tag:blogger.com,1999:blog-213590412024-03-13T16:49:31.546-05:00ABEL CentralAdvanced Brass Ensemble Literature Course BlogABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.comBlogger161125tag:blogger.com,1999:blog-21359041.post-16526447687188801862023-04-16T23:14:00.002-05:002023-04-17T09:17:58.790-05:00British Brass Band Showcase<p><span style="font-family: arial;"><span style="font-size: small;"><span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><img border="0" data-original-height="365" data-original-width="770" height="190" src="https://www.4barsrest.com/gallery/images/black_dyke1972.jpg" title="The Black Dyke Mills Band (1972)" width="400" /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><br /></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">The Black Dyke Mills Band (1972)</span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;"> </span></td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><p><span style="font-family: arial;"><span style="font-size: small;"><span><br />The British Brass Band movement, which started in the U.K. during the Industrial Revolution was brought about as an activity to keep the workers of collieries (coal mining companies) out of trouble and was primarily an amateur movement.</span></span></span></p><p></p><p><span style="font-family: arial;"><span style="font-size: small;"><span>With sets of matching instruments, a wealth of original music and arrangements, and a tradition of competition, the brass band movement thrived throughout the 19th and 20th centuries, eventually spreading to North America and throughout the world. <br /></span></span></span></p><p><span style="font-family: arial;"><span style="font-size: small;"><span><a href="https://en.wikipedia.org/wiki/British_brass_band">British Brass Band </a>(Wikipedia entry) </span></span></span></p><p><span style="font-family: arial;"><span style="font-size: small;"><span><i><a href="https://nabba.org/what-is-a-brass-band/">What is a Brass Band?</a> </i>- from the North American Brass Band website</span></span></span></p><div style="text-align: left;"><i><span style="font-family: arial;"><a href="https://www.npr.org/2013/03/06/173642709/britains-brass-bands-a-working-class-tradition-on-the-wane">Britain's Brass Bands: A Working-Class Tradition On The Wane </a>- </span></i><span style="font-family: arial;">article from NPR</span><i><span style="font-family: arial;"><br /></span></i></div><p><span style="font-family: arial;"></span></p><p><span style="font-family: arial;">Several classical composers have written music specifically for brass band. These include:
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</span><ul><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Malcolm_Arnold" target="_blank" title="Malcolm Arnold">Malcolm Arnold</a>: Little Suite for Brass</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Granville_Bantock" target="_blank" title="Granville Bantock">Granville Bantock</a>: Prometheus Unbound</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Judith_Bingham" target="_blank" title="Judith Bingham">Judith Bingham</a>: Prague</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Harrison_Birtwistle" target="_blank" title="Harrison Birtwistle">Harrison Birtwistle</a>: Grimethorpe Aria</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Arthur_Bliss" target="_blank" title="Arthur Bliss">Arthur Bliss</a>: Kenilworth</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Derek_Bourgeois" target="_blank" title="Derek Bourgeois">Derek Bourgeois</a>: Blitz, Concertos Nos. 1 & 2 for Brass Band, Concerto Grosso & Apocalypse</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Arthur_Butterworth" target="_blank" title="Arthur Butterworth">Arthur Butterworth</a>: Three Impressions for Brass, Odin</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Simon_Dobson" target="_blank" title="Simon Dobson">Simon Dobson</a>: