Click to read a review of BAHB's latest CD written by Marc Reed; The International trumpet Guild. Vol.33, No.4 June 2009

The Mannheim clinic reviews are in!

• Rhein Neckar Zeitung 21 May 2008 Orginal German Article   English Translation
• Eberbacher Zeitung 23 May 2008    Orginal German Article   English Translation

Hi Bahb,
Just wanted to let you that I received "Trumpet Secrets" yesterday.....looks great! Thank you so much for sharing your wisdom and experience.

• Take care,
• Gary Thomas

Bahb,
I just wanted to say thank you for all you've contributed to my professional development in playing as of late. I am comitted to mastering the TCE method. Never have I been so passionate about learning a particular trumpet method. I have always been in love with playing baroque music. To that end, I know that this method will take me there. I wanted to express to you my goals, because it bodes well for both of us to know what my goals are. I look forward to our continued lessons and I thank you for everything you are doing for me.

• Take care.
• God Bless.
• Mark Weakley

Hallo Bahb!

First of all I have to say thank you for your lesson in Ochsenhausen. I reflect a lot about your ideas of trumpet playing, and it acts! The only problem is that I have 2 wonderful children and I want to be a good Daddy, so I have not as much time for practicing as I would like...

I´m still a bit concerned about the sound of your TCE 2 mouthpiece, I thought it is to bright. But everybody hearing me playing says it is good! Even if I record myself it sounds bright — but good!

So can you send me an pay-pal-request for both your mouthpiece and the "Trumpet Secrets" book of Jerry and you? I still don´t exactly know how it works....

When I´m practicing I look for:

• a pure and centered sound
• no duah articulation
• not playing too loud, but pp
• an anchord tip of the tongue at the bottom lip

I have started to apply some of the five tongues to my playing. It is all working very well.

• Bill

Hi Bahb

I really enjoy this new CD of yours. It really helps me to see your level of playing with TCE. As I told you at my lesson. My absolute favorite music is classical from the Baroque period. Here at my hotel I have Vivaldi, 4 seasons, and Bach, Conserto De Brandemburgo 1,2 and 3. Yes, I bought this double CD in Paris last summer for 3.50 Euro. But this recording of yours is outstanding. Since I put the CD in my player, I have not changed it to another one. I just enjoy it that much. Not only do I hear how skillful you are, but I also hear something that most people will never be able to duplicate: "THE ART OF YOUR PLAYING!" All I can say is wow! I am so exciting studying with you that I share with my wife about you and of course I played this CD with her. When I showed her the picture of your trumpet she asked me where are the valves and how does he flutter notes like that. I told her that it doesn't have valves. She was shocked. I told her people would think that his lips makes these beautiful, kind of like ornament flutters, but it is the tongue. She said that it is very impressive. I am proud of you Bahb. Nice job on this CD. May you sell many CD's. You and your companions deserve it! I also looked at the booklet and I can't believe that you did this in Belgium. The funny thing is that I am here in Brussels as I am writing this to you. And of course I brought my trumpet. I practiced for 3 and 1/2 hours both Einsetzen/ansetzen excercises and the 5 articulations as well as few other excercises. It is really difficult to practise with my old bundy and a pratice mute, but I still get a lot out of it. I really want to advanced with TCE. It's in my blood and always on my mind. I know my major problem is that I still have in my head what I think how the trumpet is played verses how really it is played. Sounds funny, but I see that I really have to break these bad patterns of thinking with the trumpet. Even though I know the correct way to play, my old self keeps on resurfacing - mainly the air issue; too much air as you even mentioned to me at the last lesson. In any case, I really desire to achieve a professional level. I enjoy taking lessons with you. You really demonsrate an understanding of my experience level. Also I can see you enjoy teaching; these skills are essential for quality instruction. Again, nice job on the new CD, I know you and your companions worked hard to put this together. I will see you December 22nd at 1PM. Say hi to your wife. Take care.

Hope you're well and thanks so much!

• Mark

Hi Bahb

Just to briefly update you - back from a rehearsing a whole range of opera extracts including some demanding trumpet parts - went very well for me - solid, confident attacks and clearer articulation than I've ever managed - just a delight to play. Another rehearsal on Friday with the performance on Saturday - I'm playing more consistently and with greater confidence than before.

Also spit buzzed a g above high c recently, which gave me a shock (and my young pupil) - never managed that before in my life.

Getting on well with all the exercises including double pedals.

Hope you're well and thanks so much!

