Monday, April 01, 2019

Brass Ensembles in Popular Music Genres

Since the earliest days of brass instruments, brass ensembles of some type have often been involved in popular music in some way. Whether they were part of Renaissance dance music, Civil War regimental brass bands, dixieland bands, part of big bands of the Swing Era, or rock and roll, brass ensembles have proven to be a versatile and sometimes unique addition to popular music.

Today in class we watched numerous videos for this YouTube playlist. Ranging from Herb Alpert and the Tijuana Brass to Pink Floyd and Germany's LaBrassBanda. Please share links to any videos or recordings of brass ensembles that fit withing this category. 

I also played from an Apple Music playlist called Brass Ensembles in Popular Music which you can listen to as well. 

Finally, here is a link to a video of the 1970 premiere of Atom Heart Mother for comparison

Sunday, March 31, 2019

Dahl and Hindemith


Ingolf Dahl

On Monday, we heard Ingolf Dahl's "Music for Brass Instrument" (1944) performed by the American Brass Quintet. As I mentioned, the piece was written as a sextet (brass quintet with a tenor and a bass trombone) with an optional tuba part in the score.

Description by Joseph Stevenson (from
The Hamburg-born Dahl (his parents were Swedish) left Germany before World War II and based his musical career in Los Angeles. By 1944 he was working as a regular accompaniest for comedienne Gracie Fields and it was while touring with her that he completed this composition for brass quintet (two trumpets, horn, and two trombones) with optional tuba in Toronto in May, 1944. It is a pivotal work, for it is regarded as not only having been the one in which the composer found his authentic personal voice, but as the source of the modern revival of the brass quintet. It has even been called (by Julian Menken) "... the most outstanding work in brass repertory."
It is a thoroughly American-sounding piece in three movements, adding up to fifteen minutes. Jazzy figurations merge seamlessly with Baroque-style gestures in the faster parts. The opening "Chorale Fantasy" is based on the old German chorale tune "Christ lag in Todesbanden" (Christ Lay in the Bonds of Death. The joyful second movement evoked spontaneous applause at the work's premiere, and the third movement, a fugue, brought only redoubled cheering. In addition to the old chorale, musical material of the piece includes transcriptions of the telephone numbers of Universal Studies and composer Gail Kubik, Dahl's friend and the composer of the score for the Gerald McBoing Boing cartoon.
 What is Geral McBoing-Boing? (from Wikipedia):

Gerald McBoing-Boing is an animated short film about a little boy who speaks through sound effects instead of spoken words. It was produced by United Productions of America (UPA) and given wide release by Columbia Pictures on November 2, 1950. It was adapted by Phil Eastman and Bill Scott from a story by Dr. Seuss, directed by Robert Cannon, and produced by John Hubley.

Gerald McBoing-Boing won the 1950 Oscar for Best Animated Short, Gerald McBoing-Boing is In 1994, it was voted #9 of The 50 Greatest Cartoons of all time by members of the animation field, making it the highest ranked UPA cartoon on the list. In 1995, it was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
 Here is a link to the YouTube video of the short film.



Morgenmusik is the first part of a much longer work written by Hindemith for a day-long music festival at a boarding school in Plön, in Northern Germany. Unfortunately and embarrassingly, the recording I hastily selected was one of a transcription for four trombones. I have re-uploaded the score instead of just the parts and created a new playlist in Apple Music featuring over seven different recordings.

Plöner Musiktag

The aim of this ambitious initiative is to bring young musicians and professionals together and approach the composer's ideas "playfully": "I hope, on the one hand, that this music is perceived as a highlight of Hindemith's educational oeuvre and among his complete works", says conductor Jobst Liebrecht. "On the other hand, I hope for the Hans Werner Henze Music School in Marzahn-Hellersdorf or, in general, for the educational policy in Berlin that people remember the roots and ideals with which the music school movement began, and that they move forward from the right sense of tradition."
The "Plöner Musiktag" sets a whole day to music: The four parts, Morgenmusik [Morning Music], Tafelmusik [Table Music], Kantate [Cantata] and Abendkonzert [Evening Concert] have been written for different levels of difficulty and instrumentations – from recorder trio to orchestral piece and three-part choir. Hindemith wrote the work for a four-day stay in a boarding school in Plön, Schleswig-Holstein in June 1932 where he made music with pupils.

