The 49th Annual International Trumpet Guild Conference - Salt Lake City, Utah (USA)
Special Daily Report • Compiled by Peter Wood
Photos by Harmon Dobson, Anthony Salabarria, Joe Smith, and Rebecca Wilt

Thursday, May 29, 2025

Warm-up session with Aaron Hodgson-Priming the Pump: Addressing Tonight's Challenges This Morning
Dr. Aaron Hodgson gave attendees an opportunity for a fresh start to their warm-up routines in this early risers’ session. “Your warm-up,” in Hodgson’s words, “is a tool to get you from point A to point B.” The first step is evaluation—where are you this morning and where must you be tonight? These two variables vary tremendously daily, but by understanding your warm-up principles and etudes thoroughly, you can determine the variety and amount of exercise you need to achieve a consistent set-up every time. Hodgson worked through several types of warm-up exercises, mostly focusing on lip bending, air flow, modulation, and synthesis. Hodgson shared his inspiration from jazz players, taking technical licks and playing them in every key, employing this technique to create warmups out of such classical repertoire as Haydn’s Trumpet Concerto and Pictures at an Exhibition. Hodgson’s call for a thoughtful warmup was a refreshing reminder to trumpeters to avoid stagnation through creativity and self-reflection. (Ryan Perry)

Randy Lee session-Cornet and Brass Bands in the Pioneer Mountain West
Randy Lee gave a fascinating presentation about his findings and research on the first professional musicians among the early settlers of the western United States. Lee began by performing some original compositions he discovered with colleagues from Brigham Young University in a mixed quintet (violin, cello, flute, clarinet, and trumpet). With some ensembles dating back as far as the late 1840s, Lee’s research traced the formation of town bands, fife and drum corps, theatre orchestras, and individual musicians in the Mountain West. These nineteenth-century musicians commonly came from western Europe, were classically trained, and eventually settled in Salt Lake City. Lee also performed several pieces he discovered from that era, including a different version of The Carnival of Venice, demonstrating the virtuosic style and quality of their music. Overall, Lee’s session was enjoyable and educational while providing insights into the life and music of the early western pioneers. (Spencer Wallin)

The West Point Hellcats session-Musical Retrospective: The Modern Field Musician
“The Modern Field Musician,” presented by the Hellcats of West Point, was a riveting session full of historical lessons and fantastic trumpet and bugle playing. The group opened with a performance of The Flying Dutchman before introducing themselves and sharing their backgrounds. The session traced the history of the Hellcats and their role at West Point from their beginning to the mission of the element today. Sprinkled throughout the session were individual bugle calls and pieces featuring the entire group, providing the audience several musical demonstrations of their mission and their premier playing. To close the session, the Hellcats invited Dr. David Baldwin, who served in the West Point Band from 1969 to 1971, to conduct a piece that he composed for the ensemble. Baldwin then joined the Hellcats for a rollicking rendition of Bugler’s Holiday. (Davy DeArmond)

Briana Gillet-Exploring the Narrative Voice of the Trumpet
After a strong prelude performance of Eric Ewazen’s Fantasia for Seven Trumpets by the New Mexico State University Trumpet Ensemble, Briana Gillet introduced a large ITG audience to the dramatic performance possibilities of the trumpet. Collaborating with Carina Gillet on aerial straps and Nora Price operating an audio-effects pedal board, Briana began with a demonstration of the looping and sound-effects possibilities for her improvisations on flugelhorn. Simultaneously, Carina did expressive acrobatics on the straps rig. Then Briana outlined the history of the trumpet as a storytelling instrument, pointing to Stockhausen’s Michael’s Journey Around the Earth and Philip Glass’s Circus Days and Nights among many past examples of the trumpet’s usage in dramatic contexts. Briana then workshopped her ideas with the audience, having several volunteers improvise with great results! Finally, Briana, Carina and Nora did an extended performance with dramatic surprises and a convincing emotional narrative. (Stanley Curtis) 

 

Competition Finals: Orchestral Excerpts
The final round of the  Orchestral Excerpts division of the Ryan Anthony Memorial Trumpet Competition in the Newman Center was truly outstanding. Each of the three finalists–Christian Garner, Justin Ko, and William Reynolds–demonstrated exceptional command of their horn and artistry, beginning with excerpts from Mahler 5 and showcasing a range of styles, tone, and dynamic control. From the bold attacks of Scheherazade to the demanding Concerto for Piano, Trumpet, and Strings by Shostakovich, the repertoire was both challenging and beautifully played. The level of maturity and musical sensitivity displayed was nothing short of inspiring. This new generation of musicians continues to impress and uplift. (Molly Collins)