• Ruari

More than a year ago, when I was surfing around in the web looking for some buzzing tips I found at last a page with a strange named trumpeter called “Bahb”. Even more stunning was the confrontation with an anatomic graphic. I never before had heard about putting the tongue through the teeth to produce a sound on the trumpet.

But after reading more about the fundamental idea it seemed to be a plausible matter. Curious about this I wanted to discover the whole background and ordered the “Trumpet-Secrets”-book, later the “TCE Training Manual”. After reading again and again I felt there was a need of personal instruction.

I had the chance to meet Bahb in Belgium this spring.

Although being a little bit excited about what might happen, Bahb just in his person destroyed my fears. Looking back from now I can say that I have never had a teacher who involved himself in the matter and the student he faced, not missing good humor. Any time I asked him in this lesson, “why?” he gave me a reasonable answer. And it always worked. After learning double pedals and some Einsetzen/Ansetzen trials I moved up to a high C in a manner I never did before, really fine sound without any strain. I can say: a highly efficient one hour lesson.

After a few weeks of practice I decided to take a phone lesson controlling my progress. Because of some trouble with the Skype program we had a regular telephone lesson. I was a little concerned about this shortcoming but again Bahb convinced me teaching only by ear. We talked about some things coming to mouthpiece discussion. I was using a rather large one. Considering costs I decided to invest in a new mouthpiece and ordered a reproduction of Bahb´s own mouthpiece (Callet X5C). This pushed me forward in range and endurance. It seems fit to the TCE - fantastic powerful sound, definitely worth the money.

His “Instructional DVD” at last gives me a steady available self-control over the correct sound of the five articulations which are the essential issues besides double pedals of developing this embouchure.

The unanswered question: Why did nobody ever describe this evident fundamental function of the tongue in such a clear way, as you can read in Bahb´s books and get demonstrated at his homepage and all the available media?

After all and as a resume, Bahb did change my attitude to trumpet playing totally. I have to thank him for this experience and I hope many people may share this with me.

Keep on, Bahb!

• Wolfgang Brecht, Mannheim (Germany)

A letter from Carmine Fornarotto (8-25-07)

In my experience as a trumpeter and teacher, I had three students who had the potential for a professional career in music. One became a lawyer, one stayed in music education and Bob ( Bahb ) Civiletti.

Bob has distinguished himself in two areas of performance, Big Band and Baroque music. But it is his concerts and recordings of the Baroque repertoire that has earned him great respect and admiration. His sound is warm and powerful, when power is called for. He has carved out a special niche for himself. I deeply appreciate that we still keep in touch and enjoy visiting with him when he travels to Florida.

Sincerely,

• Carmine Fornarotto , Retired trumpet
• The New York Philharmonic

Dear Bahb

One year has passed since you’ve been in Winterthur,Switzerland. From that day on, TCE started to be a very important part in my daily practice. It changed my musical life tremendously, even if I think, that I haven’t already learned 5% of it. My endurance and ability to play higher notes increased incredibly in that short period of time. I’m 44 years old and couldn’t imagine, that I’II be able to change my embouchure in such a radically way. Now I look forward becoming a better player with every year of my life. All of my colleagues think that getting older means becoming a weaker embouchure. Now I know that this statement is completely wrong. With the right technique (TCE) we can get better every day! Your DVD ( I’ve ordered some months ago) is a great help for me and I hope, that one day you’ll be back in Switzerland, so I can take one or two lessons from the master himself.

Thanks a lot for giving me a new perspective of how to play a trumpet and I send you my best wishes from Switzerland.

• Andreas Kirschner December 6, 2007

Good Morning Maestro:

This is a brief note to congratulate you on the DVD describing the TCE and tongue placement. It was a great help to me in my "climb up the mountain."

My progress is going well with the effort still reducing, especially when I practice at least 30 min per day. If I could do a couple of hours daily I might "break glass!"

Feel free to include me in your testimonials!

• Most Cordially yours,
• Robert W. Carter,
• Formerly trumpeter with the Atlanta Symphony & Metropolitan Opera and student of the great Izzy Blank

I had the great pleasure and privilege of working with Bob Civiletti for three days during the recent March break. My raison d’etre for this was to understand and have demonstrated to me Bob’s TCE method. I didn’t go to see Bob so I could walk out the door at the end of the lessons being able to play Double C’s but to take on board a method of playing that really works. A method that has been in existence for hundreds years and yet in my 30 plus years of playing had never heard of (why is that??)

