End of Empire

Program Notes

End of Empire is a mini concerto grosso for 2 trumpets and string orchestra. The title came to me as I was composing and I simply couldn’t get it out of my head. It’s meaning is not specific - I suppose I like the way it suggests an idea of endings, transformations, from one thing to another. 

The piece begins with a short call from the two trumpets. This motif suggested a sense of foreboding, or expectancy, and recurs several times in piece. I’ve always enjoyed the way the trumpet call can command a listener’s attention. To me this sound often seems to resemble a vocal utterance, or perhaps a warning of things to come. I've always enjoyed the way a trumpet can be triumphant and regal, other times lonely and stark, still others intimate and lyrical.

After a slow introduction, the tempo takes off into a more active development and musical conversation. In the style of a concerto grosso, several other string players also interject solo passages in answer to the two primary soloists. The piece concludes with a slow section, which feels like an after-effect of all that came before it. Are grand empires good? Perhaps their eventual end opens space for something more interesting, personal to emerge.

– Jeff Beal

About The Commission

This work was commissioned by the Los Angeles Chamber Orchestra, for the esteemed recording artist & current Montreal Symphony principal, Paul Merkelo. In speaking with the orchestra, I was given the choice of a solo work, or a piece for two trumpet soloists. Being a trumpet player myself, I was well aware there is only one standard repertoire double trumpet concerto, the Vivaldi. Knowing of the fine LA Chamber principal trumpet, David Washburn, I decided this would make a great choice.

Aside from my enjoyment of playing the Vivaldi double concerto several times as a student, I know my choice was also inspired by the sound of my professors while I was student at the Eastman School. Paul and I both studied at Eastman (in different years) with the power couple of trumpet pedagogy Charlie Geyer and Barbara Butler. I recall many times hearing them perform together and was struck but the beauty and lyric power of two trumpets in consort as only Charlie and Barbara could.

We just lost Charlie Geyer (Paul's teacher) to ALS this year, and I'd like to dedicate this work to his memory.

– Jeff Beal