Overview of the Project:
UPDATE:
**It is official!! The Trumpet Repertoire Project has been fully funded as of the spring of 2018 thanks to the one of the University of Utah's prestigious Dee Grants. The composers and Dr. Shelton have officially began collaborating on the new works, and will be releasing updates on their progress very soon!**
** A huge thank you to all who helped make this possible! **
** A huge thank you to all who helped make this possible! **
GOAL:
The primary goal of this project is to commission NEW WORKS that not only represent the voices of modern American composers, but to have these works provide viable additions to the common performance repertoire for collegiate-level students. These works are not meant to replace pieces in our standard repertoire, but rather add a refreshing crop of new modern works that will encourage growth and musical development of young performers.
Once these pieces have been commissioned, these will be recorded and released on a CD. This enables students to gain a better understanding of the compositions, and to encourage more students to study and perform these new additions to the repertoire.
BACKGROUND:
In the late 1940's, the National Association of Schools of Music (NASM) began a commissioning project to help to fill a gap in collegiate brass repertoire. This project produced several works, specifically for the trumpet, that have become staples in the common performance repertoire. These works represented the American compositional voice in a time when repertoire was limited for certain instruments.
A similar scenario had occurred at the Paris Conservatory since the late 19th century. Each year, composers would create new works for instrumental studios that would then be used as graded performance pieces. This meant that each member of a given studio would perform that new composition for a grade. The act of composing new works each year, or Concour Pieces, went on into the late 20th century. A large portion of the standard repertoire for trumpet and piano has come from this annual event at the Paris Conservatory.
Since the 20th century, many newly composed works have made their way into the common performance repertoire for trumpet. Many of these compositions contain valuable elements that help solidify their place in the standard repertoire, but few exhibit all three characteristics that enable them to thrive in both collegiate and professional repertoire. This project will allow a new wave of repertoire for the trumpet that embodies the modern American voice, and reinforce the musical and technical aspects of 19th and 20th century Solo de Conours.
The primary goal of this project is to commission NEW WORKS that not only represent the voices of modern American composers, but to have these works provide viable additions to the common performance repertoire for collegiate-level students. These works are not meant to replace pieces in our standard repertoire, but rather add a refreshing crop of new modern works that will encourage growth and musical development of young performers.
Once these pieces have been commissioned, these will be recorded and released on a CD. This enables students to gain a better understanding of the compositions, and to encourage more students to study and perform these new additions to the repertoire.
BACKGROUND:
In the late 1940's, the National Association of Schools of Music (NASM) began a commissioning project to help to fill a gap in collegiate brass repertoire. This project produced several works, specifically for the trumpet, that have become staples in the common performance repertoire. These works represented the American compositional voice in a time when repertoire was limited for certain instruments.
A similar scenario had occurred at the Paris Conservatory since the late 19th century. Each year, composers would create new works for instrumental studios that would then be used as graded performance pieces. This meant that each member of a given studio would perform that new composition for a grade. The act of composing new works each year, or Concour Pieces, went on into the late 20th century. A large portion of the standard repertoire for trumpet and piano has come from this annual event at the Paris Conservatory.
Since the 20th century, many newly composed works have made their way into the common performance repertoire for trumpet. Many of these compositions contain valuable elements that help solidify their place in the standard repertoire, but few exhibit all three characteristics that enable them to thrive in both collegiate and professional repertoire. This project will allow a new wave of repertoire for the trumpet that embodies the modern American voice, and reinforce the musical and technical aspects of 19th and 20th century Solo de Conours.
PEOPLE INVOLVED:
Like any project, the final outcome of any collective effort is dependent on the quality of the individuals working together. This project is brings together several outstanding American composers whom have made their unique mark on the musical world. Read more about each composer involved below.
Like any project, the final outcome of any collective effort is dependent on the quality of the individuals working together. This project is brings together several outstanding American composers whom have made their unique mark on the musical world. Read more about each composer involved below.
|
Dr. Daniel Temkin has been writing music since age 13, and his work has been supported by awards and fellowships from ASCAP, BMI, Earshot, the American Composers Forum, the Theodore Presser Foundation, and others. Daniel has received fellowships from the Aspen, Fontainebleau, and Brevard Music Festivals, and he has been featured as Composer in Residence with Chamber Music By the Bay (San Francisco) and Music From Angel Fire (New Mexico). Daniel’s orchestral music has been performed by the Nashville Symphony, the St. Petersburg Chamber Philharmonic, the Buffalo Philharmonic, and the Aspen, Curtis, USC, and Rutgers Symphony Orchestras. He has received commissions from the Rock Dance School, the Markow-Totevy Foundation, the Lyra Harp Society, Music From Angel Fire, and private donors. Daniel has also written works for the PRISM Saxophone Quartet, Nonsemble 6, and the Grand Air piano trio. Originally a percussionist, Daniel has performed professionally and at festivals under conductors David Zinman, James Conlon, Leonard Slatkin, and others. He is also featured on recordings with Naxos and Albany Records. Daniel holds degrees from Rutgers (BM), New England Conservatory (MM), and the Curtis Institute of Music (AD). He has taught at each of those institutions, as well as at the Brevard Music Center, and he has presented dozens of guest lectures, outreach concerts, and workshops at universities, K-12 schools, and public venues throughout the U.S. Daniel is currently completing his DMA at USC’s Thornton School of Music under the tutelage of Stephen Hartke and Donald Crockett. More information can be found at: www.danieltemkincomposer.com/ |
|
Born in 1978 in Blackwell, Oklahoma, Dr. Daniel Baldwin is quickly becoming one of the most highly sought after and widely performed composers in the world today. His music has been described as "epic", "refreshingly beautiful", "gorgeous and moving", and "beautifully inspired" by critics around the country. He is an award winning composer who has been commissioned by performers from the top orchestras in the world to include the New York Philharmonic, Chicago Symphony, and National Symphony Orchestra, among others as well as prestigious ensembles to include the Lincoln Symphony, Tulsa Symphony, Los Angeles Philharmonic, and the West Point Band. His music has been presented on National Public Radio, in prestigious venues around the world such as Carnegie Hall, the Walt Disney Concert Hall, and the Oklahoma Jazz Hall of Fame, on hundreds of University stages around the world, and at National and International conventions around the world to include the Masterworks Festival, Midwest Clinic, MENC National Convention, Kansas Bandmasters Convention, and at the International Festivals of the associations of Clarinet, Horn, Trombone, and Double Reeds, among others.