Being a trumpet/cornet player myself and having been taught how to play I will use the term “old school” because that was how my teacher(s) did it (and no doubt how their teachers did it as well.) I had a number of preconceived ideas on how to play which have worked well over the years. The three days I spent with Bob were a revelation because it opened my eyes and dispelled a few trumpet myths.

Bob is a gifted and insightful teacher and puts things over in an easy to understand way but more importantly can show you. As the student in all of this (I’m 51 years old by the way) I went with an open mind and a willingness to learn and I wasn’t disappointed. For me now, I know I’m on the right path and it’s down to ME to do the WORK!! (Don’t expect Bob to wave a magic wand)

When you see and hear Bob play the Brandenburg Concerto 2 on a standard Bb trumpet and in the original pitch of F and not break a sweat that speaks volumes to me that TCE works.

• Chris Reed
• Kingston
• Ontario

MARCH 4TH CLINIC CRITIQUE!
This is a follow up to the TCE Clinic Bahb Civiletti conducted on March 4th at the Raleigh Music Center in Raleigh North Carolina.

There were approximately 20 participants who were very eager to see what TCE is. Bahb started off by giving a little background on himself, his relationship with Jerome Callet. How they formulated the TCE system and co-wrote the book.

Bahb then described and demonstrated the TCE system and the different articulations, then he worked with each of the students for at least 15 minutes per student getting them started on TCE.

I have been to many clinics over the years and this one is by far the best one I've ever attended. The way that Bahb conducts this clinic is a basic step by step approach that is not confusing and you can actually start to apply immediately. What was truly amazing were the younger trumpet players who picked it up immediately without any trouble at all, us older more experienced guys apparently think too much therefore causing us to pick it up slower. But everybody was catching on.

Bahb's teaching techniques made all of the participants feel comfortable playing in front of strangers who are hanging on every note you are playing trying to learn the TCE way.

By lunch time I heard comments from people expressing that they felt that they already got their monies worth, and we had at least 3 more hours to go.

After lunch Bahb was back at it working with each student until everybody had their 15 minutes of time. Although the clinic was suppose to be from 10am to 4pm, due to some time commitments Bahb taught one of the attendees early and Bahb didn't finish until 5:30 or so. At that time Bahb offered to do a recital demonstrating the TCE embouchure playing several movements of song he was working on with his natural trumpet.

I personally don't care much for classical music and the such but when Bahb started his recital with a little lecture of the time period and how the music / trumpet was developed you can really begin to appreciate the music because Bahb’s passion for this brings you in. So I'm leaving the Classical door open.

To wrap it up, Bahb was playing from 8:30am till 6:15pm and still kept going and going. We were so impressed and pleased with the results of this clinic we are planning to have another one. Perhaps twice a year to keep the TCE program going in this region.

I hope other trumpet players who are looking for a means to improve their embouchure come together and get Bahb to conduct a clinic in your region. Well worth the money.

• Mike O'Toole

A letter from Franz Streitwieser
The Streitwieser Foundation Trumpet Museum
Kremsmunster Austria, February 3, 2005

"Finally, the late great Adolph Scherbaum has a successor"
Robert BAHB Civiletti, however, takes it a step further with the long, natural Baroque Trumpet, playing the highest written Clarino Concerti of the Rococo Period with ease and a clear tone in the stratospheric range. His sensitive interpretation is excellent! His intonation and easy trills remind one of the praise that Leopold Mozart wrote about the stunning virtuosos of the Kaiserlich Trompeter in Vienna under the direction of the Composer/Kapellmeisters J.J.Fux, Antonio Caldara, Luca Predieri and Johann Georg von Reutter II. The names of several court Trumpeters were, Chief Trumpeter Franz Küffel, Franz Joseph Holland, and as J.J.Fux wrote in 1732 "an entirely special virtuoso" Johann Heinisch. Johann Heinisch was court trumpeter when Johann Georg von Reutter II was court composer. Reutter’s concerti would not have been composed if not for the stratospheric range (to the 24th harmonic "g" above high "c") of Heinisch and magnificent trills that were described as "pure wizardry". The extreme virtuosity of BAHB’S TCE technique enables him to play the concerti of the previously mentioned composers and others like nobody else on the Natural Trumpet with great style. He has a clear tone from the bottom to the highest range ever written for the Trumpet. BAHB reveals his technique openly and freely not like the great Scherbaum who talked about a secret but never told anyone about it. In his book " Trumpet Secrets " (Secrets of the Tongue Controlled Embouchure-TCE) co-authored by Jerome Callet he claims to have re-discovered the ancient secrets of the fabulous trumpeters of the 18th century.

