in the bibliography is selected repertoire related literature and a listening guide.7 Tony Darin Roebuck’s monograph, “A Study of the Flügelhorn in Solo Settings”8 provides an extensive study of solo flügelhorn repertoire. This monograph also delves into the history and development of the flügelhorn, but the strength of this work is his research on the flügelhorn repertoire. He begins his thorough work with literature after 1970 and includes pieces for accompanied, unaccompanied and multi-movement works among others.

Flügelhorn Music in the “Classical” Realm

The flügelhorn has been a prominent instrument in jazz and brass band settings and for this reason it is refreshing that Mr. Sampson writes so often for the instrument in a classical mode. Tony Darrin Roebuck’s aforementioned thesis makes great strides in correcting the misunderstanding of the flügelhorn’s minimal role in the “classical” realm.

Mr. Roebuck describes his work as “a compilation of the art music specifically written for the flugelhorn in solo settings. The term “solo settings” is used in this document to describe a setting in which the flugelhorn is a solo instrument throughout the composition or an entire movement. This is in contrast to “ensemble settings” in which instruments are intended to blend within the ensemble with minimal solo passages. Solos

7 8

John Korak, Book Review, International Trumpet Guild Journal, (January 2006): 71-72.

Tony Darrin Roebuck, A Study of the Flügelhorn in Solo Settings, (Diss. DMA The University of South Carolina, 2009.)

4

with jazz band or brass band accompaniments will not be included in order to avoid stereotypes associated with the flugelhorn.”9 Roebuck’s thesis discusses the origin and development of the flügelhorn before delving into an exhaustive study of flügelhorn compositions. His work should be studied to understand the full history of the flügelhorn in the “classical” realm as well as pieces written specifically for the flügelhorn. Because Roebuck’s thesis is an exhaustive study of flügelhorn repertoire in general, it is unnecessary to duplicate this research.

9

Tony Darrin Roebuck, “A Study of the Flügelhorn in Solo Settings”, (Diss. DMA The University of South Carolina, 2009), vii.

5

CHAPTER 2 DAVID SAMPSON AND HIS FLÜGELHORN MUSIC

Biography

Composer David Sampson (b. 1951) has been successful in all mediums, writing for soloists, chamber groups and orchestras. He was composer-in-residence of the Colonial Symphony in Morristown, New Jersey from 1998-2003, and has received major grants from the American Academy of the Arts and Letters1 (1999), Barlow Endowment2 (1996), Cary Trust,3 Dodge Foundation4 (1994), Jerome Foundation (2004)5, NEA (1998)6 and most recently a fellowship from the New Jersey State Council (2006).7

1

The American Academy of Arts and Letters is an honor society of 250 architects, composers, artists, and writers. Members are elected for life and pay no dues. When there are vacancies, the Academicians nominate and elect new members. Sampson was the recipient of the Goddard Lieberson Fellowship.

2 The Barlow Endowment for Music Composition was established in September of 1983 under the auspices of Milton A. and Gloria Barlow, who presented a substantial gift to Brigham Young University to engender and support excellence in musical composition. For this endowment, Sampson’s orchestral piece, Monument, was commissioned by both the Memphis and Akron Symphony Orchestras and premiered by Memphis.

3 Established in 1968, the Mary Flagler Cary Charitable Trust was a vital force in the New York City music scene. Four decades of inspired and thoughtful grant making have enriched the city's musical vitality, impacting organizations of every size and every style of music. Sampson has received several awards through this organization during his career.

4 The Geraldine Rockefeller Dodge (daughter of William and Almira Rockefeller) was created in 1974. Her will provided for the Trustees to set the policies and direction of the Foundation’s work. The mission of the Geraldine R. Dodge Foundation is to support and encourage those educational, cultural, social and environmental values that contribute to making our society more humane and our world more livable.

6

In 1973, Sampson graduated from the Curtis Institute of Music with a Bachelor of Music in trumpet and a minor in composition. He studied trumpet there with Gilbert Johnson.8 He graduated from the Écoles d’Art Americaines with a Certificate of Attendance in 1979, studying composition with Henri Dutilleux9 and Robert Levin.10 In 1981, Sampson graduated from Hunter College with a Master of Fine Arts degree, studying composition with Donald Lybbert.11 Sampson earned a Doctor of Musical Arts degree from Manhattan School of Music in 1987, studying trumpet with Raymond Mase12 and Robert Nagel,13 and composition with John Corigliano.14 Sampson had

5

The Jerome Foundation was created by artist and philanthropist Jerome Hill (1905-1972). The foundation’s aim is to support emerging artists and non-profit arts organizations in Minnesota and New York City. In this instance, the Foundation supported a commissioning project for the American Brass Quintet who chose Sampson to compose a piece. It was through this commission that his brass quintet work, Entrance/Exit, was written.

6 The National Endowment for the Arts recognizes and supports a wide range of music, from classical to contemporary to America's indigenous jazz. It supports both performing ensembles and music presenting institutions including chamber music ensembles, choruses, early music programs, jazz ensembles, music festivals, and symphony orchestras. Through this commission, the brass quintet, Strata, was composed.

7 Created as an agency of state government, the Arts Council operates as a division within the Department of State. Its purpose is to encourage and give financial support to artists, arts organizations and projects throughout New Jersey.

8 Gilbert Johnson (1927-2002) was principal trumpeter in the Philadelphia Orchestra 1959 to 1975. He taught trumpet at the Curtis Institute of Music from 1969 to 1975 and also at the University of Miami from 1975 until his death.

9 French composer Henri Dutilleux (b. 1916) is considered one of the important French composers of the second half of the 20th century.

10 Robert Levin (b. 1947) is a renowned composer as well as an international solo pianist.

11 Donald Lybbert (1923-1981) was a member of the American Composers Alliance from 1976 until his death in 1981. He received a B.Mus. degree from the University of Iowa, the M.A. degree from Columbia University, and was a Teaching Fellow at The Juilliard School of Music. He also studied at Fontainebleau, in France, and received an artist’s diploma. Many of his scores and printing masters were deposited in the library collections of Hunter College. He joined the faculty of Hunter College in 1953, where he later became chairman of the music department. He taught theory, composition, and orchestration.

12 Raymond Mase is one of the major influences for David Sampson’s career. Not only did Sampson study trumpet with him at The Juilliard School, Mase is also a member of the American Brass Quintet that is responsible for commissioning, recording and performing many of Sampson’s compositions, and is also a former member of Summit Brass, a brass ensemble which has recorded Sampson’s compositions.

13 Robert Nagel was the founder of the New York Brass Quintet and of the Nagel Duo, a chamber ensemble of soprano, trumpet & keyboard. In 1974, he co-founded the International Trumpet

7

additional studies in composition with Karel Husa15 and in trumpet with Gerard Schwarz.16 Both Serenade and Passage provide exemplary representations of Sampson’s common inspirations for his compositions. Relationships with family and friends and personal experiences and influences have provided inspiration for many of Sampson’s works. Serenade provides an example of this inspiration as Sampson describes his family musically. Sampson has also drawn his experiences from tragic losses as inspiration of his compositions. In Memoriam: W.E.S. for woodwind quintet, Morning Music for brass quintet, and Passage for muted flügelhorn and viola are all reflections of personal loss for Sampson.17 Serenade was written in 1997 for solo flügelhorn and string orchestra (violins I and II, viola, cello and bass) and is dedicated to his wife, Christine Hutchinson Terlune.18 Commissioned for the Colonial Symphony in Morristown, New Jersey, Serenade was

Guild. Nagel is Professor Emeritus at the Yale School of Music where he was a faculty member for 31 years and also has former teaching affiliations with the Juilliard & Manhattan Schools of Music, New England Conservatory and other institutions.

14 John Corgliano (b. 1938) is a world renowned contemporary composer. He currently serves on the composition faculty at the Juilliard School of Music and holds the position of Distinguished Professor of Music at Lehman College, City University of New York.

15 Karel Husa (b. 1921) is an internationally known composer with many awards including the 1969 Pulitzer Prize for Music.

16 Before Gerard Schwarz became the internationally, award-winning conductor he is today, he was an extremely talented and successful trumpeter. As a trumpeter, he was a member of many prestigious groups including the American Brass Quintet and the New York Philharmonic.

17 Both In Memoriam: W.E.S. and Morning Music deal with the death of Sampson’s brother, William Evan Sampson. William Sampson was murdered by the Ku Klux Klan and American Nazis in 1979. In Memoriam: W.E.S. was composed by David Sampson in 1981 as his reaction to the event.

Morning Music, written in 1996, was written to portray Sampson’s feelings on the reflection of that event seven years later.

18 Sampson and his wife have been married for 36 years. She is a violist in the New Jersey Symphony and is usually the first to hear Sampson’s compositions. She provides critical ears and if she doesn’t care for something Sampson writes, he will rework it. Sampson admits that no one else in his life has that kind of insight and honesty.

8

recorded by the Czech Philharmonic Chamber Orchestra with Raymond Mase as soloist and Paul Polivnick conducting.19 Sampson provides these program notes:

“How does one portray a person in music?” was the question I asked myself again when I began to write Serenade. I had actually tackled this question before in a previous work titled Three Portraits, for tuba and chamber orchestra in which the person musically sketched was Scott Mendoker,20 close friend and tubist.

Now I wanted to portray my wife, Christine, my two sons, Benjamin and Mark, and myself. What I chose to do was concentrate on personalities. And since we are quite a close knit family, it seemed natural to intertwine these personalities into a single twelve-minute movement.

The next decision centered on which instrument would best represent us. For a long time, I had wanted to write something for an instrument that was not terribly familiar and has a minuscule repertoire: a flügelhorn. Since this instrument is to the brass family (I am a trumpet player) what the viola is to the string family (my wife is a violist), somehow the connection seemed to fit. And I had vivid recollections and photos of both of my kids dragging my

19

Dectet, Raymond Mase, Scott Brubaker, American Brass Quintet, Wihan Quartet, Afflatus Wind Quintet, Albany Records, TROY 780, 2005.

20 Scott Mendoker currently teaches applied tuba and coaches the 20/20 brass quintet as Senior Artist/Teacher at the Hartt School at the University of Hartford. He commissioned and was Sampson’s inspiration for Three Portraits, for tuba and chamber orchestra. Mendoker and his family was also Sampson’s inspiration for his piece, A Family Portrait, for brass quintet.

9

flügelhorn around my studio when they were very young. The personalities are presented in this order: me; my wife; my very cool thirteen year old son, Benjamin; my nine year old son, Mark, bugging the hell out of his brother, Benjamin.21

Through Sampson’s description, we can see the importance his family and close friend, Scott Mendoker, factor into the compositions. This piece musically portrays each member of his family, but, as stated by Sampson, is not the first time he has tackled this issue as he refers to the piece written for his Mendoker.

When asked about the instrumentation; solo flügelhorn with string orchestra the composer had this to say: “I love long lyrical lines. The flügelhorn is a natural for that kind of music. Also, there are really not too many works for solo flügelhorn. You find the instrument occasionally within an orchestral setting and often especially these days as one of the instruments in a brass quintet. But the literature for flügelhorn by itself is very thin. Strings were chosen because I knew that there would be no balance issues with the flügelhorn and the warmth of the strings complemented the timbre of the flügelhorn.”22 Passage, written in 1979 for muted flügelhorn and viola, is a four-movement work simply dedicated “to Jim.” The dedication is to Sampson’s brother who died in the summer of 1979. Sampson was in France at Fontainebleau23 at the time. Sampson attended Fontainebleau only after being given permission by his brother. His brother was sick before Sampson left and, though Sampson wanted to stay with his brother through 21

David Sampson, “Program Notes, Serenade,” http://www.davidsampsoncomposer.com/program-notesSerenade.html 22 David Sampson, email interview with the author, February 24, 2011.

23 This American Conservatory was founded in 1921 to introduce the best American music students to the French musical tradition of teaching, composing and performing.

10

his illness, his brother insisted he attend. Sampson’s brother was on his mind the entire time he was there and this piece grew out of emotional turmoil.24 When asked about the piece Sampson writes, “At the time, I felt compelled to write a work that my wife and I could play together to honor my brother. The title refers to the passage from life to death with the double meaning of a musical passage. The form came out of the swirl of emotions I was feeling at the time. When one confronts a major crisis, very often everything in your life becomes exaggerated. The gestures I used in the piece felt perfectly authentic to what I was feeling. I have never analyzed the work but have always felt that it was emotionally logical.”25 In October 1981, Steven O. Jones reviewed Passage for the International Trumpet Guild Journal. Jones describes the piece as “a unique and original effect to write for a medium heretofore not exploited.” Jones goes on to echo Sampson’s sentiments explaining that the title “Passage” has two meanings. The first meaning referring to a musical passage and while the second meaning refers to the “passing on” to another life; the piece was written shortly after Sampson’s brother died.26 As the two highlighted pieces in this document are discussed, it must be realized that they are very personal to Sampson. It is important to take great care in understanding these pieces as a performer so that Sampson’s personal feelings can be portrayed fairly. As Sampson’s other flügelhorn works are examined one can begin to see how personal relationships and experiences influence most of these compositions.

