IHS 50 Report, Part 2

IMG_20180731_212023752Today was the second full day of the 50th International Horn Symposium (Read my report on Day 1 here). My schedule consisted of attending parts of several concerts and presentations, connecting and reconnecting with a few colleagues, rehearsing with my brass trio for our performance tomorrow, and buying some new music and recordings.

I started the day with a presentation by musical legend David Amram called “Fundamentals of Jazz, Blues in F” Over the years I’ve performed his Blues and Variations for Monk several times, and have also read one of his books, Vibrations. Amram is a unique and multifaceted personality, and his session turned out to be much more than just an introduction to jazz. (I also got to hear Douglas Hill play some jazz bass.)  Mr. Amram shared some inspiring words about what it means to be a musician, and to attend the “University of Hang-out-ology.” I took this to mean that one of the best ways to grow as a musician (and person) is to surround yourself with people who challenge and inspire you, and to try to learn everything you can from them – excellent advice!

Next came a visit to a few exhibitor tables to buy some sheet music, including Gina Gillie’s new Sonata for Horn, commissioned and recorded by Steven Cohen on his new album, Cruise Control. I also found a chamber work that’s been on my to-do list for a while, Simon Sargon’s “Huntsman, What Quarry?” for soprano, horn, and piano. Lastly, I picked up a copy of “Twenty Difficult Etudes for the Horn’s Middle Register” by Daniel Grabois. Looking forward to working on this new repertoire in the future.

After lunch I checked out part of the 1:00 p.m. concert, which included a preview performance of William Bolcom’s new Trio for Horn, Violin, and Piano (2017), which was commissioned by Steven Gross. It was a really interesting work, not necessarily technically flashy, but with some very interesting timbres and melodies. Definitely one to keep your eye out for when it’s published.

The later afternoon consisted of rehearsing with my low brass trio for a repeat performance of the program we did at the International Trombone Festival a few weeks ago. Rehearsal went well, and we are ready for our performance on Wednesday at 4:00 p.m. Afterwards I ate dinner with two colleagues, Eli Epstein and Stacie Mickens. Both are fantastic horn players and teachers, and I’m very glad to have spent some time talking with them over dinner.

The 7:30 p.m. concert was outstanding, featuring international soloist Frank Lloyd and Josh Williams, First Prize Winner in the Professional Division of the 2017 International Horn Competition of America. Their program consisted of all 20th and 21st-century works, with several that included jazz influences. Here’s a partial list of the repertoire.

David Amram, Blues and Variations for Monk for unaccompanied horn
Richard Bissill, Sic Itur Ad Astra for horn and piano
Richard Bissill, Song of a New World for horn and piano
Frank Lloyd, horn, David Mamedov, piano
-Intermission-
Lawrence Lowe, Sonata No. 1 for horn and piano (III. Caccia)
Margaret Brouwer, SCHerZOid for solo horn
Alec Wilder, Suite for horn and piano
Amir Zaheri, Secret Winter for horn and piano
Anthony DiLorenzo, The Phoenix Sonata for horn and piano
Joshua Williams, horn, Kathia Bonna, piano

 

Mr. Lloyd’s playing was dazzling as usual, though he is now performing on an Alexander horn instead of an Engelbert Schmid. There were also several additions to his program: “Raptor Music,” composed for him by Douglas Hill, a virtuosic unaccompanied work featuring lots of extended techniques, and an “F Blues” from 15 Low Horn Etudes by Ricardo Matosinhos. Mr. Williams was equally stunning in his performance, ending with the epic Phoenix Sonata by Anthony DiLorenzo. This work is getting performed more and more, and it’s easy to hear why. Though challenging, it is an effective and engaging piece. One note about my experience of tonight’s concert is that I was able to watch the second half from my hotel room (while working on some other work-related tasks), as the IHS has been streaming Featured Artist concerts on Facebook live. I stumbled across this by accident, and I must have missed any publicity announcing it. It’s a fantastic service that I hope will continue at future symposia. Even if you can’t be here in Muncie, tune in for the 7:30 p.m. concerts this week where ever you are!

 

 

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Brass Trio Recording Update

When I last posted about our brass trio album, we had just wrapped up a three-day recording session in January (you can read that post here). The project is moving forward, and I’m anticipating a release sometime in the fall of 2018. The tentative title is Scenes from the Bayou, which is the same title as one of the works we commissioned for this recording, composed by Gina Gillie. Here is a complete list of what will be on the disc.

