124 - Suite for Trumpet and Piano (1972)

In four movements= 86= 104= 60= 112From LP Music for Trumpet (Golden Crest RE 7045); Robert Levy trumpet, Amy Lou Levy pianoWritten in 1967wilderworld recently asked Bob Levy about the Suite for Trumpet and Piano and its recording:WW: How did the Suite for Trumpet and Piano come about?BL: Forty years ago, when I was a kid of 24, I asked Alec if he would be willing to write a trumpet piano work for me. The result was the four movement Suite. He was very quick to do it and I was thrilled. It was the first piece he wrote for me.WW: You’ve performed a lot of Alec’s music over the years. How does the Suite compare to other pieces you’ve played?BL: I think the piece is very much like much of his chamber music. It is highly melodic, angular in nature with its large intervalic leaps, and leaves phrasing largely up to the performer. As with most of his works, the performer must bring more of themselves to fostering a "point of view" in terms of shaping the music. That's the essential thing with Alec's music in my opinion.WW: What about the Suite to you seems written for Bob Levy?BL: Perhaps the 3rd movement has had a special sense of having been written for me as it is quite bluesy in nature. Alec knew of my love for jazz and that may have influenced him. Years later I asked him about possibly setting a lyric to the rather haunting melody it has, but its range and form made it less accessible.WW: Who is Amy Lou Levy?BL: She's my ex-wife.WW: Was Alec present for the recording?BL: Yes, Alec was there at the recording session and actually attended all subsequent recording sessions I did of his music from 1974-1980 (see wilderworld 75). He was most enthusiastic and supportive. Often, when composers attend dress rehearsals or recording sessions the performers can become quite nervous and it's easy to lose concentration, especially if they are continually offering suggestions. Alec always just seemed pleased you were recording his music and his comments were always encouraging. I remember, with recording one of his brass quintets, when after a “take" we all were a bit agitated and wanted to immediately do another, better one. Alec came running in from the recording booth and told us, “That's it; that's the one! Don't you even consider doing another one!"