This is a newer recording--2002--and was released by Summit Records.  It consists entirely of smaller pieces, with no concertos or sonatas.  The repertoire is all late 19th century or later, but it covers a very wide range of composers.  The playing is tasteful and soloistic.  Many of the pieces are arrangements or transcriptions, but all are well done and the music doesn't suffer.  These are all the great melodies trumpet players usually are never allowed to play, and I suspect a fair number of these transcriptions are commercially available, or else a different transcription should be.  Although the musical quality is very high, the pieces and the style are more vocal and romantic than many trumpet solo recordings out right now.  Don't buy this expecting the Persichetti parable, but it's great to listen to in one's spare time.

This recording features the Dallas Brass, Canadian Brass, Rhythm & Brass, Doug Yeo, and the Atlantic Brass Quintet.  If anyone has morerecordings of the Dallas Brass, I'd like to know about them, because the two pieces they perform here are great.  A slightly cut-down version of American in Paris and the Howdown (sic) from Rodeo are both as good as things recorded by the Canadians and the Empire Brass.  The arranger chose to add percussion to the brass quintet and it adds a lot.  Not missing that string section, though.  This is the version Copland wishes he had written (not that we brass players are biased at all).

   The Canadian Brass play Purcell's Sonata for Two Trumpets and Jelly Roll Morton's "Grandpa's Spells."  If you really want to hear the Canadians, buy one of their other recordings; these two are sort of mediocre compared two of the Dallas Brass.

   Doug Yeo plays three pieces.  There's not really a repertoire for bass trombone, but he makes do with a big-band arrangement of In the Hall of the Mountain King, Share My Yoke and another jazz piece.  'Mountain King' is worth a listen at least as a curiosity.

   The Atlantic Brass perform two modern pieces.   They're good, but not as stellar as the Dallas Brass.  Don't forget to listen to them, though.  I have a sentimental attachment to them since I took a couple of lessons with Joe Foley.

     No idea how much it costs, but it's a promotional CD with less than 50 minutes of music so it can't be much.  Try looking at www.deltamusic.com.

BMG Classics

09026-63311-2

 

   "Petrouchka" is from the ballet based on a Russian folktale similar to Pinocchio.  It's a good introduction to Stravinsky's works because it isn't as atonal as "Rite of Spring."  It's a relatively light piece and fun to listen to.  It's also got lots of exciting trumpet parts:  the opening odd-meter duet, the ballerina's dance, the waltz, and the piccolo trumpet acrobatics towards the end.  This version was recorded in 1968, so presumably Ghitalla was playing principal.  Whoever it is does a great job; I don't have any complaints.  Michael Tilson Thomas plays piano.

  Stravinsky's "Rite of Spring" is known for being atonal; it's well known that the first audience rioted during the performance.  This particular recording was remastered to attempt to provide a closer resemblance to a live performance.  The first time I listened to it I was constantly adjusting the volume.  Now, even after listening to it for a few months, I still do.  On the other hand, it's a great performance.  Herseth plays well, of course.  I did think that he occasionally got buried under the rest of the orchestra, but that could have been the stereo. 

   The Fireworks Suite is added as bonus track.  It's another flawless recording by Chicago, recorded at the same period as the other two pieces.  These three together make a great introduction to Stravinsky's works, though of course the Firebird Suite is another major work.

   Expect to pay $17 to $20 (I bought a year or so ago, so I'm not sure exactly).  It's well worth it to hear this terrific recording. 

The Russian National Orchestra is only 13 years old. If they weren't well known before, this 2000 CD should go a long way towardsfixing that.  The recording is of a live concert and the recording quality is top notch; you hear the occasional coughing from the audience but the fidelity and musicality that result are astounding.  The finale of the 5th is roughly at Shostakovich's intended tempo of eigth=176.  I recommend this recording for its high level of musicality; this is a Russian orchestra playing a Russian piece but without the technical flaws that one might have expected in past years.  The only unnerving thing is that apparently the trumpeters over there are still unaware of all the dynamics in between pp and ff.  In their favor, though, it's a zeal for the music that eschews all dynamics with an m in front of them.

This is the recording that made me realize what a terrific musician Ghitalla was.  Each note he plays is worth the cost of the CD by itself; this is how principal trumpets are supposed to sound.  The BSO is at its best, as well.  There's probably other recordings of Zarathustra that are this good, especially from the Berlin and Vienna orchestras.  The Holst is as good as any other I've heard, though.  This CD was originally my dad's, but he's not getting it back.  He thinks he is, but he isn't.