If trumpet playing would be an Olympic activity today as it was in ancient Greece, BAHB Civiletti would win the gold medal easily every time.

• Franz X. Streitwieser
• Founder/Director
• The Streitwieser Foundation Trumpet Museum

From a newspaper review: "Luxemburger Wort" (Voice of Luxembourg!) regarding a master class which was given at the Capital Conservatory on June 14th, 2004

BAHB Civiletti explained a rarely used playing technique: the "Tongue–Controlled Embouchure". Trumpet playing has its technical limits, especially when it comes to notes which are at the top of the scale. With the TCE, the American trumpeter BAHB Civiletti has set this limit further up and has made again possible the performance of difficult baroque works.

The secret of the TCE lies within the forward setting of the tongue and the relief of the lower lip. BAHB Civiletti is a master in this playing technique. These days, invited by Conservatory Professor Charles Consbruck, he demonstrated his ability in front of 30 attendants in the capital conservatory.

The trumpeter’s international renown had not only woken the curiosity of Luxemburg musicians but also of brass players from Switzerland, Belgium and Germany.

With a lot of ability, a good dose of humor and a great deal of virtuosity, he showed this technique, mastered by very few musicians, with a recital of three rare pieces from the repertoire: the D major concerto by Joseph Riepel and the C major and D major concerti by Johann Georg von Reutter.

I had the pleasure, to translate together with Ed Tarr the "Trumpet Secrets" into German. The method is detailed and forcefully explained and contains a lot of historical examples, that shows, that the "tongue–-controlled embouchure" was already used in the "old times". As a Trumpeter, specialized in Classical and Baroque Music, I’m glad, that BAHB Civiletti added the chapter about "Trumpet Secrets" for the Baroque Trumpet.

For all, they have learned, to leave the tongue when playing behind the teeth: you should hear BAHB Civiletti playing the Trumpet and Baroque Trumpet with this method. His embouchure seems not to know tiredness and his high register is also after hours of playing still clear, bright, strong and absolutely secure.

• Prof. Friedemann Immer
• Niederkassel

Edward H. Tarr
Internatioal soloist, recording star, musicologist and teacher
Director Bad SackingenTrumpet Musuem

"BAHB is one of the up and coming stars of the Baroque Trumpet… his book " Trumpet Secrets " will benefit all who want to play the entire range of the trumpet ".

Dear BAHB!
Here are some words about your clinic. Maybe that there a lot of mistakes in the English version. Please feel free to correct them.

" As nearly the most trumpet players I also did a long year search for a method that makes my trumpet playing easier and more efficient to be able to express on the trumpet whatever I want. All methods that I studied in this time have not had a mentionable success, until I met BAHB Civiletti and his method of the Tongue-Controlled Embouchure. I first met BAHB, one year ago, he taught me the basic principles of the TCE.

After working hard on these basics I met BAHB again a few weeks ago for a two days clinic to become more and more familiar with the TCE. This three days staying with BAHB did a multiple to improve my trumpet playing than all the lessons, methods and years of searching before! My sound became more cantered and powerful, my endurance and my high range increased enormous!

Therefore I only can highly recommend this outstanding method to all who want to have a fundamental improvement in their playing."

And here is the german version:

"Wie wahrscheinlich die allermeisten Trompeter war auch ich jahrelang auf der Suche nach einer Methode, die mein Spiel leichter und effektiver macht, um auf der Trompete das ausdruecken zu koennen was ich will.

Alle Methoden, die ich in dieser Zeit studierte, haben jedoch keinen nennenswerten Erfolg gezeitigt. Bis ich BAHB Civiletti und seine Methode des Zungengesteuerten Ansatzes (Tongue–Controlled Embouchure) kennenlernte. Bei unsere ersten Begegnung vor einem Jahr hat BAHB mir die Grundlagen dieser Methode beigebracht. Nachdem ich intensiv daran gearbeitet hatte, habe ich BAHB for einigen Wochen für zwei Tage bei einem Workshop wiedergetroffen um mit dieser Methode noch vertrauter zu werden. Diese drei Tage Arbeit mit BAHB haben mein Spiel um ein Vielfaches verbessert als alle Unterrichtsstunden, Methoden und Jahre des Suchens zuvor! Mein Klang ist zentrierter und kraeftiger geworden, Ausdauer und Hoehe haben sich enorm verbessert!

Darum kann ich diese herrausragende Methode waermstens allen Trompetern empfehlen, die eine grundlegende Verbesserung ihres Spieles erzielen wollen.

Dear BAHB!