Notes and Editorial Reviews:

HINDEMITH Plöner Musiktag Jobst Liebrecht, cond; Dietrich Henschel (bar); David Reibel (speaker); RSO Berlin; Marzahn-Hellersdorf Youth SO; Ens of the Hans Werner Henze Music School; Berlin R Children’s Ch and other children’s and youth ch WERGO WER 6728 2 (71:36 Text and Translation)

Morgenmusik. Tafelmusik. Kantate . Abendkonzert.

On June 20, 1932, A Day of Music at Plön . The day opened with Morning Music , a complex set for brass instruments. Much of the day was spent rehearsing individuals and ensembles. For a boy who could play only the xylophone, Hindemith wrote a part, on the spot; for three boys who couldn’t play any instrument, he wrote recorder trios and had them trained to play the instrument. During breaks between courses of midday dinner, the orchestral Table Music was played. In the afternoon, a cantata (“Admonition to Youth to Apply Themselves to Music”) for two soloists, three choruses, and orchestra which urges children to learn music was sung, spoken (a melodrama), and played. Hindemith was renowned for his sense of humor; the cantata is supposedly mostly tongue in cheek, but any wit therein doesn’t translate—the texts seem deadly serious, almost boarding-school punitive in attitude. The Evening Concert , a 35-minute series of orchestral, ensemble, and instrumental works, closed the day.

The point of it all was performing, not creating music for the ages to be heard by the general public or even the Serious Record Collector. So there seems little point in evaluating the music (by what standards?) or the performances (measured against whom?). While parts of Table Music have a light touch, most of the Plön music is in Hindemith’s heavy, neobaroque style of the early 1930s. Morgenmusik and sections of Abendkonzert have been recorded before, but I have not previously encountered the cantata. This seems to be the first recording of the complete Plöner Musiktag.

A similar day took place at Montepulciano, Italy, in August of 1980, with local school children premiering Hans Werner Henze’s opera Pollicino. Jobst Liebrecht led another performance and a recording in December 1980, sung and played by Berlin school children ( Fanfare 28:1). Liebrecht founded the Marzahn-Hellersdorf Youth Symphony Orchestra in 2005 and performed Plöner Musiktag in 2008, at which time the music school was named after Henze. The booklet lists every performer—258 of them, by my count—but does not tell us who (or which ensemble) performs what. One must assume that all mix into most of the works; for example, there are not enough brass players in any one of the ensembles to fill out Morning Music . This studio recording documents that day in 1932 and a slice of Hindemith’s oeuvre, which Wergo is slowly producing in toto —at least the majority of it that is owned by Schott Music & Media, the label’s parent company.

  - FANFARE: James H. North 

The boarding school was the King Alfred School. Here is a link translated from German page

The entire Plöner Musiktag program included these movements:

  1. No. 1, Mässig bewegt
  2. No. 2, Lied
  3. No. 3, Bewegt
  4. No. 1, March
  5. No. 2, Intermezzo
  6. No. 3, String Trio
  7. No. 4, Waltz
  8. Advice to Youth to Apply Itself to Music
  9. No. 1, Prelude for orchestra
  10. No. 2, Flute solo with strings
  11. No. 3, 2 Duets for violin & clarinet
  12. No. 4, Variations for clarinet & strings
  13. No. 5, Trio for 3 recorders
  14. No. 6, Quodlibet for orchestra

Ingolf Dahl Biography from Schott EAM

Born in Hamburg, Germany to Swedish parents, Ingolf Dahl (1912-1970) began his formal music education with Philipp Jarnach at the Cologne Hochschule für Musik, with whom he studied from 1930 to 1932. Fearing the oppression of the Nazi party coming to power, he fled to Switzerland and continued his studies at the University of Zürich with Volkmar Andreae and Walter Frey. Dahl's first professional assignment out of school was as conductor and coach for the Zürich Stadttheater. In 1938, Dahl emigrated to the United States and settled in Los Angeles, where he worked as a composer and conductor for radio and film, gave lectures and piano recitals, and attended master classes with Nadia Boulanger. He became a naturalized citizen of the US in 1943, and two years later joined the faculty of the University of Southern California in Los Angeles, where he taught until his death. As conductor of the university's symphony orchestra, Dahl gave West Coast premieres of a wide variety of contemporary works from the US and Europe. His close collaboration with Igor Stravinsky had a significant effect on Dahl's own work, leading him to lecture, perform, and arrange Stravinsky's music as well as translate his Poetics of Music (1947). Dahl served on the faculty of the Middlebury Composer's Conference in Vermont and taught at the Berkshire Music Center at Tanglewood (1952-1955). In 1961 and 1962 he gave goodwill concerts in Germany sponsored by the US State Department, and from 1964 to 1966 he directed and conducted at the Ojai Festival in California. In his last years, Dahl conducted the Los Angeles Guild Opera and again the University of Southern California symphony orchestra. Among Dahl's many honors are two Guggenheim Fellowships, two Huntington Hartford Fellowships, an Excellence in Teaching Award from USC, and the ASCAP Stravinsky Award. His music has been recorded on a number of labels including Boston Records, Capstone, Centaur, Chandos, CRI, Crystal, Klavier, Nimbus, and Summit.

