Solo Literature and the Orchestral Trumpeter - ScholarWorks

CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

Solo Literature and the Orchestral Trumpeter

A thesis submitted in partial fulfillment of the requirements

For the degree of Master of Music, Performance

By

Cameron Wilkins

May 2016

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The Thesis of Cameron Wilkins is approved:

Professor Jon Lewis Date

Dr. John Roscigno Date

Dr. Lawrence Stoffel, Chair Date

California State University, Northridge

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Table of Contents

Signature Page ii

Abstract iv

Chapter 1: Introduction 1

Chapter 2: The Trumpet as a Solo Instrument 4

Chapter 3: The Trumpet as an Orchestral Instrument 9

Chapter 4: Modern Commonalities Between Solo and Orchestral Trumpeters 13

Chapter 5: Response to the Interviews 17

Chapter 6: Conclusion 21

Works Cited 23

Appendix A: Title Page of Interview and Participant Disclaimer 24

Appendix B: Interviews 25

Thomas Hooten 25

Jon Lewis 32

Appendix C: Recital Program 39

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Abstract

Solo Literature and the Orchestral Trumpeter

By

Cameron Wilkins

Master of Music, Performance

This thesis explores the relationship between the orchestral and solo trumpeter

and provides knowledge for those who seek to have a career in both fields

simultaneously. With the use of interviews and references to standard solo and orchestral

literature I aim to provide a resource for aspiring trumpeters that will aid in their growth

and development towards solo and orchestral careers while providing insight on how one

becomes successful in each respective field. The two individuals interviewed in this

thesis share a current perspective on many aspects of the solo and orchestral trumpeter.

Both interviewed individuals maintain active solo and orchestral careers.

Through accounts from various sources and research into requirements of

orchestral and solo trumpeters I will delineate on the current demands placed on these

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musicians. Solo compositions that are deemed standard literature will also be examined.

These compositions and their relevance to orchestral demands and the audition process

will be elaborated upon. The process of preparation for orchestral auditions and solo

recital performance will be discussed through the interviews. In these discussions I will

provide the reader with supplementary information on the various skills and the roles

they hold for the orchestral and solo trumpeter.

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Chapter 1: Introduction

Solo literature is a staple for the preparation and growth of aspiring trumpeters.

From solo and ensemble festival to jury and solo recitals in college, young musicians are

taught to prepare solos in order to demonstrate their growth and ability on their

instrument. Within the process and preparation of solo literature many trumpeters gain

essential tools that hone their ability. From beginning etude books, all the way to Jolivet

Concertinos, practicing and performing solo literature has maintained a vital role in

developing young trumpeters. Trumpet literature has been around for many centuries yet

has a relatively small catalog compared to other instruments such as the clarinet or flute.

In more recent years, solo compositions for the trumpet have increased by a large margin

in part due to groups such as the International Trumpet Guild and many independent

organizations commissioning works for the instrument.

As with solo literature for the trumpet, orchestral works with prominent trumpet

parts have also been on the rise in recent years. In a traditional sense there are

compositions such as Mahler’s Fifth symphony, Mussorgsky’s Pictures at an Exhibition,

and Stravinsky’s Petrouchka that highlight the soloistic side of the trumpet that orchestral

trumpeters do not always have the means to showcase. For younger trumpet players,

orchestral repertoire is not nearly as commonplace as solo literature due to the higher

difficulty, extended techniques (such as sight-transposition) and inaccessibility. Many

young trumpeters in grade school settings are members of concert bands where the

musical material often aligns itself well with the traditional solo setting.

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Orchestral trumpeters and soloists alike share many traits in their approach to

performing and with interviews from prominent local trumpeters we can gain valuable

insight on how these two forms of classical trumpet performance can and cannot coexist.

Learning how to balance solo recitals with orchestral performances and the practice

regime that proceeds such are addressed in the interviews. In addition to the balance of

performances, this thesis explores the role solo literature has in developing the orchestral

musician. Lastly in addition to the role solo literature has in that development, this thesis

takes a look at solo compositions that have established themselves in the orchestral realm

in order to showcase the technical ability and individuality of the trumpeter.

The trumpet players interviewed for this thesis were Thomas Hooten and Jon

Lewis. These two trumpet players have maintained successful orchestral careers and are

also active in the preparation and performance of solo literature. Between the two trumpet

players there are multiple perspectives on what it is to be an orchestral and solo trumpet

performer as well as the processes to success in both fields.

Thomas Hooten is the current principal trumpet of the Los Angeles Philharmonic

Orchestra. Prior to being awarded the position of principal, Hooten was the principal

trumpet in the Atlanta Symphony from the 2006 until 2012. In addition to his orchestral

success, Tom Hooten has also held positions with “The President’s Own” United States

Marine Band, in D.C. often as a featured soloist, and has released a solo album entitled

Trumpet Call. Tom Hooten is currently on faculty at the University of Southern

California. Hooten has performed many solos with the orchestras he has performed with

and given masterclasses and recitals at many of the most esteemed universities.1

1. Thomas Hooten, Biography.

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Jon Lewis is one of the top studio musicians in Los Angeles. Lewis has been

heard on more than a thousand movie and television scores with some of the more recent

ones being Star Wars 7, Family Guy, “Rogue One: A Star Wars Story” and Star Trek

Beyond. In addition to studio recording, Lewis performs as principal trumpet of the Santa

Barbara Symphony and also performs with the Hollywood Bowl Orchestra. Lewis is the

trumpet instructor at California State University, Northridge. Lewis maintains an active

involvement in solo recitals and also gives masterclasses throughout the united states

when available.2

2. Jon Lewis, Biography.

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Chapter 2: The Trumpet as a Solo Instrument

The trumpet has undergone many changes from a structural and design standpoint

over the last few centuries. Early trumpets have utilized different mechanisms to aid in

the chromaticism of the instrument and different types of materials to change the way the

instruments tone sounds and how it is played. Through the years, manufacturers have

worked towards an instrument that is standardized and accessible for young and aspiring

musician. The B-flat trumpet has become commonplace since the late 19th and early 20th

century, and with this has been a rise in solo literature for the instrument through various

levels of expertise. Over the years the trumpet has grown as a solo instrument with the

help of the concert band and also instructional books such as the Jean-Baptiste Arban

Conservatory Trumpet Method.