This morning I played the Haydn–Concerto with our Orchestra and I want to say you a really very big and warm THANK YOU!!!! Without your help I would not have been able to play this Concert in the way I did: totally free and easy, without any strain! I had the freedom to play the Concert as I want or in other words: I played the trumpet and not the trumpet played me! So thank you for your very successful work with me! I never thought that I would ever be able to play the trumpet in that way!

Then I want to ask you to send me your CD’s, if possible with a personal dedication. I heard your CDs with Dieter and was completely thrilled! I know a lot of CDs with the Barocktrompete, but yours are the best!

• ANSGAR

Dear BAHB!

In my review I only wrote the truth: it seems to be unbelievable but this three days with you really did more for me then all the other teachers, methods and years of searching and practising…

By the way. I did a "transformation" from your studies for the Baroque trumpet to the normal b–flat trumpet so that I know have a lot of "BAHB–Style" studies for the b–flat trumpet. I hope I can show you my Variations in September. I think they work very well and you would like them (I have not written anything new, I just "transformed" them so that they are very good practicable on a b–flat trumpet).

All the best to you,

• Ansgar Brinkmann
• Moenchengladbach Germany

Workshop held by BAHB Civiletti 14,15, June in Mönchengladbach Germany. In this workshop BAHB Civiletti introduced the tongue-controlled embouchure. It was astonishing how BAHB could play the whole day long from low f sharp to c 5. This unique method makes a trumpeters life much easier. I am very pleased to have been shown a new, more direct approach to playing the trumpet. The quality of my sound is now more centred with a clearer attack. Every player who attended this workshop left as a better player. BAHB individually attended to each player’s problem in a most engaging and patient way. All enjoyed the 2 days.

• Dieter Möbert
• Trumpeter Niederrheinische Sinfoniker

Hi BAHB,

I hope you had a good trip home. Thanks again for these 2 impressive days of learning.

I have been practicing the TCE in the last days and yesterday I played my first gig with my big band trying to apply it. Interestingly, it is quite an improvement even though I am certainly not yet mastering it. But I noticed that it gives me more security in my normal play and especially the lower notes get out with more volume and crisp. In any case, if I forget to put the tongue onto the lower lip, I do start to get the feeling that something is wrong.

I keep on practicing and please let me know when you will be back in Germany.

• Wolfgang Zebe
• Frankfurt Germany

Dear BAHB,

I would like to give you a short overview, over my status, so that you know, what your students for progress make:

Since the Workshop with BAHB I have worked much on playing with less air and build the compression inside the mouth. This was another new important "kick" for me (In every lessons with one of you, I get a new important "kick", that’s so unbelievable for me and so effective. I have never made before such a experience in my life with learning the trumpet. It’s like a "super Highway" to learn the trumpet. Thank you.)

I can feel the compression now very good in the mouth and my playing is so much improved, especially in the lower register. Above all the deep register got completely different quality with me and I experienced now that I can produce with the flat and small mouthpieces beautiful full tone.

I tried also again the DT–10 out and my sound is not bad also on it. I find the DT–10 somewhat more comfortable at the lips, but the W46 has for me more overtones and sounds altogether a little fuller.

And – today I played the first DoubleHighCs – correct ones – not whistled "bullshit" ;-) ones, that I could play before (that ones was no tones). I can lay me down comfortably on the floor and play from C3 to G3 (and if I make in such a way far progress, I think also soon to C4).

I continue to work and I have still enough exercise material of BAHBs Workshop.

And if I stabilized in the next weeks the Double High C, I will announce myself and play it for you, that you can hear, which progress your students make. And then I need new lessons for the C5 ;-)))…

I’m so happy to have now the ability to play the trumpet and not the trumpet with me… And can work now more and more to the artistically part of the trumpet playing, what i could do never before, because my embouchure don’t let me in the past – and that was a hell way in the past…

• Kuno Seebaß
• Allgäu Germany

Reviewer Marc Reed, director of instrumental activities, Waldorf College, Forest City Iowa;
The International trumpet Guild June 2009 Vol.33, No.4.

"The Art of the High Baroque". World Premiere Recording on Baroque Trumpet. Featuring the works of Joseph Riepel, Franz Querfurth, Georg von Reutter II, Franz Xavier Richter and J. Michael Haydn.