Although the actual recording was a major part of the process, there are still many steps to complete before the album is ready to go.

Step 1: Sift through all of the material from our recording session and select those takes to be used in the first edit. After three days of recording, we had roughly 4.5 gigs of wav files, over 650 tracks! For those who might be interested, these were rough 16-bit mixes, not what things will sound like after final editing and mastering. Sometimes the recording producer and/or engineer will assemble a first edit for the client, depending on their contract, but in this case I was the one going through and providing the take list. Luckily, our producer Gina Gillie took great session notes. These notes helped me group our takes into three broad categories: usable, possibly usable for a spot or two in a given set of measures, and not usable. Lots of these decisions were arbitrary, but I feel good about the choices made for the first edit. From there, the take list was sent off to our engineer, Dave St. Onge.

Step 2: Dave worked incredibly fast (but very accurately) and put together a complete first edit within a matter of days. The first edit sounds very good, and I think the album is going to be an enjoyable listen – high quality, lots of variety, and musically interesting. But, there is still some work to be done. One of my summer projects (already in progress) will be going through the first edit with an even more critical ear to find any issues that need to be addressed for the second (or possibly third) edit. Things like small intonation concerns, precision of attacks (a few cases), and any other rough spots missed during the first edit will be the priorities. Unlike the first edit, I won’t be listening for long stretches of usable material, but instead trying to find small bits and pieces which can be dropped in to address a specific issue. For example, a 16-bar take might be great except for a single chipped note or other small imperfection. I tried to account for these when choosing takes for the first edit, of course, but I’ve already found a few things that slipped through the cracks the first time.

Step 3: Mastering will include tweaking the balance of all three voices to arrive at the final sound of our recording. Again, a very subjective process!

From here there are lots of production-related items to discuss with Mark Custom Recording Service, who will be manufacturing and distributing the album. These include:

  • Mechanical licenses (mostly handled at this point)
  • Package design, cover and interior art (in progress)
  • Liner notes (another summer task)

It’s exciting to see another recording project take shape. Stay tuned for more updates!

Brass Trio Recording Session Notes

©2018 David St. Onge

Black Bayou Brass recently wrapped up a 3-day recording session of new music for brass trio. Recording took place on January 5, 6, and 7 in the Emy-Lou Biedenharn Recital Hall at the University of Louisiana Monroe. The session went very well, and we are excited to move forward with the project. Here are some details on the upcoming album.

Repertoire: The album (title TBD) will feature all world-premiere recordings. In addition, we either commissioned or arranged all but one of the works. Here’s the list, with publisher information where applicable.

When finished, the recording should be about 60 minutes, with a good mix of contemporary and historical styles.

Engineer and Producer: Our engineer for this project was Dave St. Onge, a veteran of numerous recordings with Mark Custom Recording Service. Dave did a fantastic job, and I would recommend him without reservation to anyone looking for an engineer. More details on the recording process below. Gina Gillie, who composed Scenes from the Bayou for us, lent her critical ear to the recording as producer. A great engineer and producer are essential to the recording process, and we were fortunate to work with both Gina and Dave.

Recording Process: Prior to this project, I’d recorded twice before in our hall; first for a solo album with piano and harp, and next for soprano, piano, and horn. And although I’ve been performing in a brass trio for over ten years, this was really our first opportunity to experiment with high-quality microphones and various mic placements. As you’ll notice from the photo above, there was quite a bit of equipment on stage with us! *One note about professional microphones – they really do make a huge difference. While the handheld audio and video recorders out there (Zoom, Sony, Tascam, etc.) do a fine job for rehearsal and practice purposes, they really can’t compare to what you’ll hear with great mics. We were fortunate to be able to have a separate sound check in the hall the night before recording began. This saved us time and chops on the first day of recording. Timing for a soundcheck can vary depending on a number of factors, but in our case we spent about an hour or so just trying to find the right sound/balance/blend. Based upon our impressions, as well as input from the engineer and producer, we decided to use microphones in the hall and close mics on individual players. This combination seemed to provide a good balance between clarity and resonance/reverb for all three players. While I’ve only heard the rough mixes at this point, I think the final product is going to sound great!

Equipment: For my part I performed on a Yamaha 671 double horn, with a stainless steel mouthpiece by Balu Musik. The stainless mouthpiece was a fairly recent change for me, but for this recording I felt like it gave me the right kind of clarity and projection to compete with trumpet and trombone. I’m not 100% sold on it as my regular mouthpiece, but for this project it was the right decision.

