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Behind the Scenes

The Sonata for trumpet and strings (or piano)Premiere Project

Contributed by the Composer andMembers of the Consortium

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Robert J. Bradshaw

Behind the Scenes:The Sonata for trumpet and strings (or piano) Premiere Project

Contributed by the Composer and Members of the Consortium

Trumpet soloists throughout the United States of America began a premiere project in November, 2003, withperformances in Alabama, Alaska, Arizona, Arkansas, California, Colorado, Connecticut, Delaware, Florida, Idaho,Illinois, Iowa, Kansas, Louisiana, Maine, Maryland, Massachusetts, Michigan, Mississippi, Missouri, Montana,Nebraska, Nevada, New Hampshire, New Jersey, Ohio, Oklahoma, Pennsylvania, Rhode Island, South Carolina,South Dakota, Texas, Washington, Wisconsin and Wyoming. Performances also quickly spread around the world toIreland, England, Scotland, China, Singapore and South America. “What a project!” Edward Reid [Associate Pro-fessor of Music (trumpet), University of Arizona] “Who would have thought it possible? Robert’s Herculean effortto compose this wonderful piece, promote its performances worldwide and then to receive the accolades he has, isamazing. The piece’s vigor reflects the energy within this composer. I am thrilled to have been included in theArizona aspect of this spectacular undertaking.” Reid’s comments are indicative of the enthusiastic atmosphere thatsurrounded the premiere. Many soloists expressed the sentiment that they felt the project provided a uniqueopportunity to support new music.

Sonata for trumpet and strings(or piano) was composed byRobert J. Bradshaw in January,2003. “I continued to edit thework throughout the Spring aswell” explained Bradshaw,“most notably by expandingthe fourth movement to pro-vide additional rest for thesoloist.” After several revi-sions, the final publication wasreleased during the 2005International Trumpet Guild Conference, hosted byMahidol University College of Music, held at theGrand Hotel, Bangkok, Thailand.

ABOUT THE COMPOSITION

Sonata opens with the mournful sound of mutedtrumpet playing the melody from movement III. Asthe trumpet sustains a single note, the accompani-ment explodes with a fast-paced and dance-likerhythm reminiscent of twentieth century sonatas wellknown to trumpeters. The shifting meter providesboth a “bouncy” rhythmic feel and, at times, eitherholds the beat back or propels it forward. Thetrumpet introduces several contrasting thematicmotives that are developed throughout the movementending with a brief recapitulation of the main theme.The coda, with its fiery ascending unison line,consists entirely of elements presented earlier in themovement - including an abrupt ending based onmeasure 54.

Keith Thompson [Principal Trumpet, Eau ClaireChamber Orchestra] writes of movement I, “Themelodies are driving and angular, yet familiar at thesame time. This is not music just for academia. It’smusic to be appreciated and enjoyed. But, this is nottraditional harmony. There isn’t a triad to be foundanywhere in the piece, but it still has a beautiful ringof familiarity to it [discussed below]. The stringsaren't just hanging around in the background puttingtogether pretty chords to support the trumpet. It’s atruly collaborative effort amongst all players.”

Movement II is frequently described as pointalistic.In this movement, Bradshaw steps away fromstandard trumpet writing. Eric Berlin [Artist -Teacher of Trumpet, University of Massachusetts]writes, “The second movement is especiallyenjoyable. To me, it feels like gazing into abeloved’s face contentedly with the occasional heartflutter that such gazing can produce.” Lacking atraditional melody, small fragments of sound aretraded between the trumpet and accompanimentproducing a very open and seductive counterpoint.

Movement III (“not to be performed too slowly,”remarks Bradshaw) can aptly be described as hymn-like. A single melody is presented several times:first by the trumpet; secondly by strings or piano; andfinally with a trumpet countermelody. After brieflyreturning to the theme near the end, the trumpet risesto a high “C”. Many soloists have mentioned thatafter holding this long fermata, the last two measuresappropriately sound like “Amen”.

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“The third movement is quite simply beautiful,”states Thompson. “The flowing, jazz inspired melodybegins with a soft mute, giving it a sweet and serenetexture. As the strings take over, the trumpetswitches to harmon for a reflective, distant sound.Open trumpet reprises the melody as it grows to alarge climax and quiet release…stunning.”

The final movement (IV) begins with a boldstatement of the main theme from movement I. As inthe beginning, the accompaniment explodes under asustained trumpet tone into a virtuosic finale in ABAform. The A section focuses on double tonguing andshort repeated motives. The B section is in half-timeand presents a new theme that floats over punctuatedeighth notes that serve to remind the listener of theoriginal tempo. The final A section is almostreckless in its conversation between the instrumentsand becomes increasingly “dangerous” until “endingabruptly as if dangling over the edge of a cliff,”writes Thompson. Then, without warning and inhonor of the noble quality of the trumpet, themajestic fanfare from the beginning of the movement“is reprised to pull everyone back into their seats fora powerful closer.”

Although the composition gives the appearance oftonality to the listener, the performer will find themusic rather chromatic. This is due to the fact thatSonata is not based on diatonic scales. In place ofstandard scales and triads, a four-note pitch setconsisting of one half step (1) and two whole steps(2) forms the harmonic basis of the work. Bradshawfrequently employs this tetrachord, and similar threeto five note sets, in his compositions (examples ofwhich date back to his study during college. StillWater and My Thoughts I for piano, written in 1993,represents Bradshaw’s first strict use of a pitch set).

The half step may appear in any of three possibleplaces: 2/2/1 (C, D, E, F); 2/1/2 (C, D, Eb, F); or1/2/2 (C, Db, Eb, F). However, it is usually restrictedto the primary order and its inversion except in worksspecifically designed around 2/1/2. In someinstances, the work sounds as if it is quickly modulat-ing through keys as each measure or area focuses on

a particular set beforemoving on.