Robert J. "Bahb" Civiletti, baroque trumpet. The Belgian Baroque Soloists, Niranjan Wijewickrema, Conductor; Marie Haag, Catherine Meeus, baroque violins; Rainer Ardt, baroque viola; Eve Francois, baroque cello; Benoit Vanden Bemden, baroque bass viol; Sopie van Heerle, harpsichord; Stefanie Troffaes, Wim Vandenbossche, transverse flutes; Mark De Merlier, Frank Clarysse, natural horns; Alain De Rijckere, baroque bassoon. Producer and program annotator; Edward H.Tarr, Recording engineer; Paul Pasquier, Editing; Paul Pasquier, Niranjan Wijewickrema.
Buccina Cantorum Recordia BCR 3313114. Recorded 10-13 April 2007.
www.tce-studio.com baroquebahb@aol.com

This recording represents Robert J. “Bahb” Civiletti’s first full solo trumpet album. Civiletti is currently principal trumpet with the Dallas Bach Society and has performed throughout the United States and Europe. The Art of the high Baroque is a collection of six concerti penned in the late eighteenth century at a time when music for solo trumpet was at its zenith. The Belgium Baroque Soloist accompany Civiletti on period instruments.

Edward H. Tarr (Producer) writes in the liner notes “…the works on this recording represent the summit of trumpet playing art. Until this recording no one has attempted to play these on the instrument for which they had been conceived: the valveless Baroque trumpet.” It is easy to understand why these pieces have been long considered inaccessible because of the stratospheric range demanded of the trumpeter. Civiletti demonstrates both command of the treacherous natural trumpet and almost super human strength as he navigates the extreme high passages presented in these works. Aside from this, Civiletti’s ornamentations, an area which many struggle with on the valveless trumpet, is well refined in technique, style and artistry. A fine example comes in the first movement of G.von Ruetter II’s Concerto No. 2 in D major where Civiletti maneuvers through trills and mordents with a mastery rarely heard on the Baroque trumpet. This album is a solid purchase for any collector of Baroque trumpet recording, not only for the repertoire performed, but for the exposure of Robert Civiletti’s strong playing.

Reviewer Huw Morgan; The Brass Herald October 2008 issue #25.

“The Art of the High Baroque”, Robert J. “Bahb” Civiletti

For fans of the Baroque trumpet, this latest release from the American virtuoso Robert J. “Bahb” Civiletti is certainly a must-have. Featuring six world premiere recordings on the notoriously difficult “Natural” trumpet of the works of Joseph Riepel, Franz Querfurth, Goerg von Reutter II, Franz Xavier Richter and J. Michael Haydn. Civiletti navigates the extreme upper register passages of these concerti with exquisite technical prowess and musicianship. As record producer Edward H. Tarr explains in his informative liner notes, the extension of the trumpets high register employed by the composers of the Rococo or Mannheim period require not only fantastic endurance and embouchure strength, but also an incredible accuracy to pitch the upper note, where the partials lie treacherously close together.

Throughout the disc Civiletti almost makes a mockery of these difficulties, delivering impeccable performances, particularly in the Adagio movements of the Riepel and Haydn which require a warm, glowing tone at both ends of the instruments range. The florid and arpeggiated features in the final movements of the Richter and Reutter concerti are dispatched with equal aplomb, as are particularly impressive “lip trills“- as someone who finds this particular skill reasonably difficult to execute, I could only listen in awe and amazement!

In comparison with the piccolo trumpet and chamber orchestra recording of these works already on the market, the period-instrument Belgian Baroque Soloist provide a more intimate ( and certainly more authentic ) feel to the ensemble……..

A mention must go to the conductor Niranjan Wijewickrema for his discerning and tasteful handling of the accompaniment and the ensemble as a whole for tempering their ornamentation in these works.

…….it is abundantly clear in this recording that Civiletti is truly a trumpet phenomenon, a modern day master of the Baroque trumpet stratosphere whose unique musical and technical abilities afford him a special place in the roster of great trumpet artist. A truly inimitable recording from a very talented gentleman: buy it!

The Belgian Baroque Soloists; Niranjan Wijewickrema, Conductor; Marie Haag, Catherine Meeus, baroque violins; Rainer Ardt, baroque viola; Eve Francois, baroque cello; Benoit Vanden Bemden, baroque bass viol; Sopie van Heerle, harpsichord; Stefanie Troffaes, Wim Vandenbossche, transverse flutes; Mark De Merlier, Frank Clarysse, natural horns; Alain De Rijckere, baroque bassoon. Producer and program annotator; Edward H. Tarr, Recording engineer; Paul Pasquier, Editing; Paul Pasquier, Niranjan Wijewickrema. Buccina Cantorum Recordia BCR 3313114. Recorded 10-13 April 2007.