 

Emerging Professionals Seminar with Mark Clodfelter, Part B–Master the Craft of Opportunity: Tools, Tactics, and Tech for Career Success
In a recent career development seminar, speaker Mark Clodfelter shared key strategies for building a successful and fulfilling professional path. Central to his message was the importance of creating opportunities through a proactive mindset and treating others with respect and professionalism. He emphasized the value of curating a personal work ethic rooted in excellence, encouraging attendees to pursue their passions and identify a unique niche that aligns with emerging opportunities. Clodfelter highlighted the role of research in uncovering career paths that match individual strengths and aspirations. He also stressed the importance of recognizing and leveraging current technology trends to stay competitive in a rapidly evolving job market. To support thoughtful career planning, Clodfelter recommended conducting a personal SWOT analysis—evaluating strengths, weaknesses, opportunities, and threats—to guide decision-making and personal growth. His seminar provided practical tools and inspiration for professionals at any stage of their career journey. (Jacinda Ripley)

 

Research Room Presentations
The presentations in this year’s edition of the ITG Research Room shined a light on several fascinating topics, and the curious audience was highly intrigued. Robert Apple discussed the role of the keyed trumpet and how it helped establish the reputations and careers of the fathers of the Viennese waltz, Johann Strauss Sr. and Joseph Lanner. Christopher Keach showed that “combined practice” techniques lead to higher retention, accuracy, intonation, tone, and expression for brass players. Paulo Adriano Ronqui’s presentation on Variacoes para Piston by Azarias de Mello, showed why that piece is an important addition to the international repertoire of nineteenth-century works for the cornet. The final presenter, Steffi Tetzloff, explored the traits of people with ADHD. By explaining how executive functions of the brain vary from person to person, she presented strategies for improved instruction that can lead to faster learning and more enjoyable experiences for neurodivergent learners. (Joseph Cooper)

Non-Pro Session with Jason Dovel-Embouchure Size and its Relationship to Range
Jason Dovel offered participants an insightful look at embouchure size and its impact on range using LipCam videos of trumpeters. He encouraged questions throughout, creating an engaging and analytical discussion on embouchure. Volunteers had the chance to use the LipCam to see their aperture in real time while slurring, tonguing, and playing across registers with various articulations and dynamics. This hands-on approach provided clear, vivid learning moments. Watching the videos revealed that every trumpeter’s aperture is unique. However, Dovel emphasized a few key points. Generally, a smaller aperture tends to be more efficient. He advised players to eliminate “preflight” tongue checks, like sticking the tongue between the lips, before playing, as these habits may add unnecessary tension. He also highlighted that saying “tu” spreads the lips, which can reduce efficiency. Jason noted that apertures traveling downward tend to be more effective than those moving upward. It is encouraging to note that while aperture sizes do vary, ultimately the most important thing is that the trumpeter is able to do what they need to do on the instrument. (Sarah Stoneback)

Research Room Poster Session
The research room poster presentations provided a series of new and interesting research in the fields of performance, practice, and education. Paulo Adriano Ronqui’s presentation explored the history of the first work written for solo cornet and orchestra in Brazil and the instrument’s subsequent increase in popularity in that country. Fabio Cesar Do E.S. Cerquiera and Paulo Adriano Ronqui examined the collaborative process between performer and composer when creating new works for trumpet. Steffi Tetzloff explored how ADHD affects how a student learns and what methods teachers can use to better accommodate their needs. Ben Gerkins provided interesting insights into how trumpet players can use German lieder to help with phrasing, breathing, and articulation. Arthur Zanin explored the history of Victor Ewald’s four brass quintets and how they synthesized string quartet styles and idiomatic brass writing. Christopher Keach explained the benefits of combined practice between brass players and how it leads to improved note accuracy, intonation, and tone quality. Aaron Hodgson shifted focus to online bibliographical databases, where he explored their challenges and benefits for trumpet players. Robert Apple expanded on the history of the keyed trumpet and its use in Viennese waltzes by composers Johann Strauss Sr. and Joseph Lanner.  (Braden Collison)