Monday, March 11, 2019

Jan Bach Laudes and Maurer 12 (5) Pieces

Today in class, we listened to a recording of five of Maurer's 12 Pieces by the New York Brass Quintet from 1985. It is from their Mentor Music Record Brass Pioneers, Volume 2 "Romantic Age Brass". On the recording cover it mentions "Historic sound document of live performances (1980-1984). The personnel of the New York Brass Quintet during this time was: Robert Nagle and Allan Dean on trumpet, Paul Ingraham on horn, John Swallow on trombone and Thompson "Toby" Hanks on tuba. Several of us remarked on the graceful and pleasant style of the piece and the NYBQ's interpretation, and that it was especially impressive since it was a live recording.

From Wikipedia:
Ludwig Maurer
Ludwig Wilhelm Maurer (February 2, 1789 – October 13–25, 1878) was a German composer, conductor, and violinist born in Potsdam. In 1802, he debuted in Berlin with his first major violin performance. After a brief period of studying French violin style in Mitau (Latvia), Maurer went to Russia at age 17 in 1806, where he would stay for most of his life. For this reason, Maurer is considered both a German and a Russian composer.
Upon his arrival in St. Petersburg, Maurer performed extensively until the French violinist and composer Pierre Baillot aided Maurer in becoming the conductor of the Count Vsevolozhsky's orchestra in Moscow. Maurer conducted the orchestra until 1817 when he toured as a performer in Germany and Paris. In 1819 Maurer began using Hanover as a base for directing and conducting, while touring and composing. During this period Maurer also maintained a composing partnership with Aleksey Nikolayevich Verstovsky in the opera-vaudeville form. Toward the end of this period in Maurer's life, he toured Germany with his sons Vsevolod and Alexis, who played violin and cello respectively. By 1833, however, Maurer was back in St. Petersburg, where he would remain for the rest of his life. The following year Maurer appeared as the soloist in the first performance of Beethoven's Violin Concerto in Russia. In 1835 Maurer became the conductor and director of the French Opera in St. Petersburg. He attained other positions in the St. Petersburg music scene and continued to compose until his death in October 1878.
We also listened to Laudes by Jan Bach. It is considered one of the most important works for brass quintet in the 20th century.

LAUDES for brass quintet
Program notes by the composer

Laudes (loud-ays), as its name may imply, is a Twentieth-Century tribute to the great brass tower music of the Italian Renaissance. Its title has several different associations: I(louds) was the sunrise service of the Roman Catholic Church. Laude (loud-ee) were Italian hymns of praise and devotion which flourished from the 13th through the 19th centuries. And the title is also a musical pun: somewhere in each movement is a loud concert A! The work was written in late 1971 at the request of the Chicago Brass Quintet, which premiered the piece at Chicago's Museum of Contemporary Art on January 21, 1972.

The work is cast in four contrasting movements. Reveille moves from dark to bright colors, alternating sections of relative inactivity with sections of extreme brilliance and energy. Its title was chosen after the fact, because of the music's suggestion of a sunrise. Scherzo is cast in three-part form, its quick outer sections consisting principally of a single melodic line produced by rapid entrances and exits of the five instruments playing their "open" (valveless) tones con sordino, the middle section consisting of chromatic scale segments in both principal and supporting material. Cantilena gives each instrument an opportunity to dominate one of several solo sections which alternate with weightier sections of all five instruments, each section cadencing in the same d minor/c minor ploychord. Volta, a lewd dance (the couples actually embraced each other!) of Provencal origin, is in this instance a quick movement of violent dynamic and textural contrasts. After an exhausted breakdown of the instrumental forces near the end of this movement, the suite concludes with a coda based on a slow section of the first movement; out of this coda emerges a gradually rising and quickening line which brings the work to a brilliant close.