The Drop, Lydian Pictures & Penlee</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Edward_Elgar" target="_blank" title="Edward Elgar">Edward Elgar</a>: <a href="https://en.wikipedia.org/wiki/The_Severn_Suite" target="_blank" title="The Severn Suite">The Severn Suite</a></span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Edward_Gregson" target="_blank" title="Edward Gregson">Edward Gregson</a>: Of Men and Mountains, Connotations & Variations on Laudate Dominum</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Hans_Werner_Henze" target="_blank" title="Hans Werner Henze">Hans Werner Henze</a>: Ragtimes and Habaneras</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Joseph_Holbrooke" target="_blank" title="Joseph Holbrooke">Joseph Holbrooke</a>: Clive of India</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Gustav_Holst" target="_blank" title="Gustav Holst">Gustav Holst</a>: A Moorside Suite</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Joseph_Horovitz" target="_blank" title="Joseph Horovitz">Joseph Horovitz</a>: Ballet for Band & Sinfonietta</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Herbert_Howells" target="_blank" title="Herbert Howells">Herbert Howells</a>: Three Figures Suite</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/John_Ireland_(composer)" target="_blank" title="John Ireland (composer)">John Ireland</a>: A Comedy Overture & <a href="https://en.wikipedia.org/wiki/A_Downland_Suite" target="_blank" title="A Downland Suite">A Downland Suite</a></span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/George_Lloyd_(composer)" target="_blank" title="George Lloyd (composer)">George Lloyd</a>: Diversions on a Bass Theme & English Heritage</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Frederik_Magle" target="_blank" title="Frederik Magle">Frederik Magle</a>: <a href="https://en.wikipedia.org/wiki/The_Hope_(Magle)" target="_blank" title="The Hope (Magle)"><i>The Hope</i></a> for brass band, choir, organ and percussion</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/William_Mathias" target="_blank" title="William Mathias">William Mathias</a>: Vivat Regina</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/John_McCabe_(composer)" target="_blank" title="John McCabe (composer)">John McCabe</a>: <a href="https://en.wikipedia.org/wiki/Cloudcatcher_Fells" target="_blank" title="Cloudcatcher Fells">Cloudcatcher Fells</a>, Salamander & The Maunsell Forts</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/John_Pickard_(composer)" target="_blank" title="John Pickard (composer)">John Pickard</a>: Gaia Symphony & Eden</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Edmund_Rubbra" target="_blank" title="Edmund Rubbra">Edmund Rubbra</a>: Variations on 'The Shining River'</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Robert_Simpson_(composer)" target="_blank" title="Robert Simpson (composer)">Robert Simpson</a>: Energy & Volcano</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Phyllis_Tate" target="_blank" title="Phyllis Tate">Phyllis Tate</a>: Illustrations</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Bramwell_Tovey" target="_blank" title="Bramwell Tovey">Bramwell Tovey</a>: Coventry Variations, Pictures in the Smoke & The Night To Sing</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Ralph_Vaughan_Williams" target="_blank" title="Ralph Vaughan Williams">Ralph Vaughan Williams</a>: Overture – Henry the Fifth, Prelude on Three Welsh Hymn Tunes & Variations for Brass Band</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Philip_Wilby" target="_blank" title="Philip Wilby">Philip Wilby</a>: Paganini Variations, A Breathless Alleluia, ...Dove Descending..., Vienna Nights, Revelation, Masquerade, Northern Lights, <a href="https://en.wikipedia.org/wiki/The_New_Jerusalem_(Wilby)" target="_blank" title="The New Jerusalem (Wilby)">New Jerusalem</a> & Red Priest</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Thomas_Wilson_(composer)" target="_blank" title="Thomas Wilson (composer)">Thomas Wilson</a>:
