https://www.youtube.com/watch?v=AKKe9a9RGLo - Clarino Collective - Suite for Six Trumpets - Anthony Plog
I like to grab professional recordings of these pieces where I can, but I was originally led to the Plog Suite by a recording by Oklahoma State at ITG (re: previous post). I dug up this more professional recordings by the Clarino Collective that highlights some interesting differences I've started to spot between professional trumpet ensembles and student ensembles.
The "blend" concept with students seems to be focused more on the collective. Each student works intensively to fit the core sound of the ensemble, rather than being an individual contributing their personal voice to the whole. In the professional recording above, each member is comfortable both distinguishing their sound and meshing with the texture as needed. This effect is especially noteworthy in the complex and rhythmic Plog Suite where each player can be a soloist, an ensemble member, or the accompaniment at any given time.
Sunday, April 20, 2014
Summon the Heroes!
https://www.youtube.com/watch?v=-iT3yHhgw24 - Air Force Band performing "Summon the Heroes" by John Williams
https://www.youtube.com/watch?v=H8_25SOMKd8 - OK State performing "Durrenhorn Passage" by John McKee at ITG 2012
There's recordings of "Summon the Heroes" by trumpet ensembles, but I noticed an interesting commonality between John Williams' piece and Durrenhorn. It's hard to describe specifically, but I've noticed that a lot of exciting trumpet overtures follow a similar form: rhythmic fanfare - beautiful solo - rhythmic fanfare. In addition, there's a lot of harmonic overlaps between the two pieces. And that's fine and makes total sense given that they were written and performed near each other.
However, the trumpet ensemble just can't quite carry that form as well. A brass ensemble has the advantage of low brass which is nice, but the John Williams also has percussion which is a desperately needed color that the Durrenhorn trumpet ensemble lacks. As a result the rhythmic energy gets lost in the texture and the solo, rather than being a massive shift in feel and timbre, just sounds like a slightly quieter fanfare section. I know it's hard to bring a full set of Timpani to ITG, but I'd love to hear more ensemble music get away from the purist homogenous form and grab a snare drum, set of chimes, or timp for color.
https://www.youtube.com/watch?v=H8_25SOMKd8 - OK State performing "Durrenhorn Passage" by John McKee at ITG 2012
There's recordings of "Summon the Heroes" by trumpet ensembles, but I noticed an interesting commonality between John Williams' piece and Durrenhorn. It's hard to describe specifically, but I've noticed that a lot of exciting trumpet overtures follow a similar form: rhythmic fanfare - beautiful solo - rhythmic fanfare. In addition, there's a lot of harmonic overlaps between the two pieces. And that's fine and makes total sense given that they were written and performed near each other.
However, the trumpet ensemble just can't quite carry that form as well. A brass ensemble has the advantage of low brass which is nice, but the John Williams also has percussion which is a desperately needed color that the Durrenhorn trumpet ensemble lacks. As a result the rhythmic energy gets lost in the texture and the solo, rather than being a massive shift in feel and timbre, just sounds like a slightly quieter fanfare section. I know it's hard to bring a full set of Timpani to ITG, but I'd love to hear more ensemble music get away from the purist homogenous form and grab a snare drum, set of chimes, or timp for color.
Friday, April 18, 2014
Budapest Brass Weekend Trumpet Ensemble
https://www.youtube.com/watch?v=A5XG3mMXdR4
About when I thought that the modern stuff was starting to sound samey, I found this gem. The piece is Charpeniter Fantastique by Paul Archibald (commissioned for the event) and it's far more classical and structured than almost anything else on here. Gabor Tarkovi is sitting in on the end on piccolo trumpet. He's really soaring all though the piece.
The addition of organ, piano, timpani, and trombone adds to traditional feel of the piece, but it's got some modernisms thrown in for good measure. The augmentation of the theme (featured at the end) screams "Simple Gifts" to me. There's some crunchy chords towards the end as well and I'm certain at least some of them are on purpose.
Sadly, I couldn't find anything else about this event online. There are a couple other recordings from this particular performance, but not evidence of previous years or a website that talks about the Brass Weekend.
About when I thought that the modern stuff was starting to sound samey, I found this gem. The piece is Charpeniter Fantastique by Paul Archibald (commissioned for the event) and it's far more classical and structured than almost anything else on here. Gabor Tarkovi is sitting in on the end on piccolo trumpet. He's really soaring all though the piece.
The addition of organ, piano, timpani, and trombone adds to traditional feel of the piece, but it's got some modernisms thrown in for good measure. The augmentation of the theme (featured at the end) screams "Simple Gifts" to me. There's some crunchy chords towards the end as well and I'm certain at least some of them are on purpose.
Sadly, I couldn't find anything else about this event online. There are a couple other recordings from this particular performance, but not evidence of previous years or a website that talks about the Brass Weekend.