In 1974 this work received international attention when it was chosen as the best new brass quintet submitted to the First International Brass Institute in Montreux, Switzerland. Since that time, Laudes has been performed countless times throughout the world, largely through the efforts of the New York Brass Quintet, which performed it on two European and several American tours, recorded it on Crystal records, and published it through their Mentor Music house. Laudes opened the Kennedy Library in Boston, and was danced to by the Hubbard Street Dancers on the streets of New York. It is one of a very few works by living contemporary composers existing simultaneously in four different recordings, three of which on CD and recorded since 1990. In 1983 a poll of International Trumpet Guild members selected it (along with works by Dahl, Schuller, and Etler) as one of the four most significant brass quintets ever written.

Monday, February 18, 2019

Ewald, Strauss, Boehme, and Lutoslawski

Due to our recent weather, I had to cancel a few classes that were scheduled to cover some major works. They were: Viktor Ewald's Brass Quintet No. 3, Feierlicher Einzug by Richard Strauss, Brass Sextet by Oskar Boehme, Mini-Overture by Witold Lutoslawski. Hopefully, I will be able to fit these into some of our future class meetings, but you may want to listen to them on your own through the links below. All of the scores are available in the Files section of our ICON site.

As you know, Viktor Ewald was a Civil Engineer and among several "amateur" composers in St. Petersburg. He played the cello as well as the tuba and composed four brass quintets between 1888 and 1912, which was the year of the publication for quintet No. 3. This quintet is in four movements and the writing style is very similar to string quartets of Borodin and Brahms. In the first movement, Allegro Moderato, notice the motoric repetitive figures supporting a solo line that gets passed through the instruments. The second movement, Intermezzo, starts with a mysteriously tragic theme in F minor and at the Piu mosso mutates into a lively 6/8 in F major, but quickly returns to the opening theme returning to F minor. The third movement, a solemn Andante in B-flat minor, features a tragic and expressive first trumpet solo, which evolves into a more hopeful D-flat major. There are a lot of opportunities for dramatic and passionate rubato passages, but it finally concludes sadly with an almost pizzicato final note in the tuba. The final movement, Vivo, does not look like it rhythmically sounds. Similar to the way Brahms would displace the sense of downbeat, Ewald begins the fourth movement with a disorienting illusion of strong and weak beats to launch what becomes a triumphant fanfare like theme. His use of rapid triplets in the trumpet, offbeats in the tuba, and numerous luxurious and exciting rhythmic themes, he concludes triumphantly in D-flat major.

Here is a link to a YouTube playlist of a recent recording of Ewald's Brass Quintet No. 3 by members of the Philadelphia Orchestra.

Feierlicher Einzug (Ceremonial Entry) by Richard Strauss, was composes in 1909 for the investiture ceremony for the Knights of St. John. More from Smart Music:

"Festival Procession of the Knights of the Order of St. John (Feierlicher Einzug der Ritter des Johanniter-Ordens) was written by Richard Strauss in 1909. The occasion was an investiture ceremony for the Knights of St. John, a fraternal organization with roots going back as far as the 11th Century. Today, offshoots of this venerable order still exist, doing charitable works–primarily in aiding the poor and the sick–around the world. The original scoring of this piece included parts for 15 trumpets, 4 horns, 4 trombones, 2 tubas, and timpani. Strauss later scored the work for full orchestra, including organ and optional chorus. An arrangement by Max Reger (1873-1916) for organ, 2 trombones, and timpani is still frequently performed today."

Here is a link to a You Tube video of the United States Marine Band recording of  Feierlicher Einzug.

Information on the Bohme sextet from Wikipedia:
"Oskar Böhme, a son of Wilhelm Böhme, also a trumpeter, was born in Potschappel, a small town near Dresden, Germany, which is now part of Freital. For much of his early career, after studying trumpet and composition in the Leipzig Conservatory of Music until graduating in 1888, it is unknown what Böhme's musical activities were, though it is probable he concertized, playing in smaller orchestras around Germany.

