Update Title: 0BFDA2BD-7FD0-4E2E-92F2-FB21BAF6ECB8

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Written for Paul Merkelo and the Rochester Philharmonic Orchestra, my Concerto for Trumpet and Orchestra is a composition in three movements that was completed in September 1995.  A sustained and lyrical  theme is heard at the outset of the first movement which is contrasted by music of a more dramatic character which follows.  The trumpet introduces the primary voice of these materials, leading the orchestra throughout  the movement.  Two short cadenzas for the soloist are found.  The second movement is an Adagio, and begins with ashort solo passage for cello, after which the trumpet enters alone.  The final movement begins as a fast dance, with short and brassy chords punctuating the frenzied figuration by the trumpet.  A middle section contrasts this with music that is slower, calmer, and more reflective.  A return to the faster music leads the movement to its energetic conclusion.
 
                                                                                                                                                                                                                                 -David Liptak
 
Written for Eastman and RPO alumnus Paul Merkelo, the Trumpet Concerto of  David Liptak was premiered by the Rochester Philharmonic in April of 1996.  Requiring technical brilliance from the soloist and flexibility on the part of the orchestra, the innovative and vibrant work alternates between subtle lyricism and anxious excitement.
The first movement intersperses solo trumpet cadenzas, with ritornello-like orchestra passages that trade dissonant harmonies imitatively between various sections of the orchestra.
The second movement, which is dedicated to late RPO cellist Lynn Kahle Richmond, reveals an innovative style in which lyrical orchestration alternately introduces and supports the solo themes.  Ushered in by the cello section, the movement begins with somber and mysterious passage that leads to an upper-register trumpet solo.  The movement employs dramatic emotional contrasts, mixing orchestral lyricism with aggressive soloistic articulation.  This gives way to a fugue that culminates in rumbling outbursts from the bassoon.
The final Presto movement builds into frenetic excitement with its combination of timpani and horns augmented by two rachets (gearlike percussion instruments) in competing polyrhythms.  Fresh harmonic relationships ensue between solo trumpet and violas in contrary motion, as the drama and tempo mount towards its thrilling close.
 
                                                                                                                                                                                                                                     -Dan Bara

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"The highlight of the program, which repeats tonight, was the world premiere of Rochester composer David Liptak's innovative and vibrant Trumpet Concerto.

Liptak wrote this music for Paul Merkelo, formerly principal trumpet of the RPO. Now principal trumpet of the Montreal Symphony, Merkelo marked his triumphant return as guest soloist with a brilliant performance. The concerto showcased hit pure technical prowwess and the RPO's agility.

The first of three movements intersperses solo trumpet cadenzas with orchestral passages, which trade dissonant harmonies in imitative counterpoint between sections of the orchestra. Early on there was a problem in balancing the solo and harmonic passages, but as the piece progressed the voices became more fully integrated and the solo passages had more room to grow.

In the second movement, dedicated to the late RPO cellist Lynn Kahle Richmond, Liptak demonstrates and inventive compositional style by using lyrical orchestration to alternately introduce and support the solo themes. The cello section brings in the movement with a mysterious passage that leads to an upper-register solo, which Merkelo seemed to achieve effortlessly.

Liptak uses dramatic and emotional contrasts, mixing lyricism with growling articulation in the solo passages while maintaining a lyrical undercurrent in the orchestral parts. The lyricism evolves to a fugue that weaves an intricate harmonic tapestry and culminates in rumbling comments from the bassoon, which has the last word here.

Merkelo sped into the final Presto movement, wowing the audience with his impeccable, swift articulation.

In this movement, Liptak creates an urgent, restless excitement by combining timpani with horns, using two ratchets (gearlike instruments) in opposing polyrhythms and setting up fresh harmonic relationships between solo trumpet and violas in contrary motion. This delightful and imaginative piece becomes compelling as the drama mounts and accelerates to a close." 
--Rochester Democrat and Chronicle

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