Processional, Sinfonietta, Refrains and Cadenzas, Cartoon for cornet
and brass band, Cartoon for solo cornet and brass band, Cartoon for
brass ensemble and optional percussion, Cartoon for cornet and piano <br /></span></li><li><span style="font-family: arial;"><a href="https://www.nicolepiunno.com/">Nicole Piunno:</a> Bright Shadow Fanfare<br /></span></li><li><span style="font-family: arial;"><a href="https://www.lucypankhurst.com/ABOUT">Lucy Pankhurst</a>: Nightlights<br /></span></li></ul><span style="font-family: arial;">In class, among other excerpts, we listened to the following works: <br /></span><ul style="text-align: left;"><li><span style="font-family: arial;"><span style="font-size: small;"><span><a href="https://repertoire-explorer.musikmph.de/en/product/fletcher-percy-labour/"><i>Labor of Love</i></a><b> - </b>Percy Fletcher</span></span></span></li><li><span style="font-family: arial;"><span style="font-size: small;"><span>It's the first 'original' test piece, commissioned by <a href="https://manchesterhistory.net/bellevue/iles.html">John Henry Iles</a> for the National an the Crystal Palace in 1913. Promotes themes of "keep working for the company", musical propaganda to keep the men from unionizing. <br /></span></span></span></li><li><span style="font-family: arial;"><i><a href="https://www.allmusic.com/composition/henry-v-concert-overture-for-brass-band-mc0002369775">Henry V: Overture</a></i> - Ralph Vaughan Williams </span></li><li><span style="font-family: arial;"><i>A Breathless Alleluia</i> - <a href="https://en.wikipedia.org/wiki/Philip_Wilby#External_links">Philip Wilby </a></span></li><li><span style="font-family: arial;"><i>Fanfare for the Grenadier Guards </i>- <a href="https://www.fabermusic.com/we-represent/imogen-holst">Imogen Holst </a></span></li><li><span style="font-family: arial;"><i>Bright Shadow Fanfare</i> - </span><span style="font-family: arial;"><a href="https://www.nicolepiunno.com/">Nicole Piunno</a> and </span><span style="font-family: arial;"><i>Nightlights</i> - </span><span style="font-family: arial;"><a href="https://www.lucypankhurst.com/ABOUT">Lucy Pankhurst</a></span><span style="font-family: arial;"> , performed live by the Athena Brass Band</span></li></ul><p><span style="font-family: arial;">British-style Brass Bands are not only prevalent in the U.K., but they can be found around the world, partly due to Colonialism and partly due to their universal popularity.</span><br /></p><p><span style="font-family: arial;"><a href="https://nabba.org/">North American Brass Band Association</a> (NABBA) </span></p><p><span style="font-family: arial;"><a href="https://bbbc.net/">Brass Band of Battle Creek </a>- The foremost American Brass Band, that includes our own Professor Michael Gause.</span></p><p><span style="font-family: arial;"><a href="https://www.athenabrassband.com/">Athena Brass Band </a>- "</span><span style="font-family: arial;"><i>The Athena Brass Band is the first all-female brass band in the United States,
named after Athena, the Greek goddess of wisdom.
The band was formed in 2003, by Laura Lineberger,
to perform at the International Women's Brass Conference with Anita Cocker Hunt as conductor.
This successful debut resulted in many more invited performances and several commissioned compositions.
Jessica Sneeringer has been the music director of Athena Brass Band since 2012.
The musicians include current or former members of the U.S. Army Band, the U.S. Coast
Guard Band, Brass Band of Battle Creek and the New Sousa Band.
There are several college professors and public school music educators, conductors,
music therapists, a sound engineer, a music publisher and a composer; also a nuclear physicist,
a biologist, a sociologist, an MBA and an author.