The concert band is deeply established in the structure of the beginning classical

musician. For trumpet players, the concert band is often a primary setting allowing one to

be introduced to solos. Trumpet being one of the more prominent instruments in the brass

family lends itself to having more exposed parts throughout music. Concert band

literature is quite similar to solo literature on technical levels and the setting of the

ensemble is a conglomerate of soloists working together. With concert band literature the

variances in the style of composition lends itself to the development of the young

trumpeter.

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Ruth V. Brittin, professor of music education and chair of the department of

music at the University of the Pacific shares her belief that the many skills we develop

from solo performance help foster a confidence and security in young musicians. In

Brittin’s article on solo performance she states:

For young musicians, performing alone is an important skill, as is performing with other instrumentalists. Solo performance leads to musical independence, and performing with others develops certain listening skills, sensitivity, and flexibility. Both performance settings are emphasized in the performance standards for music educators, and the importance of both may be observed in the large numbers of middle and high school students who regularly participate in solo and ensemble festivals. For beginning students, instrumental method books provide opportunities for solo, duet, and ensemble playing, and many include accompaniments through cassette tape, compact disc, or MIDI file.3

As a solo instrument, the trumpet must be able to lead while retaining the sensitivity and

flexibility that Brittin has touched upon. The ability to lead is cultivated by performing

solo literature with accompaniment and having an awareness to the interplay between the

various parts. In addition to the ability to lead, performing with an accompaniment aids

the trumpeter in developing a better sense of pitch and time.

To be able to perform well as a soloist the trumpeter must attain a certain degree

of proficiency. Young trumpet players must work through their technique books to gain a

better understanding of not only the musical elements of solos but the coordination and

skill that is required. Etudes play a significant role in the development towards solo

literature as they tend to be of a soloistic nature while also covering many technical

aspects of the selected instrument. In a way the preparation process towards performing

etudes and solo trumpet literature can be very cyclical. When preparing literature that is

above ones technical ability the composition pushes the trumpeter while also aiming to

3. Ruth Brittin, Instrumentalists’ Assessment of Solo Performance, 63.

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develop various aspects of their ability, however if the composition is of too high a

degree, then one may waste precious time and resources while not covering much

ground. Technical studies tend to give the trumpeter a method of how to better

understand and process challenging material in a more efficient manner while still

managing to improve on ones ability in an isolated setting.

Young trumpet players with proper instruction are often tasked with working

through method books, etudes and standalone solo literature. The solo literature that

many young trumpeters are exposed to is often of a more standardized taste. With young

musicians we often guide them to compositions such as the Haydn or Hummel Trumpet

Concertos. These two compositions are staples of the trumpet solo repertoire, often called

upon to showcase good execution in solo performance. The Haydn Trumpet Concerto is

one of the first compositions for the trumpet that took advantage of the technological

advances achieved by individuals such as Anton Weidinger. Weidinger being the first to

bring chromaticism with the use of keys instead of the harmonic series paved the way for

trumpet solo literature.

Many professional trumpet players with aspirations to be a soloist will program

recitals varying in the style of composition. With the professional player in mind, the

trumpet as a solo instrument must have an abundance of tools at its command. Tone,

expression, phrasing, intonation and volume are but a few aspects that must be strongly

developed to succeed as a solo trumpeter.

Gilead Bar-Elli is a professor of philosophy at the Hebrew University of

Jerusalem with fields of interest in the Philosophy of Music (classical). Gilead Bar-Elli

states:

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In classical music, for at least a hundred years or so, we have lived in an age of performance. Sure enough, many great works have been composed during that time, but, by and large, most of the music heard and played, and most of the music that appeals to the public of music lovers is music composed up to the early twentieth century and performed by (professional) performers who are not composers of the works performed and, in many cases, not composers at all. Needless to say, studying a musical instrument and performing have been always part of musical education and practice. But instrumental performance as a separate profession of musical activity, esteemed and assessed as such, is a relatively late phenomenon.4

This quote is highly relevant to the direction of the trumpet soloist in today’s society, as

many compositions often performed have not been around for any substantial amount of

time, outside of the Haydn and Hummel. In addition, there is a rising interest in solo

trumpet performance due to the efforts of individuals such as Håkan Hardenberger,

Reinhold Friedrich, Allen Vizzutti and Sergei Nakariakov performing challenging

literature as well as commissioning new works opening many eyes to more modern

demands of the instrument.

Outside the realm of the classical compositions such as the Haydn Trumpet

Concerto that are prominent in the solo realm, pieces such as the Arthur Honegger

Intrada, Charles Chaynes Trumpet Concerto, Henri Tomasi Trumpet Concerto and Theo

Charlier 36 Etudes Transcendantes are deeply rooted as cornerstones for trumpet

literature. Composers of these works have developed an increasingly mainstream view of

what a trumpet soloist can do from a technical standpoint.5

The trumpet soloist is resilient and flexible, not only from a technical standpoint

but also from the preparation and organizational sides of the career. From the first solo

4. Bar Gilead, The Aesthetic Value of Performing Music, 85-86. 5. I will be performing the Honegger Intrada on my graduate recital. The Honegger Intrada has become a testament to the solo trumpet player’s proficiency in articulation, phrasing, endurance and range.

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that a young trumpet player begins to prepare to the Honegger Intrada, preparation must

be carefully executed so that no facet of the program suffers. The trumpet solo is a chain-

link and with a single weak link any performance can suffer. The overall development of

skills through the process of performing solo literature lends itself to the ease of

performing future works and becoming a great musician.

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Chapter 3: The Trumpet as an Orchestral Instrument

As we have noted with the solo trumpet and solo literature, the orchestral side of

the trumpet has also undergone some major changes and developments over the last few

centuries. The evolution of the manufacturing process of trumpets and its technical

progressions may have held an even greater effect on orchestral literature. For instance,

many classical works for the trumpet such as Beethoven’s Fifth Symphony have

primarily tonic dominant relationships with occasional mediants — playing only Cs, Es,

and Gs — yet with more modern compositions that are standardized for the orchestral

trumpeter we have parts written in B-flat and F either meant to be transposed on a C or B-

flat trumpet.