The excerpt from thescore (left) illustratesBradshaw’s use of pitchsets. Follow the de-scending lines, focusingon the string parts,measure by measure.Each grouping of fournotes spells a particularpitch set: 80 - F#, G#,A#, B (2/2/1); 81 - A,B, C#, D (2/2/1); 82 - E,F, G, A (1/2/2); 83 - B,C#, D#, E (2/2/1); 84 -G, A, B, C (2/2/1); 85 -Bb, C, D, Eb (2/2/1); 86

- D, E, F#, G (2/2/1). The harmonic structure of theentire work is based on these types of sets. At timesthey may shift quickly and at others more slowly -just as chords move in tonal works. The greatestdifference being that this particular set constructiondoes not contain a tritone and therefore, there can beno V7 - I relationship. Unlike some modern compos-ers who retain their harmonic devices throughout awork only to end with a major or minor chord, onceBradshaw defines a set there is no deviation from it atany time. However, it should be noted that two latercompositions contain a passacaglia and pedal tonespecifically employed to obscure the presented set.Presently, these devices are not common elements toBradshaw’s music except when used within theharmonic framework defined for the composition.

Robert’s Sonata is a breath of fresh airfor the trumpet repertoire and is sureto become a staple in the literature!There is a delightful dialogue betweentrumpet and piano that is enjoyablefor both the performers and audiencealike."

- Rolf OlsonUniversity of South Dakota

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ABOUT THE PROJECT

Bradshaw, a freelance composer working frompicturesque Gloucester, Massachusetts, developed theidea for the project when a grant opportunity forwhich he was applying collapsed. “I had recentlybegun teaching trumpet at Gordon College and wasinspired to write for the instrument. I made plans tofocus my efforts on a composition for trumpet duringthe winter break. I enlisted the help of four friends inwriting a grant to fund the piece. All was movingalong smoothly until I was notified of a requirement,not published in the documents I had received, whichdisqualified my project. At this point, and due to thefact that I had been assured my project was ‘perfect’for funding, I had devoted a great deal of timecomposing. Determined not to let the projectcollapse too, I decided that I would attempt to exceedthe scope of the original grant and have it performedthroughout America.”

It was a daunting project. Robertquickly learned that maybe it was alittle too daunting. Through diligenteffort, he involved players in manyareas of the country.

- Keith Thompson

BUILDING THE CONSORTIUM

“With his internet mail campaign, Robert Bradshawwas able to generate an unprecedented number ofperformances of a new work in a very short period oftime.”

Mark V. Flegg21st Century Trumpet Solos: How Three Composers

Introduced New Trumpet Works to the Trumpet Community

As is usually the case, moving from idea to practicalapplication proved to be a very large step. Whenasked how he built the consortium, Bradshaw’sresponse is always immediate: “Email!” He utilizedthe Internet to research and contact trumpet soloists.Bradshaw admits that he was surprised by theresponse to his emails, “Many musicians immediatelyresponded to my inquiries and the project began togrow quickly.” In an interview for an October 2003press release Dr. Gilbert Cline [Professor of Music,Humboldt State University] stated: “This piece isreally fun to play. It is fresh, contemporary, viva-cious and full of life. It's also very modern and fullof rhythmic complexity, but it's easy to listen to.”Cline decided to perform the piece without first

hearing it and chose to participate in the projectbecause it was so unique. “You have to take a chancewith new music.”

Soon it became apparent that even though theexperience emailing musicians was positive andsuccessful, Bradshaw would not be able to completethe project’s goals simply through email. A trip tothe 2003 ITG Conference, held at Texas ChristianUniversity, would fill that void and expand theproject exponentially. About a week before theConference, several trumpeters strongly suggested toBradshaw that he should attend. Heeding theiradvice and just days later, Bradshaw found himselfon a plane to Texas with no idea what to expect. “Atfirst, I was unsure how to proceed so I did whateveryone else was doing, I went to the events.Having played the trumpet since fourth grade, Ienjoyed every moment.” Bradshaw then began tointroduce himself to people he had contacted.

First, he checked the program to see if he recognizedany names, and attended specific events in the hopesof meeting them in person. “In fact,” remarkedBradshaw, “this is how I met James Ackley[Assistant Professor of Music - Trumpet, Universityof Connecticut]. James was chair of the MockOrchestral Competition. Immediately following thecompetition I went backstage and introduced myself.As I was leaving, James called after me and said he’dplay the piece.” Ackley performed the Connecticutpremiere of Sonata, South American premiere withthe Orquesta de Cuerdas Facultad de Música de laCorpas in Colombia, and at the 2004 InternationalTrumpet Guild Conference at the Lamont School ofMusic, University of Denver, Colorado. In additionto performing the composition, he has also recordedthe Bb version with piano for his upcoming CD.

Between events, Bradshaw even resorted to standingon staircases and watching people’s name cards asthey passed. “I just stepped right up to everyone andintroduced myself. They must have thought I wascrazy! I have to admit it was extremely difficult. Iam usually a very quiet person - sitting at mycomputer for countless hours every day. Corneringpeople all day long was grueling, but I didn’t let thatstop me! I continued meeting people all week. Itwas in this way that I met Eric Berlin.” Whenapproached, Berlin remembered being contactedabout the project and agreed to review Sonata. Heparticipated in the Premiere Project by performingthe work in recital with Nadine Shank in BezansonRecital Hall at the University of Massachusetts,Amherst Campus.

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It should be noted, that the 2003 ITG Conference wasalso the catalyst for four additional works fortrumpet:

1) Out of the Quiet - fortrumpet in Bb (andflugelhorn) and percus-sion. Purely by chance,Ivano Ascari [Professorof Trumpet, Riva delGarda State Conserva-tory of Music, Italy] andBradshaw met on thesidewalk outside of the2003 ITG Conference. Bradshaw had attendedAscari’s recital earlier in the day and wasdelighted to have the opportunity to speak withhim. Not long into the conversation, Ascariasked Bradshaw if he would be interested incomposing a piece for his upcoming CD(Ascari’s fifth CD of new music for trumpet). Hehad two requests; that the composition be writtenfor trumpet and percussion, and that the work beinspired by “interesting” program notes. Bothideas sounded great to Bradshaw. Bradshaw’swife, Lori, is a South Carolina native, so hedecided to research the state’s history for aprogrammatic element for the work. Governmentdocuments concerning the Battle of Camden onAugust 16, 1780 (during the AmericanRevolutionary War) caught his attention andinspired Out of the Quiet. Ascari recorded andreleased the work on his CD titled, NuoveMusiche per Tromba 5.