Reviewer Jeffrey Nussbaum; President, Historic Brass Society, July 2008.

"The Art of the High Baroque". World Premiere Recording on Baroque Trumpet.
Robert J. "Bahb" Civiletti, baroque trumpet. The Belgian Baroque Soloists, Niranjan Wijewickrema, Conductor; Marie Haag, Catherine Meeus, baroque violins; Rainer Ardt, baroque viola; Eve Francois, baroque cello; Benoit Vanden Bemden, baroque bass viol; Sopie van Heerle, harpsichord; Stefanie Troffaes, Wim Vandenbossche, transverse flutes; Mark De Merlier, Frank Clarysse, natural horns; Alain De Rijckere, baroque bassoon. Producer and program annotator; Edward H. Tarr, Recording engineer; Paul Pasquier, Editing; Paul Pasquier, Niranja Wijewickrema.
Buccina Cantorum Recordia BCR 3313114. Recorded 10-13 April 2007.

This latest CD by Robert J. "Bahb" Civiletti is nothing short of remarkable. All six compositions on this recording are listed as “world premiere recordings on Baroque trumpet” and an examination of Lowry’s International Trumpet Discography bears out this claim. The works in question are Trumpet Concerto in D by Joseph Riepel (1709-1782), Trumpet Concerto in Eb by Franz Querfurth (fl. Mid-18th century), Trumpet Concerto No. 1 in C, Trumpet Concerto No. 2 in D by Georg von Reutter II (1708-1772), Trumpet Concerto in D by Franz Xaver Richter (1709-1789), and the Trumpet Concerto No. 1 in D by J. Michael Haydn (1737-1806). In some sense these works are like the famous Haydn Trumpet Concerto but on steroids. All are unbelievably virtuosic and demanding. Ed Tarr, in his thoughtful CD program notes states that the Michael Haydn D-major trumpet concerto has the distinction of presenting the "world record" height of sounding A above high C, in bar 41 of the first movement. The Richter concerto ascends to high concert G.

That this is the first time anyone has recorded these demanding pieces on baroque trumpet is no surprise and certainly puts Bob Civiletti in a very special category. Civiletti started his trumpet career as a lead jazz and commercial player and went on to help develop the "Tongue-Controlled Embouchure (TCE)" technique with the well-known “chop doc” Jerome Callet. His fantastic ability to control the very extreme high tessitura on the trumpet serves him well with this repertoire. However, these pieces are not played like a lead jazz trumpeter. Civiletti plays this repertoire with a great deal of style and sensitivity and the Belgian Baroque Soloists matched him in this regard.

The cadenza in the second movement of the Joseph Riepel D major concerto is one of the very few written out by the composer of a trumpet work of this period. It is short and has little thematic material from the composition. It is more of a brilliant flourish than a melodically developed cadenza as found in other repertoire. Civiletti uses this as a model for cadenzas in the other works. The cadenza played in the first movement of the Richter D major concerto echoes the extreme passage to the high G above C ending with an arpeggio down to the third harmonic, G below the staff.

This is somewhat of a landmark recording, the absolutely most demanding Baroque trumpet repertoire well played on a baroque trumpet. Bob Civiletti certainly sets the bar several notches higher for future players. Given the outstanding aspects of the performance one is almost hesitant to remark on any shortcomings. No landmark efforts are flawless. Certain extreme passages with difficult leaps are occasionally attacked in a less than perfect way and tone quality is sometimes affected. However, 100% technical perfection is not to be expected on a maiden voyage. Bob Civiletti performs with remarkable skill and musicianship and has shown the brass world that this repertoire is approachable on Baroque trumpet. The gauntlet has been thrown down. Having given us a view of the possibilities, maybe in the next generation trumpeters will perform these works on a natural trumpet with no vent holes and come even closer to a perfect performance. Until then, this recording is the closest we will come to knowing the sounds of the likes of the great Austrian trumpet virtuosos of that era such as Johann Heinisch (fl. 1725-51) and J. B. Resenberger (c. 1700-1781).