Orchestras are not as common in the grade school setting as a concert band or jazz

ensemble partly due to the difficulty in coordinating many string, wind and percussion

instruments. Many compositions written for orchestra have uninvolved trumpet parts due

to the nature of the period of music. On the other spectrum, other compositions have

extremely active trumpet parts that require sight transposition, greater volume of sound,

range and dexterity. The radical shifts in the difficulty and inaccessibility of the trumpet

in an orchestra has smoothed over in recent years with more modern compositions and

the addition of movie scores such as Star Wars, Indiana Jones and so on primarily due to

their mainstream success.

Youth orchestras throughout America also aid in the growth and development for

young trumpet players in regards to orchestral repertoire. These organizations often

require an audition with excerpts from the traditional trumpet repertoire. At this amateur

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level, the excerpts can often be of a high level of difficulty as mentioned above and some

standard skills called upon are usually transposition, sight-reading and occasionally a solo

movement from the standard literature. The Haydn Trumpet Concerto is one of the

standard solos frequently requested for auditions. Quite often young trumpeters without

access to a school orchestra and/or a private instructor do not have much experience in

the realm of excerpts.

As with solo literature, orchestral excerpts and repertoire require attention to

details such as tone, phrasing and time. Method books, etude books and excerpt books are

all essential tools to aid in the progression of a young trumpeter. A noticeable difference

between the solo trumpet and the orchestral trumpet however is the tone of the player.

With solo literature trumpet players have more flexibility in the tone that they play with.

Orchestral trumpet players must have a dark rich sound that also blends with a section.

This can often force individuals to play with more standardized equipment. All in all, for

the young aspiring orchestral trumpeter, the lack of orchestral programs throughout the

grade school setting can be a detractor in for their development. From a professional

standpoint on orchestral performance the preparation of excerpts and technical studies

may lie at the forefront.

In additional to orchestral excerpts, many individuals such as Robert Bruns, a

trombonist in the U.S. Army Material Command Band, hold a belief that concert bands

should adopt the practice of performing excerpts in a grade school setting. Bruns states,

“Learning wind band literature can help students both immediately, as they audition for

college, and later in life if they decide to join a community band.”6 Bruns’ belief in

6. Robert Bruns, Incorporating Wind Excerpts in the School Band Curriculum, 43.

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adopting orchestral excerpts for young concert band musicians stems from an

understanding of the importance of the solo practice, naturally lending itself to a higher

familiarity with the audition process at later stages of ones career.

With orchestral professional trumpet players there are greater demands expanded

upon by the role of the trumpet. Jay Friedman, principal trombone of the Chicago

Symphony Orchestra has written articles in regards to various topics in the orchestral

world and has very valuable information in regards to the orchestral trumpeter. Friedman

states the trumpet is the most difficult of all the instruments in the orchestra in part due to

the demands placed upon orchestral trumpeters by the composers, even stating that the

demands are almost “super-human”.7

In addition to these demands being of a high stature, the consistency in which an

orchestral trumpeter must have is no small feat either due to the nature of the instrument

on the lips of the player. The principal trumpet in a symphony orchestra must have a

great sound that is not only big and full but also resonates through a hall without any bit

of strain. In a later article titled Winning Trumpet Audition Strategies, Friedman states:

First of all, the strategy of playing all the notes with a good sound, while difficult to achieve, is not nearly enough in this competitive time we live in. There are too many people that can do that today. It takes something special to make an audition committee sit up and take notice. My view as I said last month is; STYLE WINS AUDITIONS.8

Friedman’s tips regarding different orchestral excerpts and how to approach them fortify

his conviction regarding the character of sound. Friedman references some of the major

orchestral excerpts and the Haydn Trumpet Concerto. With Haydn, Friedman states that

7. Jay Friedman, Trompete! 8. Jay Friedman, Winning Trumpet Audition Strategies.

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although it is commonplace to play the piece with a consistent style throughout, this may

be more harmful due to the “handcuffing”9 that one may ultimately be doing by playing

the solo in that manner. The handcuffing is in direct reference to an individual being too

reserved in their expression of character in sound and quality.

With perspective from Jay Friedman young musicians can gain a better

understanding of the nature of orchestral trumpet playing. The ability to have a sound that

can rest on top of an ensemble of a hundred musicians without losing quality of tone is

but one aspect of the orchestral trumpet player. On the opposite spectrum the orchestral

trumpet player must also have a sound that may float with such lyrical grace through soft

passages. The orchestral trumpet player tends to live in the extremes of the technical

abilities and have an understanding of not only how to follow, but also when to lead.

9. Ibid.

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Chapter 4: Modern Commonalities Between Solo and Orchestral Trumpeters

As competition in the classical world rises, many trumpet players find themselves

having to be more flexible in their musical ability. There are a large number of amateur

professional trumpet players playing jazz while studying classical music and vice-versa.

Due to the nature of the industry, being able to play multiple styles is a skill in itself. It is

only natural for orchestral trumpet players to perform solo recitals and vice-versa.

Musicians such as Philip Smith have set a precedent in regards to orchestral trumpet

players that aim to also perform solos and release solo albums. Trumpet players such as

Jens Lindemann, a world renowned solo artist, who also perform with orchestras as well.

There are many fundamental aspects of performance shared between the solo and

orchestral trumpet player. Great pitch, time, sound and musicality often dictate a

fundamentally sound trumpet player. Orchestral trumpet players and soloists alike strive

to achieve these fundamental aspects. When performing solos, a trumpet player must

understand their role in the literature and for the orchestral musician this task is just as

important. Context can sometimes be lost in the orchestral setting due to the abundance

of musicians but a trained ear and focused mind will aid the trumpet player. Technical

aspects of trumpet soloists can only compliment the orchestral musician with an

understanding of their role in the ensemble.

In addition to overall technique on a fundamental level, there is a certain degree

of mental awareness that can be cultivated during a solo. Solo recitals pose to be a

psychological hardship for many musicians due to the exposed nature and its ability to

overwhelm many individuals. As a trumpet soloist there is nothing to hide behind and

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there are not many things to cover mistakes let alone the instrument in general. Trumpet

soloists show poise and control due to the nature of their performance. From a personal

perspective traditionally in the ensemble setting there is a much greater sense of security

knowing that as an orchestral trumpet player, you are a member of a section.