2) Ozymandias – for trumpet and orchestra or organ.Dr. Jean-Christophe Dobrzelewski and Bradshawmet while perusing the sheet music bins at the2003 ITG Conference. With music in hand,Dobrzelewski and Bradshaw discussedcollaborating on a new composition for trumpetand organ. They researched poetry for aprogrammatic basis for the composition andselected Percy Bysshe Shelley's masterpiece,“Ozymandias”. Ozymandias, was recorded andreleased on Dobrzelewski’s latest CD, TriptyqueRenewal.

3) Statements, Commanding; statements made bythe Presidents immortalized in the sculpture ofMount Rushmore - for trumpet or violin,violoncello and piano. Written for the OrenunnTrio and the Contemporary Music Festival atWichita State University.

“I have had the privilege of working with Roberton two projects so far, and hope to have manymore opportunities in the future. I believe thatRobert is one of a rare breed of living composerswho is able to blend innovation with audienceappeal. I was a part of the Sonata PremiereProject as well as giving the world premiere

performance of Statements, Commanding atBlack Hills State University near MountRushmore. In both cases, the compositionsprovided an exciting experience for both theperformers and audiences. My trio, OrenunnTrio, has performed Robert’s works in the UnitedStates, South Korea, and Thailand, and I thinkthat both Sonata and Statements, Commandingare works that carry the traditions set forth byAaron Copland by incorporating elements ofAmerican music in a unique and forward lookingstyle that is his own.

Statements, Commanding is a wonderfulcomposition that challenges the performerstechnically and musically. Robert skillfullyweaves the trumpet, cello, and piano in and out oftextures to create a piece that sets new standards

for living composers tothink outside the boxin a way that appealsnot only to the musi-cian, but also to theaudience. This pieceis a true chamber en-semble work, in thatno single instrumentcarries the entire com-position. Each personmust be up to the task,as the work is only

truly heard when all three members are in syncand working as one instrument. The OrenunnTrio performed this work at the 2005International Trumpet Guild Conference inBangkok, Thailand as the culmination of theiroverseas tour, and the audience responded withoverwhelming applause at this great triumph inchamber music. Both Sonata and Statements,Commanding are worthy of many, many moreperformances, and I would not be surprised to seethem become staples in chamber musicliterature.” - Mark Boren

4) Arboretum: for the conser-vation of our world - fortrumpet (in C, flugelhornor trumpet in Bb andpiccolo in A) or tromboneis available for perform-ance with: chamberorchestra; piano quintet; orwoodwind quintet andpiano. Bradshaw com-posed this four movementwork for Richard Stoelzel.Arboretum has been pro-grammed on the New Music Concert 2: Trumpetin Chamber, 2006 ITG Conference, RowanUniversity - Richard Stoelzel, trumpet and theRowan Faculty Woodwind Quintet.

Richard Stoelzel

Ivano Ascari

Orenunn Trio

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BUILDING THE CONSORTIUM (cont.)

After the conference, Bradshaw worked even harderto build the consortium, putting all other work onhold for months. He emailed soloists, mailed copiesof the composition and called every trumpeter hecould find. Once the summer rolled around, itbecame more difficult to contact people by email, sohe began to focus on the actual event. Having spenthis savings on travel, printing piano scores andtrumpet parts, he no longer had any funding tomarket the event. “It was time to come up withanother creative way to contact people and get theword out.”

Sonata is an exciting work with lots ofaudience appeal. It is challenging forboth the soloist and pianist – and wellworth the effort!

– A. Keith AmstutzUniversity of South Carolina

“At this point, things started to move very quickly soI am not sure exactly what order each of the nextevents happened. Probably all at the same time (atleast it felt that way!).” remarked Bradshaw. Hisfirst thought was to release a recording. “I knew thatit was a long shot [to get a recording so quickly] but Ifigured I would try anyway. Very generously, EricBerlin and Nadine Shank agreed to learn and recordthe work in August [2003].” They grantedpermission to post the recording on Bradshaw’swebsite. “It was a huge boost to the project!”Bradshaw recalled.

“It was a thrill to be able torecord Robert’s sonata.When I had a chance to lookat it carefully for the firsttime, I thought: ‘Wow, thisseems like a piece that I cansink my teeth into.’Rhythmically interesting andvaried melodic content madeit interesting to me. I calledRobert and told him thatalthough I didn't think Icould get a performance in on the premier date, Iwould be happy to record it. Nadine and I had awonderful time preparing and recording the work. Ithink that this sonata will become a staple of thetrumpet recital repertoire and I wish Robert continuedsuccess with his work,” Eric Berlin.

In the continuing attempt tocontact musicians withoutspending money on postage andphone calls, Bradshaw con-tacted Michael Anderson,founder and moderator of theTrumpet Players InternationalNetwork (TPIN). “I was notsure if the members would beinterested in this type ofproject.” Bradshaw said, “butMichael thought it would be a good idea for me totry. I wrote a rather lengthy post [excerpt includedbelow] and received a warm welcome.”

Dr. Peter J. Wood [Assistant Professor of Trumpet,University of South Alabama] writes of the TPINpost: “When I read Robert’s post to the TrumpetPlayers International Network in the summer of 2003announcing this Premiere Project, I thought, ‘Whatan innovative, creative idea!’ I enjoy performingnew music and believe strongly in supportingcomposers willing to write for the trumpet -especially those who are ingenious enough to go tothese lengths to get their music performed. I wasplanning a recital for the fall semester and figured itwould be worthwhile at least to check out Robert’spiece. When I received the music, I began practicingit and quickly found it to be a very well writtensonata and an enjoyable composition to play. Therhythmic interplay between the trumpet and piano inthe second movement was especially appealing tome. I found the entire piece to be very well balanced:technically and musically challenging, but not somuch so as to become frustrating. The final resultwas a very satisfying musical experience: definitelywell worth the time and effort spent preparing it. Ihope that many more people become acquainted withRobert Bradshaw’s music and that he continues towrite for the instrument.”

