Reviewing the Arutiunian Trumpet Concerto

1. My recording of my ICP analysis

The beginning really had the Middle Eastern, Arabian sort of flair and expression. He makes it sound smooth yet powerful. The second section where the speed increases he has such facility with the speed of notes. The piece then moves into a slower lyrical section. When I listen to this section I think of love and how it sounds lovely yet sad and I think love can be like that often. This part he makes much more soft and romantic. It sounds so beautiful with the full orchestra.

The tempo resumes, with a recapitulation of the first fast tempo section.

I think when I will work on this piece the speed and many of the double tonguing passages will be challenging. Making sure you can hear every note on the page is key. I also want to work on using that larger vibrato. I think it would be fun and in this case would match the style.

The music for me has all sorts of emotions. I think there are points it does aggressive with power, then a energetic celebratory feeling, and also a romantic feeling. The romantic side is sweet sounding and sometimes a little sad as it sounds like its in minor, yet it still sounds beautiful.

A statement I would use to describe this piece would be, “The music captures the emotion of an Arabian city: the people, the majestic power, the excitement, the love around the city, and the danger of a large city.”

2.  Youtube Assigment

Timofei Dokschitzer with the Orchestra of USSR Bolshoi Theatre: http://youtu.be/B3ytWq8d3ds

Large variations in style and articulation. Dokschitzer took more liberties in the opening and the slower sections. He also used a much larger vibrato. It sounds really awesome and seems to fit the Arabian sort of style I am hearing. He will vary from smooth tonguing to what I would call harsh tonguing a lot. Very aggressive in the fast sections.

Andre Henry with the Tokyo Ondei Wind Ensemble: http://youtu.be/-TFIk-7CeUs

The fast sections are quite fast. I actually think this rendition sounds quite similar to Dokshcitzer. The vibrato is much smaller and Henry uses less liberty with tempo. Of course Henry's sound is gorgeious. I also notice less dynamic difference. The muted section is almost too quiet. I can barely hear him. I think people often forget than the mute is mostly for the effect. You must still project especially if you are the soloist.

John Parker with UNC Symphony Orchestra: http://youtu.be/B75BPO8t7CQ

I really love way John Parker does the opening section.  He just makes all the variations in speed of the passages sounds seamless and so connected. I like the style of tonguing in his rendition. It is not as harsh as Dokschitzer but more smooth and connected. I like how he performed too he looks pretty natural on stage. He nails all the centers of the pitches so you just get beautiful sound. Parker does make more errors in his performance than the previous performances discussed, but he seems to move on well. Parker used a cup mute instead of a straight mute in one of the lyrical sections. I enjoy the projection of sound of the slow, muted section much better. I don’t know if it’s better recording or just the soloist, but the muted section is more easily heard.

I feel that looking at myself as a performer I am not as talented technically. Right now I am trying to get my chops “back in shape” so my flexibility is poor right now. From what I have played, I play the opening with a little more drama and gusto. I think I play the beginning with a little more aggression. I think I still like that. I would like to obtain the smooth quality in other passages. I also really want to work on my artistry like they have. I would like to gain the easy and control of Parker's take on the opening and how he handled the muted section. I would like to work on a vibrato like Dokshitzer and the more smooth like quality in the fast sections like Henry.

3. Imagining the Performance from “The Performer Prepares: by Robert Caldwell.
My analysis of many of the sections. 

 

Musician

I want to be a scholarly type of musician. I would like to make people feel something

Performer

I would like to evoke passion and emotions in my performance. I like all different styles I like the authoritative and aggressive edge but I also like the soft, smooth, and emotive sections.

Peforming in general

I'd like to look professional, collected, yet with ease

This particular performance

I want to pass my jury! I would like to feel performed well learning these new pieces. I just want to feel accomplished. Also it will occur in the spring semester

Parts of the Performance

warming up: I will probably do what I always do. My mouthpiece exercises, Stamp, and some Chicowitz.

Walking out: with confidence

Greeting the audience: I think for my first piece I will not greet my audience. I may greet my audience after my first piece. I will walk off the stage each time

Preparing to play: I will take a clearing breath. I will also tune the first time I use each instrument

Playing: I'm still trying to figure out all the pieces. I will be doing the Arutiunian piece but I also want to do The Storyteller which collaborates with a violinist, piano, and off stage trumpet. We talked about doing an Aria with trumpet combination, but I would need to work with a vocalist and I don't know that many. The order I think I will work out as I begin to learn them.

leaving the stage: normal. Smile bow along with my accompaniest. And walk off while smiling

Intermission I will probably relax, joke, drink some water, and do some buzzing or low note long tones.

Self Analysis: Focus on Musicality

This week we started delving into the book The Balanced Musician by Lesley Sisterhen McAllister. Chapter 1 deals with "The Performer's Challenges." It discusses the idea of perfection versus artistry. Often we are drilled to technically perform a piece by hitting the correct pitches, playing the correct rhythms, etc. We often forget to make each piece a statement of our own views on the piece of music. 
The book asks us to reflect on ourselves as musicians.
1. "What are some positive adjectives to describe your personality in performance situations?" (14).
It depends on the situation personally. In group situations I am normally excited and ready to my best. In solo experiences, if I feel properly prepared and comfortable with the accompaniment then I feel completely confident. Every time I do a passage it's different in subtle ways from my previous practice, but I enjoy what I'm hearing from my instrument. Contrastingly, if I feel under-prepared then I do feel more nervous. Normally the accompaniment throws me off. I just remind myself that people want to see me succeed and that I know I have the ability to make it a musical moment. During my training as a musician it was always stressed to me to be as artist and focus on sound as much as possible because that is what is truly most important.

"Considering your weaknesses, write down specific adjectives that you can use in imagery that would represent your ideal self" (14).
Some of my weaknesses is counting/timing when it comes to pieces that change meter often. I end up rushing certain passages. An adjective I would choose to represent and ideal would be consistent or steady to relate to tempo and rhythm. A weakness is I often get thrown off by my accompaniment, so I should be confident and undeterred.

At the end of the chapter the book asks, "Why did you decide to become a musician?" and, "What do you see yourself doing in the future as a musician(?)" (19).
There a lot of factors to this. First off, my mother is a violinist and is a music educator. Music is something my family and my mom's side of the family really values. My grandfather immigrated from Italy and in their culture music was very important to their education. My mother's family did not have a lot, but all her sisters and many of cousins would have private lessons on an instrument. It seems like music comes naturally. When I was young I really just loved to sing. I would go to church and sing or sing along to the radio. Music was always around me and many varieties. I just enjoyed doing it. Then I found the trumpet and I feel like around high school I really started loving the sound and learning how to create my own sound and feeling to the music. Practicing became an experiment and an experience. I knew I wanted to continue studying music in some capacity. When JO called me my senior year of high school and I visited Miami I knew music was something I had to pursue. In the future, I see myself giving private lessons to students in the area I live. I hope to help them reach their goals in their own musical journey. 

Lastly, I am supposed to identify a piece to work on for my senior recital. I actually don't have my whole repertoire planned and the piece my professor wants me to work on currently would be Arutunian Trumpet Concerto.