Quartet with Doc Severinsen!
https://www.youtube.com/watch?v=fRu5m45Wz2c
So the way I dig around is just by clicking through trumpet ensembles that I know and like (Baylor, Julliard, etc) then gradually get more and more obscure as I go along. Imagine my surprise when I got about eight clicks deep and found this cool gem. Doc Severinsen, Bobby Hackett, and Charlie Shavers team up with the relatively-inexperienced-but-still-a-good-sport-about-it Steve Allen. I love the old short bore cornet holding down the third trumpet and bringing in the host, Steve Allen, to blow on a little solo was a clever touch.
I could easily see a trumpet quartet doing this kind of stunt with a professor/director and it would be a big crowd-pleaser during a show.
So the way I dig around is just by clicking through trumpet ensembles that I know and like (Baylor, Julliard, etc) then gradually get more and more obscure as I go along. Imagine my surprise when I got about eight clicks deep and found this cool gem. Doc Severinsen, Bobby Hackett, and Charlie Shavers team up with the relatively-inexperienced-but-still-a-good-sport-about-it Steve Allen. I love the old short bore cornet holding down the third trumpet and bringing in the host, Steve Allen, to blow on a little solo was a clever touch.
I could easily see a trumpet quartet doing this kind of stunt with a professor/director and it would be a big crowd-pleaser during a show.
Sunday, March 30, 2014
Idea 24 and Blend
https://www.youtube.com/watch?v=KD2xzfeRTdI
Terry Everson performing Idea Number 24 for Trumpets
https://www.youtube.com/watch?v=NiixWApl-V8
North Texas performing Idea Number 24 at NTC 2010 (with wicked post-production!)
So, there's no such thing as a perfect run-through except on a CD. Assuredly Everson's cut has some editing going on. I figure quite a bit of balance and maybe it's made up of a couple different cuts. Contrast that with a live-run of UNT in 2010. Firstly, they're on the page, which we haven't seen much of, but that's not the most important thing, in my opinion.
What about blend? The Everson version is so perfectly blended (as far as timbre is concerned) that if I didn't know better I would think he played every part with a click track and put them together. That's not inherently bad but UNT is really laying this chart out but I can tell the difference between each trumpet player. Is that better? I often wonder if seeking perfect timbral blend is both possible and even worthwhile. The instrument is possible of creating a wide swath of sound shapes even before non-homogenous trumpets are thrown into the mix. Idea 24 is pretty popular in the trumpet ensemble scene, gets a lot of play, and has a lot of opportunities to contrast style between the larger sections of the piece and between melody and harmony. So if we think about how each individual trumpet sounds compared to the others, is it sometimes better to let individuals poke out of the texture?
Terry Everson performing Idea Number 24 for Trumpets
https://www.youtube.com/watch?v=NiixWApl-V8
North Texas performing Idea Number 24 at NTC 2010 (with wicked post-production!)
So, there's no such thing as a perfect run-through except on a CD. Assuredly Everson's cut has some editing going on. I figure quite a bit of balance and maybe it's made up of a couple different cuts. Contrast that with a live-run of UNT in 2010. Firstly, they're on the page, which we haven't seen much of, but that's not the most important thing, in my opinion.
What about blend? The Everson version is so perfectly blended (as far as timbre is concerned) that if I didn't know better I would think he played every part with a click track and put them together. That's not inherently bad but UNT is really laying this chart out but I can tell the difference between each trumpet player. Is that better? I often wonder if seeking perfect timbral blend is both possible and even worthwhile. The instrument is possible of creating a wide swath of sound shapes even before non-homogenous trumpets are thrown into the mix. Idea 24 is pretty popular in the trumpet ensemble scene, gets a lot of play, and has a lot of opportunities to contrast style between the larger sections of the piece and between melody and harmony. So if we think about how each individual trumpet sounds compared to the others, is it sometimes better to let individuals poke out of the texture?
Saturday, March 22, 2014
BOOww! googwip-bow boogogwip BWWOOOwwwww!
http://www.youtube.com/watch?v=eN2_itMXRF8#t=212
Pretty sure that's a flange. The whole thing is pretty excellent, but the distorted tuba laying it down for over 5 minutes is just honey. No more London posts. Promise.
Pretty sure that's a flange. The whole thing is pretty excellent, but the distorted tuba laying it down for over 5 minutes is just honey. No more London posts. Promise.
The London (Brass Instrument) Sound
Sing Sing Sing! http://www.youtube.com/watch?v=45akGwQKC3o
This is from the London Trumpet Sound CD and its one of many CDs from the London <Brass Instrument> Sound series. I think this all started with the London Horn Sound, but I could be wrong. That said, what a killer marketing move by the classical players in the London area. I know CSO Brass has a CD and of course everyone has a chamber group, but I think there's a future in Symphony-sponsored albums showing off the talents of their individual sections.
And if the Youtube comments are to be believed, people love arguing about which instrument is better, and arguments sell CDs.
This is from the London Trumpet Sound CD and its one of many CDs from the London <Brass Instrument> Sound series. I think this all started with the London Horn Sound, but I could be wrong. That said, what a killer marketing move by the classical players in the London area. I know CSO Brass has a CD and of course everyone has a chamber group, but I think there's a future in Symphony-sponsored albums showing off the talents of their individual sections.
And if the Youtube comments are to be believed, people love arguing about which instrument is better, and arguments sell CDs.
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