Description
Click here to view the perusal score for whispers i & ii.
Watch Connor Johnson give the world premiere of whispers i & ii:
Program notes:
I was approached some time ago by Connor Johnson, who wanted to know if I’d be interested in writing a small piece for trumpet solo and fixed media—that could be performed with or without the playback. He wanted a piece that would clean up well for formal performances but would also be an appropriate (and reasonable!) choice when asked to “just play something.” As it happened, I was interested in trying to write such a piece, and although the process of writing the thing was delayed until late 2021, it wandered around in the back of my mind until eventually the right ideas found their ways forward.
whispers i & ii are a diptych whose tempos have been left intentionally vague. My goal with this is to give the performer flexibility—do they want to play both pieces within the span of the single playback track, creating a journey that may feel more rushed? Do they want to take their time through one movement and one movement only, luxuriating in the space that now exists as they play alongside the fixed media? Do they want to play one movement accompanied by the track and the other alone? Do they want to play the movements in the opposite order, or to bookend other pieces? Do they want to play one (or both) casually, away from a formal performance setting? Each of these questions may guide the performer, opening a variety of doorways through which a meaningful performance can be realized.
Notes to the performer:
In any interpretation of the piece, special notice should be taken of the overall low dynamics. As trumpeters, we’re often fond of playing loud, bombastic stuff; whispers should be intentionally, carefully restrained. Though not meant to be intentionally challenging, the piece may ask you to expand your comfort zone within lower dynamics. Explore that space!
Though scored for C trumpet, whispers i & ii can be played on any trumpet you’d like; the playback does not contain enough pitch content to throw you off.
When realizing the square noteheads, take care not to rest your embouchure on your mouthpiece at all; your lips should remain ever so slightly away from the instrument. To properly direct your air, you should feel somewhat like you’re emulating a flautist (though without resting your face on the horn). Some experimentation may be required to realize this technique; it is borrowed from Helmut Lachenmann’s piece “. . . zwei Gefühle . . .”, Musik mit Leonardo, which I had the privilege of playing under the baton of Nicholas Deyoe while studying at CalArts.
If performing with the fixed media, you may start or stop at any point during the track. The piece does not have to start and end as the track does; you could choose to start before cueing the track midway through, or begin playing late enough that the track fades out as you continue. Don’t be afraid to play with your presentation of this piece; the exploration is (hopefully) part of the joy!
Run time: 2’+.
Frequently asked: How should I write the name of this piece in programs/posts/etc.?
Answer: In all lowercase (“whispers i & ii”). This song is intentionally not written with Capital Letter Energy; please honor that by writing it as I’ve written it for your programs and other media.
May I chop up your program notes?
Answer: Please don’t! My notes are in many cases my only opportunity to speak directly to your audience. If limited program space is a consideration, consider linking them to this page via a QR code and/or reading them aloud for your audience during your set. If it is absolutely necessary to make a cut, please skip the first paragraph and simply include the second (beginning at “whispers…”).
Can I download materials forever?
As long as my website is functional and the materials are stored there, yes. HOWEVER, I strongly encourage all performers to download all your performance materials immediately after purchase—technical difficulties can occur on both my end and yours, and I’d hate to leave you without your materials if a problem arises! NOTE: An updated 2026 edition of this piece, complete with a hyperlegible edition for folks who may benefit from it, has replaced the old file. If you purchased whispers i & ii previously (for any instrumentation) and can no longer access your materials, please drop me an email using the information on my Contact page. Include a copy of the invoice or receipt you got with your original purchase and be sure “replacement score” is in the subject line for a faster resolution!
What is the Atkinson Hyperlegible edition?
Answer: The Atkinson Hyperlegible edition is a new, second version of the score that delivers along with my original. This edition exclusively uses a typeface (Atkinson Hyperlegible) that is designed to be friendlier for low-vision and dyslexic folks. It automatically delivers with all scores composed in 2025 or later, and I am in the process of retroactively adding these additions for new purchases of older works. If you have previously purchased or commissioned a piece of mine and would benefit from an Atkinson Hyperlegible edition, please drop me an email using the information on my Contact page and I will get you a PDF ASAP at no charge!
Known performances:
Got one I’m missing? Let me know!
- 6/28/2023, Connor Johnson, Chosen Vale International Trumpet Seminar, Enfield, NH.
- 6/2022, Connor Johnson, SPLICE Institute
- 6/11/2022, Connor Johnson, Longy Divergent Studio, The Lilypad, Cambridge, MA (world premiere). Watch Connor give the world premiere of whispers i & ii here.
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