From 1894-1896 he played in the Budapest Opera Orchestra and then moved to St. Petersburg, Russia, in 1897. Böhme played cornet for 24 years in the Mariinsky Theatre, turned to teaching at a music school on Vasilievsky Island in St. Petersburg for nine further years, from 1921-1930, and then returned to opera with the Leningrad Drama Theatre until 1934.

In 1934, however, the Great Terror began under Joseph Stalin and in 1936 a committee was established to oversee the arts in Soviet Russia. According to its anti-foreign policies, Böhme was exiled to Orenburg on account of his German heritage. It is said that he died there in 1938, though he was also said to be seen working on the Turkmenistan Canal in 1941."

Here is a link to a You Tube recording (of an older LP recording) by the Empire Brass of the Bohme Sextet.

From Music Sales Clasical about Mini Overture (1982) by Witold Lutoslawski:

"This brilliant piece by Lutoslawski was specially commissioned by and dedicated to Dr. Walter Strebi to celebrate the fiftieth birthday of his daughter Ursula, who is married to Philip Jones. Dr Strebi was a Swiss lawyer and staunch patron of music; for many years he was president of the Lucerne Festival. Unfortunately, he did not live to hear the striking result of his commission, which had its world premiere on 11 March 1982, played by the Philip Jones Brass Ensemble. The audience demanded that it be encored.

Despite its brevity, this is a fully characteristic Lutoslawski piece in its detailed structure and sensitivity to timbre and nuance. The composer has clearly had in mind the virtuosity of this group of players and has pulled no technical punches. There are three short sections (but no break), the third being a further development of the first; the second is slightly slower and strongly contrasting in texture."
Here is a link to a You Tube video of a recording by members of the Gewandhaus Orchestra of Lutoslawski's Mini Overture.

Sunday, February 03, 2019

Belgian Brass

The Belgian Brass

The Belgian Brass formerly the Belgian Brass Soloists Quintet consists of twelve musicians; including four trumpets, two horns, three trombones, tuba and two percussionists. They perform frequently throughout Belgium. Their website is excellent, but it was difficult to find detail about the ensemble. Under the News page, I found this Brass Herald Article that explained the origins of the ensemble. The ensemble was "founded in 2004 by Manu Mellaerts, solo trumpet of LaMonnaie Symphony Orchestra (Belgian National Opera House) and Professor at the Royal Conservatory in Brussels."

Every two years, the Belgian Brass presents the International Belgian Brass Academy in Harelbeke (Flanders, Belgium), accepting student from all over the world. Their academy this April will feature several guest artists, including Eric Aubier, Roland Szentpali, and
Ole Edvard Antonsen.

There are several videos on the media page of their website, including the one below featuring a performance of Suite from Dardanus by Rameau, arranged by Mellaerts.  

Monday, January 28, 2019

Beethoven and Bellon

Beethoven's Funeral as painted by Franz Stöber (notice the trombones in the front of the procession)

Today in class we listened to two early works for brass ensemble: Beethoven's Drei Equali and Jean-Francois Bellon's Brass Quintet No. 1. Beethoven wrote his Equali in 1812 in Linz, Austria for the celebration of All Saints Day. The Equali were arranged for trombones, male choir and organ in a setting of Miserere for Beethoven's own funeral in 1827.

Jean Francois Bellon
The twelve brass quintets by Bellon are the earliest brass quintets written. They were originally scored for flugelhorn in E-flat, piston valve cornet, horn, trombone and ophicleide. Published in Paris in the 1850's they are charming and seem influenced by the style of Rossini. Here is a link to the sheet music (at Editions BIM) for the twelve brass quintets by Jean Francois Bellon. As the newly published score explains, "this new edition refers and fundamentally adheres to the original printed instrumental parts, issued without full scores in the 1850's. A full score for each quintet has been reconstructed to permit better analysis of the music."

 Bellon's biography from from Editions BIM:

Born in Lyon, France on 30 May 1795, Jean Bellon concluded his musical schooling at the Conservatoire de Paris, probably as the student of Rodolphe Kreutzer (1766-1831) in violin (Premier Prix in 1823) and Anton Reicha (1770-1836) in composition. He subsequently became concertmaster of the Concerts Musard, and conducted various Parisian orchestras. 

