February 1, 2019

  • Engaging Music for Trumpet

     

    Great Southern Land: Australian Music for Trumpet
    Phillip Chase Hawkins, trumpet. Maria Fuller, piano.
    Gabriel Lefkowitz, violin.
    Andy Lott, trumpet. Tyler Simms, trombone.
    Navona Records 6199
    Total Time:  69:00
    Recording:   ****/****
    Performance: ****/****

    Trumpeter Phillip Chase Hawkins is a noted performer appearing throughout the country as soloist.  He is currently the Principal Trumpet of the Knoxville Symphony.  In this new release, he explores the music of Australian composer Brendan Collins.  He is a noted trombonist and clinician.  His music has been commissioned by many artists and organizations.  There are eight of his more recent works featuring trumpet featured on this release.

    The first three works might best be heard as a bit of lighter encore-type pieces.  The Concert Gallop (2010) has its footing firmly in 19th-Century descriptive music complete with a galloping horse motif.  The music takes its inspiration from the life of a famous outlaw bushranger known as Captain Thunderbolt.  A central section provides a moment of relaxed lyrical writing.  That particular style is what further informs the second piece on the album, a Serenade (2013).  It is a beautiful little work with a gorgeous melodic line and rich harmony.  Stomp (2015) was composed as a short contest piece to explore technical aspects and abilities of the trumpeter.  It has a decided Irish flair.

    Two multi-movement works for solo trumpet are also included.  First up is Collins Sonata for Trumpet and Piano (2015).  The opening “Chorale and Presto” features a lyrical statement by the trumpet against slow-moving open harmonies in the piano.  This gives way to a faster-paced with tinges of jazz syncopation and extended harmonies that also shift from more open intervals.  The brief central “Romp” is a quick exploration of the opening theme with some variation and interesting metrical shifts.  The final “Ethereal” explores of the trumpet’s lower register in a quite beautiful conclusion.  Here the slow-moving harmonies are given more forward motion in the opening bars offering a nice rest for the soloist and giving some interpretive opportunity to the piano.  References to the opening movement also occur here lending a cyclical structure to the work.  There is a great sense of wit as the thematic material presented earlier winks through the textures in the later movements.  In all it makes for an excellent addition to the repertoire.

    To provide a bit more variety to the program, there are three pieces that explore additional combination.  Two briefer works flank a concerto for two trumpets.  First is a Pastorale (2018) for trumpet and trombone which was originally a string orchestra piece.  Collins has adapted the piece for solo trombone and Hawkins requested this for the album which required its adaptation for trumpet and trombone.  It thus provides some aural variety to the release.  It is a moderately-paced work with nice dance-like qualities for the melody, almost like a little tango between the soloists.  It continues to exhibit Collins’ penchant for engaging melodies.  A Scherzo for trumpet and violin (2014) works quite well as a brief encore piece with folk-like rhythms and syncopations ending it a nice dance-like quality against the engaging thematic material.  At the center is a Concerto for Two Trumpets (2017) originally scored for wind ensemble.  Across the three movements, Collins explores classic wind band ideas that incorporate jazz styles, early band music, as well as those many Italian Opera transcriptions that were popular at the turn of the 20th Century for trumpet soloists.  The latter is what informs the exciting final movement with dazzling displays of virtuosity.  It is worth noting that the aural spacing of the two trumpets helps set up their placement aurally in the performance on this recording.

    The final work on the album is a 2011 Concerto for trumpet.  The work is an exploration of styles that begins in the first movement with references to Classical Period style though with a more modern sensibility in harmony.  The central movement is a further exploration of Collins ability at crafting beautiful lyrical lines but is also an important phrasing challenge for the performer as well.  The final movement requires a number of technical requirements that include special tonguing techniques, difficult trills and wide leaps.  It would be interesting to hear how this might be scored for orchestra at some point.

    Hawkins is an excellent soloist and this program is filled with music that has a tendency to be fully in modern, but with very accessible, often traditional Romantic, musical harmony and gestures.  Maria Fuller proves to be a perfect accompanist in tune with the phrasing and accented requirements of the piece matching the soloists well.  Collins creates many excellent melodic ideas that further draw the listener into these pieces throughout the album.  Imaging for the soloists works very well to delineate them in the sonic image with a rich piano sound captured as well.  As albums for trumpet go, this one is an excellent sonic achievement.