24

David Sampson, e-mail message to author, September 1, 2011.

David Sampson, email interview with the author, February 24, 2011.

26 Steven G. Jones, “Music Reviews: Passage.” International Trumpet Guild October (1981): 16-17.

25

11

Sampson’s Flügelhorn Works

Sampson remains active in the musical community so his biography continues to develop. The author has communicated with Sampson about this study and he has supported and contributed to the research. In an interview with the composer, Sampson described the flügelhorn as: “…a supreme musical instrument and therapeutic at the same time. I believe that time spent practicing the flugelhorn will greatly improve a sense of lyricism and airflow. From my experiences as a teacher of middle and high school trumpet players, developing airflow is the most important and sometimes the most difficult concept to grasp. The flugelhorn is a great tool for that training.”27 Clearly Sampson has put such a strong emphasis on flügelhorn writing in his compositions.

Sampson has explored the flügelhorn’s voice in just about every medium possible, writing for unaccompanied flügelhorn, flügelhorn with piano or string orchestra, flügelhorn in orchestral, brass ensemble, brass quintet, chamber pieces and also the use of the flügelhorn in his method book.28 Sampson has included flügelhorn in virtually all musical mediums.

Included in this study is a chronological examination of each of Sampson’s works utilizing flügelhorn. When looking at each, one can get a sense of where Sampson finds

27 28

David Sampson, email interview with the author, February 24, 2010.

David Sampson, Notes from Faraway Places, 3 Suites for solo trumpet (+3 duets), Vuarmarens, Switzerland: Editions BIM, 2000.

12

inspiration. It is clear that Sampson’s inspiration comes from his own life through experiences and personal relationships.

Sampson’s earliest work for flügelhorn, Passage, was composed for muted flügelhorn and viola. Sampson wanted to write something that he and his wife, a violist, could play together to honor his brother. An extensive analysis of this piece can be found in chapter three.

The next year, Sampson wrote his first symphony, The Notes Fit to Print, at the Delbarton School in New Jersey while in residence at the independent college preparatory school administered by the Roman Catholic Benedictine monks of St. Mary's Abbey in Morristown, New Jersey. In correspondence with the author, Sampson revealed that this piece, “…was my first orchestral work and actually isn't very good. It is only interesting to look at to see how far I have come.”29 In 1986, Mr. Sampson wrote Morning Music for brass quintet which has since become a staple in brass quintet literature. This piece deals with the second death of a brother with which Sampson had to deal. In the composer’s own words:

Morning Music for brass quintet was written during the summer of 1986 for the American Brass Quintet.30 It is a sequel to a previous work of mine titled In Memoriam: W.E.S. for woodwind quintet written in 1981 and premiered by the Dorian Wind Quintet.

29 30

David Sampson, e-mail message to author, November 11, 2010.

Founded in 1960, the American Brass Quintet seeks to promote brass chamber music as a serious chamber music medium. Their goal is to enlarge the repertoire for brass quintet by commissioning, performing, and recording new works as well as compiling early music pieces into viable suites. They are artists in residence at the Juilliard School and the aforementioned Raymond Mase is a member.

13

The subject of that piece was the murder of my brother, William Evan Sampson, by the Ku Klux Klan and American Nazis in 1979.

Morning Music deals with my thoughts and feelings seven years later. As you will hear, the anguish over the death is as intense as ever, but strength and hope will gradually emerge from the despair. The work is one movement with clearly delineated sections ending with a fast-paced coda. I have dedicated Morning Music to my mother, Betty Sampson, whose optimism and resiliency have been an inspiration to me.31

Morning Music has been recorded twice, by the American Brass Quintet on their recording, New American Brass,32 and by the Meridian Arts Ensemble33 on their recording, Five.34 Just like Passage, Morning Music deals with the death of a sibling and is the third composition that Sampson has written while reflecting on death. His relationships with his siblings and his personal struggles dealing with the losses of two siblings contribute to each of the compositions.

Reflections on a Dance, for fourteen brass and two percussionists, was written in 1988 and was commissioned by Raymond Mase and Melvyn Jernigan for Summit Brass.35 Sampson admits that Reflections on a Dance could be viewed as a reflection of 31

David Sampson, “Program Notes - Morning Music,� http://www.davidsampsoncomposer.com/programnotes-Morning.html.

32 American Brass Quintet, New American Brass, compact disc, Summit Records, DCD-133, 1992.

33 The Meridian Arts Ensemble was founded in 1987. It is a sextet comprised of five brass players and a percussionist. They have produced nine CDs, over fifty premiers and have performed throughout the world.

34 Meridian Arts Ensemble, Five, Channel Crossings, CCS 9496, 1998.

35 Summit Brass is the first brass ensemble to represent the United States. They have recorded numerous albums, been the feature of many television and radio programs, and commissioned many works

14

his life, especially his life as a trumpet player, stating, “…brass passages from the orchestral and chamber music literature flashed before my ears,” though no preexisting composition is quoted directly. Sampson describes the piece as a “kaleidoscope of musical impressions…” referring to the dream-like quality.36 At this point in his life, Sampson was immersed in both his trumpet playing and composing and admits that the music he was working on as a performer worked itself into his compositions even though no direct quotes were used in this composition.37 This exemplifies the presence of personal experiences in his compositions.

In 1991, the International Trumpet Guild commissioned Triptych for trumpet and orchestra. This work is similar to the definition triptychs found in visual art in that “there is a central panel and two flanking panels half its size that folds over the center. Often Mary and the Child occupy the center panel while worshippers gaze upon the scene from each of the two smaller panels.”38 There is no religious content to this piece, but the focus of the composition is on the central “Main Movement.”39 This is the movement that includes the use of flügelhorn and Raymond Mase performs this composition on the recording Monument.40

for brass. The ensemble was formed by trumpet virtuoso David Hickman in 1985. Summit Brass was formed with well-known orchestral musicians from across the country. It is important to note that Raymond Mase is a former member of Summit Brass.

36 Dr. Wallace Rave, Summit Brass, American Tribute, compact disc, Summit Records, DCD 127, ℗and © 1991 Summit Records.

37 David Sampson, e-mail message to the author, September 1, 2011.

38 David Sampson and Paul Somers, Monument, compact disc, DCD 237, ℗ and © 1999 Summit Records.

39 “Main Movement” is the title of what could be considered the second movement of this three movement work. This is the longest movement of the work and includes two cadenzas.

40 David Sampson, Monument, compact disc, DCD 237, ℗ and © 1999 Summit Records.

15

Raymond Mase also recorded Solo, written for unaccompanied flügelhorn in 1991.41 This unaccompanied work was an indirect result of Sampson’s Triptych taking material written, but not used, while composing the second movement of Triptych to create Solo. 42 Solo can also be found in Mr. Sampson’s collection of concert etudes and duets entitled Notes from Faraway Places.43 Solo serves as movement three of Suite III in the book.

During 1996-1997, Sampson used the flügelhorn once again in an orchestral setting and credits his inspiration for Monument to a visit to the Vietnam Veterans Memorial in Washington, D.C. during the late 1980s.

As is the reaction of most, I was deeply moved. Besides the fact that the Viet Nam War was a major focus of my youth, I was struck by the intense reactions of others around me including young children who suddenly became silent and foreign visitors that slowly and reverently move past the names. The magnificent artistry of Maya Lin’s structure magnified in a realistic and dignified manner the true cost of that war.

Musically, I heard great potential that day but it wasn’t until a commission from the Barlow Endowment for Musical Composition in 1996 that I was able to realize those ideas with an orchestral work for the Memphis Symphony/Alan Balter, Music Director.44

41

Raymond Mase, trumpet, “Trumpet in Our Time,” compact disc, DCD 148, ℗ and © 1993 Summit Records.

42 In my research, this is an isolated event for Sampson.

43 David Sampson, Notes from Faraway Places, 3 Suites for solo trumpet (+3 duets), Vuarmarens, Switzerland: Editions BIM, 2000.

44 David Sampson and Paul Somers, Monument, compact disc, DCD 237, ℗ and © 1999 Summit Records.

16

Monument is a very emotional composition for Sampson. Though he was not an eyewitness to the events of Viet Nam, his mind was opened both by reading accounts of veterans and especially by his reading of Patches of Fire45 by Albert French.46 Through these readings, Sampson was able to better understand the terror of combat and the depth of personal destruction sustained by the survivors. Sampson also had conversations with French and, through these conversations, was able to clarify what Sampson wanted to say musically.47 Though Sampson did not experience the Viet Nam war firsthand, it is his personal feelings of the events that transpired which provided inspiration for Monument.

Serenade, written in 1997 for solo flügelhorn and string orchestra, is dedicated to his wife, Christine Hutchinson Terlune. Commissioned by the Colonial Symphony in Morristown, New Jersey, it was recorded by the Czech Philharmonic Chamber Orchestra with Raymond Mase as soloist and Paul Polivnick conducting.48 A thorough study of this piece can be found in chapter four.

Strata, Mr. Sampson’s next brass quintet work involving flügelhorn, was written in 1999. The composer supplied his own program notes:

45

Albert French, Patches of Fire: A Story of War and Redemption New York: Anchor, 1997).

Albert French joined the US Marine Corps in 1963 when he was 19 years old. Two years later he went to Vietnam and experienced the war at its absolute worst. Many of French's closest friends were killed; he was severely wounded. Patches of Fire has as its core French's war-zone and postwar experiences. The author tells his story in a blistering, almost stream-of-consciousness fashion, shifting the narrative adroitly between past and present. French is less concerned with providing factual detail than with painting word pictures that bring alive his deepest emotional reactions to the memorable events in his life.

47 David Sampson, Monument, compact disc, DCD 237, ℗ and © 1999 Summit Records.

48 Dectet, Raymond Mase, Scott Brubaker, American Brass Quintet, Wihan Quartet, Afflatus Wind Quintet, Albany Records, TROY 780, 2005.

46

17

Strata was commissioned by the National Endowment for the Arts and the American Brass Quintet and completed on January 1, 1999. It is dedicated to the American Brass Quintet in celebration of their 30th year in residence at the Aspen Music Festival. The work is comprised of three movements and has a performance time of sixteen minutes. Having composed two quintets previously for the American Brass Quintet, Morning Music and Distant Voices, I began the third with a desire to expand upon what I had already written, yet refer to the other two. As a result, I chose to begin the first movement with the trumpeters playing flügelhorns as I did in my first quintet Morning Music. While this darker texture was a nod to the earlier quintet, Strata begins with slowly shifting harmonies and no themes or counterpoint, in direct contrast to Morning Music. The music of LaMonte Young49 influenced this section because of a series of recent performances I was involved in as trumpeter with Young’s ensemble. Following this meditative music is a rhythmic and pointillistic section with the trumpeters now on trumpets but in Harmon mute, the trombones in straight mute, and muted horn. Motives abound and there is much playful interaction between all five players.

The second movement is an introspective dirge with no direct thematic connection to either quintet but similar emotional content to both.

There is also a hint at the techniques of Arvo Pärt50 with close harmonies

49

Lamont Young (b 1935) is an American minimalist, avant-garde composer. Sampson played a couple of concerts under him so he had some insight into Young’s philosophy.

50 Arvo Pärt (b. 1935) is an Estonian composer and prominent writer of sacred, minimalist music.

Sampson listened to his recordings upon their release.

18

and restricted material. The texture is again dark because of flügelhorns and the bass trombone is featured with an extended solo in the middle of the movement. As the third movement begins, we hear for the first time a trumpet unmuted followed by the rest of the group in a freely shaped introduction. Slightly jazzy material is then heard which is developed during the rest of the movement. Reminiscent of the James Agee movement of Distant Voices, it ends with one final fortissimo riff.51

Sampson credits both Young and Pärt as influences on this piece. He points to the way that both composers changed the way that music moved through time yet each had unique ways of achieving this. Young used much less material over longer periods of time while Pärt worked with materials in greater variations as one would “examine a jewel from every direction.” Strata honors these composers, along with Michael Torke,52 in this three movement work.53 Sampson’s etude collection, Notes from Faraway Places-Three Suites of Concert Etudes for One or Two Trumpets54 serves as a series of concert etudes and duets. The writing is indicative of Sampson’s style creating etudes well suited for preparing other solos and chamber works. Included in this collection are Solo and also a mixed meter duet for two flügelhorns. Sampson writes, “When I decided to add to our repertoire, the

51

David Sampson, “Program Notes - Strata,” http://www.davidsampsoncomposer.com/program-notesStrata.html.