There are variances to how individuals perceive orchestral auditions in contrast to

the actual performance, however, logically one might come to an understanding that an

individual who has experience as a soloist should be more comfortable in those type of

situations, such as in an audition. For the orchestral trumpeter the audition process is

usually the most exposed setting one may perform in barring major orchestral excerpts. In

order to get through uneasiness or nerves it is often stated that one must perform as often

as possible for as many people. Performing as a trumpet soloist on a consistent basis is

one of the ways to tackle nervousness while also developing poise and the expression

required of every orchestral trumpet player.

Often overlooked, the orchestral trumpet player tends have a more discontinuous

relationship with the literature. The orchestration of trumpet parts lends themselves to

being more focused on specific sections of classical compositions rather than being paced

evenly. This causes the orchestral trumpet player to have a higher sense of strength in

shorter passages than the traditional trumpet soloist. Trumpet solo literature is rather

different in execution. Solo literature for the trumpet is paced well throughout and

requires a skill set of someone who is building systematic endurance. This endurance is

helpful to all forms of trumpet performance, requiring refined control often not achieved

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by standalone orchestral trumpet players. Thomas Hooten equates orchestral trumpet

performance to weight lifting and solo literature to a marathon.10

Trumpet players who aim to pursue orchestral careers are often asked to perform

solos in addition to the traditional excerpts. Philip Smith, previous principal trumpet of

the New York Philharmonic saw the importance of solo trumpet and ensemble literature.

As an avid brass band enthusiast, Smith has appeared as a guest soloist with the United

States Army Brass Band and many other military bands alike. Smith has also soloed with

all of the Salvation Army Staff Bands worldwide.11 In addition to Smith, there are many

other orchestral trumpet players who perform solo recitals on a frequent basis, Thomas

Hooten being one that perform around ten recitals a year. Many professional orchestras

allow the opportunity for the principal trumpet to perform concertos with their respective

orchestras, such as Smith having played a multitude of solos with the New York

Philharmonic.

In addition to being staples for the solo trumpet player, the Honegger Intrada and

the Haydn Trumpet Concerto have been found on many orchestral auditions. Jay

Friedman identifies the Haydn as the most frequently asked solo in auditions. Ironically

the Haydn Trumpet Concerto is more often than not one of the first concertos young

trumpet players are introduced to and yet also has an established role at the pinnacle of

classical trumpet performance. Friedman elaborates that some orchestras have also

required the composition be performed on a B-flat trumpet (often performed on E-flat)

creating a unique challenge in achieving the lightness and sparkle necessary. Friedman

states the Haydn assesses the style and musicianship required of an orchestral trumpet

10. Thomas Hooten, pers. comm. 11. Philip Smith, Biography.

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player.12 In addition to the Haydn, Honegger’s Intrada calls for extreme technical facility

and musicality. The Intrada can be found on multiple audition lists in large part to

showcase the necessary fluidity in moving in and out of registers with a consistency of

sound, power and core all the while showcasing individual style.

The style that Friedman speaks so adamantly of must be equally present in

orchestral excerpts. Mussorgsky’s “Promenade” from Pictures at an Exhibition is

commonplace on many of the orchestral audition lists and shares that same necessary

style. Solo literature does create a unique opportunity for trumpet players to develop their

own individual sound, and although individuality is not always tasteful in the ensemble

setting, given opportunities to let your sound take precedence must be grasped at every

chance.

12. Jay Friedman, Trumpet Audition Strategies!

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Chapter 5: Response to the Interviews

The two participants in the interview gave background information on their

qualifications and personal involvement with solo and orchestral trumpet performance.

The interview process provided an additional resource of information on current

orchestral and solo practices. Their answers regarding an individual’s career in solo

performance and orchestral literature offer essential insight on the complementary aspects

of one another. Thomas Hooten stated:

I think there are parts of being a really great soloist that can make you a better orchestral player and vice-versa, but I also think that each one has limitations. There are certain ways that I play in the orchestra that I could never play in a solo career because I think it would be just inappropriate, too loud and maybe too aggressive.13

The aspects of orchestral performance that Hooten believes would be too inappropriate in

the solo setting are indeed warranted, yet Hooten’s understanding of how the two benefit

each other is further elaborated upon in later parts of the interview.

Jon Lewis provides additional information regarding how the two careers overlap

stating:

Where they overlap is the real need to be precise and consistent with your sound and intonation. You also have to have a sense of ensemble. In orchestras you have to play along with the whole ensemble and interweave between the instrument families and as a soloist with piano you have to know your pieces and be integrated into what they are doing. Certainly the biggest overlap would be playing a solo in front of the orchestra but there are still the same requirements of having really great command over your instrument, knowledge of the literature and consistency.14

13. Thomas Hooten, pers. comm. 14. Jon Lewis, pers. comm.

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Jon Lewis’ commentary on how being an orchestral and solo trumpet player overlap

provides a contrast to what Hooten states, divulging more information on the current

tools utilized between the two fields in practice.

Thomas Hooten and Jon Lewis provided additional information in regards to traits

and characteristics of the solo and orchestral trumpet player. Both provide insight further

supporting the notion that solo and orchestral trumpet players have more similarities than

differences. Good sound, control, pitch and ability to phrase are core aspects to any

quality trumpet player. Hooten shared a rather insightful bit of information as to why he

feels compelled to perform solo literature. Hooten states:

I think it’s just to broaden and be varied in your approach, and to remember to be flexible and subtle in what you do. I think it’s very easy for orchestral trumpet players to be meat and potato players: you can kind of play soft and loud, and you can kind of tongue and blow and get away with things to a certain degree, but I think solo performing requires slightly more attention to the subtleties.15

Hooten’s take on why he feels the need to perform recitals shows the abundance of

wealth we gain from varying the attention to literature we can offer. Lewis shares his

compelling reason to perform solo literature stating:

I’ve always enjoyed playing solo literature. It is fun for me to read music and interpret it to learn about myself and my playing. Building programs that are challenging and entertaining based off of themes in my mind is how I develop that program. I feel compelled on a daily basis to be on top of my game so working on my playing in an individual setting lets me know I’m playing in time, with a good sound, in tune, consistently and if I’m producing what is supposed to be produced. Solo literature highlights your strengths and your shortcomings so I always have the thought when I’m practicing or playing that I’m performing so when I’m home and it’s just me performing solo I use software to add accompaniment or play along with prerecorded audio which helps me to put myself in that performance role and helps me stay obligated to pay attention to everything, helping me be the best I can be.16

15. Thomas Hooten, pers. comm. 16. Jon Lewis, pers. comm.

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Lewis elaborates in much greater detail on the good that has come through his solo

aspirations. Using the solo literature as a tool to maintain and further cultivate the ability

to perform and develop is what Lewis ultimately shares through his response.

