ITG Conference 1986, London

John Wallace, principal trumpet of London’s premier orchestra, the Philharmonia, was to most delegates the star of the conference. He appeared in many guises — as third trumpet in the mock orchestral trial competition, as leader of the magnificent Wallace Collection of trumpeters, as leader of the Equale Brass and in a solo recital of electronic music. His presence gave distinction and humour to each and it was his flexibility and sheer virtuosity which endeared him to all.

There were a number of ensembles at the conference and the best conclusion to be drawn is that ensembles, more so than players, cannot be compared. As a brass quintet, the Equale Brass demonstrated the greatest sense of ensemble while the Paris Trumpet Quintet were able to present with great conviction a scintillating and demanding programme. More popular ensemble performances came from the Chicago Brass Quintet and the Fine Arts Brass Ensemble, both of which seem to have learned from Canadian Brass that entertainment can be as appreciated as performance.

The student competitions were slightly disappointing, revealing a standard which was adequate but uninspiring. Three competitions were held — a mock orchestral trial, jazz improvisation, and a solo competition.

Most of the trumpet makers were present, but there were no bargains! The assembly under one roof of so many manufacturers did however provide a unique opportunity for comparison, and especially to test new instruments. Some makers still adopt the naive and curious technique of selling a trumpet by claiming that it is similar to one used by a celebrity. It is fortunately no longer true that the best trumpets are the most expensive, and it is clear that competition is forcing the standard to be raised. Of particular interest as new instruments were the A & R trumpets, the Richard Smith trumpets, and the Pro-Brass baroque trumpet, designed by Crispian Steele-Perkins.

The absence of famous names was at first an irritation, but on reflection probably contributed to a more balanced and interesting week. One criticism which must be recorded is that there seems to be more interest in quantity than in quality. What can the value be of a fifty-trumpet arrangement of the “Dies Irae” from Verdi’s “Requiem”, and is it not far more elevating to listen to Gaeton Berton’s Enesco, or Hardenberger’s Henze? The habit of many trumpeters to avoid thoughtful musical discussion is one which of course occurs everywhere, and in this sense the conference was an accurate reflection of the state of the art of trumpeters, and their interests.