52 Michael Torke (b. 1961) is a minimalist or post-minimalist composer and a contemporary of David Sampson.

53 David Sampson, e-mail message to the author, September 1, 2011.

54 David Sampson, Notes from Faraway Place, 3 Suites for solo trumpet (+3 duets), Vuarmarens, Switzerland: Editions BIM, 2000.

19

longer, more substantial concert etude attracted me most.”55 The resulting suites call for Bb and Eb trumpet as well as flügelhorn. At the end of each suite is a duet using ideas from at least one of the etudes. Each etude is labeled with a city or an area where that particular suite was composed. The two exceptions are “The Crow’s Nest,” which is the name of Sampson’s music studio56 and the aforementioned Solo.57 2002 brought Sampson’s next flügelhorn work with a brass trio entitled Duncan Trio. This piece was commissioned by Dorothy Duncan, in celebration of the 50th birthday of her brother, James Duncan. Dorothy is a clarinetist with whom Sampson worked for many years as a freelancer in the New York and New Jersey areas. Her brother, James, is a trumpet player and often plays with a brass trio, including trumpet, trombone and horn, which inspired the instrumentation. Though Sampson has never met James, he has spoken to him and was privy to a recording of its premiere.58 Within its compact form, Duncan Trio serves up a wide range of textures, colors, and rhythmic creativity. The first movement opens with flowing lines leading to intricate staccato figures passed around the group. The second movement’s deeply resonating harmonies are enhanced by the use of flügelhorn utilizing the timbres of the upper register. The third movement is a two minute kaleidoscope of devilishly abrupt tempo shifts and wide intervals that thoroughly challenge the trio’s reflexes — this is serious “playtime for

55

David Sampson, Notes from Faraway Places, 3 Suites for solo trumpet (+3 duets), Vuarmarens, Switzerland: Editions BIM, 2000, 2.

56 “The Crow’s Nest” is the name of Sampson’s music studio he built on his property in the late 1980’s. He included four skylights in his design. Upon entering his finished studio for the first time he looked up to see bird droppings on every window. He walked out on the deck to see if he could find the culprits and there, a couple of hundred yards away in the trees, was a flock of crows seemingly laughing their heads off. Since Sampson interpreted this as them saying, “welcome to the neighborhood,” he honored them by naming his studio “The Crow’s Nest.”

57 David Sampson, Notes from Faraway Places, 3 Suites for solo trumpet (+3 duets), Vuarmarens, Switzerland: Editions BIM, 2000.

58 David Sampson, e-mail message to the author, September 1, 2011.

20

grownups”!59 Duncan Trio was recorded by The University of Maryland Brass Trio60 on their recording Brass Trios.61 A Family Portrait, for brass quintet, was written for and dedicated to Scott, Annie and Emma Mendoker. Scott Mendoker has been a friend of Sampson’s for over thirty years, and Sampson credits him with influencing many basic life concepts through their performances, experiences, and intense conversations. Mendoker’s wife and daughter, Annie and Emma, have been part of this relationship so Sampson chose to honor the entire family with this composition.62 Sampson writes that this piece “is an aural depiction of the energy, humor, and love that abounds between these three people.”63

59

Chris Gekker, University of Maryland Brass Trio, “University of Maryland Brass Trio: Brass Trios Liner Notes,” http://media.dramonline.org/media/748810.pdf.

60 Chris Gekker, Trumpet, Gregory Miller, Horn and Matthew Guilford, Bass and Tenor Trombone.

61 University of Maryland Brass Trio, Brass Trios, compact disc, Troy 1222, © 2010 Albany Records.

62 David Sampson, e-mail message to the author, September 1, 2011.

63 David Sampson, A Family Portrait for Brass Quintet, Chandler, Arizona: Hickman Music Editions, 2008.

21

CHAPTER 3

ANALYSIS OF SERENADE

Author’s Note on Analyses

This intent of this study is to focus research on Serenade and Passage and to provide an informed approach to performance from the point of view of the trumpeter (flügelhornist). The analyses will examine the character of the music, performance practices that will help future performers, ensemble playing and where the soloist should pay particular attention to the ensemble with which he or she is performing and some theoretical aspects when specifically relevant to the actual performance. Theoretical analysis will focus on performance interpretation.

Background

Serenade, though a one-movement work, is divided into four distinct sections.

Section one (mm 1-90) represents Sampson himself. Section two (mm 91-143) represents Sampson’s wife. Section three (mm 144-282) represents Sampson’s son

22

Benjamin (who was 13 years old at the time). Finally, section four (mm 283-end) represents nine-year-old Mark “bugging the hell out of his brother.” This document will examine each section both musically and technically.

Section 1

Throughout this composition, Sampson uses techniques involving octave leaps and boundary tones.1 The first section contains many examples of this particular technique as demonstrated in Example 3.1. This section is marked “with great intensity” at ♩=80.

The personality of this section represents Sampson. In an interview with Sampson, he described the section in this way: “The first section is a self-portrait in a kind of tongue-in-cheek approach. Sometimes I have been accused of thinking too much, of being too serious, and possibly an egg head. So, in the first section, I have chosen to portray myself that way.”2 The string orchestra (divided as 1, 2, 2, 2, 1) provides a twenty-two measure introduction foreshadowing the slow, rhythmic character of the first section. The flügelhorn enters at measure 23. In Example 3.1 one can see how the first sixteen bars of the solo part incorporate the leaps and boundary tones discussed above.

1

The term “boundary tones” will be referred to in Sampson’s music henceforth. Sampson’s utilizes a style of writing which extends musical phrases to sevenths, octaves and larger intervals. You will notice throughout the study of Serenade that the high and low points of many of Sampson’s phrases are these sevenths, octaves, and larger intervals. This technique differs from octave displacement because the melody is not displaced.

2 David Sampson, email interview with author, February 24, 2011.

23

Motive

Rhythmically and Melodically Altered Motive

Figure 3.1: Serenade mm 23-33

The solo begins stating the motive <B3, D4, A4, E4> in measures 23-28. The motive is then repeated with rhythmic alterations as well as the melody moving up to E5 as opposed to the E4 heard in the original motive. Performers of this piece should realize this in their preparation. As a performer, it will be important to know the direction of the melodic line. This is important to brass players so that they will understand and ensure that slurred intervals will remain connected and in tune.

The accompaniment of this section provides simple harmonic accompaniment using quintal and some quartal harmonies as the string orchestra plays a series of quarter note and half note chords as seen in Figure 3.2. Because the rhythmic progression in the accompaniments is slow, the performer is able to play this section freely and with much expression.

24

Figure 3.2: Serenade mm 23-34

Beginning in measure 43 (Figure 3.3), we can see examples of the use of octave leaps in this piece.

25

Octave

Octave

Augmented 8th Boundary Tones

m7th Boundary Tones

Figure 3.3: Serenade mm 43-54

The octave leap in measure 43 returns to G#4 in measure 45. The basic melodic line can be heard as a <G5-G#4> with a series of passing tones in between. It is important, from a technical point of view, to make sure that the performer has the flexibility and facility to play the passing tone movements in measure 44 fluidly and easily. Flexibility studies that will lend to this performance can be found in Earl D. Irons' technique book, Twenty-Seven Groups of Exercises3 (Groups 11-13 and 17-19), Allen Vizzuttiâ&#x20AC;&#x2122;s Trumpet Method Book 1: Technical Studies4 (Lip Flexibilities 1-24), and Bai Linâ&#x20AC;&#x2122;s Lip Flexibilities5 (Exercises 8-19) among others.

3

Earl D. Irons, Twenty-Seven Groups of Exercises for Cornet and Trumpet (San Antonio, TX: Southern Music Co., 1966), pp 10-11 and pp 14-15.

4 Allen Vizzutti, Trumpet Method Book 1: Technical Studies (Van Nuys, CA: Alfred Publishing Co., 1990), pp 15-31.

5 Bai Lin, Lip Flexibilities for All Brass Instruments (Montrose, CA; Balquhidder Music, 1996), pp 11-21.

26

The pickup notes to measure 46 continuing through measure 47 culminate in boundary tones moving from <C#3-B#4>. The sixteenth notes in measure 49 begin on F4, ascend through passing tones to F#5 in measure 50 and then descend through more passing tones to G4 in measure 51. This movement from <F4-F#5-G4> is yet another example of boundary tones. The rhythmic progression of the strings becomes slightly more animated in measure 46, but still only provides harmonic progression lending to the freedom of expression to the fl端gelhorn.

Melodic Movement through the interval of a 14th

Descending Boundary Tones at a m7

Figure 3.4: Serenade mm 63-68

Sampson continues his use of boundary tones in measure 63. This long melodic figure begins on B3 in measure 63. Over two measures, the fl端gelhorn soars through the range of a 14th (an octave and a seventh) to A5. From measure 65 to 67, Sampson writes passing movement from A5 descending a minor seventh to B4. This simple melodic movement from <B3-A5-B4> lasts five measures. The performer once again needs to have the facility to make the octave transitions seamless to the listener.

In order to acquire this facility, the performer needs to work on flexibility. For a brass player, flexibility is not only the skill of slurring intervals. It is also the ability to 27

play throughout the range of the horn evenly and effortlessly. The aforementioned method books will assist in the attainment of this skill. As the performer becomes more flexible, passages like the one in Figure 3.4 will sound effortless and the transition from ascending a 14th to the descending of a 7th with passing movement will be portrayed as the composer intended. The string orchestra repeats melodic and harmonic material used in the introduction during these measures, similar to the material seen in Figure 3.2.

The final 17 measures of the first section simply echo material already heard. As can be observed in Figure 3.5, measures 76-85 are exactly like the first fl端gelhorn entrance, only transposed up a minor third. Beginning with the pickups to measure 86, the material is very similar to that of the pickups to measure 50 as seen in Figure 3.3.

The difference here is that the melodic movement now goes from <F4-G5-G4> unlike the <F4-F#5-G4> as in Figure 3.3.

Boundary Tones at a m7

F-G-G

Restatement and Transition

Figure 3.5: Serenade mm 76-91

28

Measures 88-91 contain an elongated restatement of the figure found in measures 52-53 (see Figure 3.3). This restatement transitions to the next section.

Like the flügelhorn material, the string orchestra also repeats material. It is clear that the role of the string orchestra in Section 1 is there to provide simple, harmonic accompaniment to the freedom of the solo voice. As a performer, this should be recognized and artist freedom should be taken advantage of in performance.

Section 2

The second section marked “Poco piu mosso” at ♩=88 represents Sampson’s wife.

Sampson describes this section as, “a very loving portrait of my wife, Christine, who has kept my life together for almost 40 years now. She is the one who hears my new compositions for the first time and gives them either a thumbs up or thumbs down. And, she has never been wrong.”6 From a performance point of view, this movement demands more technique from the performer than the first section because, while the intervallic leaps remain, they are now faster and articulated. It is important to note when boundary tones are used because this is a recurring technique in Sampson’s composition of this piece.

Rhythmic sixteenth notes in the string orchestra begin this next section.

Following the introduction of sixteenth notes and a faster rhythmic cadence, the string orchestra settles on repeated sixteenth notes for three measures before the entrance of the

6

David Sampson, email interview with author, February 24, 2011.

29

flügelhorn. The flügelhorn entrance in this section foreshadows the character of the solo voice in this section. Figure 3.6 begins with thirty-second notes followed by staccato sixteenth notes, easily the fastest passage the performer has yet encountered.

Recurring Rhythmic Motive

Figure 3.6: Serenade mm 96-99

It is already apparent that the performer needs to have the technical ability to play lightly and cleanly. Not only is this passage marked only mezzo forte, but is also marked with staccato markings. Practice of fast passages and light tonguing will be important as the performer approaches this section to ensure that the character of this section is portrayed. From a technical standpoint, the performer must take care to practice this technique. In order to execute this passage cleanly, the performer must ensure that airflow is constant and the tongue is fast and clean. Fast articulation studies will prove helpful. Exercises can be found in Allen Vizzuti’s Trumpet Method Book 1: Technical Studies7 (Technical Studies 1-5, all tongued), Herbert L. Clarke’s Technical Studies for

7

Allen Vizzutti, Trumpet Method Book 1: Technical Studies, (Van Nuys, CA: Alfred Publishing Co., 1990), pp 32-40.

30

the Corne,8 (second and third studies, all tongued) and Chris Gekkerâ&#x20AC;&#x2122;s Articulation Studies9 (studies 1-12), to name a few.

The pick-ups to measure 102 begin what will become a recurring rhythmic motive as can be seen in Figure 3.7a.

