Trumpeters may complain about the paucity of solo repertory for their instrument, but this 2024 release by the young player
Matilda Lloyd
shows that a bit of exploration is all that is needed to deal with the problem, and her efforts vaulted her onto classical best-seller lists in the autumn of that year. Nothing here is unique on recordings, but
Lloyd
puts it all together in a fresh package that will be enjoyable for anyone. Arguably the best, unless one is a fan of the straight Romantic language in the
Trumpet Concerto
of
Christoph Schönberger
, comes at the beginning with the
Trumpet Concerto in B flat major, Op. 94
, of
Mieczyslaw Weinberg
. This work should dispel any notion that
Weinberg
was a mere follower of
Shostakovich
; the two proceeded from a common language, but
, especially later in his career, developed it in fresh directions (this concerto was composed in 1967). Sample the Fanfare finale, which undercuts its own Fanfare-ness by going in a dozen directions, with an effect that ultimately becomes a bit disquieting. This work deserves more frequent hearings in concert, and the lively
, who cleanly executes the rippling appoggiatura runs in the first movement, may well be the one to provide them. The
Schönberger
concerto does not really break new ground but is a crowd-pleaser.
concludes with a demonstration of her cantabile (the
Rachmaninov
Vocalise, Op. 34
, arranged for trumpet) and a virtuoso showpiece, the
Etude concertante in G major, Op. 49
Alexander Goedicke
. Filling the role of encores, these are enjoyable enough, and
Chandos
' sound from Henry Wood Hall is idiomatic. Worth it for the
alone, this album made classical best-seller charts in late 2024. ~ James Manheim