An endorsement of the new TCE Training Manual:

Robert J. (BAHB) Civiletti has come up with a new volume explaining in detail how to apply the techniques of the tongue-controlled embouchure (TCE) to the Modern and Baroque trumpets. I am sure this will be extremely useful to those attending his master classes and I wish the new publication every possible success.
Edward H. Tarr, Univerity of Music Karlsruhe

Robert J. (BAHB) Civiletti hat ein neues Werk produziert, "Das Übheft für die TCE-Seminare", worin er sorgfältig erklärt, wie die Techniken des zungengesteuerten Ansatzes (TCE) auf die Moderner und /Barocktrompete anzuwenden sind. Ich bin sicher, dass diejenigen, die seine Meisterklassen besuchen, das Heft mit Gewinn benutzen können und wünsche der neuen Publikation den verdienten Erfolg.
Edward H. Tarr, Musikhochschule Karlsruhe

Historic Brass Society’s CD Review of BAHB und Freunde "Baroque Masterpieces Natural Trumpets Organ and More"

"Robert (BAHB) Civiletti is fast becoming one of the more active American Baroque Trumpeters performing today…much of his performance activity has been in Europe.

The winner of the National Trumpet Competition, Civiletti possesses an impressive technique and has a fine and lyrical sense. On this recording he shares the glory with Friedemann Immer and one could not ask for a more supportive musical partner. Of all the tracks on this CD, two of the most noteworthy are the works of Antonio Caldara billed as world premier recordings…Edward H. Tarr who wrote the liner notes comments that these works represent the very highest levels of the Trumpeter’s art that was the standard in the Imperial Court of Vienna, with demanding lines ascending up to g’s above high c! Civiletti and Immer are joined with Claudia Immer and the three gives a brilliant and dazzling reading to these works. Newsletter: HBSNL #17"

Historic Brass Society’s CD Review of Buccina Cantorum’s " Music of the Italian Baroque "

"…As an American performer who concertizes regularly in Europe, this recording should convince many of us that not all the talent lies across the pond. … we are given the opportunity to hear Civiletti play solamente, and by his doing so we are reminded of what the trumpet was meant to do, i.e. inspire awe and thrill the audience. The listener is grabbed by the lapels and told, " Listen to this; here is what a trumpet sounds like." …he performs with a combination of beauty, strength, and vigor in playing these showpieces, and the results are simply dazzling".

Review: HBSNL #15 Frank Hostica.

ITG CD Review " Music of the Italian Baroque".

" Civiletti’s playing is masterful and expressive throughout, especially on the Viviani. His stunning virtuosity and warm tone are a joy to hear…Civiletti navigates the treacherous high passages with ease and displays a formidable command of the valveless Baroque Trumpet… Civiletti’s brilliant playing is the true highlight of the disc.

Elisa Koehler: International Trumpet Guild Recording Review Editor June 2004.

Tito Puente:

" Among all the trumpeters I have worked with in New York, it’s this guy Civiletti who impressed me most"

Peter Massures:
Prinvipal Trumpet Koninklijk Concetgebouw van Amsterdam.

" Congratulations, never to my knowledge have the Secrets of the Trumpet been explained like this"…from BAHB’S clinic at the Music Concervatory in Amsterdam.

Antoine Acquisto:
Principal trumpet l’Orchestre de l’Opera Royal de Wallonie and Trumpet instructor at the l’Insitut Superieur Musical et Pedagogique a Namur, Belgium.

"…BAHB’S workshop at the Institut was quite amazing and very beneficial to all the participants…"

Friedemann Immer:
International soloist, recording star and teacher, Hochschule fur Music Koln Germany and the Conservatorium van Amsterdam.

"One must listen to BAHBS’ playing with this TCE technique, even after hours of practice his high register remains brilliant, strong and secure…"from TCE clinic in Michaelstein Cloister Blankenburg Germany.

Steven Foster:
Frist Trumpet Ohio Symphony Orchestra, Columbus

"… regarding the TCE, my sound is now stronger and more controlled…"

Mike Ponella:
Lead Trumpet Toshiko Akiyoshi Big Band

"… the TCE helped me to improve alot of playing features, one being my playing in the double high "C" area on a constant basis… "

Ansgar Brinkmann:
Solo-Trumpet with the "Niederrheinische Sinfoniker", Moenchengladbach, Germany

"My sound became more centered and powerful, my endurance and my high range increased enormous! Therefore I only can highly recommend this outstanding method to all who want to have a fundamental improvement in their playing."

Edward Green:
Professor of music, Manhattan School of Music, NYC

To attend a concert of Buccina Cantorum is--as they say--to get "double your money’s worth" for not only was the sheer music-making top notch, they also explain the music in a way that adds to the depth and excitement of the experience. Mr. Civiletti, in particular, proved that an artist can be an educator, and an educator an artist--for his demonstrations of the particularities of the trumpet of that time-- (trumpets, actually, as he showed)--left everyone in the audience feeling they had new insight into the Baroque.

And let it not be missed: this trio plays only on authentic instruments, and with authentic Baroque temperament and tuning.