Recurring Rhythmic Motive

Figure 3.7a: Serenade mm 101-105

These thirty-second note pick-ups lead into a sixteenth note figure marked secco and staccato and contain accents on the first, fourth, sixth, and what would be the ninth sixteenth note of the passage. This rhythmic motive is repeated in measures 103-105.

The importance of this rhythmic motive is emphasized by the fact that the string orchestra has a tutti rhythm (Figure 3.7b). The performer must make sure that style of articulation and sound of the soloist matches that of the string orchestra.

8

Herbert L. Clarke, Technical Studies for the Cornet, (New York: Carl Fischer, 1984), pp 8-13.

Chris Gekker, Articulation Studies, (New York: Transition Publications, 1995), pp 1-23.

9

31

Figure 3.7b: Serenade mm 101-106

Beginning in measure 106, Sampson uses a writing technique similar to the opening of section two (as seen in Figure 3.6). Light articulation again will be important to the performer as the composer requires flexibility throughout the range of the instrument. It is also important because the accompaniment is marked pizzicato. Hearing the style of the string orchestra accompaniment will enable the soloist to match the light style needed.

32

Rhythmic Deceleration

Figure 3.8: Serenade mm 106-111

In measure 109 Sampson uses slurred eighth notes to slow down this section rhythmically. There is also a deceleration in the string orchestra as they play straight eighth notes. These eighth notes provide contrast to the preceding fast, light musical writing. It is important to recognize and exploit this contrast in performance. After the fast, rhythmic passages, the rhythmic deceleration should be played with freedom and fluidity. Once again, practice of flexibility will be instrumental to the execution of this passage.

Continuing in measure 112 (Figure 3.9), the rhythmic motive heard previously (in Figure 3.7a) returns beginning on the second half of beat one. The accents, save the first one, remain the same as the original statement. The string orchestra is once again in tutti rhythm with the soloist during these sixteenth notes as was the case in Figure 3.7b.

Again, the performer must be aware of this restatement so that stylistic and articulation choices between the soloist and the ensemble can be maintained. Throughout these six bars, the rhythmic theme is stated four times. Paying close attention, once again, to the

33

placement of the accents will provide the listening audience with an aural reminder that they have experienced this rhythmic motive before.

Rhythmic Motive

Figure 3.9: Serenade mm 112-118

The last part of section two is a recapitulation using all previous material found in the previous section with the exception of the rhythmic theme discussed above (Figure 3.9). Figure 3.10a shows measures 122-143, the culmination of this section. We find the different rhythmic note lengths ranging from eighth notes in measures 138 and 139 to eighth-note triplets in measure 122 and 123. Sixteenth notes are found throughout and even thirty-second note pickups can be found leading into measure 132. The accompaniment is also a recapitulation of previous material. As a performer, it will be important to maintain rhythmic integrity and stylistic uniformity throughout this section as all the themes are recapitulated.

Sampsonâ&#x20AC;&#x2122;s use of octave leaps and boundary tones can be found scattered about this section as well. Examples can be found in measure 126 (<F4-F5> on beats three and four), measure 126 (the <F#5-F#5> after the E4 pickup), measure 135 contains two instances (the <E4-E5> in the first two beats and the <F5-F4> in the second two beats) and measure 136 (the <E#4-E#5>). Again, it will be important for the performer to be

34

comfortable with octave leaps so that technical deficiencies do not distract from the overall listening experience.

Octave Boundary Tones

Octave Boundary Tones

Octave Boundary Tones

Figure 3.10a: Serenade mm 122-143

Sampson enables the soloist to recapitulate all previous themes clearly by writing sparsely for the string orchestra. Figure 3.10b shows how the accompaniment is simply written lending to the freedom of the soloist.

35

Figure 3.10b: Serenade mm 122-129

Section 3

The third section, marked at ♩=104, represents his son, Ben. “The third section is a portrait of my oldest son, Ben, who was in the middle of teenage hood when this piece was written. He was and is a fun loving and compassionate young man. A kind of cool and gawky persona is portrayed in this section.”10 The majority of this section is in a triple meter, contrasting with the two sections of duple meter preceding it. The staccato lines ascending and descending in this section should be noted and approached with light 10

David Sampson, email interview with author, February 24, 2011.

36

tonguing. Sampson uses the same melodic figures gradually throughout this section but rising at the half step.

As this section begins, the accompaniment once again foreshadows what is to come. The string orchestra sets up a light, lilting style as the bass voices play strong down beats followed by two eighth notes on beats two and three of the measures (Figure 3.11a).

Figure 3.11a: Serenade mm 156-167

The first melodic statement in this section exemplifies the light style in which to play the entire section. The opening statement, as see in Figure 3.10 below, should set up the mood of the soloist for this particular section.

37

Figure 3.11b: Serenade mm 156-157

Light articulation and flexibility practice throughout the range of the instrument will be essential to execution of these figures. If a brass player is not flexible, the lightness and musical ideas will not be easily communicated.

After the initial statement, the theme is repeated and continues ascending in lightly articulated eighth notes followed by a descending 16th note passage in measures 166-177 as the string orchestra continues with the lilting eighth note accompaniment.

This is echoed, though slightly altered, five bars later in measures 172-173, all shown in Figure 3.12.

Restatement of Opening Motive

Descending Restatements

Figure 3.12: Serenade mm 160-173

38

In measure 184 Sampson states the theme again, this time transposed up a half step from the original. As he continues, it is clear that this section and the following section, beginning at 208, are both serving roles as transitional as well as a foreshadowing of the remainder of the section. This is evident in the accompaniment as well as the string orchestra begins repeating melodic motives previously heard in the solo voice. As seen in Figure 3.13, Sampson uses the 3/8 material he has used previously in measures 184-216, transposing the theme up a half step but also adding muti-meter changes as seen in measures 210-216.

Motive Restatement

Multi-meter Changes

Figure 3.13: Serenade mm 184-216

Notice the 1/4 time signature in measure 210. At this point, the 3/8 character of the piece is shifted from a lilting melody, to a more angular feel. This is demonstrated by the accompaniment as well, as the sting orchestra plays rhythmic, angular figures during the

39

meter changes. One could interpret that these disturbances portray the â&#x20AC;&#x153;gawky personaâ&#x20AC;? of Sampsonâ&#x20AC;&#x2122;s son. This shift reappears in the transition to the final section.

Motive Restatements

Figure 3.14: Serenade mm 217-238

At this point, Sampson transposes the original theme up yet another half step as can be seen in Figure 3.15. From a performance standpoint, the challenges and technical needs stay the same. Even though the range is higher than when it was originally stated, ease of playing must be maintained.

Transposed Motive

Figure 3.15: Serenade mm 249-258 40

The culmination of this section begins in measure 273. Again, the flügelhorn progresses through mixed-meter passages beginning in measure 275, perhaps referring to Ben’s assumed “gawkiness.” The tension builds to both a crescendo and a rhythmic acceleration progressing from sixteenth notes in measure 280 to a quintuplet and sextuplet in measure 281 and, finally, a trill in measure 282 bringing us to the fourth and final section of the piece. All the while, the string orchestra begins the transition to a duple feel by playing quarter notes, then eighth notes followed by a four-tuplet over the 3/4 bar in measure 282.

Rhythmic Acceleration Beginning of Section 4 Rhythmic Acceleration cont…

Figure 3.16: Serenade mm 273-283

Section 4

Sampson described the final section: “Next is a portrait of my youngest son, Mark, who was quite young when I wrote this and a bundle of energy. He simply never stopped. This is portrayed by the most active section in the work and actually drives the 41

piece to its conclusion.”11 This section is marked ♩=132 so, considering Mr. Sampson’s description and the extensive use of sixteenth notes, it is no surprise that this section will prove more agitated and technically challenging passages than the previous three.

Double tonguing is a key skill in the execution of this section. Double tongued sections should be practiced slowly ensuring that notes are even and that airflow remains constant.

The performer could utilize the aforementioned articulation studies to assist with the technique of double-tonguing. Though this is agitated in musical character, a relaxed approach to performance should still be maintained. This approach will not only lend to an easier performance, but will also create a more musical experience for the listeners.

The first two stated passages in this section will appear many times in the final section. The first of the two is repeated in measures 286-287 and 288-289 (though slightly altered as it ends on a Bb as opposed to a B). The second appears in both 293294 and 296-297 as seen in Figure 3.17 below.

First Recurring Motive

Second Recurring Motive

Figure 3.17: Serenade mm 286-302 11

David Sampson, email interview with the author, February 24, 2011.

42

The performer should note, in both instances, placement of the accents and the different slur markings. In the first recurring motive, accents are placed at the beginning of every beat (the beginning of every group of sixteenth notes). In the second recurring motive, accents are only placed at the beginning of beat two with the rest of the figure slurred.

The written contrast should be apparent in performance. During the rests in the solo part, the string orchestra also plays running sixteenth notes providing a style which the performer must match.

The following section is simply an extension of the material stated before. Again, there are fast sixteenth notes both slurred and tongued with repeated sixteenth notes driving in the accompaniment. Double tonguing and interval studies will be of utmost importance in preparation to execute the passages in Figure 3.18.

Restatements of Second Recurring Theme

Octave Displacement

Figure 3.18: Serenade mm 303-311

43

Again, there is evidence of octave leaps and boundary tones. The <D4-D5> at the end of 303 and the beginning of 304, the <D4-D5> midway through 305, the <D5-D4> and <F5F4> in measure 306 are all examples.

The next section, beginning in measure 317, is a restatement of the first theme in section one. If one compares Figure 3.19b with Figure 3.4 one will see the similarities melodically. The differences in the two are tempo and rhythmic writing. In this example, the accompaniment retains the driving sixteenth notes characteristic to this section as opposed to the slow rhythms found in Figure 3.5. This change in accompaniment (shown in Figure 3.19a) should inspire the performer to play with some urgency even though the durations of the notes in the melody are longer.

44

Figure 3.19a: Serenade mm 316-333

45

The performer must be aware of this restatement so that it is communicated to the listeners. All the musical intricacies used when this theme was first played should be

Restatement of Section I of the piece

repeated here (in Figure 3.19b).

Figure 3.19b: Serenade mm 317-348

Beginning in measure 355, a new rhythmic theme is introduced. It begins with two sixteenth notes and an eighth note followed by multiple tongued sixteenth notes.

This is the most â&#x20AC;&#x153;aggressiveâ&#x20AC;? of the thematic material in this final section.

46

New “aggressive” material

Figure 3.20: Serenade mm 355-368

Accurate and clean double tonguing is needed to portray the musical ideas in order to clarify the rhythmic identity of the theme. During this section, the accompaniment’s rhythmic writing is contrary to that of the melody. During the fast passage of the melody, the string orchestra is playing only chords sparsely throughout. In measures 358 and 360, however, the accompaniment takes the lead on the rhythmic drive during the rests of the melodic line.

At this point restatement of material heard at the beginning of section four returns.

The material shown in Figure 3.21 can be compared to material seen in Figure 3.17.

Octave, seventh and eleventh jumps and boundary tones can be found throughout, demonstrating once again the composer’s stylistic features as the string orchestra returns to the driving sixteenth notes that have been heard throughout this section.

47

Figure 3.21: Serenade mm 369-377

Before the piece comes to a close, the composer introduces new, lyrical material beginning in measure 380 (Figure 3.22). The composer utilized the lyrical qualities of the flĂźgelhorn and the performer should take advantage of the opportunity to demonstrate the instrumentâ&#x20AC;&#x2122;s singing quality in this section before the conclusion. The insertion of this lyrical section during the most aggressive section of the piece may serve as a connection to the rest of the piece. Perhaps the composer is suggesting that, though Mark is aggressive and young, he does have a connection to the rest of the family and it is through this lyrical section that Sampson demonstrates that.

The string orchestra

continues with its relentless sixteenth notes pushing the piece to the finale.

48

The arrows point to examples of boundary tones

Figure 3.22: Serenade mm 380-369

The final section begins at measure 406 (Figure 3.23) and takes us to the end of the piece. It recapitulates material from measure 355 (Figure 3.20) as well as the opening material from section four beginning in measure 286 (Figure 3.17). All recapitulated material in the melodic section contains accompaniment characteristic to that which has already been heard.

49

Restatement of â&#x20AC;&#x153;aggressive material material

Restatements of the second motive

Figure 3.23: Serenade mm 406-end

As has been demonstrated, the aspect of playing with a string orchestra is imperative to this piece. The ensemble should blend well because of the mellow sound of the flĂźgelhorn; it would be difficult for performers to over-blow the orchestra and should be easy for the performer to play comfortably and still blend in with the sound of the strings. The ensemble as a whole must decide on the style of playing. The string orchestra acts as both a harmonic accompaniment as well as a rhythmic driving force for most of this piece. It is up to the soloist to make sure that styles are consistent throughout the piece and between string orchestra and soloist.