When planning trumpet recitals (andincluding something contemporary inthe recital), we tend to play the samepieces; Hindemith, Enesco, etc… adnauseum. It is therefore refreshing tohave a piece like Sonata that is modernand new BUT also listener friendly toinclude in our trumpet recitals.

- Laurence GarganPrincipal Trumpet

Singapore Symphony Orchestra

Eric Berlin

Michael Anderson

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Bradshaw continued to post updates on TPIN andsoon received a reply from Keith Thompson. Aftermaking contact, Thompson sent him a letter that wasquite a surprise. Thompson suggested that Bradshawcontact Ivar Lunde, conductor of the Eau ClaireChamber Orchestra (ECCO),and see if he would programthe composition. Only oneweek prior to publication oftheir upcoming season’sprograms, Bradshaw foundhimself scrambling onceagain - this time to get ascore to the orchestra forreview. ECCO agreed togive the world premiere ofthe work at the Mabel TainterMemorial Theater, located inMenomonie, Wisconsin.Bradshaw, and his wife Lori,were also invited to attendthe performance.

Keith Thompson writes, “I have a nasty habit ofgetting myself involved in things that are just toomuch. Maybe they take an unexpectedly largeamount of my time (or money, or both) or maybethey simply push me farther thanI'm prepared to go. But, then onoccasion I get myself involved insomething that’s such a perfect fitand so satisfying that all my crazyinvolvements are worth it becausewithout that pushing I would havemissed something that turned outwonderful and meaningful. Thislatter case is exactly what happenedwith the world premiere of RobertJ. Bradshaw's Sonata for Trumpetand Strings (or piano).

Robert posted a note on TPIN,describing the project and offeringmusic to anyone who wanted toconsider being a part of his project. I got themessage - I ignored it. More time passed and hedecided to give it another go on TPIN. This time Iread it and thought, ‘What the heck - nothing to lose.’I contacted Robert and said I'd like to get the musicand give it a go. He responded quickly andgenerously sent me music in short order.

I buy lots of music and to be honest, I'm ratherfinicky when it comes to music selection, so not alarge percentage of that music makes it beyond a firstreading. Either a piece will speak to me or it won't. I

received Sonata one afternoon and I read it over withmy eyes. It grabbed my attention right away. Thiswas not a smattering of notes with no direction orpurpose as I have seen just too many times. Therewere distinctive, creative melody lines that were built

and expanded. It grew whenit needed to grow and recededwhen it needed space. Thisone was speaking to me.

That night I played it throughon the trumpet. I later gave itone read through beforebedtime. It would work. Isent Robert a note. ‘I'll do iton my next recital’, whichcoincidentally was plannedfor about the same time as hisproject timeframe for apremiere in each state. As thef i r s t per formance inWisconsin, it would become

the Wisconsin premiere. This was exciting. I hadbeen involved in music premieres before, but neversomething in which I was the soloist - and I hadcertainly never been involved in a project like this.

For the last several years I haveplayed trumpet in the Eau ClaireChamber Orchestra, an excellentgroup that has provided some of mymost memorable musical moments.Hmmm... Robert said that this sonatawas originally for trumpet andstrings and as luck would have it, therepertoire for the orchestra's concert(within the premiere time-frame)was still not solidly planned in theupcoming concert season. I quicklysprang into action.

I asked about the availability of thestring edition and whether he hadthought of having one of the

premieres with strings. Robert responded withrousing interest, saying that he never would'veexpected such an opportunity and was thrilled by theprospect. I asked him to send the score to thechamber orchestra's musical director, Ivar Lunde.The music was received, the musical director likedwhat he saw, and almost as if by magic Sonata wasscheduled right where we wanted it to be - all withina few short days. Quick action landed me anothersolo opportunity with a fine orchestra and the worldpremiere for the original string version of Sonata.

“It was indeed a pleasure and an honor to beasked to premiere Sonata for trumpet andstrings (or piano) by Robert Bradshaw. Thepiece is very well written for the trumpet. Theorchestration is colorful, often transparent andthe composer gives each section an opportunityto be heard. Many short melodic fragments aretossed about from section to section in theorchestra. There are frequent meter changesand the fast movements are exciting to both theaudience and the orchestra.”

Ivar Lunde, Jr.Music Director

Eau Claire Chamber Orchestra"ECCO"

Bradshaw and Thompson after the worldpremiere in Wisconsin

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Preparation of the music for the premiere was noproblem. There is music you sweat over and musicyou don't even bother with because it's an easy sightread. This was somewhere in the middle. The piecedoesn’t hold any serioustechnical challenges, but doeshave its moments when thefingers need to be twistedback into their normalposition for another attemptthrough this section or that. Idecided that despite beingwritten for C trumpet, I feltmuch more comfortable onEb trumpet. My Eb trumpetis a 4-valve model by Schilkewith a large bell that has asound much more like a largetrumpet than a typical Ebtrumpet. Plus, I also used anunusual mouthpiece on it - adeep, German cornet mouth-piece with a cornet to trumpetadapter that also gives theinstrument a sound more likea larger trumpet. For me thepiece just seemed to click onthe Eb trumpet, with theexception of a couple spotswhere the previously com-fortable C trumpet fingeringsbecame twisted, torturousfingering combinations onthe Eb. Still, it was clearlymy preferred instrument -possibly because I had justrecently performed a recitalin which I used the instru-ment for Eric Ewazen's Triofor trumpet, violin and piano,making it familiar in myhands. I reported this toRobert. He seemed to find my choice unusual, butalso immediately volunteered to send a part in Eb sothat I didn't even have to transpose as I played - goodman.