Emily Tourgeman session-Recording Production and Technology
Emily Tourgeman led an informative session on recording production and technology, geared towards beginners. Dr. Tourgeman developed this presentation as a part of her doctoral project, under the tutelage of Caleb Hudson. She broke her presentation into three parts: pre production, production, and post production. Tourgeman gave brief overviews of her experience and process of recording a Vivaldi concerto on piccolo trumpet. Her positive, enthusiastic approach made the session highly engaging for all. (Kris Gilmore)

 

Jazz Concert: Trent Austin and Benny Green
Opening the Thursday afternoon jazz concert was the University of Missouri Trumpet Ensemble, directed by Dr. Iskander Akhmadullin. Their selections included a brief fanfare by Ippolitov-Ivanov, a gorgeous arrangement of Misty by Michael Raehpour, and a wonderful interpretation of Erik Morales’s Conquest. For the main event, two world-class musicians came together as a dynamic duo and presented a lively, masterful jazz performance. Trent Austin and Benny Green opened their set with Frank Foster’s Shiny Stockings in a laid-back, jovial fashion. Throughout the show, the pair demonstrated a wide variety of styles, sounds, and colors in an effortless, cohesive manner. Green exhibited numerous musical lines full of complexity and elegance while also exemplifying a flattering and complementary accompaniment for the trumpet. Austin, with his beloved Coppernicus, a beautifully decorated flugelhorn, stunned the crowd with his dazzling tone and extraordinary command of the instrument. A special appearance by the virtuoso Sean Jones did not disappoint. (Peter Nionakis)

 

“something something trumpet”-New Approaches for New Music
This event began with a passionate performance of Jason Dovel’s Giza Necropolis by the trumpet ensemble from Northeastern State University, under the direction of Benjamin Hay. Following, the contemporary ensemble “something something trumpet,” composed of trumpeters Dovas Lietuvninkas, Bailey Paugh, and Demian Spindler, discussed their origins at Chosen Vale and the development of their creative process as a modern ensemble. They detailed how the tenets of historical performance practice may be broadened and urged the attendees to “go where the people are.” They shared how traditional performance practice may be rethought and why reimagining space, venues, marketing, and programming can better ingratiate a modern audience. Throughout their presentation and their masterful performances of several works, they shared their vision of why it is important to have community-centered performance and how all can be capable of breaking the “fourth wall.” (Joseph Cooper)

 

Competition Finals: Solo
The final round of the solo division in the Ryan Anthony Memorial Trumpet Competition was exciting and exhilarating. The three finalists, Noah Solomon (Florida State University), Megan Bennett (University of Northern Iowa), and Christian Garner (Minnetonka High School) each played with fanfare and finesse and displayed a mature understanding of the repertoire. Each finalist was required to perform Kevin Day’s Enigma, George Enescu’s Legend, and a piece of their own selection, and all three played with a beautiful, rich sound. They captured an intensity to the music and showed their ability to contrast the juxtaposing musical styles expertly. Noah Solomon played with fluidity across the full range of the trumpet, and his transitions between technical fanfares and deep, lyrical melodies were superb. He balanced grace with power throughout and finished strong with an exciting performance of Frigyes Hidas’s Fantasy. Megan Bennett performed with a clear, pure sound and was able to find subtle nuances throughout all three pieces. She opened with the first movement of Edward Gregson’s Trumpet Concerto and made the technical aspects of the music sound effortless and elegant. Christian Garner’s precise execution in the first movement of the Tomasi Trumpet Concerto was inspiring, and he demonstrated an ability to play smoothly and effortlessly through lyrical sections, always with a clear sense of musical direction. Each finalist collaborated very well with the accompanists, whose contributions to the event were invaluable. (Spencer Wallin)

Thomas Hooten recital
The University of Delaware Trumpet Ensemble, under the direction of Dr. Brianne Borden, opened the event with a remarkable performance of Soar by Joshua Hobbs. Subsequently, Tom Hooten commanded the stage with an extraordinary interpretation of the unaccompanied Tin-Tan-Fanfarria Y Mambo by Gabriela Ortiz. He was then joined by his accompanist, Alexa Constantine, and together they delivered an inspired rendition of Catherine McMichael’s Baikal Journey, followed by John Williams’s renowned Concerto for Trumpet. During the intermission, the recipients in the classical division of the inaugural ITG Recording Awards were formally announced, with silver medals being awarded to Andy Kozar and Mary Elizabeth-Bowden and the gold medal to Caleb Hudson. The second half of the recital featured Adolphus Hailstork’s Variations for Trumpet and John Williams’s With Malice Toward None (from Lincoln). The program concluded with the vibrant, five-movement sonata Prix Fixe by Geoff Stradling, augmented by the addition of drums, which was originally premiered by Hooten in 2021. Throughout the recital, Hooten captivated the audience with his exquisite sound and effortless mastery of the trumpet. (Maryna Pohlman)