Most of the ladies also play with a NABBA brass band"
</i></span></p><p><span style="font-family: arial;"><a href="https://www.iowabrass.com/">Iowa Brass </a>- Formerly known as the Eastern Iowa Brass Band, is our local Brass Band based out of Solon</span><span style="font-family: arial;"></span><span style="font-family: arial;"><br /></span></p><p><span style="font-family: arial;">I've also created a <a href="https://youtube.com/playlist?list=PL86Ydo-nYR8MQ26SGJlg7FaKvPp5CdkcC">Brass Band Showcase playlist on YouTube</a>, which includes many of these works as well as several documentaries and live performances by Brass Bands.</span><br /></p><p><span style="font-family: arial;"> </span></p><p><span style="font-family: arial;"> </span></p>ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-24848459799011409212023-04-03T09:30:00.000-05:002023-04-03T10:22:31.592-05:00Etler Brass Quintet<div style="text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;"><span face="Arial, Helvetica, sans-serif"><span style="font-size: small;">Alvin Etler</span></span></td></tr>
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<span face="Arial, Helvetica, sans-serif"><span style="font-size: small;">Alvin Etler was born in Battle Creek, Iowa on February 19th, 1913. He was an oboist with the Indianapolis Symphony Orchestra and studied composition with Arthur Shepherd at Case Western Reserve and Hindemith at Yale. He received two Guggenheim fellowships in 1940 and 1941and taught at Cornell University, University of Illinois and Smith College. He wrote numerous orchestral, chamber, solo and choral compositions and a book called <i>Making Music: an Introduction to Theory.</i></span></span><br />
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<span face="Arial, Helvetica, sans-serif"><span style="font-size: small;">From Grove Music Online:</span></span></div>
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<span face="Arial, Helvetica, sans-serif"><span style="font-size: small;"><span style="background-color: white;"><mark class="searchHit"></mark><i>Etler's earlier compositions exhibit a harmonic vocabulary and instrumental
treatment resembling that of Bartók and Copland, with occasional flights
into jazz. <b>After his remarkable Quintet for Brass Instruments (<span class="date">1963</span>)
he abandoned his earlier style, experimented with serial procedures,
and began to give greater prominence to timbral and textural elements</b>.
He used free rhythms, frequently interspersed with sharp, often jazzy
accents, and strong dissonance, combined with sophisticated, multi-metric
background textures. In spite of these doubtless self-conscious
explorations, <mark class="searchHit"></mark>Etler's music never became academic, and never lost its stubborn aggressiveness and sensuous vitality.</i></span></span></span></div>
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<span face="Arial, Helvetica, sans-serif"><span style="font-size: small;">Today we studied Alvin Etler's Brass Quintet, which is considered one of the greatest works for brass quintet of the 20th Century. Some of the notable features of this work include:</span></span><br />
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<li><span face="Arial, Helvetica, sans-serif"><span style="font-size: small;">The first three movements all end with a single voice. Movement I concludes with a <i style="font-family: inherit;">ppp</i> trill in the 2nd trumpet. Movement II ends with the horn statement of the three "dots" of the S.O.S. theme. Movement III ends with the first trumpet playing a pianisissimo decrescendo. The fourth movement ends in one of the rare total homo-phonic statements of the S.O.S. theme - drawing even more attention to the conclusion.</span></span></li>
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<li><span face="Arial, Helvetica, sans-serif"><span style="font-size: small;">Frequently, the music does not reflect the written meter and alludes to an alternate meter, much like the distorted reality in the artworks of of Dali and Escher. Like chromaticism, this may have been designed to disorient the listener.<br /></span></span></li>
<li><span face="Arial, Helvetica, sans-serif"><span style="font-size: small;">Etler uses extended techniques (flutter tongue, half-valve, mutes) quite effectively, without over-using them. <br /></span></span></li>
<li><span face="Arial, Helvetica, sans-serif"><span style="font-size: small;">Etler's rhythmic language is complex, and seems to be one of the central forces of the piece. <br /></span></span></li>
<li><span face="Arial, Helvetica, sans-serif"><span style="font-size: small;">Like many modern composers, Etler utilized dissonant harmony, angular melodic material, and push the boundaries of range of the instruments, but to an effective end.<br /></span></span></li>
<li><span face="Arial, Helvetica, sans-serif"><span style="font-size: small;">As I mentioned, there was a (very believable) rumor that the reason this piece sounds so angry and utilizes Morse Code is that Etler's son died in the Korean War and was a radio operator. It's a fantastic story, but totally untrue, as this transcript of an email interchange between myself and Etler's grandson, Jim, confirms:</span></span></li>
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<span style="font-size: x-small;"><span face="Arial, Helvetica, sans-serif"><i>I am the grandson of Alvin Etler and I came across your blog mentioning
him. I have a professional picture of him if you would like that i can
e-mail to you. I am actually surprised there are no pictures of him on
the web anywhere at all. Drop me a line if interested.</i></span></span></blockquote>
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<span style="font-size: x-small;"><span face="Arial, Helvetica, sans-serif"><i><span class="il">Jim</span>,</i> </span></span></blockquote>
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<span style="font-size: x-small;"><span face="Arial, Helvetica, sans-serif"><i> .....</i><i> ..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>.... </i></span></span></blockquote>
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<span style="font-size: x-small;"><span face="Arial, Helvetica, sans-serif"><i><span class="il">Jim</span>, </i></span></span></div>
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<span style="font-size: x-small;"><span face="Arial, Helvetica, sans-serif"><i>One thing I wanted to clear up - Alvin's Brass Quintet, a work I make
all my students study, is for many reasons remarkable. Sometimes in the
void of information, people invent details. Many have heard that part of
that quintet, which seems riddled with quotations from morse code,
alludes to Etlers son, "who died in the Korean war". I have never seen
or heard any evidence to that fact, but it makes for a romantic story.