Both Hooten and Lewis elaborate on their selection process for solo literature

using the words theme and style as significant motivators for the choices they make.

Hooten and Lewis also share beliefs on the aspects of solo performance that are vital to

developing trumpet players. In Hooten’s response he states that control is absolutely

essential to the developing musician, while Lewis divulges deeper into these aspects

highlighting the importance of not only command of the instrument but also confidence,

knowledge, consistency of sound and pitch, technique, timing and endurance. The

feedback Lewis provides is extremely essential in that many of these skills must be

showcased during orchestral auditions.

Both Hooten and Lewis (as principal trumpet players in their respective

orchestras) understand the importance of leading a section. Hooten and Lewis also

explain how the preparation of orchestral literature compares to that of solo literature,

stating that the trumpet player must know what their role is in the performance. Hooten

and Lewis state that preparation is different due to the differing nature of orchestral

literature often being more stretched out with a multitude of rests and solo literature

having the trumpet playing far more, requiring endurance different than that of an

orchestral musician.

Thomas Hooten and Jon Lewis both provide great feedback on what skills

develop from solo trumpet performance and the role the literature holds in the orchestral

setting. Hooten takes a direct route discussing the phrasing, note shaping, and ability to

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maintain consistent focus for several minutes of playing. Lewis discusses the mental

aspects of solo performance such as the confidence and comfortability one must achieve

to perform well in a recital and orchestral setting. Both statements are not mutually

exclusive and are two necessary attributes to proper performance. These skills also lend

themselves to the orchestral audition process, whereas a panel will want to listen to a

trumpet player that not only can play well but can show the various skills Hooten and

Lewis stated above.

The interview with Thomas Hooten and Jon Lewis further confirmed the notion

that not only does solo literature play a prominent role in overall development of the

trumpet player and lend itself to orchestral aspects of performance, but that these

different career paths are tied together. Hooten’s final remarks on how one might achieve

a successful orchestral and solo career on the trumpet are voiced by the importance of

those shared musical elements one must develop and additionally further, pushing one’s

skills on the instrument at an individualistic level. Lewis’ final remarks on on how to

achieve the same feats is anchored by the notion that you must learn to play the trumpet

to the best of your ability seeking versatility and consistency. These statements stress the

importance of flexibility and competency throughout as a trumpet player. The full

interview will be attached in the following appendices section.

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Chapter 6: Conclusion

Researching the commonalities between solo and orchestral trumpet players

requires sufficient understanding of the main proponents of classical trumpet

performance from an individual perspective. With sufficient research it it can be deduced

that the solo trumpeter’s objective does not differ too far from that of the orchestral

trumpeter. Execution does differ between the two slightly due to matters such as

projection, genre and musical liberties, yet there are far more abilities of the classical

trumpet player that can translate between the two types of performance. In regards to the

orchestral auditions that utilize trumpet solos, having a background in solo literature can

only aid potential candidates in the selection process. Sharing one’s individual identity

through solo performance transfers into the preparation of orchestral excerpts.

Aspiring trumpet players in solo and orchestral fields of music must show resolve

in their preparation and facility over their instrument. Understanding the commonalities

between solo and orchestral players is essential for young developing trumpeters. Many

aspiring musicians do not develop certain facets of their own performing ability and

unfortunately this tends to hinder their overall growth.

This research on the trumpet as a solo and orchestral instrument transfers to many

other instrumentalists in not only the classical world, but through varying genres of

music. For modern developing musicians regardless of instrument, being multi-faceted

has become a new standard due to the competitive nature of this career choice and other

factors contributing to decreasing amounts opportunities. Positions that will provide for

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the abundance of musicians in the world are not increasing so as musicians we must

strive to have as much flexibility in our craft as possible.

23

Works Cited

Bar-Elli, Gilead. “The Aesthetic Value of Performing Music.” The Journal of Aesthetic Education 51, 1 (2017): 84-97. doi:10.5406/jaesteduc.51.1.0084 Brittin, Ruth. “Instrumentalists’ Assessment of Solo Performance with Compact Disc, Piano, or No Accompaniment.” Journal of Research in Music Education 50, 1 (2001): 63-74. http://www.jstor.org/stable/3345693 Bruns, Robert. “Incorporating Wind Excerpts in the School Band Curriculum.” Music Educators Journal Music Periodicals Database (June 2010): 43-47. Friedman, Jay. “Trompete!” Jay Friedman, Principal Trombone of the Chicago Symphony Orchestra. Apr 11, 2004. accessed March 30, 2017. http://www.jayfriedman.net/articles/trompete_. Friedman, Jay. “Trumpet Audition Strategies.” Jay Friedman, Principal Trombone of the Chicago Symphony Orchestra. Oct 13, 2012. accessed March 30, 2017. http://www.jayfriedman.net/articles/trumpet_audition_strategies Friedman, Jay. “Winning Trumpet Audition Strategies.” Jay Friedman, Principal Trombone of the Chicago Symphony Orchestra. Oct 10, 2005. assessed March 30, 2017. http://www.jayfriedman.net/articles/winning_trumpet_audition_ strategies. Hooten, Thomas. “Biography.” Accessed March 20, 2017. http://tomhooten.com/bio.php. Hooten, Thomas. Personal Communication. March 20, 2017. Lewis, Jon. “Biography.” Accessed March 30, 2017. https://www.csun.edu/mike-curb- arts-media-communication/music/jon-lewis. Lewis, Jon. Personal Communication. May 7, 2017. Smith, Philip. “Biography.” Accessed March 27, 2017. http://www.principaltrumpet.com/ home.html?p=bio.