Rest/Recovery/Next Steps: We recorded in two three-hour sessions each day for three days, with a two and half-hour break between the morning and afternoon. If this sounds like a lot of playing, it was! There was a lot of stopping and starting (common on most classical recordings), and we took a short break at least every hour, so the playing wasn’t constant. I managed to make it through the entire three-day session in good shape, but took the next day off completely.  On the day after that I practiced for about an hour. My embouchure was a bit stiff (no surprise there), but after 20 minutes or so of light playing things started to loosen up and feel more or less normal again. As always, recording was a challenging but ultimately rewarding experience. The next step in the process is to go back through our choice takes and decide exactly which ones we want to use for the album. From there we’ll send it off to be edited together into a complete recording.There are of course many more steps between now and the final commercial release, but it does feel good to have a major portion of the recording finished.

Stay tuned for more details on this project!

 

Carrapatoso Recording Update and Another Recording Project

Last June my colleagues Claire Vangelisti, Richard Seiler, and I recorded an album of music by Eurico Carrapatoso, which you can read about here. We were very excited to receive the first edit of the recording a few weeks ago, and are currently preparing some final editing requests to send to the engineer. From here the next steps are related to production and commercial release, including: liner notes, cover/booklet art and photography, and various other details.

Richard Price, the producer and engineer for this project, let us know that even though this was a first edit, the editing process is more or less complete, utilizing (hopefully) the best possible takes of the material. However, listening to the first edit and providing comments is still very important, as mistakes can happen.

So, how does the first edit of our Carrapatoso recording sound? In short, I think it’s really good! I was very pleased with the warmth, balance, and overall musical quality in all three parts (soprano, piano, horn). Bravo to my colleagues and to Richard Price for helping us sound our very best!  That being said, I did have a few minor requests for the final edit (more on that later). I listened to the recording multiple times, and on various devices with different kinds of equipment (speakers, headphones, earbuds, etc.) On my first listen I just popped the disc into my CD drive and let it play all the way through on my stereo. I wasn’t listening too critically at that point, just sitting back and trying to get an overall feel for the sound and making some mental notes about places I wanted to go back and listen to more critically. I did this quite a few more times, using earbuds, in the car, etc. My goal in doing this was to see if any issues I was hearing were exaggerated or minimized depending on the equipment. If something was noticeable during my casual listening on all of this equipment, I definitely wanted to go back and listen more closely with the score and a great pair of headphones. For equipment-minded people who may be curious, I own two pairs of  excellent but affordable headphones: Sennheiser HD 518 and Sony MDR-7506 (pictured above). Each is well made, durable, and good for listening to classical music.

After lots of casual and critical listening, I only had a few requests for the second round of edits. At this point they are probably more subjective than anything else, but I made note of them anyway.

  • Two places where isolated attacks weren’t quite centered. The takes were definitely usable, but something about the fronts of the notes didn’t sound quite right to me.
  • Horn sound was too “live” on a few notes above the staff. I don’t know the exact technical way to describe this, but the mikes were picking up a little more “fuzz” than I would have liked in my sound on a high A-flat. I didn’t notice this effect during the sessions, and again it is a minor issue.

As I am neither a vocalist nor a pianist, these comments are obviously geared towards the horn part. The voice and piano parts are in the more than capable hands of my colleagues. Once we send our comments back we should receive a second (and probably final) edit to listen to one more time before the recording moves to production. Keep an eye out for it in the near future from MSR Classics!

With lots of progress made on this recording I have been turning my attention lately to another project – new original compositions and arrangements for brass trio, featuring Black Bayou Brass. 

Look for more information about this project in a future post!

Semester Preview: Fall 2017

Allumer Quartet

Our semester at ULM began a few weeks ago, and the schedule for this fall promises to be busy but also engaging and fun. Here are a few highlights of what’s to come in the weeks and months ahead.

Dr. Heather Thayer

Guest Artists: We will be hosting two horn guest artists for performances and master classes this semester: The Allumer Quartet, and Dr. Heather Thayer, Horn Instructor at Ouachita Baptist University. The Allumer Quartet is a horn quartet based in Baton Rouge, consisting of current graduate students and graduates from LSU. The members are Centria Brown, Tom Fish, Evan McAleer, and Kyle Peterson. “Allumer” is Cajun French and means “to light” or “ignite.” Their program on September 5th will include works by Alexander Mitushin, Eugène Bozza, and Béla Bartók, as well as the world premiere of two new works by Marc Mellits and Guy Mintus. *I got to hear a bit of their rehearsal in our hall today, and they sound great!