The piece also involved another equipment decision.Several, in fact. Sonata requires straight, harmon andcup mutes. I wonder what it is about mutes? Nomatter how many you own, the perfect mute for eachpiece is always one you don't yet have! After tryingseveral mutes, I found myself with two new, differentharmon-style mutes, a new straight mute, and a muteholder that I could clip to my music stand so that Icould make the fast mute changes necessary without

trying to get to and from the floor in time. Robert’suse of mutes is not gratuitous. I completely agreewith each mute usage, despite the fact that I alsoswore about a couple of the mute exchanges. Eb

trumpets are not designed forfast mute changes. With thebig bell of my Eb, standardmutes fit with no problem,but changing the tuning toaccommodate a mute changemeant loosening two thumb-screws, pulling or pushing aslide, then tightening thescrews again. I’m not quitesure, but I think I spent moretime practicing mute changesthan practicing the music. Atleast it seemed like thatanyway.

On to the performance itself.All concerts are exciting.They’re always a thrill forme, even if all I’m doing isplaying the simple, repetitivetrumpet parts in a MozartSymphony. Even so, con-certs with solos are far moreexciting. Double that with aworld premiere. Triple thatwhen the composer is goingto be in the audience. Robertarrived the night before theconcert. His flight came in alittle too late to attend ourrehearsal, but I had recordedit with my MD recorder. Imet Robert and his wife, Lori,for dinner and I brought therecorder along for him tohear. I could tell he wasreally chomping at the bit to

hear the recording, so Lori and I chatted and atewhile he sat still with his eyes affixed forward,intently listening (and to my pleasure, smiling aswell). He was pleased. The orchestra only had threeshort rehearsals - a lot to accomplish on a moderatelydifficult piece, but had pulled through with colors.The concert was the following afternoon. It waseverything I wanted it to be. I was pleased with myplaying, with that of the strings, and with the look onRobert’s face throughout and afterward. Theaudience’s response capped it off with rousingapplause from a full house and many complimentsafter the concert - including from the tougher critics Iknew in the audience.

Not only did I find working on Robert’s Sonatavery musically rewarding, I was mostimpressed by his approach to getting the workdisseminated and PERFORMED! It's great towrite a new piece, but unless it's played, andplayed often, it runs the risk of sitting on ashelf, long forgotten.

By going to the trouble (and making thefinancial investment) of sending out copies topotential performers, Robert greatly increasedhis chances of getting the sonata performed. Ifear too often new pieces go unperformed,primarily for three reasons - the performer isn'taware of the piece; the performer doesn't reallyknow what it sounds like unless he goes to thetrouble of hiring an accompanist and makingtime for a read through (and Robert addressedthis by sending his MIDI CD); and remarkably,the cost factor. Performers are unlikely to buynew music that may just end up collecting dust(face it, we all have LOTS of those), even if itis well marketed. By sending the music and aCD to give the performer a “taste”, and mostimportantly by creating a buzz about getting itpremiered, Robert devised a new way to reacha wide range of trumpeters with an importantnew work.

Bravo on a wonderful piece, and bravo for yourbrilliant “premiere” strategy. Let's hope otherslearn from this!

Joseph FoleyAssistant Professor of Music

Rhode Island College

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Sonata is not programmatic, but is still veryemotional to me. One cannot help but be moved bythis music - either as performer or listener. If allmusic affected me as much as this piece, I’d be anemotional wreck all the time! My only disappoint-ment is that most people will only become familiarwith it as a piece for trumpet and piano. It’s verygood in that format, but it quite simply doesn'tcompare to the edition for trumpet and strings.

I thank Robert and the EauClaire Chamber Orchestra forthis wonderful opportunity.”

Sonata received its second(III/IV) orchestral perform-ance, also during thepremiere concert season, bythe Hillyer Festival Orchestra(HFO) on August 25, 2004.Eric Berlin was the featuredsoloist. The concert tookplace at Boston’s famousHatch Memorial Shell, on theCharles River Esplanade, aspart of the WCRB ClassicalConcert Series. “It was quitean honor to have S o n a t aperformed at such an historicvenue. Eric played beauti-fully, as did the HFO,”recounted Bradshaw.

On a related note, Dr. PaulNeebe recently recordedSonata with the Slovak RadioSymphony Orchestra for hisCD titled American TrumpetConcertos. The recordingwill be released on AlbanyRecords in 2006. Whenasked about his experience recording the work,Neebe stated: “Sonata showcases the many timbres,styles and dynamic range of the trumpet in achallenging and rewarding musical experience. Themore I perform and hear the piece, the more I thinkthat it is truly a wonderful trumpet sonata by a verygifted American composer.”

INTERNATIONAL TRUMPET GUILD (ITG)

The next important step came with the assistance ofNeville Young and ITG’s “News From the TrumpetWorld.” Young posted two stories about the projectto the ITG website and later wrote a story aboutMichael Anderson’s fascinating live performance

over the Internet. “I am very honored that Nevillefound the story newsworthy.” Bradshaw explained,“Dr. Albert Lilly’s posts about performances in theITG Calendar and Al Hood’s programming Sonataon the “New Works for Trumpet” recital at the 2004ITG Conference held at the Lamont School of Music,University of Denver, Colorado, helped make manymore people aware of the project. I would like tothank ITG for helping me to address the trumpet

world.”

Dr. David Reynolds [Headand Professor, Department ofMusic, South Dakota StateUniversity] recalls, “It wasvery interesting to hearportions of the sonata per-formed by James Ackley atthe 2004 ITG Conference.Seated next to me wasanother who had beeninvolved in the PremiereProject, and we began tospeak about the differencesbetween our performancesand the one we had justheard. We celebrated the factthat, as in a Bartok StringQuartet, this work opens thedoor to individuality. Myplan is to program it againnext year for a new audience,simply because I know I willfind something new when Idelve into it.”

Barbara Prugh had an oppor-tunity to perform Sonata inlate October, a few daysbefore the official PremiereProject began. “Performing

this music was both challenging and fun!” writesPrugh. “The challenging part was working out theensemble aspects with the pianist. The fun part wasin the rhythmic drive and juxtaposition of motifs.Robert’s use of syncopation in the thematic mate-rial gives movement I a jazzy feel. Movement IIrequires some real sensitivity on the trumpeter’spart in balancing the little rhythmic fragments oftrumpet tone with the piano part. It is a rather “cool”movement. He makes nice use of mute colors inmovement III, and gives the trumpeter “something totongue about” (both single and double) in movementIV! All in all, it is a well-constructed sonata that isquite enjoyable to play, and I look forward to futureopportunities to perform it.”