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Appendix A: Title Page of Interview and Participant Disclaimer

I, Cameron Wilkins, am researching and collecting information for my graduate thesis entitled, “Solo Literature and the Orchestral Trumpeter.” My thesis will compare the relationship between two prominent career paths of the classical trumpeter; orchestral performer and solo performer. Through interviews conducted with professional musicians of both fields, I will examine the interplay between these two paths. My thesis is in partial fulfillment of the Master of Music degree in Trumpet Performance at California State University, Northridge. I appreciate the time you have taken to contribute your first-hand experience and insight into the field of trumpet performance. Cameron Wilkins Name: Position: Please attach a biography. By completing this questionnaire, you are authorizing the use of your answers in my graduate thesis. The final copy of the thesis will be available to the public on the California State University, Northridge Oviatt Library online database. Signature: Date:

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Appendix B: Interviews

Thomas Hooten Interview Questions

1. Describe your solo and orchestral careers.

I never had a solo career, and I never worked on one. I only worked on getting

better at the trumpet, and once I had a career in an orchestra I started getting

asked to do solo stuff. I would not say that I’m a soloist, but I aspired to Philip

Smith who did quite a lot of solo recording. My solo career I’ve done more and

more although I find it somewhat difficult; especially with the schedule of the LA

Phil, to do as much as I like. I try to become more streamlined with it, not picking

several different recitals but picking one recital and maybe taking it on a tour to

Texas for a week and doing six or seven recitals.

On the orchestral side I feel like I’m at a point now where I’m repeating repertoire

for the third, fourth, fifth, sixth time, and I’m not just talking about playing them

but weeks of playing pieces twenty, thirty, forty times. So I feel very comfortable

with these things, and comfortable meaning that I can start becoming more

refined about how to be a leader, and how my trumpet playing should serve the

music rather than just getting through it and the technical stuff.

2. How do these two aspects of your career overlap?

I do think that there is an order of them. I do think they complement each other. If

I can balance out being a good trumpet player, and playing a good phrase in a solo

I think this is an important point to make with this. It’s that it is very easy in the

orchestral requirements to not be attentive to many aspects of what you need to

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have in a solo career such as the beauty of sound in the soft dynamics. I think

there are parts of being a really great soloist that can make you a better orchestral

player and vice-versa, but I also think that each one has limitations. There are

certain ways that I play in the orchestra that I could never play in a solo career

because I think it would be just inappropriate, too loud and maybe too aggressive.

And then there may be some subtleties of how you would shape and color things

that wouldn’t be always appropriate (in an orchestra). So I think they complement

each other but I also think there is probably only a certain degree of how far can

go with each before you find yourself spread too thin.

3. What are some of the main characteristics of trumpet soloists and orchestral

trumpeters?

Some of the main traits of a trumpet soloist; beauty of sound, more use of vibrato,

maybe less weight to the sound in general. More emphasis on stamina as there’s a

difference between playing the Gruber concerto that Håkan (Hardenberger) plays

and playing Shostakovich 5th. I think there are differences in the type of

endurance you need. One would maybe be power-lifting and the would be more

of a marathon. If I were to say in general, there are more similarities than

differences between the soloist and the orchestral player and you can talk a lot

about those differences, but when it comes down to good trumpet playing, good

trumpet playing is good trumpet playing. Whether Sergei Nakariakov can play as

loud as Phil Smith in terms of the weight of the sound and being on top of a

hundred-piece orchestra? maybe not. But then of course Phil doesn’t have the

dexterity of Nakariakov but what they have in common is a good sound. They

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both have good control, good pitch, and they know how to turn a phrase. I think

those are more important to be similarities.

4. How often do you perform recitals?

Before I had two children I would probably perform ten a year. Its been more in

the past. I think last year I did closer to ten or twelve. I’ve become smarter about

picking similar repertoire and I think it’s important for collegiate students to

understand the benefits of repeating some literature. Now be diverse in what you

work on, but also allow for the opportunity to play something ten or fifteen times

so you really understand where your limitations and strengths are.

5. What are some of the reasons you feel compelled to perform solo trumpet

literature?

I think it’s just to broaden and be varied in your approach, and to remember to be

flexible and subtle in what you do. I think it’s very easy for orchestral trumpet

players to be meat and potato players: you can kind of play soft and loud, and you

can kind of tongue and blow and get away with that to a certain degree, but I think

solo performing requires slightly more attention to the subtleties.

6. When performing recitals, how do you decide on the type of literature to

perform? (Ex. Lyricism, technicality, endurance, style)

I always try to give the audience a varied palate. I tend to go a little on the showy

side to some degree. I like to do standard repertoire but also in the past I’ve

always kind of balanced it with something exciting, something lyrical. Sometimes

a fast-slow-fast-slow-fast-slow-FAST kind of thing but now I’m getting more into

themes. Maybe it will be a Spanish theme. The last time I did a French suite on

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half of a recital and I thought that was really interesting. I did the Syrinx by

Debussy which is written for flute, and I did a couple French songs, the piano

player played a piece and then we ended with the strings which was nice. It was

sweet that it gave me a break but it was nice for the audience and the program.

7. What are some of the aspects of solo performance that are vital to the

developing trumpeter?

Control. You have to be able to control what you’re doing and it cannot be

unhinged, especially at the softs.

8. How does the preparation process for orchestral literature compare and

contrast to that of solo literature?

I don’t think there’s probably that much different. When you’re playing solo

literature you’re on the whole time, orchestral literature there’s a lot of times

where your role is not leading and so you have to understand where that is. I think

that’s one of the biggest contrasts in terms of musically preparing.

9. List some of the skills that develop from solo performance, which directly

affect one’s ability to be an orchestral musician?

Phrasing, note shaping, are some of the skills. Focus and just being able to stay on

the entire time. We don’t do that, unless you’re playing something like The Blue

Danny where you are kind of on the whole time. We typically do more thirty

seconds to a minute on and five minutes off which is more the balance. So focus

is a big one when playing a solo performance. Stamina like I said before.