Faculty Recital: On October 3rd I’ll be giving a shared recital with our Low Brass professor, Dr. Jeremy Marks. Immediately following our ULM performance we’ll be taking things on the road for guest performances and masterclasses at the University of Kentucky, Ohio University, and Ball State University. Stay tuned for more details! I’m very excited about the program, which for me will consist of a 50/50 mix of old and new repertoire. Here’s what I’ll be doing on my half:

  • Imaginings, Dorothy Gates (b. 1966)
  • España, Vitaly Bujanovsky (1928-1993)
  • Romanza, Op. 59/2, Jan Koetsier (1911-2006)
  • Romanza, Randall E. Faust (b. 1946)
  • Hunting Songs for Low Horn, Brett Miller (b. 1976)
  • Azure Dawn (horn and trombone), Frank Gulino (b. 1987)

Orchestral Concerts: Two big pieces on my bucket list are coming up this fall in the Monroe Symphony Orchestra, Beethoven’s Symphony No. 7 and Rachmaninoff’s Piano Concerto No. 2.  Of course, these works need no introduction, and I’m really looking forward to playing 1st horn on them. Although the concert isn’t until the end of October, I’ve already begun training for these demanding parts.

Brass Trio Recital: To close out the semester, Black Bayou Brass will perform two full concerts in November and December. On November 29th we’ll be giving our annual faculty recital, in preparation for a future recording project in January 2018. This project has been a long time coming, and will feature lots of great new music for trumpet, horn, and trombone, including two works which we recently commissioned. On December 15th we’ll be giving a holiday concert for brass and organ at Grace Episcopal Church in Monroe. Though we typically present a holiday concert every December, this one will be quite special as all of the proceeds will be donated to a local animal shelter. Watch for more info as we get closer to the concert date.

Summer Project: Solo and Chamber Music Repertoire List

One long-postponed project I began this summer was to create an annotated list of the solo and chamber music pieces I’ve performed over the last 20 years. I should have begun this project years ago, but my memory has generally been good enough to keep track of most of the details about my performances. Additionally, most of the information is preserved in the form of old programs in either electronic or hard copy format. I always told myself if I really wanted to know the last time I performed a work I could dig back through my files and find out. This is of course easier in theory than in practice, and the benefits of having all the info in a central place outweigh the time and effort it has taken to put it together.  It’s nothing fancy, just a Google doc that I can update as new works are added. It contains the following fields:

  • Composer
  • Title
  • Instrumentation
  • Year Performed

In the “Year Performed” field I’m also making a note if the work was performed at a conference and/or was commissioned by me. Here’s a small screenshot showing the first few entries. (If you would like to see the complete list please email me and I would be glad to send you a copy).

While I do have access to the majority of my solo and chamber music programs, the list is not complete, for a variety of reasons.

  • There are some works that I know I’ve performed, but don’t have documentation to prove it or to provide the year. These include works performed for studio and/or master classes, works performed on tours, and other situations where a printed program was not produced. I’m debating what to do about these works; perhaps I’ll just put the info down and give my best guess as to the year.
  • In most cases I did not include arrangements or occasional works like Christmas and other holiday selections. To keep the list to a manageable size I needed to draw the line somewhere. One exception to this is arrangements which are major works in the repertoire, like Robert King’s brass trio arrangement of the Beethoven Trio, Op. 87 for example.

If you don’t already have a list like this, I strongly recommend starting one, regardless of your level. It’s very easy to set up, and the information will come in handy for future recital programming and other endeavors. Trust me, the longer you wait, the more difficult the task will be!

Recording Project Update: Music by Eurico Carrapatoso

As mentioned in an earlier post, one of my big projects this summer was recording several works for soprano, horn, and piano for a forthcoming album of music by Eurico Carrapatoso. I’m pleased to say that we recently wrapped up recording, and I thought it would be good to share a few observations about the process while details are still fresh in my mind. Thank you to my colleagues Claire Vangelisti and Richard Seiler for inviting me to participate in this project, and Bravo on your inspiring work!