“Sonata is a very crafty and highly loveablecomposition. It was obvious from working onthe piece that Robert took in those particularnuances of earlier trumpet sonatas from suchcomposers as Kent Kennan, Halsey Stevensand even Paul Hindemith. The overall “sound”of the sonata is wholly and unmistakablyAmerican, with a mixture of jazz and rockrhythms superimposed over fanciful melodiesthat ring true for the audience. His use of timeand silence is also remarkable throughout theentire piece. Particularly in the secondmovement, where the piano and trumpet seemto have a conversation going betweenthemselves - only briefly showing moments ofagreement. This sonata is very approachablefrom many aspects; it can be played byamateurs and professionals alike, it is very wellreceived by audiences, and it does not matterwhat your emphasis of playing is, whether it beclassical, orchestral or commercial. RobertBradshaw is an extremely talented composerwith meticulous skills. His scores are alwayseasy to read and a pleasure to interpret. Wecan most definitely count on Sonata as beingone of the most important American trumpetsonatas of our time.”

James AckleyAssistant Professor of Music – Trumpet

University of Connecticut

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THEN, THE PREMIERES BEGAN!

Day after day in November of 2003, musicians acrossAmerica performed Sonata. With each performancecame more inquiries about the piece and thescheduling of additional performances throughout therest of the 2003-2004 season. Bradshaw recalls, “Iwas overwhelmed by the response to the piece.Many soloists, pianists and audience memberscontacted me to talk about the performances. It is anexperience that I will never forget.”

Although Bradshaw is quick to state “all of theperformances were equally important.” there werecertain premieres that the reader might find especiallyinteresting. As previously mentioned, the completework for trumpet and strings was performed inWisconsin by the Eau Claire Chamber Orchestra andKeith Thompson. There was one additionalperformance of Sonata with strings by Dennis B.Keck, trumpet, and the Boise ContemporaryChamber Players in Idaho.

Two performances of Sonata were accompanied bycomputer: James R. West [Associate ProfessorSchool of Music Louisiana State University] andMichael Anderson [Assistant Professor of Trumpet,Wanda L. Bass School of Music, Oklahoma CityUniversity] at Dana College, Nebraska. “In aninteresting twist to the already novel story of RobertBradshaw's 50 States Premiere Project,” NevilleYoung, ITG News Editor, “it was today announcedthat one of the state premieres - that in Nebraska -will be available worldwide through a live webcast.”After the performance Bradshaw recalls receivingemails from around the world saying they hadlistened to the performance. “Hi Robert, Just to say Ienjoyed the web cast from Nebraska. It still amazesme that I can sit in bed with my cocoa listening tosomeone broadcasting over the net!” wrote Dr. ShaunD. Hooke [Principal Trumpet, RTE ConcertOrchestra Royal Irish Academy of Music]. Hookeparticipated in the premiere and performed the workin Dublin, Ireland.

Other international premieres included JamesAckley’s performances in South America; MurrayGreig in Manchester, England; Mark O’Keeffe[Principal Trumpet, BBC Scottish SymphonyOrchestra] in Glasgow, Scotland; Laurence Gargan[Principal Trumpet, Singapore Symphony Orchestra]in Singapore; and Richard Stoelzel [Associ-ate Professor, Grand Valley State University] at theCentral Conservatory of Music, China. When askedabout his experience, Stoelzel replied: “It was apleasure to perform Sonata in China during my

recent tour of the Far East. It is one thing to performsuch a fine new addition to the trumpet repertoire buteven more breathtaking was the standing ovation andwonderful response from the audience. Sonata wasthe highlight of the evening’s recital. Thanks Robertfor adding such a wonderful piece to our repertoire! Ilook forward to many more performances of yourbrilliant works.”

Ackley and Bradshaw - 2004 ITG Conference

Mark O’Keeffe premiering Sonata in Scotland

Shaun Hooke premiering Sonata in Ireland

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IS THE PREMIERE PROJECT OVER?

That is a challenging question to answer. When didthe project end and when did repertoire performancesbegin? It might be most accurate to say that theyhave overlapped. Many soloists who participated inthe project have continued to perform Sonata .Several have taken the composition on tour, whileothers have taught the work to their students. Dr.Kevin Eisensmith [Professor of Trumpet at IndianaUniversity of Pennsylvania] who worked on Sonatawith his student, Brockton Shaffer, said of thecomposition: “Sonata proves entertaining for both theperformer and the audience. The added flexibility toplay it either on Eb, Bb or C trumpet (same part) willmake it a valued addition to all libraries. I lookforward to more works by Robert!”

In an email, Shaffer (who corresponded withBradshaw while preparing the work) wrote: “Myaudience seemed to really enjoy your piece! Had alot of questions about it afterwards and everyonethought it was very enjoyable to listen to. I wouldlike to thank you for giving me insights about it. Ienjoyed learning Sonata and sharing it with mycolleagues.” Bradshaw continually receives similaremails from professionals and students who areprogramming the composition in concerts, recitals orjuries.

On the other hand, the work is still receivingpremieres. There are a limited number of states thathave yet to have performances of the work and manysoloists continue to contact Bradshaw with word offirst performances in Europe and Asia. When askedabout this, Bradshaw replied “There haven’t been anyperformances in Africa or Australia yet - but I’mworking on it!”

Dr. Peter Wood’s review of Sonata in the January2005 ITG Journal (p. 64), describes the work as“soaring” with “mysterious character with greatpersonality” and that “Throughout the entire piece,the writing for both the trumpet and piano isstylistically appropriate at all times.” It looks asthough Sonata will continue to find its way ontomusic stands for years to come.

Sonata for trumpet and strings (or piano) ispublished by Beauport Press Music Publications, andis available online and in music stores. Please visitwww.robertjbradshaw.com (to contact Robert J.Bradshaw) or www.beauportpress.com for moreinformation on availability and to listen to Eric Berlinand Nadine Shank’s recording (C trumpet and piano).