Is there any truth to it? If not, do you know of any influences of morse
code in his life/writing? Thank you for your insight.-- </i></span></span></div>
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<span style="font-size: x-small;"><span face="Arial, Helvetica, sans-serif"><i>- John </i></span></span></blockquote>
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<span style="font-size: x-small;"><span face="Arial, Helvetica, sans-serif"><i>.....</i><i> ..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>..... </i><i>.... </i></span></span></div>
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<span style="font-size: x-small;"><span face="Arial, Helvetica, sans-serif"><i>lol funny, but I know that information started on a CD cover. <b>Imagine</b></i></span></span></div>
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<span style="font-size: x-small;"><span face="Arial, Helvetica, sans-serif"><i><b>
my uncle's surprise that he found out he was dead in the Korean war when he was only about 10 years old. I don't know how that started, but my uncle is alive and well on Cape Cod</b>. It has become a big family joke. That piece you are talking about with the morse code, it is "S.O.S." <b>Another unknown fact on my grandfather is that he used to ghost-write for commercials and the like. He told my uncle that he wrote the theme song to the 1950's childrens show "The Pinky Lee Show". I wondered why he would have done that until I looked it up on YouTube and saw that the show was sponsored by Tootsie Roll.</b> That theme song shows his humor. From what my mother says he had a great sense of humor. He was also able to tap out 3 different rhythms at once, one on his left foot, another on his right and then a third on his hands. Its hard to do, I know I have tried and its pretty much impossible.</i></span></span><br />
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<span style="font-size: x-small;"><span face="Arial, Helvetica, sans-serif"><i>Take care, <span class="il">Jim</span> <span class="il">Etler</span></i></span></span></div>
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<span face="Arial, Helvetica, sans-serif"><span style="font-size: small;">Check out the clip below of an episode of the Pinky Lee show to hear Etler's <i>Silly Song</i> which was the theme song for the Pinky Lee show:</span></span><br />
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<span face="Arial, Helvetica, sans-serif"><span style="font-size: small;"><iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/GWbweOyYLEE" width="560"></iframe></span></span></div>
ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com1tag:blogger.com,1999:blog-21359041.post-65397812954862522692023-03-27T09:30:00.000-05:002023-03-27T09:38:04.661-05:00Dahl, Hindemith and Dukas<p><span style="font-family: arial;"> </span></p><h3>
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<tr><td style="text-align: center;"><span style="font-family: arial;"><a href="https://music.usc.edu/files/2014/06/1934-Dahl.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="800" height="320" src="https://music.usc.edu/files/2014/06/1934-Dahl.jpg" width="320" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">Ingolf Dahl (1912-1970)<br /></span></td></tr>
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</span><h1>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span style="font-weight: normal;"><span style="font-size: small;"><span style="color: black;"><span face=""arial" , "helvetica" , sans-serif">In class today, we heard three landmark works of the 20th century for brass ensembles, including "Music for Brass Instrument"(1944) composed by <a href="https://en.wikipedia.org/wiki/Ingolf_Dahl">Ingolf Dahl</a> as recorded by the American Brass Quintet.