10. In regards to orchestral auditions, what role does solo literature hold?

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For a long time, it was Haydn or Hummel, and now we’re slowly getting into

more Tomasi, a little bit of Honegger, and maybe a little Charlier and stuff like

that. But it’s still the fringe. It’s not like “come play three solos and we’ll give

you an orchestral job”, I think it’s still used as a way to show a little individuality

but I think that’s about it. Of course all the same things about pitch, time, sound,

and musicality but in a slightly more individualistic medium.

11. What solo trumpet literature best displays the necessary demands of an

orchestral trumpeter?

Maybe stuff like Haydn, Hummel, Honegger. You start getting too far from those

and the technical demands far exceed the majority of what you’re going to be

asked for in an audition. I think it’s important for people to realize that you might

be working on Tomasi, or the Chaynes, or any sort of French Desenclos and if

you can’t put those down within a day and sound pretty good on the Haydn then

there’s something wrong. I think the more straightforward literature is probably a

better use of your time in terms of working on the necessary demands of an

orchestral trumpeter. Perhaps the Hindemith or a piece like that.

12. In regards to orchestral playing, what are the benefits to maintaining an

active solo career?

Making sure there are no stones unturned. Phil Smith wouldn’t play a routine; he

would just bring a stack of solos with him when the orchestra would go on tour. I

don’t know many people that could actually do it like that. I don’t think that

would work for me, but balancing it with a more varied routine is probably what I

would do. One of the things that blew me away with Phil is remembering that I

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took a lesson with him around 15 years ago and he just picked up this pretty

technical solo I was playing and just BOOM he had it. It blew me away! I don’t

really operate that way in terms of how much solo stuff I keep active. I’m still sort

of experimenting more with fundamental development and I think at some point

pretty soon I’m going to be shifting over to more actively soloistic in terms of

how much I spend on it.

13. Do you believe the preparation of solo literature has become equally

prominent to the preparation of orchestral excerpts in the orchestral

audition process?

I think the problem with this from an educational standpoint is that students get

involved with the NTC which I think are great opportunities but we just have to

make sure that as you’re working on all this solo literature it’s creating a better

trumpet player out of you and not someone that can play three to four solos. So I

don’t know if it’s becoming equally prominent in regards to the preparation of

orchestral excerpts, that being said I’d rather someone not come to me with a

bunch of orchestral excerpts and say “show me how you want me to play these”. I

rather somebody spend time on their trumpet playing so that they can play solos

or excerpts. I think the prominence of preparation depends on the trumpet teacher

at a particular school.

14. With organizations such as ITG spotlighting the soloist and the

commissioning of composers to write challenging trumpet repertoire, will the

demands of trumpeters change from an orchestral emphasis to a solo

emphasis or will both hold equal prominence?

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Well there’s been a sort of separation, now we have in the last twenty to thirty

years’ people like Håkan. In America if someone is going to program the Haydn

or Hummel, they would normally have their trumpet in the orchestra play. If the

Cleveland Orchestra wants to program the Haydn they’re going to have Mike

(Sachs) play, Phil Smith or maybe David Bilger with their respective orchestras.

So if you’re a trumpet soloist how are you going to get work? Håkan has

commissioned over twenty or more pieces that not many people can play but him

and so he has really influenced the technical demands of the trumpet while also

ensuring that he has a career. I think both are going to hold true and also think that

there are going to be more people able to play these things and less orchestral

trumpet players. Sure there are going to be more hybrid players, you’re going to

find more players that can do both but I think there is going to be a lag in that. It’s

going to take time.

15. Lastly, what other insight would you like to provide in regards to the process

of creating a successful solo and orchestral career?

You have to understand the simple fundamental components of each of those. I

would say if you want to have a successful solo and orchestral trumpet playing

career find what are the things that work for both, master those first. Like we said;

pitch, time, sound, musicality. And if those things are working well then you can

augment your skills in other ways that will set you apart from others. First those

things need to be set, and I think that is the logical way to go.

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Jon Lewis Interview Questions

1. Describe your solo and orchestral careers.

My solo career as a soloist started in college with a performance degree and

requirements for juries. I really enjoyed doing afternoon recitals and of course I

performed junior and senior recitals. Coming out to California starting to work the

solo work I did was weddings — playing trumpet voluntary and stuff like that in

the church — and later through some of the orchestras that I played in I had the

opportunity to do pops concerts playing cornet solos and things of that sort. Over

time I started to do masterclasses and trumpet camps — one in particular over the

last ten years doing a recital each year — working into doing a couple run through

recitals before going to Dallas each year. I occasionally performed the

Brandenburg as well. Orchestral work didn’t really start until I came to Los

Angeles and since having a career it’s pretty much been the bulk of what I’ve

done whether it be live music, symphony work or recorded music usually in an

orchestra. You’re always required to play as a soloist. As soon as I moved out

here I started playing with Valley Symphony and won Long Beach Symphony

and then Santa Barbara Symphony in the mid 80s. I was doing American Ballet

Theatre, and some more orchestral work.

2. How do these two aspects of your career overlap?

Any time you play you are kind of a solo voice and in the recording and orchestral

worlds you will have solos such as big featured sections like in Pictures at an

Exhibition and in smaller pieces. There are also some aspects of solo playing in

the orchestral world regardless of whether you are first or third trumpet. Where

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they overlap is the real need to be precise and consistent with your sound and

intonation. You also have to have a sense of ensemble. In orchestras you have to

play along with the whole ensemble and interweave between the instrument

families and as a soloist with piano you have to know your pieces and be

integrated into what they are doing. Certainly the biggest overlap would be

playing a solo in front of the orchestra but there are still the same requirements of

having really great command over your instrument, knowledge of the literature

and consistency.

3. What are some of the main characteristics of trumpet soloists and orchestral

trumpeters?

With orchestral trumpet players I’m going to take the tack of a 1st trumpet because

that’s where you’re going to be in the position of a soloist and a leader whereas

the section players don’t necessary have the same role. Characteristics of trumpet

soloists are confidence, endurance, integrity of sound, technique, personality to

your sound and musicality. All of these things are important in both realms. You

have to be commanding and assertive in what you’re playing and assertive in your

knowledge of the solo world such as the piano accompaniment and how to

enhance what they are doing if something is not going quite right and how to fix

it. In the orchestral world the 1st trumpet is often in charge of the brass and even

though you’re not going to say as much as you might in a less professional level

you have to be in command of your instrument but also have the ability to look at

the bigger picture in what is also around you. You have to be aware of what is

happening in the whole orchestra and understand things such as distance and how

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to be on top of things. A lot of these things come from experience, characteristics

of both. You are not going to become a soloist until you have experience and have

the command over your instrument.