Engineer/Producer: We were very fortunate to be able to work with engineer and producer Richard Price of Candlewood Digital on this project. Mr. Price has a fantastic reputation, and even if you don’t recognize his name I would be willing to bet that you own or have heard his recordings. I had not worked with Mr. Price previously, but after two solid six-hour-plus days of recording, I would recommend him to anyone without reservation! His incredibly discerning ears and easy-going demeanor made him a joy to work with as a producer and engineer. While I don’t know the exact technical aspects of what he did with microphone placement and other variables, I do know that the sound he was able to capture was great – warm and nuanced, with exactly the right balance among all three parts. And this was just from the raw takes! The final edited and mastered recording should be really fun! See below for a few shots of the stage setup.

Horns, Endurance, and Rehearsals: As I’ve mentioned before, much of this project emphasized high and light playing, for which I used an older Paxman Model 40M double descant horn. My sincere thanks go out to Craig Pratt for the generous loan of this fine instrument! There were a few movements on which I used my regular Yamaha 671 double horn, but the majority of the playing on this album is on the Paxman. In my preparation for the recording sessions I focused on familiarizing myself as much as possible with the tendencies of the instrument, as well as getting creative with some different fingering choices.  Despite the intense schedule (on both days we did a 3-hour session in the morning, followed by a 2.5 hour break, and concluded with another 3-hour session in the afternoon, plus about another 30 minutes on a third day to wrap up some minor things), my endurance held up well. For those that might be interested, I believe this success can be attributed to a few different factors:

  • Balanced practice between double and descant horn It was tempting to cram in lots of practice on the high horn, especially in the days leading up to the recording sessions. However, I can speak from experience that too much intense practice on the High F side can tire out your chops quickly! I didn’t practice more than 25 minutes at a time on the descant horn without a break, and always made sure to end each day on the double horn with some relaxing low register playing.
  • Mindful Warm-Ups/Warm-Downs I crashed and burned once in graduate school by practicing too much on the day of a recording session, and vowed never to make that mistake again. On each day I warmed up very lightly for about 25 minutes, beginning in the mid-low range and gradually expanding outwards (but still avoiding extremes). At the end of each day I warmed down for a few minutes, then followed up with light massage and alternating cool and warm compresses on my cheeks and upper lip for 5-10 minutes after getting home. *The cool “compress” was a soft drink can from the refrigerator, and the warm compress was a washcloth soaked in warm water. I was tempted to try some ibuprofen, but not really being in the habit of taking that type of medication I decided to forgo it in favor of the compresses.
  • Lots of Great Rehearsals One other major factor in the success of this recording was being able to perform and rehearse frequently with my colleagues before starting the recording process. It seems like an obvious assertion, but is probably worth mentioning anyway. Having performed and rehearsed this repertoire frequently just prior to the sessions made things go very smoothly for the most part. Most of our discussions during the actual recording had to do with minor variations in interpretation, and adjusting to the modified stage setup. Because of the sight lines and lighting, I ended giving lots of cues for both piano and voice.

Final Thoughts: Recording a classical album can be a grueling process, and the bar for technical perfection and artistry is extremely high. High quality microphones and a great producer will quickly expose any and all weaknesses in your playing! I’ve always found it a humbling yet enjoyable experience, though distinctly different from the act of live performance. Though a major part of the work is now complete, the project is still a ways off from completion. Now comes the editing, followed by mastering and various other procedures involved in the production of a commercial recording. Be on the lookout for more updates in the coming months!

Thoughts on Voice and Horn Collaborations

One of the things I love about my job is the opportunity to work with talented colleagues in two  faculty ensembles: Black Bayou Brass, a brass trio, and Trio Mélange, a voice, horn, and piano trio. I’ve written extensively about performances with the former, but haven’t posted nearly as much about the latter. However, Trio Mélange is quite active, having performed at the 45th and 48th International Horn Symposiums, and at various other venues in Louisiana and surrounding states. This summer, we’ll be engaged in two major projects: performing at the New Music on the Bayou Summer Festival, and recording a CD of music by Eurico Carrapatoso. We’ve been rehearsing intensively in preparation for both of these projects, and I thought this might be a good opportunity to put down a few thoughts about collaborating with vocalists. Of course, the basic principles of  chamber music still apply; collegiality, communication, putting the ensemble first, etc., but this article is geared towards horn players who may not have worked with singers before. Working with a great singer and collaborative pianist is very rewarding, and as horn players we are lucky to have some really wonderful repertoire by composers old and new. See the end of this post for my short list of recommended voice, horn, and piano works. And now, here are some considerations for the horn player working with a vocalist.