It is hard for me to imagine a moreenjoyable project. I have had theopportunity to work with exceptionalmusicians from around the globe,many of whom I continue to regularlycorrespond with. I find trumpetsoloists such a wonderful part of themusic world: passionate about theirmusic and instrument, dedicated,confident and musically adventurous.All are wonderful qualities to considerwhen composing a sonata!

– Robert J. Bradshaw

Robert Bradshaw, Joseph Foley & PhilipMartorella at the Rhode Island Premiere

Lynne Garrett and Gilbert Cline

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Excerpts from published accounts by Bradshaw during the initial phase of the Project:

NOTES: (2004/2005)

At the turn of the century, I found myself evaluatingmy achievements, failures and responsibilities. Itcomes as no surprise that my composition was deeplyaffected. Sonata for trumpet and strings (or piano)(2003) is both a look back, and a look forward towhat would become dominantfeatures of compositions tofollow. I can trace the roots of thispiece back several years withother works - most notably TheGreatest of These is Love forSATB and string orchestra (2000)and Suite for string quartet (1997).However, Sonata represents a“coming of age” for this style ofcomposition and has served as acatalyst for many other works. Iam enjoying the challenge ofemploying the harmonic structure and rhythmicintricacies presented in Sonata. Yet I find myselflooking forward, with great anticipation, to the nextturning point in my music. For me, Sonata representsthe expression of emotions resulting from life’s greattransitions.

NOTES: (2003/2004)

In addition to a constant pursuit ofself-expression through mycomposition, I have spent over 20years studying the trumpet.Admittedly, the road has beenbumpy at times. One thing hasnever let me put it down - a lovefor the instrument and itsliterature. From these works, Ihave gained great joy duringcountless hours of practice andperformance. It is this music thatinspired Sonata. Originally askedto compose a solo work fortrumpet by Dr. A. Keith Amstutz [AssociateProfessor of Trumpet, University of South Carolina],I was worried that my study would unwittinglysurface in the creation of this large work for theinstrument. In the end, I realized that this worry wasunfounded and decided to embrace the music of mystudy. What a flood of inspiration it was! At everyturn I let the rhythms and harmonies that had sofascinated me while practicing resurface within the

parameters and pitch set I had defined for the creationof this piece.

A TRIP TO WISCONSIN

Our first stop was in Eau Claire to meet KeithThompson for dinner. We easily fell into

conversation and it took quitesome time for us to order. Keithproduced a minidisk recorderand told us that he had recordedthe rehearsal that day. Whilewaiting for us to arrive, he hadput the movements in order forme to listen to. I listened to theentire work sitting right there atthe table! Luckily, there wasgreat food and Keith and Lorihit it off too, so no one wasoffended. We talked about the

piece and about our families and all too soon dinnerwas finished.

The next day we drove to the Mabel Tainter Theater.It is a small space, with beautiful hand carved wood,seating 300. The seats were full and the audience

very receptive. I was asked togive a pre-concert talk about thecomposition, pictured above andTim Lane, who also plays flutewith the orchestra, introducedthe concert and read a briefbiography of the piece andmyself. Sonata was second onthe program and Keith waswelcomed to the stage by heartyapplause. Keith’s performancewas effortless! The orchestraplayed beautifully. They put thework together in threerehearsals, which is simplyamazing. The orchestration isnot easy and I was very

impressed by the musical interpretation by MaestroLunde. If you are ever in the area, I stronglyrecommend attending an Eau Claire ChamberOrchestra concert - especially if Keith is soloing!They are truly wonderful people and musicians.What a splendid way to spend a weekend. Thank youKeith, Joan, Tim, Ivar, all of ECCO and the MabelTainter Theater.

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ORIGINAL TPIN POST (excerpt)

[TPIN] New Sonata - 50 States Premiere Project

Sat, 7 Jun 2003 11:27:45 EDT

Hello everyone! This is the first time I have postedon TPIN and I appreciate the opportunity to reach somany trumpet players. (FYI I am a freelancecomposer and trumpet player on Massachusetts’North Shore.)

Here is the short version...

In November of this year, I am attempting topremiere my new sonata in all fifty states. Presently,I am working with approximately thirty professorsand soloists from MA to AK. Would anyone outthere be interested in joining the consortium? If youare, I would be happy to answer any questions here orby direct email – [removed due to change of address]

Now for the long version...(from notes I have been keeping while writing thepiece)

A decade ago, while still a student at the Universityof South Carolina, I was asked to compose a work fortrumpet. At the time, I was the trumpet GraduateAssistant - where I learned as much as I taught,maybe more. I never seriously began work on thepiece. In January, during one of my intense periodsof submitting to grants and competitions, I began toget really charged about writing a solo work for myown instrument. No small part of this energy camefrom a recent opportunity to teach trumpet students atGordon College…

Someone left iTunes playing whenthey left the house this morning.When I came back, your trumpetsonata was playing. I listened to itwithout any preconceived notions (theplay order is random, so I didn'trealize until partway through that itwas your piece) and it is FABULOUS.I wish Sonata a long and successfullife. It’s a composition with aninternal life - a little lonely, notnecessarily melancholy, but with realemotion. Thank you!

