Alexander Arutiunian: Trumpet Concerto (1950)
Mieczyslaw Weinberg: Trumpet Concerto in B flat major, Op. 94 (1967)
Dmitri Shostakovich: Concerto No. 1, Op. 35, for Piano, Trumpet and Strings (1933)

In this 2015 review of his recording of French Trumpet Concertos, I mentioned that Paul Merkelo "can without a doubt manipulate the trumpet's voice and bypass any obstacles to its flexibility and expressive power. And that under his hands, the instrument practically takes on a persona all its own with characteristics comparable to the human voice." These observations certainly apply just as well to his expressive interpretations of these distinctive Russian Trumpet Concertos. A long, long time ago, when I worked in a musical instrument retail outlet, I tried my hand at the trumpet and found it very difficult to produce even a single note that wouldn't drive the customers away. I find Paul Merkelo's virtuosity and ease of expressive and dynamic versatility simply amazing. He's been the principal trumpet for the Montreal Symphony Orchestra for over 25 years, and has appeared as guest soloist with most world class orchestras and conductors.

The impressive Trumpet Concerto in A flat by Armenian-Russian composer Alexander Arutiunian (1920-2012) has a subdued, ancient Middle-Eastern character to it that Merkelo effectively brings to the surface, especially during the slower and softer passages. The final three minutes revisit the virtuosic elements from the opening, and everything ends in crackerjack fashion.

Being close friends as well as sharing the same mindset, both the Mieczyslaw Weinberg (1919-1996) and Dmitri Shostakovich (1906-1975) concertos dazzle with effulgent brilliance in their outer movements, and plumb touchingly expressive depths within their slow movements. Despite the fact that the Shostakovich is first and foremost a Piano Concerto, its trumpet part is certainly more than consequential, especially as presented here with the "expanded trumpet part by Timofei Dokshizer." With its comical, circusy atmosphere the final movement exerts high technical demands on the soloist, which Paul Merkelo tackles with wit and aplomb.