  • Know the Text: As instrumentalists, we sometimes get preoccupied with notes and forget to consider the text. You don’t need to have every word memorized, but you should definitely have a good idea of the basic structure and content. In addition, pay attention to the differences in sound of the various common languages (German, French, Italian, and English).  They each have their own idiosyncrasies, which can help inform our approach to sound and articulation.
  • Balance: Achieving the right balance between the voice, horn, and piano will depend on several factors, but in general it pays for the horn player to be sensitive to what register the singer is in. For example, a soprano or tenor’s high range projects extremely well, and in those instances balance with the horn will be less of an issue than when the singer is in the low range. Depending on the repertoire and other factors, there will be times when you will need to play extremely softly (think woodwind quintet) for the voice to be heard clearly (remember, the audience needs to hear the words!) In other situations, you will be able to play at a full forte or even fortissimo and not worry about covering the voice.
  • Read from the Score if Possible, or Write in Cues: I like to have copies of both the full score and my own part in rehearsals, but for most performances I use a horn part with lots of vocal and piano cues written into it. Singers are used to rehearsing and performing from a piano-vocal score, and having your own copy of the score will help rehearsals run more smoothly.
  • Rhythm is Flexible: Good singers have excellent rhythm, but in my experience their training prepares them to be much less rigid than instrumentalists when it comes to rhythm and phrasing. This is a good thing!  Learn everything you can from the fluid, expressive way singers approach phrasing, and learn to anticipate and follow in the same way a great collaborative pianist or opera conductor does.
  • Differences in Response: The voice is a different instrument than the horn, and is subject to its own peculiarities. Depending on the tessitura, sometimes it can take a little time for the singer’s note to sound, but in other instances a note can begin more or less instantaneously. The timing of entrances and releases together will take some conscientious practice in rehearsals, but it can be done.
  • Breathing, Watching: Related to the above point, ensemble will be vastly improved through good communication – namely breathing together and watching each other. I’ve found that watching the vocalist’s mouth is a reliable indicator for entrances. It can even be helpful for the singer to “conduct” a little when working through challenging passages for the ensemble.

Hopefully these tips will be of use the next time you collaborate with a vocalist. Above all, listen intently, and follow your musical instincts. To close out this post, here is a short list of recommended works for voice, horn, and piano. Some of them are in the public domain, and available on IMSLP (links provided) Feel free to add to this list in the comments.

  • Hector Berlioz, Le jeune Pâtre breton, H 65 (soprano or tenor)
  • Benjamin Britten, Canticle III: Still Falls the Rain (tenor)
  • Benjamin Britten, Serenade for Tenor, Horn and Strings (available with a piano reduction)
  • Gina Gillie, To the Seasons (soprano)
  • Franz Schubert, Auf dem Strom, D.943 (Usually with soprano voice, but also with tenor)
  • Richard Strauss, Alphorn, TrV 64 (mezzo soprano)

For more details on repertoire, check out the following dissertations, which are available through the International Horn Society’s Thesis Lending Library.

  • Burroughs, Mary. “An Annotated Bibliography of the Works for Horn, Voice and Piano from 1830-1850 with an Analysis of Selected Works from 1830-1986.” D.M.A. diss., University of Illinois, 1990. UMI# 90-26150
  • Lewis, Gail. “Benjamin Britten’s Writing for Horn with Tenor Voice: Serenade Op. 31, ‘The Heart of the Matter,’ Nocturne Op. 60.” D.M.A. diss., University of Wisconsin, 1995. UMI# 95-26717.
  • Ulmer, Marissa L. “Bibliography of Twentieth- and Twenty-First Century Chamber Works for Voice, Horn, and Piano with Selected Annotations.” D.M.A. dissertation, West Virginia University, 2006.

 

Upcoming Performances Part 2: International Women’s Brass Conference

Shortly after the New Music on the Bayou Festival, my colleagues and I will be traveling to Glassboro, New Jersey for the 2017 International Women’s Brass Conference, hosted by Dr. Amy Schumaker Bliss at Rowan University. If you haven’t had a chance to attend an IWBC, it’s a wonderful conference, with lots of great performances, presentations, and exhibitors. Of particular interest to horn players is Featured Artist Michelle Baker, Second Horn of the MET Orchestra (she recently announced her retirement after 27 years with the orchestra). I had the opportunity to work with her for a brief time at the Round Top Festival Institute. She’s a fantastic performer and teacher, and an all-around nice person! For more information about Baker’s career, see Barbara Jöstlein Currie’s interview with her in the May 2017 issue of The Horn Call.

