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they would have known how to interpret what was presented to them beyond the written page. With that compositional skill, consideration will also be given to the technical demands Martinu places on the tonguing, endurance and the ensemble skills required to mesh with a group of instruments of no comparable quality of timbre. As a concluding statement, reference will be made to the his music. There is little doubt that Paris and the abundance of new ideas within the culture of that city played a large role in his choice of early jazz idioms and, in all likelihood, the choice of the trumpet as a lead instrument in his display of those ideas. David Sager, Library of Congress, Washington, DC Using the late nineteenth century as a point of reference, “Louis pedagogy on the earliest generation of New Orleans cornetists to become know as jazz musicians. “Tonation” is a term common to the early New Orleans jazz musicians, a variant on “intonation” but encompassing tuning, accenting (how one may intone something) and tone quality. Many remnants of 19th century musical sensibilities are heard in early jazz. Much of what was expected from vocalists and violinists in terms of ornamentation as well as phrasing and sense of line came to be characteristics used on all melody instruments, and due to its extreme popularity, especially the cornet. Recorded examples of Johnson, Levy and Armstrong that demonstrate phrasing, ornamentation, and general “tonation” will be presented. Gunther Schuller Receives 2005 HBS Christopher Monk Award positions, teaching, horn playing, and, in particular, ground-breaking early-jazz scholarship that has brought deeper understanding of the great brass players in jazz, Gunther Schuller was the recipient of the 2005 Historic Brass Society Christopher Monk Award. 2005 marked the 80th year for Schuller. He was a horn prodigy having performed with the likes of Toscanni at the age of 16 and was appointed to the position of principal horn in the Cincinnati Symphony Orchestra at the age of 18. He was also the principal horn of Metropolitan Opera Orchestra and participated in many jazz recordings including the ground-breaking Miles Davis recording, Birth of the Cool. Gunther Schuller went on to have a remarkable and diverse musical career as college administrator and, perhaps of greatest interest to the HBS, a researcher and writer on many early jazz topics. His books, Early Jazz: its Roots and Development and The Swing Era, are considered seminal have extended our understanding of many great brass jazz players. recent involvement that the HBS has had in early jazz brass scholarship. Dr. Schuller was presented with the Christopher Monk plaque Past Christopher Monk Award recipients have been: Edward Tarr, Herbert Heyde, Keith Polk, Mary Rasmussen, Hermann Baumann, Bruce Dickey, Stewart Carter, Trevor Herbert, Renato Meucci, and Crispian Steele-Perkins. It is something that may never be fully resolved- Bunk Johnson (1889-1949), a professional cornetist in the city of New Orleans during the early 1900s and his claim to have taught young Louis Armstrong. When Johnson was brought out of re- claims and refuted the claim. It was “tone” only that Louis Armstrong claimed to have gotten from Bunk Johnson. The fact that Louis and Bunk seem to share a penchant for pretty melodies and a ripe, full sound, should not surprise. These two players shared something musical, if not a student-teacher relationship- that is the common regard for professional performance practices of the cornet that were in vogue from the 1880s until about 1925, the year which Louis began to change things so drastically with the Hot Five recordings. Jules Levy, Sr. (1838-1903) was a “super-star” of the entertainment world during the 1870s and 80s. was immense. Although his recordings were made when he was past his prime, they do hold more than a bit of old world charm. His stylish phrasing, elegant ornamentation and singing tone remained intact till the end. Robert Pyle and Gunther Schuller 16 | HISTORIC BRASS SOCIETY NEWSLETTER - WINTER 2005
Seventh Maryland Early Brass Festival The Seventh MEBF was held at Goucher College on April 9th, 2005. Approximately forty participants attended the day-long event, which began with a trumpet masterclass conducted by festival Artist-in- Residence Barry Bauguess. Informal playing sessions continued throughout the day as the various ensembles decided on pieces to lecture entitled, “The Cornett as a Symbol: from the Supernal to the Infernal.” This was followed by a roundtable discussion conducted by Bauguess and Frank Owens, the director of the Centennial High School Natural Trumpet Ensemble, on the merits of and approaches to teaching natural trumpet to high school students. The festival concert included a number of ensembles. The Maryland Early Brass Consort with baroque strings started off with a serenade by Vejvanovsky. The festival cornett and sackbut ensemble presented Old Guard Natural Trumpet Ensemble, who performed CPE Bach and Senee fanfares on a set of eight matched Collier instruments. The for this same prince). Bill Page and Stan Curtis presented a number of short bicinia, and Bauguess and festival director Elisa Koehler continued the Moravian theme with music of Biber, Rittler, and Vejvanovsky. The festival trumpet ensemble presented a twelve-part sonata from the Charamela real and ended the concert with an 18-trumpet version of Jamie Davis awaits his turn as Elisa Koehler is coached by Barry Bauguess. The next MEBF is scheduled for April 2nd, 2006. Information is available at www.goucher.edu/earlybrass. Roundtable with Bauguess and Fran Owens. Maryland Early Brass Consort (with orchestra). HISTORIC BRASS SOCIETY NEWSLETTER - WINTER 2005 | 17
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18 News - Historic Brass Society

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