As I mentioned, the piece was written as a brass quintet (two trumpets, horn, tenor trombone and bass trombone) with an optional tuba part in the score. </span></span></span></span></span></span></h1><span style="font-family: arial;"></span><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">Here is a description
by Joseph Stevenson (from <a href="http://allmusic.com/">AllMusic.com</a>) </span></span><span style="font-family: arial;">
</span><blockquote class="tr_bq">
<div class="text" style="padding-bottom: 35px;">
<span style="font-family: arial;"><i><span face=""arial" , "helvetica" , sans-serif">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 </span></i><span face=""arial" , "helvetica" , sans-serif"><span style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif">accompanist</span></span> </span><i><span face=""arial" , "helvetica" , sans-serif">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. <span style="background-color: #fcff01;">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."</span></span></i><span face=""arial" , "helvetica" , sans-serif"><i><br /><br />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 Studios and composer <a class="name-link" href="https://en.wikipedia.org/wiki/Gail_Kubik">Gail Kubik</a>, Dahl's friend and the composer of the score for the Gerald McBoing Boing animated short film</i> </span></span></div>
</blockquote><span style="font-family: arial;">
<span face=""arial" , "helvetica" , sans-serif"> What is Gerald McBoing-Boing? (from Wikipedia): </span><br />
</span><blockquote class="tr_bq">
<div class="text" style="padding-bottom: 35px;">
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><br /></span></span>
<span style="font-family: arial;"><i><span face=""arial" , "helvetica" , sans-serif">"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. <br /><br />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". </span></i></span></div>
</blockquote><p><span style="font-family: arial;">
<span face=""arial" , "helvetica" , sans-serif">Here </span><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif">is a YouTube video of the short film. See if you hear any similarities to Dahl's <i>Music for Brass Instruments. </i></span></span><br />
<br /></span></p><p style="text-align: center;"><span style="font-family: arial;">
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Zpl0KRFdj1E" width="560"></iframe> </span></p><p><span style="font-family: arial;"> </span></p><p><span style="font-family: arial;"> </span></p><h3>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://www.wrti.org/sites/wrti/files/styles/medium/public/201601/Hindemith.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="363" data-original-width="479" height="266" src="https://www.wrti.org/sites/wrti/files/styles/medium/public/201601/Hindemith.jpg" width="351" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Paul Hindemith (1895-1963)<br /></td></tr></tbody></table><br /></span></span></span></h3><span style="font-family: arial;">
</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: arial;"><a href="https://d27t0qkxhe4r68.cloudfront.net/sm/t/300/ISMN9790001034463.jpg?1549543012" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="432" data-original-width="300" height="320" src="https://d27t0qkxhe4r68.cloudfront.net/sm/t/300/ISMN9790001034463.jpg?1549543012" width="222" /></a></span></div><span style="font-family: arial;">
</span><h1><span style="font-family: arial;">
<span face=""arial" , "helvetica" , sans-serif"><span style="font-weight: normal;"><span style="font-size: small;"> </span></span></span></span></h1><span style="font-family: arial;">
</span><h1>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span style="font-weight: normal;"><span style="font-size: small;"><i>Morgenmusik</i> is the first part of a much longer work written by Hindemith for a day-long music festival at a boarding school in </span></span></span><span face=""arial" , "helvetica" , sans-serif"><span style="font-weight: normal;"><span style="font-size: small;"><span style="color: black;">Plön,
in Northern Germany. To commence the day-long festival, it was performed from the tower of the Plon Castle.</span></span></span></span></span></h1><h1><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span style="font-weight: normal;"><span style="font-size: small;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://www.hamburg.com/image/11841430/16x9/990/557/b5c607b38f6526564485988bb589618d/AZ/km1-ploen-castle.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="450" data-original-width="800" height="180" src="https://www.hamburg.com/image/11841430/16x9/990/557/b5c607b38f6526564485988bb589618d/AZ/km1-ploen-castle.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Plon Castle<br /></td></tr></tbody></table><span style="color: black;"><br /></span></span></span></span></span></h1><span style="font-family: arial;">
