Adam Zinatelli (principal trumpet, Calgary Philharmonic) commissioned this Sonata last summer for the Sound Symposium festival in St. John’s. This performance was recorded live at Yale University on Sept. 22, 2011 with Daniel Schlosberg, piano. Be sure to watch in HD on YouTube! If you’re interested in performing this wonderful piece, you can get the …
Maurice Ravel’s “Piece en forme de Habanera” is a concert staple. With its enticing melody and exotic flair, it continues to delight audiences to this day. This arrangement, for trumpet and trombone, puts an intimate new spin on the piece. This recording is from a live performance in March 2011 featuring Aaron Hodgson, trumpet and …
This series of articles is devoted to advocating contemporary repertoire for trumpet. I believe new music is often unfairly criticized. Let’s face it, as brass players we can be a little closed-minded! Hopefully these articles will open your ears to some pieces I find truly fascinating. “I like solo works, where the whole world is …
Welcome to my website. I might write about: Anything trumpet: audio, video, style, pedagogy, repertoire, business Contemporary music Education: science, politics and philosophy To get the ball rolling, here’s a video I recently made, from a performance in January 2011 with Jane Leibel and Maureen Volk. Howard Cable, Point Pelee:
Aaron Hodgson’s luxuriant sound and gentle phrasing in a thoroughly effortless presentation of Telemann’s first movement resulted in one of the most moving movements of the competition to this point.
In Haydn’s [Concerto in Eb], the young Aaron Hodgson had a very clear attack, a clear articulation, precise trills and a brilliant but always rounded upper register. He has everything to become principal of a major orchestra.
Aaron Hodgson’s compelling performances of Aiden Hartery’s the first recitation: The Old Hag and Patrick McGraw’s A Force of Nature for trumpet, electronics and video were notable highlights.
Aaron Hodgson once again brought his exquisite musicianship and assured composure. His playing was clean, executing the great number of difficult passages with control and precision. Aaron tackled the numerous technical passages with agility, demanding a command of
technique that goes well beyond that found in the Herbert L. Clarke’s Technical Studies. When the music called for more lyricism, he delivered with a beautiful singing style. Aaron nimbly brought out the many dance-like figures with sparkling clarity. He also intertwined his trumpet lines with those of the piano very well. His control of the instrument was impressive, as was the highly positive reaction from the audience.