As composer, his name is mentioned in several articles published by French musical journals, essentially in connection with his chamber music. Apart from his 12 brass quintets and some pieces for strings, few of his works are to be found today. Immortalized in a portrait by Ed. Hébert (1812-1890) and printed by the major French publisher, Richault, Jean Bellon was without doubt a notable personage of Parisian musical life in his day, as would suggest the dedicatees of his quintets. He died in Paris on 2 March 1869, six days before Hector Berlioz.

Wednesday, January 16, 2019

People and Places of Brass Ensemble Music History

From A History of the Wind Band by Dr. Stephen L. Rhodes
I. Principal Composers and Places of Brass Ensemble History:
Links to Critical Places and Traditions:

The Venetian school and the Extensions of the Polychoral Style - Iakos DemetriouVenetian School - article on Revolvy  Music in the Renaissance (Met Museum)
Franco-Flemish Composers

Band Music from the Civil War Era
- Library of Congress

A Brief History of Brass Quintets (Chamberlain Brass)
Trombone Choirs
Moravian Music Foundation

Irish Music for Brass
- The Contemporary Music Centre of Ireland
The Waits Website

Waits (Medieval Life and Times)
Stadtpfeifers - Groves Online
Wait - Groves Online

II. Course-related Reading Online:
They're With the Band, Speaking That Global Language: Brass
by Josh Kun, New York Times, 4/9/2006
A Short History of the Trombone by David Guion from the Online Trombone Journal
History and Heritage of the Trombone Choir by John Marcellus, Eastman School of Music
The American Brass Band Movement - Library of Congress 
Something About Trombones (Moravian) from the Bethlehem Digital History Project
Venitian Polychoral Style (Wikipedia entry)
Stadtpfeifers - Groves Online
Wait - Groves Online
Saxhorns (Wikipedia)

III. Significant Composers Throughout Brass Ensemble History:

A. Renaissance & Baroque

Andrea Gabrieli (1533-1585) Ricercari
Giovanni Gabrieli (c. 1557-1612) Sacrae Symphoniae; Canzoni
Giovanni Pierluigi de Palestrina (1525-1594)
Claudio Monteverdi (1567-1643) L'Orfeo (five trombones)
Gioseffo Guami (c. 1540-1611) Canzoni
Anthony Holborne (1584-1602) Consort Music, Pavans...
Matthew Locke (1622-1677) Consort Music
William Brade (1560-1630) Dance Suites
Tielman Susato (c. 1500- c.1562)
Samuel Scheidt (1587-1653)
Johann Schein (1586-1630)
Johann Pezel (1639-1694)
George Friederich Handel (1685-1759) Water Music, Royal Fireworks

B. Classic and Romantic

Ludwig van Beethoven (1770-1827) Drei Equali
Alexander Alyabiev [Aliabev] (1787-1851) Quintet in E-flat for Brass
Ludwig Maurer (1789-1878)
Hector Berlioz (1803-1869) Messe Solenelle (1824), Grande Messe des Morts (Requiem) [orch. + 4 antiphonal brass choirs]
Viktor Ewald (1860-1935) Brass Quintets Nos. 1-4
Wallingford Riegger (1885-1961) Music for Brass Choir, op. 45

C. Twentieth Century

Arnold Schoenberg (1874-1951) Fanfare on motifs of Die Gurre-Lieder for Brass and Percussion (1945)
Paul Hindemith (1895-1963 ) Brass Septet, Morgenmusik from "Ploner Musiktag"
Virgil Thompson (1896-1989) Family Portrait
Henri Tomasi (1901-1971) Fanfares Liturgiques
William Walton (1902-1983) Belshazzar's Feast (orchesrtra with two brass bands); Queen's Fanfare; Anniversary Fanfare; Numerous works for brass band and arrangements for brass.
Ingolf Dahl (1912-1970) Music for Brass Instruments (1944)
Alvin Etler (1913-1973)
Witold Lutoslawski (1913-1994) Mini Overture
Vincent Persichetti (1915-1987)
Vaclav Nehlybel (1919-1996)
Alfred Reed (b. 1921-2005)
Malcolm Arnold (1921-2006)
Iannis Xanakis (1922-2001) Eonta, Akrata, A la Mémoire de Witold Lutoslawski
Fisher Tull (1934-1994)

D. Significant Living Composers

Gunther Schuller (b. 1925)
Verne Reynolds (b. 1926)
Walter Hartley (b. 1927)
La Monte Young (b. 1935)
Jan Bach (b. 1937)
Joan Tower (b. 1938)
John Cheetham (b. 1939)
Tania Leon (b. 1943)
Edward Gregson (b. 1945)
Anthony Plog (b. 1947)
David Sampson (b. 1951)
David Felder (b. 1953)
Eric Ewazen (b. 1954)
James Grant (b. 1954)
Richard Danielpour (b. 1956)
Ira Taxin (b. 1957)
Marti Epstein (b. 1959)
David Dzubay (b. 1964)

Starting Your Blog
If you haven't already launched your blog, here are some basic instructions on how to go about it. To start your blog, go to Google's free blogging platform Blogger and follow the instructions to create a new blog.

