I’ve been getting ready for a recital–but in this pandemic, it will not be a live recital. Just video-recorded. Nevertheless, I have to prepare. Here is a video clip of me working on the first movement of J.S. Bach’s Cello Suite No. 1 (arranged by Ralph Sauer and now conveniently in concert B-flat!). From a trumpet perspective, the suites provide a wonderful opportunity to play lots of slurs.
Today is Martin Luther King, Jr. Day, and this great man said, “Music is the best consolation for a despaired man.”
There are not many African-American classical composers. And of those who wrote for the trumpet, very few. I am familiar with the great Ulysses Kay, who wrote Tromba for trumpet and piano and Three Fanfares for Four Trumpets. There is also Frederick C. Tillis, who wrote a piece for piccolo trumpet and piano called Spiritual Fantasy. The amazing contemporary black composer, Tyshawn Sorey, has written an unaccompanied trumpet piece called “For Peter Evans (Apologies for the Brevity).”
American composer, Adolphus Hailstork
But as far as I am aware, the most prolific African-American composer for the trumpet is Adolphus Hailstork. He wrote Concertino for trumpet, Four Hymns without Words, Sonata for Trumpet all for trumpet and piano. Also, he wrote a brass quartet, Bagatelles for Brass, and a brass trio, Ghosts in Grey and Blue.
He also wrote a wonderful unaccompanied piece called Variations for Trumpet. I learned about this piece and most of the others mentioned on this post by the great Howard University trumpet teacher and jazz band director, Fred Irby, III. I did a live recording of this piece today. I think you’ll agree that this piece, while challenging for the trumpeter, can be a great consolation to perform.