50

CHAPTER 4

ANALYSIS OF PASSAGE

Background

Passage is Sampson’s four-movement work for flügelhorn and viola. This interesting combination of instruments stems from the fact that Sampson and his wife play flügelhorn and viola respectively. Because of the uniqueness of the ensemble, the performers need to be diligent in preparation assuring agreement in the sound of the ensemble.

It should be noted that an asterisk appears beside the word “muted” referring to the flügelhorn. Special instructions by the composer state that the performer must make the mute him/herself. “It is made of several layers of terry cloth covered with a light finishing material and should be fastened to the bell with elastic. The amount and type is left up to the performer, but the reasoning for the mute is so that the player can play comfortably without overpowering the viola.” The mute will also create a timbral change. When deciding the amount of terry cloth to be used, the performer should make sure that the timbre best matches the sound of the viola.

51

When asked about this mute, Sampson responded: “When I performed the work for the first time at Fontainebleau, I used the mute that is described in the publication.

This allowed me to play freely and not over balance the viola. I have heard of other players not using a mute at all and having it work just fine. I have no problem with that.

If you have a very strong viola player and you feel that you can control the flugelhorn, then balance will not be an issue.”1 In summary, the decision of the mute is left solely up to the individual performer.

Movement I

Notice that both the viola part and the flügelhorn part are written in the same system (see Figure 4.1). This is very important because so much of this piece has to do with the interplay between the two voices. Transitions from moving rhythmically in unison to moving at different times to create interplay between the two voices happens quickly and frequently and it is important for both players to be aware of those instances.

This movement begins with solo viola. It is marked mp and emotionally. It is important to note that, during this movement, Sampson does not use bar lines. This compositional tool affords the performers more freedoms throughout the movement. The flügelhorn enters during the third system. For the first nine and one half beats, the viola and flügelhorn, while playing together, move at different times. As one instrument holds a note, the other instrument moves either at a quarter-note, an eighth-note or, in one instance, a 16th note length. This subsides on the second half of the tenth beat when both instruments are playing the same rhythm, but only for four beats. At this point, Sampson 1

David Sampson, email interview with the author, February 24, 2011.

52

reverts back to the technique of having the instruments move on different beats, continuing this trend until the fermatas on the second page. The instruments both play rhythmically unison lines until the marking on the second line, Aggressively â&#x2122;Š=168-176.

The arrows show each instrument moves independently â&#x20AC;&#x153;playing offâ&#x20AC;? the movement of the other.

Brief unison rhythms here

53

Return to unison rhythms

Figure 4.1: Passage Movement I, beginning â&#x20AC;&#x201C; Aggressively â&#x2122;Š=168-176

For approximately the next fifteen beats, depending on the performerâ&#x20AC;&#x2122;s interpretation of the barred three eighth-note rhythms, the mood should be very aggressive. Fortissimos and even fortississimos are written for the first time in the movement. During this aggressive outburst, as shown in Figure 4.2, the performers are moving at individual times rhythmically. It will be important for both performers to play confidently during this time. Not only will confidence lend to the character of the music, but it is only through confident playing that the rhythmic interplay will be effective. This subsides briefly after the fermata. Tempo I is indicated and the performers play, in rhythmic unison, a pianissimo passage for only seven beats.

54

Another example of rhythmic “playing off’ each other.

Return to unison rhythm and the calm character heard at the beginning of the movement.

Figure 4.2: Passage Movement I, Aggressively ♩=168-176 - Aggressively ♩=168-176

At that point, the music echoes the aggressive passage just preceding the last for twenty beats, moving in the same individual rhythmic way as before until arriving at a fermata where the flügelhorn is resting while the viola decrescendos on a trill and is marked slow trill gradually almost to a stop.

55

Brief rhythmic unison

Figure 4.3: Passage Movement I, Aggressively ♩=168-176 - ♩=76

This puts the duo into a new section marked ♩=76. In this short, seven-beat section, the flügelhorn rises a major 9th through a series of sixteenth notes and a quintuplet to another two fermatas. The remainder of the movement is to be played at Tempo I and uses techniques of both unison and individual rhythm.

56

Major 9th ascension

Brief return of rhythmic unison

Figure 4.4: Passage Movement I, â&#x2122;Š=76 â&#x20AC;&#x201C; end

Movement II

The second movement is a rhythmic dance between the two voices. Mixed meter dominates this movement and it will be important to note the importance of rhythmic integrity. For much of this movement, one of the two voices acts as the dominant voice and it should be noted when each acts in this role.

57

Figure 4.5 shows the first page of this movement. As this movement begins, one can see that the viola and fl端gelhorn trade roles from dominant voice to rhythmic background. One should also note that the viola is marked spicato which is accomplished by the dropping and lifting of the bow on the string after every note. Light articulation should be used by the fl端gelhornist to match the articulation attained by the violist. In measures eight and nine and 13 and 14, examples of rhythmic interplay exists as the melodic line is passed back and forth between the two voices, eighth notes at a time. These are yet other examples of the importance of both players having impeccable rhythmic integrity and why it is so important that each player can see what the other voice is playing.

58

Viola serves as dominant voice Fl端gel serves as dominant voice

The fl端gelhornist must take care in matching this articulation marking for the viola

Beginning of rhythmic interplay

Rhythmic interplay

Figure 4.5: Passage Movement II, mm 1-17

59

This movement continues in this manner throughout and care should be taken, as discussed above, by both performers to be aware of the rhythmic devices being utilized.

In some instances, Sampson writes different metric groupings within the meters in which he has written. In Figure 4.6, we can see three different examples of the emphasizing different beats of different measures creating an example of hemiola.

Rhythmic interplay

Figure 4.6: Passage Movement II, mm 48-55

In the first measure of Figure 4.6, the flügelhorn has dotted 16th/32nd note figures while the viola is emphasizing a duple grouping (a “3/4 feel” as opposed to a “6/8 feel”) as opposed to the triple meter of which the listener has grown accustomed. In the following measure, the flügelhorn is written in a duple feel while the viola returns to the emphasis of a triple meter, accenting the first and fourth eighth notes. The next three measures are written with both instruments in unison rhythm before the flügelhorn

60

returns to the dotted 16th/32nd note rhythm as seen in the first measure. This time, however, the viola is accenting along with the strong, long beats of the flügelhorn.

In this movement, care must be taken by both performers both rhythmically and musically. Each performer needs to know when they are carrying the melody as opposed to when they are providing rhythmic support. Also, rhythmic integrity is important and it is imperative that both performers are very comfortable not only with their part, but also with what the other performer is playing. This is the only way to ensure that this movement will can come across as intended by the composer.

Movement III

The third movement offers the most freedom in the entire work. It is marked ♩=63-69, but Sampson includes the marking “with much freedom.” This also is the most soloistic movement because the players do not play together with the exception of the handoff from flügelhorn to viola. As in the first movement, Sampson chose to leave out bar lines lending even more freedom to the performers. Along with the freedom, though, is the responsibility to collaborate on style. Even though the players play by themselves, it does not mean the conversation is over.

61

Figure 4.7: Passage Movement III, first page of solo flügelhorn

Figure 4.7 provides an example of the third movement. It begins with solo flügelhorn and is to be played “with much freedom.” This is not to say that the performer

62

should take liberties with the rhythms themselves. The composer has taken great care to specify differences in rhythms. Care should be taken so that these rhythms sound different to the listener. Freedom can be taken, but more in a sense of “rubato,” a giving and taking of time. One should still be able to differentiate between marked rhythms.

As the ensemble works through this movement, the performers must ensure that the movement can be played in strict time before adding artistic decisions about freedom.

If one can play these rhythms and intervals in such a manner, rubato will just add to the enjoyment of the listener.

The second half of this movement provides the viola an opportunity to freely express itself as the solo voice. Both performers should collaborate as to what musical idea or musical statement they would like to portray in this movement. A unified musical concept of these free solo sections should dictate the ideas of each individual as they perform this movement.

Movement IV

Movement IV contains the most intricate rhythms with the inclusion of hemiola and uncommon ties. Rhythmic integrity is important throughout this movement and will be a major point of consideration.

One aspect of Sampson’s writing which can be found in this movement is his close placement of different metric subdivisions. For example, in this last movement, the flügelhorn has a passage in ¾ that has four 16th notes, followed by a quintuplet followed by an eight note triplet, as seen in Figure 4.8.

63

Figure 4.8: Passage Movement IV, m 35

This could prove to be difficult for performers who are not used to making the rhythmic switch and will prove even more difficult if another performer is depending on one’s rhythm.

Other challenges presented to the performers include instances where the performers are playing different rhythms against each other. In Figure 4.9, one can see the rhythmic independence of both parts as notated in the first line. The viola transitions back and forth between the “triple feel” and “duple feel” throughout this example while the flügelhorn stays in the “triple feel.” However, the flügelhorn is emphasizing different beats of the measure throughout. The instruments are moving at different times during each beat and each measure. Instances like this should be studied at length and both performers should be aware as to how their parts fit together. These rhythmic devices written by the composer can be very fulfilling aurally if executed correctly.

64

Figure 4.9: Passage Movement IV, mm 22-29

Rhythmic independence dominates this movement so it is imperative that each performer plays their respective parts correctly and confidently.

As the movement progresses, the performers should take note of instances where they are indeed together rhythmically. Because of the independence of the two parts, rhythmic unisons should be brought to the fore. In such cases, like in Figure 4.10, Sampson has even made sure there is emphasis on such instances by writing accents for both performers.

65

Here we have unison rhythms emphasized by the use of accents.

Figure 4.10: Passage Movement IV, mm 44-50

As the piece reaches its conclusion, there is a recapitulation of the solo viola line we heard at the beginning of this movement. The rhythmic movement has slowed as each instrument moves slowly, yet independently. The final note of the fl端gelhorn has a written fermata as well as a decrescendo as the viola has a descending quintuplet. The piece fades to silence as the viola repeats the last quintuplet heard at the end of Movement I, Example 4.4.

66

Independent rhythms throughout this section

Figure 4.11: Passage Movement IV, mm 64-end Same figure found at the end of Movement I

Ensemble playing is challenging simply because there is a brass instrument and a string instrument. The mute will prove to be an important aspect in terms of equalizing

67

the dynamics of the two instruments. As a trumpet player, Sampson understands the difficulty of playing a brass instrument intimately. The performer should take extra care when making the mute so that he or she can blend with the violist while still being able to play comfortably. It will be important to identify the places in this piece where it is of utmost importance to be aware of the ensemble balance.

68

CHAPTER 5

CONCLUSION

This study provides insight into the world of the flügelhorn while concentrating on two works by composer David Sampson. Though Serenade and Passage are the primary focus, the performance analyses are intended to help generate interest in the flügelhorn as an instrument and specifically in David Sampson’s flügelhorn music.

Compositional techniques discussed include the use of boundary tones and the importance of rhythmic integrity. Through the study of these two pieces, it is evident that Sampson frequently employs these compositional modes. If one is to perform Sampson’s flügelhorn works effectively, understanding the importance of these skills is a necessity.

A performer who focuses on the technical challenges of articulating boundary tones and insuring rhythmic accuracy will have a more fulfilling experience, not only through these two works, but also through other works which Sampson has added to the repertoire.

If one were to be interested in expanding his/her flügelhorn repertoire beyond Sampson’s music, there are several options. Some solo pieces that utilize flügelhorn include Richard Peaslee’s Nightsongs,1 Joseph Turrin’s 2 Portraits,2 and Steven Rouse’s

1 2

Richard Peaslee, Nightsongs, (Delaware, Gap, PA: Margum Music, 1974).

Joseph Turrin, 2 Portraits, (Vuarmarens, Switzerland: Editions BIM, 1999).

69

Avatar.3 Eric Ewazen’s Colchester Fantasy4 (second movement) is a quintet piece that utilizes flügelhorn.

Nightsongs is a through-composed work written for both Bb trumpet and flügelhorn; the performer is expected to seamlessly switch between the two instruments throughout the work. Both the lower and upper registers of the flügelhorn are used in the slower sections of this work.

Turrin’s composition, 2 Portraits, also utilizes both trumpet and flügelhorn.

Again, the performer is expected to change instruments during the work. As is the case with Nightsongs, 2 Portraits utilizes the sound of the flügelhorn during the slow, melodic passage.

The three movement work, Avatar uses three instruments calling for piccolo trumpet in the first movement, flügelhorn in the second movement, and Bb trumpet in the third movement. The second movement, Enigma-Release, uses the flügelhorn to portray chant-like music.

It is becoming commonplace to include flügelhorn in brass quintet literature and Colchester Fantasy is an example. During this four-movement work, the trumpeters are both asked to play the second movement, “The Marquis of Granbury”, on flügelhorn.