1. Pick a theme that you might be interested in exploring, such as trumpet ensembles of South America; Brass Bands of Great Britain; or Collegiate Horn Choirs, etc. You will probably be prompted to name your blog, so base the name on your theme.

2. Not every post you create has to be related to your theme. They could be about the class, or another brass ensemble related idea, but in general think of your blog as public research and an online record of your exploration.

3. Be sure to send me the address (URL) of your blog so that I can link it to ABEL Central. In turn, you should add ABEL Central and your fellow students' blogs to your links list.

4. A post can be one or two paragraphs of opinion, review, or information about a course related issue, artist, or work. I encourage you to embed images, but remember to indicate photo credit to images that are not yours. It is also fairly easy to embed video from YouTube or Vimeo. Audio isn't always so easy, but depending on your provider, or a link to an audio hosting site, it is possible.

5. Hyperlinks are essential. If you are discussing the American Brass Quintet, it is more interactive to provide a link to the American Brass Quintet. It should be fairly easy to learn how to do this in your blog.

6. Be sure to post an average of once per week, plus two longer posts for a total of at least 15 posts.

7. Also read each other's blogs, as well as ABEL central and subscribe to them so that you are notified when a new post or comment is added.

8. You may opt to make your blog private through your settings, which is fine, but make sure that everyone and the class and I have access to view it.

9. I encourage you to peruse student blogs from the past (list to the right here) as well as older posts on ABEL central.

10. If you already have a blog or website, it is okay to use it for this purpose as long as it is clear and easy to find ABEL related posts.

Historic Brass Ensemble Listening

English Cornett and Sackbut Ensemble
Today in class we listened to a variety of recordings of brass ensemble music written prior to the twentieth century. They were:
  1. La Bignani by Giovanni Cavaccio recorded by the English Cornett and Sackbut Ensemble
  2. Canzona a 5 by Claudio Merula - recorded by the English Cornett and Sackbut Ensemble
  3. Battle Suite: II. Courant by Samuel Scheidt - recorded by the American Brass Quintet
  4. Marche Fur Die Arche by C.P.E. Bach - recorded by the U.S. Army Old Guard Fife and Drum Corps
  5. Canzona per sonare No. 27 by Giovanni Gabrieli - recorded by the Brass Sections of the Philadelphia, Cleveland and Chicago Symphony Orchestras.
  6. Minuetto from Brass Quintet No. 4 by Jean François Bellon - recorded by the Ewald Brass Quintet
  7. Sonata Pian e forte from Sacrae Symphonies by Giovanni Gabrieli - recorded by the brass section of the Chicago Symphony Orchestra
  8. Flensborger March by Jensen recorded by the Copenhagen Brass.
  9. Jaegermusik Af "Erik Menveds Barndom" by Frederik Frohlich recorded by the Copenhagen Brass
  10. Arie Per Il Balletto A Cavallo by Johann Heinrich Schmelzer - recorded by the Brass Ensemble of the Tonkuenstler Orchestra
  11. Grund - Richtiger Unterricht Sonata for three trombones by Daniel Speer - recorded by the Brass Ensemble of the Tonkuenstler Orchestra
  12. Fanfstimmige Blasende Musick by Johann Pezel - recorded by the Brass Ensemble of the Tonkuenstler Orchestra
  13. "A Due" Trompetenduette by Heinrich Ignaz Franz Biber
  14. Air for 2 Horns and Organ in F Major, HWV 410 by George Frideric handel - recorded by Deutsche Naturhorn Solisten & Franz Raml
  15. Les Honnerus de Pied - recorded by Le Rallye-Cor de Montmélian - Cor de Chasse 
  16. Brass Quartet, Op. 38, In Modo Religioso by Alexander Glazunov - Hermann Baumer & Brass Partout