An international composer, his music has been performed around the globe in Canada, Italy, Germany, Japan, China, Belgium, and Australia, just to name a few. His music is published exclusively by Imagine Music Publishing, through which he is the editor of a band/orchestra/choir series titled "The Pathways Series". A frequent guest conductor, he has conducted honor bands across the Midwest and double reed festivals across the country. He has conducted ensemble recitals at the Society of Composers Region VI conference (Rice University), the International Double Reed Convention (New York University and the University of Arizona), and the International Horn Symposium (the Colburn School). He holds the degrees of Bachelor of Music in Education from Northwestern Oklahoma State University in Alva, OK, Master of Music in Composition with an emphasis in Wind Band Conducting from Kansas State University, and a DMA in Composition with an emphasis in Orchestral Conducting from the University of Nebraska in Lincoln. His primary composition teachers include Eric Richards and Craig Weston as well as additional studies with Max Ridgway and Eric Ewazen. His primary conducting teachers include Michael Knedler at NWOSU, Frank Tracz at Kansas State University, and Tyler Goodrich White at UNL. More information can be found at: www.danielbaldwincomposer.net/index.html |
|
Nicole Piunno (b. 1985) is a composer who views music as a vehicle for seeing and experiencing the realities of life. Her music often reflects the paradoxes in life and how these seemingly opposites are connected as they often weave together. Her harmonic language and use of counterpoint mirrors the complexity of our world by acknowledging lightness and darkness, past and present, beauty and brokenness, confinement and freedom, spiritual and physical, life and death.
Nicole holds a Doctor of Musical Arts degree in composition and a Master of Music degree in theory pedagogy at Michigan State University. Her composition teachers were Ricardo Lorenz and Charles Ruggiero. She earned a Master of Music degree in composition at Central Michigan University, studying with David Gillingham. She has also worked with Jason Bahr, David Ludwig, and Tony Zilincik. Nicole earned a Bachelor of Music degree in Music Education from Ohio Wesleyan University, where her emphasis was on trumpet. She has performed with the Central Ohio Symphony Orchestra and appeared as a soloist with the Ohio Wesleyan University Chamber Orchestra. Her music has recently been performed by the Principal Brass Quintet of the New York Philharmonic, Athena Brass Band, University of Akron Faculty Brass Quintet, and the Michigan State University Symphony Band. Her music has also been performed at the Orvieto Musica TrumpetFest in Orvieto, Italy, the OWU/NOW Festival of New Music, the Women in Music-Columbus concert, the SCI Student National Conference, and multiple International Trumpet Guild Conferences. |
|
Bryce Owen (b.1986) is a freelance composer and tubist in the Northern Virginia/Washington D.C. area. He is a Virginia native raised in the mountainous south-western region of the state where, when he wasn’t playing or writing music, he enjoyed spending most of his time outdoors. Before he became immersed in music, he developed skills in free hand sketching (particularly of characters and perspective landscapes) and claymation, and once entertained the idea of becoming a commercial animator. Music, however, became his ultimate calling. Bryce received his Bachelor of Arts degree in Music from Virginia Tech and his Master of Music degree in Composition from George Mason University.
Bryce began his musical career as a teenage drummer with absolutely no coordination. Indeed, he reconstructed his grandfather’s vintage Ludwig drum set so that he could play left-handed, even though this was his non-dominant hand. With this seemingly harmless gesture he had already garnered a certain degree of skepticism as a musician though he hadn’t yet learned to read a single note. Bryce’s formal education in music began by accident in high school where he took up trumpet during an inaugural “introduction to instrumental music” course in the wake of a more desired class that had reached maximum capacity for the semester. Thankfully, this turn of events only served to reinforce his love for music, and offered boundless opportunities for growth in the field. Bryce claimed tuba as his primary instrument late in his first year of high school, although he gained efficiency in all brass instruments along the way. He also continued to discover performance outlets as a percussionist. As a composer, Bryce draws influence from any form of music that simply feels right, regardless of genre, style, historical period, or performance medium. He holds that Duke Ellington said it perfectly: "If it sounds good, it IS good." There is no better way to enjoy an artistic creation than to let it speak to you, intimately, and draw you completely into it. Bryce hopes to instill this same mindset in anyone who listens to his music. He has written original works for wind band, sax quartet, solo performer and piano, chamber chorus, tuba duet, and chamber ensembles with varied instrumentation. In addition to his original works, Bryce has spent several years refining his arranging and orchestration skills by writing customized marching band shows for a number of east coast band programs, as well as arrangements and transcriptions for brass ensemble and wind band. You can find examples of his work on his Soundcloud page: https://soundcloud.com/tubala86. Bryce is the Student Services Manager at Levine Music in Washington D.C. and serves as a low brass clinician for Arlington Public Schools in Arlington, VA. |