At this year’s IWBC I’ll be involved in two performances, as well as running an exhibit table for Mountain Peak Music.  The first performance will feature Black Bayou Brass in performances of music by Gina Gillie and Adriana Figueroa Mañas. Here’s our program:

Trio for Brass, Gina Gillie (b. 1981)

  1. Fanfare and Chorale

Triad, Adriana Isabel Figueroa Mañas (b. 1966)

  1. Magic Dreams

Scenes from The Bayou, Gina Gillie

The first work by Gina Gillie is one of our favorites in the repertoire, and makes a great opener. It’s published by Veritas Musica Publications. If you’re looking for a fun, challenging, and musically rewarding work for brass trio be sure to check it out.

Adriana Mañas has composed some very fine works for brass trio, including her Three Chorals and Triad. Magic Dreams, the final movement of Triad, is notable for the variety of timbres and articulations it employs. It makes for a nice contrast with the opening work on our program.

We’re especially excited about performing the newly-commissioned Scenes from the Bayou. We premiered this work locally back in March, and are looking forward to sharing it with a larger audience. This commission was funded in part by the Meir Rimon Commissioning Assistance Program of the International Horn Society, and is a substantial addition to the repertoire. Here is a video compilation of several excerpts from the premiere.

On the last day of the conference I’ll be collaborating with several University of Wisconsin-Madison alums (Gina Gillie, Sarah Gillespie, Stacie Mickens) for a performance of Gina Gillie’s Horn Quartet No. 1. Like her brass trio compositions, Gillie’s horn quartet is a really strong work with lots of great writing for all four parts. Like Paul Hindemith’s Sonata for Four Horns, the final movement of Gillie’s quartet is a set of variations on Ich schell’ mein Horn. Here’s a recording of the piece with the following performers: Gina Gillie, Mark Robbins, Gustavo Camacho and Becky Miller.

If you’re planning to attend the conference, we’d love to see you at either (or both) of the above performances, or at the Mountain Peak Music booth. I’ll also be posting regular reports to this site during the conference. If you won’t be attending the 2017 IWBC , I hope you’ll consider attending some kind of a conference or festival this summer. They are wonderful opportunities to hear great performances, and to network and connect with friends and colleagues.

Upcoming Performances: 2017 New Music on the Bayou Festival

New Music on the Bayou

The spring semester is winding down, but my colleagues and I are gearing up for several performances this summer. First up is the 2017 New Music on the Bayou Festival, May 31-June 3 in Monroe, LA and Ruston, LA. Now in its second year, this year’s festival is shaping up to be even more exciting than the inaugural season last year. An impressive array of composers and performers have been brought together for a few intense days of rehearsals, performances, and presentations, and if you are within driving distance I highly recommend coming out for one or more of the events. As with last year’s festival, a few ensembles will be featured, including the Implosion Percussion Group, and Trio Mélange, a voice, horn, and piano trio comprised of faculty at the University of Louisiana-Monroe.  We’ll be performing two works, For Jessica, by Jason Mulligan, and Connect All. We All Connect., by Oliver Caplan.  Both works were chosen for the festival through a competitive submission process, and we are excited about sharing them with audiences here. Contrary to some opinions about contemporary music, not all of it is highly abstract, esoteric, or demanding on traditional audiences. In fact, these two works are very accessible, and the horn parts are rewarding to play. Don’t take my word for it, though! Listen for yourself, and see what you think. Here’s a sample recording of Oliver Caplan’s Connect All. We All Connect, linked from the composer’s Soundcloud account. Caplan writes the following about this work:

Are we individual actors, alone together? Or are we bound by our common humanity? Connect All. We All Connect. explores the interconnectedness of people in today’s world. At times fragile and questioning, at times confident and affirming, the piece ultimately sounds a message that we are our best selves when we embrace heartfelt connection.

The performers aren’t listed, but they really sound great! Perhaps this piece will strike you (as it did me) with its simple beauty and profound message. If you want to hear more new music, be sure to check out the New Music on the Bayou Festival this summer!

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