Ewazen’s writing for flügelhorn begins like the aforementioned solos in that the flügelhorn is asked to play slow, melodic phrases. However, this movement differs from those solos because further in the movement, the flügelhornists are required to play fast passages including sextuplets and seven-tuplets.

3 4

Steve Rouse, Avatar, (Lauren Keiser Music Publishing: Winona, MN, 1991).

Eric Ewazen, Colchester Fantasy, (New Haven, CT: Brass Ring Editions, 2000).

70

These pieces, along with those by Sampson, will allow performers to become more familiar with the idiomatic capabilities of the flügelhorn. All of the aforementioned works will prepare performers for the task of switching instruments during pieces.

Sampson’s solo flügelhorn works differ from Nightsongs 2 Portraits, and Avatar because Sampson stretches the technical skills expected of the flügelhornist. Serenade, Passage, and Ewazen’s Colchester Fantasy will prepare performers for technical challenges.

It is the exciting challenge of the performer to seek out pieces such as these in order to spark further the interest in the flügelhorn. Although Sampson and others have included the flügelhorn as a mainstay in the brass family, this is just the beginning. The role and repertoire of the flügelhorn should continue to expand in the hands of new generations of performers and composers.

Future research on Sampson’s flügelhorn works would continue to uncover more aspects about Sampson’s writing as well as enable performers to see the legitimacy of the flügelhorn as a solo and chamber instrument. Sampson’s chamber works, Morning Music, Strata, and Duncan Trio alone would merit study so that performers could see how Sampson uses the flügelhorn in relation to other brass instruments.

The aim of this project is to bring to light the flügelhorn music of David Sampson and to promote interest in the flügelhorn. As Sampson stated: “it is imperative for all trumpet players to play the flügelhorn. First of all, the repertoire demands it. Second, I believe that practicing the flugelhorn is a wonderful balance to the trumpet. It has an easier flow of air and tends to relax the lips and the rest of the embouchure. In fact, I would highly recommend that the last instrument you play every day is the flügelhorn. It

71

is a great warm-down instrument.”5 If composers will follow in the footsteps of Sampson and use this instrument as a standard member of the brass family, performers will have a new voice to explore. Increased responsibility will fall to teachers of trumpet studios to incorporate the flügelhorn in their standard curriculum.

At the end of the 20th century, it was Sampson who led the way writing for the flügelhorn as a legitimate, solo instrument. Going forward, it will be the responsibility of performers and composers alike to continue this trend. Seeking out pieces that utilize flügelhorn and commissioning new works fall to the performers while composers should look to Sampson's music as well as others in order to learn, emulate and stretch the idiomatic capabilities of the instrument. Curricular attention, new compositions, and pedagogical and performance attention could enable the flügelhorn to attain its rightful place as a significant contributor to the world of brass music.

5

David Sampson, email interview with the author, February 24, 2010.

72

APPENDIX A

THE FLÜGELHORN WORKS OF DAVID SAMPSON

As of this writing, Mr. Sampson has contributed twelve works to the repertoire specifically written for or including flügelhorn. In chronological order by date of composition, the pieces, and brief notes on each, are as follows:

Passage for Viola and Flügelhorn, 1979 Passage for muted flügelhorn and viola was written in 1979 while in France at Fontainebleau. The piece is dedicated “to Jim” in honor of his brother who died that summer. He wanted to compose a piece that he and his wife (a violist) could play together to honor his brother.

The Notes Fit to Print for Orchestra, 1980 This piece was written while Sampson was in residence at Delbarton School which is an independent college preparatory school administered by the Roman Catholic Benedictine monks of St. Mary's Abbey in Morristown, New Jersey. In an email correspondence with the author on November 11, 2010, Mr. Sampson revealed that this

73

piece, “…was my first orchestral work and actually isn't very good. It is only interesting to look at to see how far I have come.”1

Morning Music for Brass Quintet, 1986 Morning Music has become a staple in brass quintet literature since it was written in 1986. In the composer’s own words: Morning Music for brass quintet was written during the summer of 1986 for the American Brass Quintet. It is a sequel to a previous work of mine titled In Memoriam: W.E.S. for woodwind quintet written in 1981 and premiered by the Dorian Wind Quintet. The subject of that piece was the murder of my brother, William Evan Sampson, by the Ku Klux Klan and American Nazis in 1979.

Morning Music deals with my thoughts and feelings seven years later. As you will hear, the anguish over the death is as intense as ever, but strength and hope will gradually emerge from the despair. The work is one movement with clearly delineated sections ending with a fast-paced coda. I have dedicated Morning Music to my mother, Betty Sampson, whose optimism and resiliency have been an inspiration to me.2

Reflections on a Dance for Fourteen Brass and Two Percussion, 1988 Raymond Mase and Melvyn Jernigan commissioned this piece for Summit Brass.

Sampson affirms that the piece could be viewed as a reflection of his life, especially his 1 2

David Sampson, e-mail message to author, November 11, 2010.

David Sampson, “Program Notes - Morning Music,” http://www.davidsampsoncomposer.com/programnotes-Morning.html, November 12, 2011.

74

life as a trumpet player stating, “…brass passages from the orchestral and chamber music literature flashed before my ears,” though no piece preexisting piece is quoted directly.

Referring to the dream-like quality, Sampson describes the piece as a “kaleidoscope of musical impressions…”3

Triptych for Trumpet and Orchestra, 1991 Commissioned by the International Trumpet Guild in 1991, this piece is similar to triptychs in visual art, meaning: “there is a central panel and two flanking panels half its size that fold over it. Often Mary and the Child occupy the center panel while worshippers gaze upon the scene from each of the two smaller panels.” Sampson admits that there is no religious content to this piece, but the focus of the entire work is on the center Main Movement (the title of what could be regarded as the second movement).

The Main Movement is the longest movement and includes two cadenzas and a variety of moods. This is the movement which includes flügelhorn.4

Solo for Flügelhorn Unaccompanied, 1991 This unaccompanied work for solo flügelhorn was an indirect result of Mr. Sampson’s above-mentioned piece, Triptych. Material written, but not used, while composing the second movement of Triptych was used to create Solo. Solo can also be

3

Summit Brass, American Tribute, compact disc, Summit Records, DCD 127, ℗and © 1991 Summit Records.

4 David Sampson, Monument, compact disc, DCD 237, ℗ and © 1999 Summit Records.

75

found in Mr. Sampson’s collection of concert etudes and duets entitled Notes from Faraway Places. Solo acts as movement three of Suite III.5

Monument for Orchestra, 1996-1997 Sampson credits his inspiration for Monument to a visit to the Viet Nam Veteran’s Memorial in Washington, D.C. in the late 1980’s.

As is the reaction of most, I was deeply moved. Besides the fact that the Viet Nam War was a major focus of my youth, I was struck by the intense reactions of others around me including young children who suddenly became silent and foreign visitors that slowly and reverently move past the names. The magnificent artistry of Maya Lin’s structure magnified in a realistic and dignified manner the true cost of that war.

Musically, I heard great potential that day but it wasn’t until a commission from the Barlow Endowment for Musical Composition in 1996 that I was able to realize those ideas with an orchestral work for the Memphis Symphony/Alan Balter, Music Director.6

Serenade for Flügelhorn and String Orchestra, 1998 Serenade was written in 1997 for solo flügelhorn and string orchestra and is dedicated to his wife, Christine Hutchinson Terlune. Commissioned for the Colonial

5

Raymond Mase, trumpet, “Trumpet in Our Time,” compact disc, DCD 148, ℗ and © 1993 Summit Records.

6 David Sampson, Monument, compact disc, DCD 237, ℗ and © 1999 Summit Records.

76

Symphony in Morristown, New Jersey, it was recorded by the Czech Philharmonic Chamber Orchestra with Raymond Mase as soloist and Paul Polivnick conducting.7

Strata for Brass Quintet, 1999 Again, the composer has supplied his own program notes for this piece as follows: Strata was commissioned by the National Endowment for the Arts and the American Brass Quintet and completed on January 1, 1999. It is dedicated to the American Brass Quintet in celebration of their 30th year in residence at the Aspen Music Festival. The work is comprised of three movements and has a performance time of sixteen minutes. Having composed two quintets previously for the American Brass Quintet, Morning Music and Distant Voices, I began the third with a desire to expand upon what I had already written, yet refer to the other two. As a result, I chose to begin the first movement with the trumpeters playing flĂźgelhorns as I did in my first quintet Morning Music. While this darker texture was a nod to the earlier quintet, Strata begins with slowly shifting harmonies and no themes or counterpoint, in direct contrast to Morning Music. The music of LaMonte Young influenced this section because of a series of recent performances I was involved in as trumpeter with Youngâ&#x20AC;&#x2122;s

7

Dectet, Raymond Mase, Scott Brubaker, American Brass Quintet, Wihan Quartet, Afflatus Wind Quintet, Albany Records, TROY 780, 2005.

77

ensemble. Following this meditative music is a rhythmic and pointillistic section with the trumpeters now on trumpets but in Harmon mute, the trombones in straight mute, and muted horn. Motives abound and there is much playful interaction between all five players.

The second movement is an introspective dirge with no direct thematic connection to either quintet but similar emotional content to both.

There is also a hint at the techniques of Arvo Pärt with close harmonies and restricted material. The texture is again dark because of flügelhorns and the bass trombone is featured with an extended solo in the middle of the movement. As the third movement begins, we hear for the first time a trumpet unmuted followed by the rest of the group in a freely shaped introduction. Slightly jazzy material is then heard which is developed during the rest of the movement. Reminiscent of the James Agee movement of Distant Voices, it ends with one final fortissimo riff.8

Notes from Faraway Places Three Suites of Concert Etudes for One or Two Trumpets, 2000 This work serves as a series of concerts etudes and duets. The writing is indicative of Sampson’s style creating etudes well suited for preparing other solos and chamber works. Included in this for flügelhorn are the piece Solo and also a mixed meter duet for two flügelhorns. Mr. Sampson writes that “when I decided to add to our repertoire, the longer, more substantial concert etude attracted me most.” The result is

8

David Sampson, “Program Notes - Strata,” http://www.davidsampsoncomposer.com/program-notesStrata.html, October 23, 2011.

78

suites calling for Bb and Eb trumpets as well as flugelhorns. At the end of each suite is a duet using ideas from at least one of the etudes in the suite. Each etude is labeled with a city or an area where that particular suite was composed. The two exceptions are “The Crow’s Nest,” which is the name of Mr. Sampson’s music studio, and the aforementioned Solo.9

Duncan Trio for Brass Trio, 2002 This piece was commissioned by Dorothy Duncan, in celebration of the 50th birthday of her brother, James Duncan. Within its compact form, Duncan Trio serves up a wide range of textures, colors, and rhythmic creativity. The first movement opens with flowing lines leading to intricate staccato figures passed around the group. The second movement’s deeply resonating harmonies are enhanced by the use of flügelhorn. The third movement is a two minute kaleidoscope of devilishly abrupt tempo shifts and wide intervals that thoroughly challenge the trio’s reflexes — this is serious “playtime for grownups!”10

A Family Portrait for Brass Quintet, 2008 This piece was written for and dedicated to Scott, Annie and Emma Mendoker.

Mr. Sampson writes that this piece “is an aural depiction of the energy, humor and love that abounds between these three people.”11

9

David Sampson, Notes from Faraway Places, 3 Suites for solo trumpet (+3 duets), Vuarmarens, Switzerland: Editions BIM, 2000.

10 University of Maryland Brass Trio, “University of Maryland Brass Trio: Brass Trios Liner Notes,” http://media.dramonline.org/media/748810.pdf.

11 David Sampson, A Family Portrait for Brass Quintet, Chandler, Arizona: Hickman Music Editions, 2008.

79

APPENDIX B

SELECTED DISCOGRAPHY1 American Brass Quintet. Jewels. Summit Records, DCD-484, 2007 - Entrance for brass quintet American Brass Quintet. New American Brass. Summit Records, DCD-133, 1992.

- Morning Music for brass quintet American Brass Quintet. Premier!. Summit Records, DCD-187, 1996.

- Distant Voices for brass quintet Mandler, Lutz. Cadenza. Bayer-Records, CAD800876, 1999.

- Solo for unaccompanied flügelhorn Mase, Raymond. Trumpet in Our Time. Summit Records, DCD-148, 1993.

- Solo for unaccompanied flügelhorn - The Mysteries Remain for trumpet and organ Meridian Arts Ensemble. Five. Channel Classic Records, CCS 9496, 1996.

- Morning Music for brass quintet Sampson, David. Dectet. With Raymond Mase, Scott Brubaker, American Brass Quintet, Wihan Quartet, and Afflatus Wind Quintet. Albany Records, TROY 780, 2005.

