Carl & Angel (complete)

Contemporary Trumpet Solo

Noctilucent (Plus-) Part 2 by Ying Wang
performed by Marco Blaauw on double bell trumpet
design live electronics by Marco Blaauw

Recorded live to tape
by Julius Gass at Ensemble Musikfabrik
22 December 2020

Ying Wang - Noctilucent (Plus-) part 2, by Marco Blaauw

Julien Jamet, Glossomanie, composed and premiered in 2017, recorded by Marco Blaauw, double bell trumpet at Ensemble Musikfabrik, June 2019, sound recording by Stephan Schmidt.

Glossomanie is the production of a speech which components are chosen for their afﬁnity or phonologic relatedness - an obsessive preoccupation focused on language, which is examined in an iterative fashion. Thus the young children babil is sometimes qualiﬁed as a form of glossomanie. Prior to the acquisition of the meaning of words, he vocalize continuously, repeat obsessively, put together, play with the sounds and phonemes that he start to perceive little by little.

This particular state of language - pre-symbolic and essentially vocal - led me through the writing of the piece.

The trumpet is here mostly used with marginal technique : attacks alone, slap, air noises, spilttones etc. Without any obvious logic, through sequences, repetitions, transitory arrangements and ephemeral games the piece examine the scories (Schlacke ) of the conventional sonic production of the trumpet.

Julien Jamet, Glossomanie, for double bell trumpet

for trumpet solo and fixed media (2019)
Marco Blaauw (trumpet)

Carl R. just having coffee and a good time with some angels (in paradise)

Mr. R. is entering into paradise (2019) for trumpet solo and fixed media

Carl & Angel (2019) for trumpet solo and fixed media

Trumpet solo from 1991, published in 1992 by Askolta Publishing Houten, The Netherlands. Recorded in 2001
The title is taken from 
Rainer Maria Rilke, Vergers XLI
Puisque tout passe, 
faisons la mélodie passagère; 
celle qui nous désaltère, 
aura de nous raison.

Chantons ce qui nous quitte avec amour et art; 
soyons plus vite 
que le rapide départ.
 
Since everything passes,
Let’s sing a parting melody,
A song of our own making
That will quench grief

Let’s use love and art to praise our losses,
And let’s do it more quickly than what departs.
(Translation by Susanne Petermann, from the bundle “When I Go”)
 
Daan Manneke commissioned me to arrange his saxophone solo "Soyons plus vite que le rapids depart" for trumpet.
I happily took on that challenge but stumbled over 2 issues: range and multiphonics. The first issue had to do with melodies that went up too high for me to reach on the trumpet. The second issue had to do with multiphonics. I knew about vocalized notes but those didn't convince the composer. 
I introduced Daan Manneke to a sound that actually came from a lack of control: My sound would often crack in a register change or when I started a note in the second octave. The result was a split tone: 2 neighbouring harmonics from one overtone series, played at the same time. 
Daan Manneke was fascinated and encouraged me to cultivate that effect and use it as multiphonics in his piece. 
Is this the first score with notated spilt tones on the trumpet?

Daan Manneke, Soyons Plus Vite... Recording from 5 February 2001

Rebecca Saunders, Blaauw (2004) for double bell trumpet
Recorded in February 2019, at the Emanuel Vigeland Mausoleum in Oslo, by Sebastian Schottke

Mr. R. is entering into paradise (2019) for trumpet solo and fixed media

Nicolas Kuhn