4. How often do you perform recitals?

Not too often, as I do the trumpet camp during the summers and I do two pre-

recitals leading up to the summer. I do get the opportunity to perform as a soloist

with my orchestra once around every other year. I’d like to do a recital once every

year at the university [California State University, Northridge] but it just does not

happen due to scheduling. I do some masterclasses and usually do a solo

performance with those two to three times a year.

5. What are some of the reasons you feel compelled to perform solo trumpet

literature?

I’ve always enjoyed playing solo literature. It is fun for me to read music and

interpret it to learn about myself and my playing. Building programs that are

challenging and entertaining based off of themes in my mind is how I develop that

program. I feel compelled on a daily basis to be on top of my game so working on

my playing in an individual setting lets me know I’m playing in time, with a good

sound, in tune, consistently and if I’m producing what is supposed to be produced.

Solo literature highlights your strengths and your shortcomings so I always have

the thought when I’m practicing or playing that I’m performing so when I’m

home and it’s just me performing solo I use software to add accompaniment or

play along with prerecorded audio which helps me to put myself in that

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performance role and helps me stay obligated to pay attention to everything,

helping me be the best I can be.

6. When performing recitals, how do you decide on the type of literature to

perform? (Ex. Lyricism, technicality, endurance, style)

For the trumpet camp that I do in Dallas I usually have the same formula. I do

something flashy, maybe something on piccolo not necessarily baroque and

sometimes unaccompanied. I’ve tried to do pieces from different eras so I can

expose kids to different styles. A typical program would be baroque, classical,

contemporary or modern and then filling in the gaps. I like the idea of doing a

cornet solo and unaccompanied literature.

7. What are some of the aspects of solo performance that are vital to the

developing trumpeter?

Confidence, command of the instrument, knowledge of strengths and weaknesses

and playing towards them, consistency of sound and pitch, technical ability,

timing, endurance and intelligent programing. Those are all vital and the key to

me is to have a good sound. If you have a good sound and attitude you will work.

Where you work will depend on how proficient you are in all the different areas

of playing. You have to be able to cover the instrument and not have a bunch of

holes in your playing.

8. How does the preparation process for orchestral literature compare and

contrast to that of solo literature?

Orchestral literature is pretty much defined. You’re not going to play Petrouchka,

Pictures at an Exhibition or Leonora very differently than anybody else has. For

36

orchestral literature if you’re doing big bombastic works such as Mahler or

Bruckner you want to be able to pace yourself, know the piece well enough to not

miscount and know the section material as well if you’re in a position of

leadership or in a following role. I do a lot less preparation of orchestral stuff than

what I do on a recital and in solo playing because the process is usually more

taxing during a solo recital since you’re playing all the time. In many pieces (on

the orchestral side) you have a ton of rests and then you have to play hard, so to

get through that you have to make sure that you still have your stuff together by

the end of the piece. Major orchestras know what they are performing for the next

year, so they have time to prepare.

9. List some of the skills that develop from solo performance, which directly

affect one’s ability to be an orchestral musician?

I think one of the big ones is that “the sheets are pulled off” meaning there is

nowhere to hide when playing solo literature. If there are problems, they will be

heard and confidence shows. Confidence is a skill in solo performance and you

have to show conviction and command of your instrument to be successful in an

orchestral setting. Endurance for a recital is not the same as endurance for a

Mahler symphony or for a brass quintet but the more you can do the more

experience you have. If you don’t perform solos or masterclasses and you get

called to stand out in front of an orchestra from an orchestral standpoint it can be

devastating.

10. In regards to orchestral auditions, what role does solo literature hold?

37

Well in an audition you are playing by yourself so everything is a solo. Quality of

sound, good pitch, command of the instrument, conviction and confidence are all

on display during the audition. The role solo literature plays in the audition is that

it keeps you accountable at a pretty high level as correct as possible to the

composers wishes which is very important in orchestral literature as well.

11. What solo trumpet literature best displays the necessary demands of an

orchestral trumpeter?

Haydn, Hummel and the Honegger Intrada help to highlight how you sound as a

soloist. Pieces such as the Kennan and technical passages from the Halsey

Stevens are all great pieces that show the demands of the orchestral trumpet.

12. In regards to orchestral playing, what are the benefits to maintaining an

active solo career?

All these things tie together. If you’re required to play a solo whether it be a

recital or in front of an orchestra you’re a solo voice and you’ll be heard as such.

Standing in front and having your stage presence and confidence in place are also

beneficial. I think it’s a really good thing to be heard, have the confidence of

knowing you’ve done a good job and that being a soloist is fun.

13. Do you believe the preparation of solo literature has become equally

prominent to the preparation of orchestral excerpts in the orchestral

audition process?

No I don’t think so. There are people who do really well in orchestral auditions

who do not play in sections very well but play excerpts well. Preparation for solo

38

literature is preparation for playing the instrument, getting the nuts and bolts for

everything you do on a daily basis and having those all in line.

14. With organizations such as ITG spotlighting the soloist and the

commissioning of composers to write challenging trumpet repertoire, will the

demands of trumpeters change from an orchestral emphasis to a solo

emphasis or will both hold equal prominence?

No as they are still quite separate. The commissioning of literature for trumpet in

an orchestral and solo setting have different demands. They are too different to

say whether they will have equal prominence.

15. Lastly, what other insight would you like to provide in regards to the process

of creating a successful solo and orchestral career?

Both have the same nuts and bolts. You have to learn how to play the instrument

to the best of your ability with the most consistency and in my opinion the most

versatility. If you want to be an orchestral player and you find that you don’t want

to play pops then you don’t have to, but it will certainly benefit you. So I think the

insights would be to know yourself, know your limitations, your strengths, try to

be as consistent as you can in all those areas and build confidence and trust into

your playing. You have to constantly work and keep your mind open recognizing

that there is always room for growth.

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Appendix C: Recital Program

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