- Serenade for flügelhorn and string orchestra - Sonata Forty for horn and piano - Strata for brass quintet - Dectet for Oboe, Clarinet, Horn, Bassoon, Piano, 2 Violins, Viola, Violoncello, and Double Bass Sampson, David. Monument. With Raymond Mase, Scott Mendoker, and the Czech Philharmonic Chamber Orchestra. Summit Records, DCD-237, 1999.

- Triptych for trumpet and orchestra - Simple Lives for orchestra - Hommage JFK for fourteen brass and two percussion - Monument for orchestra - Three Portraits for tuba and chamber orchestra

1

This discography includes Sampson’s original works for brass. Works in bold indicate that the piece was written for or includes flügelhorn.

80

Siebert, Alan. Stargazer. Equilibrium, EQL 83, 2007.

- Passage for muted flügelhorn and viola

Solid Brass. Gershwin to Sousa. Joseph Grado Signature Recordings, 1994.

- Canzona for four trumpets Summit Brass. American Tribute. Summit Records, DCD 127. ℗ and © 1991 Summit Records.

- Reflections on a Dance for fourteen brass and two percussion University of Maryland Brass Trio. Brass Trios. With Chris Gekker, Gregory Miller, and Matthew Guilford. Albany Records, Troy 1222, 2010.

- Duncan Trio for brass trio

81

APPENDIX C

PROGRAMS AND PROGRAM NOTES FROM DOCTORAL RECITALS

82

The University of Kentucky School of Music Presents: A Trumpet in Chamber Music Recital

Davy DeArmond – Trumpet Paul Forsyth – Saxophone Ashley Wills – Bassoon Dallas Gambrell – Percussion Lee Allen – Trombone Kim Scott – Piano

Nocturno: Episodes for the Night

Raphael Fusco (b. 1984)

Concerto for Trumpet and Saxophone

Jean Rivier (1896-1987)

Lignes Rouges en Oblique

Emile de Ceuninck (1935-1996)

Kaleidoscope

Jean Balissat (1936-2007)

Fandango

Joseph Turrin (b. 1947)

Davy DeArmond is a student of Professor Mark Clodfelter 83

Nocturno: Episodes for the Night for Trumpet in C, Bassoon and Piano – Raphael Fusco Raphael Fusco began his musical studies on the piano at age 8 in his native New Jersey. He composed his first works by age 11. He later attended the Red Bank Regional High School for the Performing Arts where he majored in piano. At the same time he attended the Manhattan School of Music preparatory division. At the age of 16 he graduated from high school receiving awards in piano and theory and moved to Turin, Italy to focus on his musical and cultural studies at the Conservatorio G. Verdi. After his year-long residency in Italy, Raphael returned to America to continue his studies at the Mannes College of Music where he received his B.M. in composition in May 2005 at the age of 20. In the summer of 2003 he studied at the Schola Cantorum in Paris where received an award of highest distinction. Commissions include the Hartford Chorale, I Cantori New York, Second Avenue Dance Company, members of the New York Philharmonic and the Orchestra of St. Luke’s. His works have been performed in the US, Italy, France, Spain, and Canada. On a personal note, Raphael, who is a wonderful person, was my roommate while we were both studying at Mannes College of Music.

Nocturno was commissioned by and dedicated to Adolfo Caride Rodriguez, also a fellow student of the author while at Mannes College of Music. This piece is an experiment with a form consisting only of episodes. The tonality of each section is derived from the main four-note motive played by the trumpet after the piano’s first arpeggio, Mi-Do-Fa-Si. The composition’s skeleton exists as a T5 transposition and augmentation of this motive. It begins with the piano foreshadowing the harmonies and melodies to come. In the “A” section, the piano provides a “flowing and foggy

84

accompaniment to the winds” which move in imitative counterpoint. The “B” section portrays a “dance for the night.” In this section, the piano provides rhythmic harmonies while the instruments exchange a dialogue. The composer describes the “C” section as “Cold and Distant.” This is a reference to the opening. The tremoli represent the chill in the night air. The final section, “D” section is intended to be the section heard closest to the listener. Through mutes and compositional techniques, the previous sections have been heard from a distance until here. The final chord of the piece contains all four notes of the initial motive before dying away.

This piece received its world premier on February 2, 2004 at the Mannes College of Music in New York City with the Composer on piano, Adolfo Caride Rodriguez on trumpet and Chris Wickham on bassoon.

Concerto for Trumpet and Saxophone – Jean Rivier Jean Rivier (1896-1987) studied at the Paris Conservatory where he would later become a Professor in 1947 succeeding Darius Milhaud. River is author to 3 brief movements for piano (1931), Divertimento in the opereta style (1947), Music for a ballet (1957), 7 symphonies (1932-1961), 8 concertos including one for copper and drinking cups, and diverse pieces for clarinet and piano, percussion and piano, and bassoon, just to name a few.

His Concerto for Alto Saxophone and Trumpet was written in 1955. In 2008 Douglas Todd Lockard discussed this concerto at length in his doctoral thesis entitled A

85

stylistic and analytical discussion of Jean Rivier's Concerto for saxophone and trumpet and Concerto for trumpet.2

Lignes Rouges en Oblique – Emile de Ceuninck Emile de Ceuninck was born in Brussells in 1935. He began his musical studies at the Geneva Consevatory studying piano, composition, orchestration and Gregorian chant. After that he studied in Hilversum (Netherlands) with Dean Dixon and in Salzburg with Istvan Kertesz. He taught at the Conservatory of Chaux-de-Fonds in Switzerland for twenty years. His body of work consists of symphonies, oratorios, ballets, chamber music, theatre and film music, research in electro-acoustic and folk music. His pieces have been performed at a number of international festivals.

Lignes Rouges en Oblique, which, translated, means “Red Oblique Lines,” is a two movement piece for trumpet and percussion. The first section is a short prelude in 4/4 time while the second piece serves as a scherzo in 12/8 time. The composer describes the two instruments as being involved in “musical combat” which is dramatic and even sometimes violent.

It was premiered on September 1, 1990 in Chaux-de-Fonds, Switzerland with Patrick Lehmann playing trumpet and Laurent Ceuninck on percussion.

2

Douglass Todd Lockard, A stylistic and analytical discussion of Jean Rivier's Concerto for saxophone and trumpet and Concerto for trumpet, DMA Thesis, Butler School of Music, 2008.

86

Kaleidoscope – Jean Balissat Jean Balissat’s compositions include works for orchestra, chamber music groups, percussion, choir, wind band, brass band and solo instruments. He taught at the Lausanne and Geneva Conservatories and served as president of the Association of Swiss Musicians and as president of the SUISA Foundation for Music.

Kaleidoscope, for trumpet and percussion, was commissioned by the Geneva International Competition for the final round of its trumpet competition in 1996. Balissat explores the lower register of the trumpet in this piece. The work, essentially in three parts, is in A-B-A’ form. The “B” section is much more technical for both performers than the chorale-like “A” sections. The A’ section differs from the first “A” section as the trumpet is marked con sordino. An interesting compositional technique in this section requires the percussionist to hold a mallet in one hand and a bow in the other bowing the vibraphone. The composer wrote that the title suggests the mobility of the musical climates and their brusque or gradual change.

Fandango – Joseph Turrin Joseph Turrin’s music has been commissioned and performed extensively around the world. He has written in varied genres including film, theater, opera, orchestral, chamber, jazz, electronic, and dance and has received both Emmy and Grammy nominations. His works have been recorded on: RCA, EMI, Teldec, Naxos, Summit, Klavier, Cala, Albany, Crystal, and others. He has received commissions from groups such as the New York Philharmonic, the Lincoln Center Chamber Music Society, and Live from Lincoln Center. In 2006 he was awarded an honorary Master of Humane

87

Letters from the Eastman School of Music and the University of Rochester and is currently on the faculty of the Hartt School and Montclair State University.3 Fandango, written for trumpet and trombone, was commissioned in 2000 for the University of New Mexico Wind Symphony for Phil Smith and Joe Alessi. This piece explores the rhythmic, melodic and syncopated elements of the Spanish fandango dance form which is a lively dance in triple time for two dancers. The work is divided into three sections: The first is a combination of lively melodic and articulated interplay between the trumpet, trombone and the piano. A chorale opens the second section culminating with a trombone cadenza leading into the third sections. In the final section, there is a recap of the opening material with the two instruments in a canon. There is a brief return of the chorale and then a fast coda reiterating the work's various rhythmic elements.

The piece was premiered on March 9, 2003 by Phil Smith, trumpet, Joe Alessi, trombone and the University of New Mexico Wind Symphony.

3

http://www.josephturrin.com/pdf_doc/turrin_shortbio.pdf

88

The University of Kentucky School of Music Presents: A Trumpet and Organ Recital

Davy DeArmond – Trumpet Dr. Schuyler Robinson – Organ Professor Joseph van Fleet – Trumpet

Concerto for Two Trumpets

Francesco Manfredini (c. 1680-1748)

Mysteries Remain “The Mysteries Remain” “Cycle of Seed-Time” “Demeter in the Grass” “Iacchus in the Vine”

David Sampson (b. 1951)

Windows after Marc Chagall Blue Window Green Window Red Window Golden Window

Petr Eben (1929-2007)

Prayer of Saint Gregory

Alan Hovhaness (1911-2000)

Davy DeArmond is a student of Professor Mark Clodfelter 89

Concerto for Two Trumpets – Francesco Manfredini Francesco Manfredini (1684-1762) was an Italian Baroque composer, violinist and church musician. He was a composition student of Giacomo Antonio Perti and was received violin instruction from Giuseppe Torelli. Because he was contemporaries of composers such as Handel, J.S. Bach and Scarlatti he is not considered the most prolific composers but is credited with approximately 43 published works.

His Concerto in D major for two trumpets is a text book concerto grosso form.

The form concerto grosso, which began in the Baroque, was written with a smaller group of soloists opposing a full orchestra. The smaller group, consisting most often of two solo violins and continuo, is referred to as the concertino. The larger group, usually a string orchestra, is known as the ripeno. The original scoring for Manfredini’s work is two trumpets and string orchestra.

Mysteries Remain – David Sampson David Sampson (b. 1951) is a contemporary composer who has been successful in all mediums writing for soloists, chamber groups, as well as orchestras. Sampson has received major grants from the American Academy of the Arts and Letters, Barlow Endowment, Cary Trust, Dodge Foundation, Jerome Foundation, NEA and most recently a fellowship from the New Jersey State Council in 2006. His composition teachers include Karel Husa, Henri Dutilleux and John Corigliano and his trumpet teachers include Gerard Schwarz, Gilbert Johnson, Robert Nagel and Raymond Mase. He holds degrees from the Curtis Institute of Music, Hunter College, Manhattan School of Music and the Ecoles d'Art Americaines.

90

His piece, Mysteries Remain, was written for trumpet and organ in 1979.

Sampson did conceive this work with a specific organ in mind; namely, the organ at Saint Mary’s Abbey in Morristown, New Jersey. However, in the forward of the piece, Sampson acknowledges the dilemma as to how to be specific in writings for organ as different organs may contain different stops. He emphasizes the fact that this composition can be successfully played on varying organs.

As Sampson points out in the score his inspiration for this piece stems from a poem written by Hilda Doolittle. The four movements, “The Mysteries Remain”, “Cycle of Seed-Time”, “Demeter in the Grass” and “Iacchus in the Vine” are all quotes taken from the following Doolittle poem4: The Mysteries Remain The mysteries remain, I keep the same cycle of seed time and of sun an rain; Demeter in the Grass, I multiply, renew and bless Iacchus in the vine; I hold the law, I keep the mysteries true, the first of these to name the living, dead; I am red wine and bread.

I keep the law, I hold the mysteries true, I am the vine, the branches, you and you.

-

4

Hilda Doolittle

This poem was taken from Hilda Doolittle’s Selected Poems which was published in 1957 by New Directions Publishing Corporation, Agents.

91

This work is truly chamber music with the trumpet and organ parts equally important throughout. This is evident in both the technique needed in order to execute both parts as well as the solo lines taken by both instruments throughout. Ray Mase, member of the American Brass Quintet, Chair of the Brass Department at the Juilliard School and former trumpet teacher of Sampson’s recorded this piece on his Trumpet in Our Time album.

Windows after Marc Chagall – Petr Eben Petr Eben is widely considered as one of the best Czech composers. He wrote works in all genres and won many international awards in composition. He himself was an organist lending to the challenging organ part in Windows After Marc Chagall.