 

Jazz Concert: Kellin Hanas and Bria Skonberg

Thursday evening’s headliner concert delivered an unforgettable blend of artistry, energy, and heartfelt expression. The night began with a powerful performance by the University of Oklahoma Trumpet Ensemble, under the direction of Dr. Douglas Lindsey. They opened with Jennifer Oliverio’s triumphant Pinnacle Fanfare and followed with Erik Morales’s Cyclone. The group handled the gauntlet of musical and technical challenges with remarkable precision, finesse, and ensemble cohesion.

Following the prelude, Jason Crafton took the stage to present the winners of the jazz category in the inaugural ITG Recording Awards. This new initiative drew 23 submissions from jazz trumpeters around the globe. Silver medals were awarded to Jason Palmer, Dave Douglas, Lex French, and Chad McCullough, while the gold medal went to Terrell Stafford for his album, Between Two Worlds. Crafton emphasized the high quality of the submissions and the bright future of jazz trumpet artistry represented in the field.

The headlining concert featured rising star Kellin Hanas and internationally acclaimed trumpeter Bria Skonberg, supported by a top-tier rhythm section: Steve Erickson on piano, Matt Larson on bass, and Jay Lawrence on drums. The concert was originally scheduled as an afternoon feature, but a last-minute cancellation by the Venezuela 7/4 Ensamble (due to the current risks of traveling in the US and concerns about deportation), led to a reshuffling that elevated this program to the prime evening slot. As it turned out, the switch delivered a celebratory and electrifying evening for the ITG audience.

Skonberg and Hanas opened with burning solos on Clark Terry’s Brotherhood of Man, trading fiery choruses that lit up the room. Bria then introduced her original composition, In the House, which featured inventive interplay and soulful phrasing. Hanas impressed throughout the set with her stylistic versatility—seamlessly moving between warm, vocal-like melodies and virtuosic bebop runs packed with grit and character. Skonberg played with grace and lyricism, her tone smooth and clear, conjuring the elegance of a skater in flight.

Their duet on On the Sunny Side of the Street included charming vocals from both artists before turning into a joyful trumpet exchange. Bria then introduced Kellin as a social media sensation and stepped aside while Hanas delivered a moving rendition of Look to Your Dreams, arranged by Hanas in tribute to the Carpenters. The mood shifted to blazing swing on I’ll Remember April with standout solos from both Hanas and Erickson.

Bria’s composition Villain Vanguard, a bold and dissonant protest piece, added weight and depth to the program. She followed with a highly expressive vocal performance of Ellington’s Mood Indigo, and the concert closed with a festive Latin number featuring both trumpeters and a guest appearance by Janelle Finton on Wycliffe Gordon’s We’re Still Here, which ended with an audience-participation scat section that brought the house down.

This concert exemplified the vitality and inclusiveness of today’s trumpet world—celebrating diversity of style, identity, and artistic voice. It was a night of joy, substance, and swing that left the audience energized and inspired. (Peter Wood)

Jam Session with Joey Tartell
Joey Tartell opened the night with no microphone—just pure sound—playing a fiery version of Honeysuckle Rose on a bass trumpet with piston valves. His dynamic control, agile fingers, and lyrical phrasing made the instrument sing like a trombone in the hands of this fifty-year veteran. A trumpet trio followed with a swinging take on All the Things You Are, smooth and intertwined. Then came Blue Bossa, with each soloist entering one by one, as if being called into the groove by the last. A surprise twist ensued—a trumpeter singing But Not For Me, dazzling the audience. But nothing prepared the crowd for a blazing trumpet quartet on I Got Rhythm, where Matt Gianquinto’s jaw-dropping solo stole the spotlight. The energy stayed high with thrilling versions of St. Thomas and Donna Lee, closing a night of unforgettable trumpet brilliance. (Molly Collins)