- Linda L. Stockman

PREMIERE PROJECT SOLOISTS ANDCOLLABORATIVE PIANISTS:

James Ackley / Elean Paralingovaand the Orquesta de Cuerdas Facultad de Músicade la Corpas

Dr. A. Keith Amstutz / Winifred GoodwinMichael Anderson w/computerEric Berlin / Nadine ShankMark Boren / Lori DunnDr. Stephen K. Bottom / Carrie ConklinLauren Ceddia / Barbara FloccoBrian ChinDr. Gilbert Cline / Lynne GarrettDr. Jay Coble / Svetozar IvanovJean-Christophe Dobrzelewski / Gail NovakMark Flegg / Jim WilhelmsonJoseph Foley / Philip MartorellaAnn Franek / Rachel CarlsonLaurence Gargan / Paul LiangMurray Greig / Max RitchieFaith Holley / Casey RobardsDr. Shaun D. HookeMichael Jimenez, Louis Alarcon, Chris Oliver,

/ Elena CastanedaDennis B. Keck and the

Boise Contemporary Chamber PlayersKevin Long / Gayle JusticeMark Lord / Cathy LordFrances McCaleb / Trudi HarrisSeelan Manickam / Karen GahaganAdam MetzlerMark O'Keeffe / Lynda CochraneRolf Olson / Amy HsiehDr. Thomas R. Pfotenhauer / Tim SchoesslerBarbara Prugh / Julie NishamuraJoshua Ray / Dr. Timothy SmithEdward Reid / Lynn MoserDr. David Reynolds / Palma WolvertonGary Ross / Rosetta Senkus BaconRichard StoelzelPaula SwartzKeith Thompson and the

Eau Claire Chamber OrchestraJake Walburn / Theresa SanchezJames R. West w/computerPatrick Wohlfarth / Susan GonzalezDr. Peter J. Wood / Michelle GrossmanDr. James J. Zingara / Dr. John Jinright

(Every attempt has been made to include all participants in thePremier Project; however, it should be noted that the list above isnot complete. If you have information on additional performancesof Sonata for trumpet and strings (or piano), please contact Lori atmail@beauportpress.com)

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COMPOSER BIOGRAPHY:

The music of Robert J. Bradshaw (1970) has beendescribed as “highly rhythmic and energetic”/“contemporary work that is accessible to a variety ofaudiences” (ITG), and is frequently heard around theworld, from Lincoln Center to Singapore. He hascreated a substantial collection of compositions thatare “well crafted, thoughtful, and emotional with hisunique voice always heard” (Gerald Dolan, NYSO).Sought for a wide variety of commissions, Mr.Bradshaw strives to forge a unique connectionbetween composer, musicians and audiences. PeterStickel, Executive Director of the New EnglandString Ensemble, writes of Mr. Bradshaw’scollaboration: “His insight into the creative processof composition was stunning and transforming foreach audience with whom he worked. He was aninspiration to students and professionals alike.”

2005-2006 Concert Season: (selected events)

COMPETITION: Winner of the 2005 ManchesterMusic Festival Composition Competition for ArticlesNor’east, for string orchestra.COMMISSION: Shorescape for the 26th AnnualPappoutsakis Flute Competition to be held inFebruary 2006; Transformations, for solo tuba, byJonathan and Deborah Porter. IMADA concert band.PREMIERE: Tituba! voices in the dark – WashburnUniversity String Orchestra, Washburn UniversityWomen's Chorus & Fetter String Quartet;Countryman’s Flock – University of ConnecticutWind Ensemble, Middle Tennessee State UniversityChamber Winds.DISCOGRAPHY: Sonata for trumpet and strings(or piano), recorded by Dr. Paul M. Neebe and theSlovak Radio Symphony Orchestra, is planned forrelease on Albany Records. The CD is titledAmerican Trumpet Concertos; Ozymandias wasreleased by Jean-Christophe Dobrzelewski.

2004-2005 Concert Season: (selected events)

COMMISSION: Articles Nor’east – New EnglandString Ensemble for the New England MusicalHeritage Initiative and performed at the Mary BakerEddy Library, Boston, by I Giovanni Solisti; Fox andCountryman – Melrose Symphony Orchestra, RightThen. Same Time Tomorrow? – Bala Brass for the2005 New York Brass Conference and 2005International Trumpet Guild Conference, Bangkok,Thailand, where Mr. Bradshaw was also invited toparticipate on Eric Ewazen's panel discussion oncomposing for trumpet in the 21st Century; If I Have

Seen Further… – Salem Winds, for the Salem StateCollege Sesquicentennial Anniversary Celebration.

DISCOGRAPHY: Out of the Quiet for trumpet andpercussion, written for and recorded by Ivano Ascari,Professor of Trumpet at Riva del Garda StateConservatory of Music in Italy, released on his fifthCD: IVANO ASCARI 5, Nuove Musiche perTromba.

2003-2004 Concert Season: (selected events)

COMMISSION: He Lived for Others: A Story inMusic and Movement of a Pioneer and the Buildingof Our Nation, John ‘Johnny Appleseed’ Chapman –American String Teachers Association with NSOA.PREMIERE: Sonata for trumpet and strings (orpiano) was premiered by a consortium of soloiststhroughout the United States of America, Ireland,England, Scotland, and South America.HONOR/AWARD: Mr. Bradshaw and his workwere featured in "The Art of Perseverance: Chartinga Career in Music" presented by the Society for theEncouragement of the Arts, May 2004.

Mr. Bradshaw’s compositions and projects havereceived awards and grants from the NationalEndowment for the Arts, American Music Center,American Composers Forum, Harvard MusicalAssociation, Harpley Foundation, ArgosyFoundation, and the Massachusetts Cultural Council.Mr. Bradshaw is a member of Broadcast Music Inc.(BMI), Society of Composers Inc., NationalAssociation of Composers, American Music Center,the American Composers Forum and is listed byMeet the Composer. A graduate of the University ofSouth Carolina, where he earned degrees inComposition (M.M.), Theory/Composition (B.M.)and a Performance Certificate in Trumpet, his worksare available through Beauport Press MusicPublications (www.beauportpress.com).

visit Robert J. Bradshaw on the web at:www.robertjbradshaw.com

Contributors and Sources for this article include: James Ackley,A. Keith Amstutz, Eric Berlin, Mark Boren, Lori A. Bradshaw,Robert J. Bradshaw, Dr. Gilbert Cline, Dr. Kevin Eisensmith,Mark V. Flegg, Joseph Foley, Laurence Gargan, Dr. Shaun Hooke,Ivar Lunde Jr., Dr. Paul Neebe, Rolf Olson, Barbara Prugh,Edward Reid, Dr. David Reynolds, Brockton Shaffer, Linda L.Stockman, Richard Stoelzel, Keith Thompson, Dr. Peter J. Wood,Neville Young (ITG News from the Trumpet World), ITG JournalMusic Reviews.

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