Windows After Marc Chagall, for trumpet and organ, was inspired by Marc Chagall’s stained glass windows for the synagogue in Jerusalem. There are several books that contain pictures of these windows including The Jerusalem Windows of Marc Chagall by Jean Leymarie.5 The four movements are titled the Blue Window, the Green Window, the Red Window and the Golden Window. The composer commented on his choice of instruments: “The solemness of the large panes of stained glass made me imagine the sound of the organ and the intensity and brilliance of the sheaves of bright colours called for the shrill tone of the trumpet.” The instruments maintain independence both rhythmically and tonally for the majority of the piece lending to what can be described as a pantonal work. Written in 1976, this work is one of Eben’s most often performed.

5

Jean Leymarie, The Jerusalem Windows of Marc Chagall (George Braziller, 1967).

92

Prayer of St. Gregory – Alan Hovhaness Alan Hovhaness (1911-2000) was an American born composer. Though he was interested in music and composition from an early age, his family was not supportive of his desire. Though he wrote many works beginning at age four, he destroyed most of his early works in the 1930’s and 1940’s.

In 1940, he entered what is now considered his “Armenian Period” as he was the organist for the St. James Armenian Apostolic Church in Massachusetts where he remained for 10 years. It was his exposure to both Armenian music and his time spent at the organ in this position that influenced Hovhaness’s style of writing in Armenian modes and writing with textures beautiful, simple melodies over droning textures.

It was during this period in which Hovhaness composed his Prayer of St. Gregory. Originally composed for solo trumpet and string orchestra, this reduction for trumpet and piano was done by the composer. This piece began as an Intermezzo in his opera Etchmiadzin but has been taken out from the original opera and acts as one of Hovhaness’s most beloved short pieces. The title refers to St. Gregory the Illuminator who is the patron saint and first official head of the Armenian Apostolic Church. He is credited with converting Armenia from paganism to Christianity. You can read the full history of St. Gregory in Solomon C. Malan’s book The Life and Times of St. Gregory, The Illuminator: The Founder and Patron Saint of the Armenian Church.6

6

Solomon C. Malan, The Life and Times of St. Gregory the Illuminator: The Founder and Patron Saint of the Armenian Church (Kessinger Publishing, 2007).

93

The University of Kentucky School of Music Presents: A Trumpet Recital

Davy DeArmond – Trumpet Ben Redwine – Clarinet Kevin Meyer – Percussion Tony Asero – Percussion Todd Simon – Piano

Music for a Farce for Trumpet, Clarinet, Piano and Percussion

Paul Bowles (1910-1999)

Sonata for Trumpet, Clarinet, Piano and Percussion

Keith Gates (1948-2007)

Pictures in Comic Books

Carl Vollrath (b. 1931)

Might Mouse’s Entrance to the Hall of Fame Batman’s Cave Minnie and Mickey’s Samba Superman’s Castle

Rough and Tumble

Don Freund (b. 1947)

Davy DeArmond is a student of Professor Mark Clodfelter 94

Music for a Farce – Paul Bowles Paul Bowles was a writer, composer and avid traveler. His body of work consists of poems, novels, short stories as well as operas, ballets, theatre music, chamber music, orchestra works, piano works and several works for voice and choirs. Much has been written about Bowles and you can find out more about his life and works by going to his website7 which is authorized by the Estate of Paul Bowles and Jane Bowles and other copyright holders.

Music for a Farce was written in 1938 for trumpet, clarinet, piano and percussion.

It contains eight short movements. This piece was derived from music that Bowles composed for Orson Welles’ production of Too Much Johnson. Bowles took music written for Too Much Johnson but not used in the film to create this piece. It was premiered in 1939 at a League of Composers concert.

Sonata for Trumpet, Clarinet and Piano – Keith Gates For many years, Keith Gates taught at McNeese State, located in his birthplace of Lake Charles. He began serious compositional studies at the North Carolina School of the Arts. He then went on to earn both BM and MM degrees from The Juilliard School in New York City. He composed over 100 works for band, orchestra, chorus, chamber music and soloists. Gates received many other commissions from individuals as well as high school, university, and military bands. Gates was the recipient of numerous awards, including the Louisiana Artist Fellowship, the Louisiana Music Teachers Association Commission Award, the Shearman Research Grant, the Fanfare Festival Composition 7

http://www.paulbowles.org/

95

Award, the National Flute Association Newly Published Music Award, and the Shearman Fine Arts Endowed Professorship (McNeese). He was named 1996 Artist of the Year by the Calcasieu Arts and Humanities Council. His extensive biography can be found at his website.8 The Sonata for Trumpet, Clarinet and Piano was commissioned by the group PASTICHE in 1997. In residence at McNeese State University PASTICHE was formed in 1995 and has commissioned and performed several works for the unique instrumentation of trumpet, clarinet, percussion and piano. The quartet has collaborated in several multi-media events and performed in a variety of settings, from Community Concerts to New Music Festivals in fine concert venues throughout the USA. PASTICHE has recorded with Innova and Centaur Labels. Four virtuoso artists make up this whimsical quartet. Each member has been associated with prominent performing ensembles, venues, and musical institutions and has united in PASTICHE out of a passion for the repertoire and the joy of performance.9 Other commissions include Hommage a Guido by Samuel Douglass, Convolution by Don Freund, Quartet by Traci Mendel among others.

Pictures in Comic Books â&#x20AC;&#x201C; Carl Vollrath Carl Vollrath has been on faculty at Troy State University since 1965. He is a one-time member of the West Point Band and the United States Military Academy. His major composition teachers include Ernst von Dohnanyi, Carlisle Floyd and John Boda.

Besides his vast collection of chamber music, he has also composed six symphonies and

8 9

http://www.keithgates.com/home.html http://www.mcneese.edu/performingarts/pastiche

96

an opera. More information about the composer and his works can be attained through his publisher, Tap Music.

Pictures in Comic Books is written for trumpet, clarinet and piano. It consists of four movements entitled Mighty Mouse's Entrance to the Hall of Fame, Batman's Cave, Minnie and Mickey's Samba and Superman’s Castle. All of these whimsical movements are tongue and cheek satires about certain events. When asked to elaborate on the certain events, the composer thought it best to keep that to himself so as not to offend anyone he might know or his current employer.

This was the world premier of this piece and it was very exciting to have had Dr. Vollrath join us. He arrived early and collaborated with the ensemble on the piece prior to its premier.

Rough and Tumble – Don Freund Don Freund, who has been on faculty at Indiana University since 1992, has written over 100 pieces of music including solo, orchestral, chamber and electronic works. He has received many commissions and awards including the 2005 Guggenheim Fellowship.

“The title Rough and Tumble not only conveys the character and attitude of this 8-minute piece for mixed quartet, but also describes the micro-form of the opening gesture and the overall form of the piece. The first half of the work is a stringing together of several rough-hewn subjects; these yield to a ‘Slow Tumble’, a lyric passage entwining first the clarinet and trumpet, then the piano and marimba; this spills into a “Fast Tumble” which scurries to a final reprise. The first two-measure kick-off phrase is also

97

Rough and Tumble: rough stuttering block chords punctuated by drum-set yield to a single line which tumbles to a cadence.â&#x20AC;?10 Rough and Tumble was commissioned by the aforementioned PASTICHE in 1996.

10

Don Freund, email message to author, April 20, 2010

98

REFERENCES Beck, Frederick Allan. “The Flügelhorn: Its History and Literature” Diss. DMA The University of Rochester, Eastman School of Music. 1979.

Clarke, Herbert L. Technical Studies for the Cornet. New York: Carl Fischer, 1984.

“David Sampson, Composer.” International Trumpet Guild Journal February (1981): 6.

Dudgeon, Ralph T. and Franz X. Streitwieser. Das Flügelhorn: die Geschichte des Flügelhorns, illustriert am Beispiel der Sammlung Streitwieser im Musikinstrumentenmuseum Schloss Kremsegg = The fluegelhorn : the history of the fluegelhorn as illustrated by the Streitwieser collection in the Instrument Museum of Schloss Kremseg. Bergkirchen: Edition Bochinsky, 2004.

Fontainebleau Schools. “Music.” http://www.fontainebleauschools.org/music/index.html.

Francis, Peter D. “A Performance and Pedigogical Analysis of Compositions for Unaccompanied Solo Trumpet by Persichetti, Wolpe, Sampson and Ticheli” Diss.

DMA The University of Miami. 2005.

French, Albert. Patches of Fire: A Story of War and Redemption (New York: Anchor, 1997).

Gekker, Chris. Articulation Studies. New York: Transition Publications, 1995.

Irons, Earl D. Twenty-Seven Groups of Exercises for Cornet and Trumpet. San Antonio, TX: Southern Music Co., 1966.

Jones, Steven G. “Music Reviews: Passage.” International Trumpet Guild October (1981): 16-17.

Korak, John. Book Review. International Trumpet Guild Journal. (January 2006): 7172.

Lin, Bai. Lip Flexibilities for All Brass Instruments. Montrose, CA: Balquhidder Music, 1996.

Lindahl, Robert Gordon. “Brass Quintet Instrumentation: Tuba Versus Bass Trombone” Diss. DMA Arizona State University. 1998.

99

Mase, Raymond. “Trumpet in Our Time.” Summit Records, DCD 148. ℗ and © 1993 Summit Records.

Roebuck, Tony Darrin. “A Study of the Flügelhorn in Solo Settings” Diss. DMA University of South Carolina. 2009.

Sampson, David. A Family Portrait for Brass Quintet. Chandler, Arizona: Hickman Music Editions, 2008.

----------, composer. www.davidsampsoncomposer.com.

----------. Email interview with the author. February 24, 2011.

----------. Monument. Summit Records, DCD 237. ℗ and © 1999 Summit Records.

----------. Notes from Faraway Places. 3 Suites for solo trumpet (+3 duets). Vuarmarens, Switzerland: Editions BIM, 2000.

----------. “Program Notes - Morning Music.” http://www.davidsampsoncomposer.com/program-notes-Morning.html.

----------. “Program Notes – Strata.” http://www.davidsampsoncomposer.com/programnotes-Strata.html.

----------. “Solo.” International Trumpet Guild Journal Feburary (1992): 44-45.

Sorensen, Randall Jay. “Original Repertoire for the American Brass Quintet, 1962-1987: A Guide for Performers and Composers” Diss. D.A. Ball State University. 1998.

Summit Brass. American Tribute. Summit Records, DCD 127. ℗and © 1991 Summit Records.

University of Maryland Brass Trio. “University of Maryland Brass Trio: Brass Trios Liner Notes.” http://media.dramonline.org/media/748810.pdf.

Vizzutti, Allen. Trumpet Method Book 1: Technical Studies. Van Nuys, CA: Alfred Publishing, 1990.

Whitener, Scott. A Complete Guide to Brass: Instruments and Pedagogy. New York: Schirmer Books, 1990.

Wurtz, Gary Thomas. “Two Selected Works for Solo Trumpet Commissioned by the International Trumpet Guild: A Structural and Performance Analysis with a History of the Commission Project, with Three Recitals by Arutunian, Haydn, Fasch, Chaynes and Others.” Diss. DMA The University of North Texas. 2001.

100

BIOGRAPHICAL SKETCH Davy DeArmond was born and raised in Lenoir City, TN where he began trumpet studies with his father at the age of 10. He attended the University of Tennessee where he received a Bachelor of Music degree in trumpet performance, studying with Cathy Leach. He then went on to earn a Masterâ&#x20AC;&#x2122;s degree in trumpet performance from Mannes College of Music in New York, NY, studying with Robert Sullivan. He enrolled in the doctoral program at the University of Kentucky in 2004 as a student of Mark Clodfelter. Additionally, he studied with Ray Mase and Kevin Cobb at the Aspen Music Festival.

Davy has performed with the Connecticut Ballet, Lexington Philharmonic, Knoxville Symphony, Chattanooga Symphony, Annapolis Symphony, Delaware Symphony, Richmond (IN) Symphony, and was principal trumpet of the Oak Ridge Symphony. He has played with the Signature Theatre Orchestra and Musica Viva, recorded with Omega Studios and has toured nationally with Mr. Jack Danielâ&#x20AC;&#x2122;s Original Silver Cornet Band and the USAF Heartland of America Band. Davy was the recipient of the Performance Award from Mannes College of Music and was awarded a fellowship at the Aspen Music Festival for the 2004 season, serving as principal trumpet of the American Academy of Conducting at Aspen. He was the winner of the Columbia Bach Society Concerto Competition, the Tennessee Trumpet Competition (Solo and Duet Divisions), and the Celebration of Excellence Competition at the University of Tennessee.

In 2000 he was a finalist in the National Trumpet Competition.

101

In 2005, he auditioned and was selected for assignment to the U.S. Naval Academy Band.

He currently performs with the concert band, marching band, â&#x20AC;&#x153;Next Waveâ&#x20AC;? jazz ensemble and ceremonial units and is the leader of the brass quintet.

102