</span><h1>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span style="font-weight: normal;"><span style="font-size: small;"><span style="color: black;"><a href="https://en.schott-music.com/shop/ploener-musiktag-no279028.html">Plöner Musiktag</a></span></span></span></span></span></h1><span style="font-family: arial;">
</span><div style="text-align: justify;">
<blockquote class="tr_bq">
<div>
<span style="font-family: arial;"><i><span face=""arial" , "helvetica" , sans-serif">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 <span style="background-color: white;">Hans
Werner Henze Music School in Marzahn-Hellersdorf </span>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." </span></i><br /></span>
<span style="font-family: arial;"><i><span face=""arial" , "helvetica" , sans-serif">The "Plöner Musiktag" sets a whole day to music: The four parts,
<span style="background-color: yellow;">Morgenmusik</span> [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. <span style="background-color: yellow;">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. </span></span></i></span></div>
</blockquote><span style="font-family: arial;"></span><div class="product-bottominfo"><div class="workwrapper"><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span class="text_excerpt" id="bio-excerpt"><span class="ARIAL12bi"> </span><br />
From </span></span></span><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span class="text_excerpt" id="bio-excerpt"><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span class="text_excerpt" id="bio-excerpt">Fanfare Magazine by James H. North -</span></span></span>
</span></span></span>
<blockquote class="tr_bq">
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span class="text_excerpt" id="bio-excerpt">
<i>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. </i></span></span><i><br /></i></span><i>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span class="text_excerpt" id="bio-excerpt"><br />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. </span></span></span></i></blockquote><i>
</i><blockquote class="tr_bq">
<i><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span class="text_excerpt" id="bio-excerpt">
</span></span></span></i><i><span style="font-family: arial;"><br /></span></i>
<i><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span class="text_excerpt" id="bio-excerpt">
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. </span></span></span></i></blockquote>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span class="text_excerpt" id="bio-excerpt">
</span></span></span><span style="font-family: arial;"><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span class="text_excerpt" id="bio-excerpt">The boarding school was the </span></span><span face=""arial" , "helvetica" , sans-serif"><a href="http://www.kingalfredschool.com/overview.htm"><span style="font-weight: normal;"><span style="font-size: small;">King Alfred School</span></span></a></span><span face=""arial" , "helvetica" , sans-serif"><span style="font-size: small;">. Here is a </span></span><span face=""arial" , "helvetica" , sans-serif"><a href="https://translate.google.com/translate?hl=en&sl=de&u=http://www.hindemith.info/de/leben-werk/biographie/1918-1927/werk/gebrauchsmusik/&prev=search"><span style="font-weight: normal;"><span style="font-size: small;">link translated from German page.</span></span></a></span></span></div>
</div>
</div><span style="font-family: arial;">
</span><section class="parts-movements">
<div class="headline" style="text-align: left;">
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">
<span style="font-weight: normal;">The entire</span><i> </i></span><span face=""arial" , "helvetica" , sans-serif"><span style="font-weight: normal;"><span style="font-size: small;"><span style="color: black;"><i>Plöner Musiktag</i> program included these movements:</span></span></span></span></span></div>
<ol><li><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">No. 1, Mässig bewegt</span></span></li><li><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">No. 2, Lied</span></span></li><li><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">No. 3, Bewegt</span></span></li><li><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">No. 1, March</span></span></li><li><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">No. 2, Intermezzo</span></span></li><li><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">No. 3, String Trio</span></span></li><li><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">No. 4, Waltz</span></span></li><li><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">Advice to Youth to Apply Itself to Music</span></span></li><li><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">No. 1, Prelude for orchestra</span></span></li><li><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">No. 2, Flute solo with strings</span></span></li><li><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">No. 3, 2 Duets for violin & clarinet</span></span></li><li><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">No. 4, Variations for clarinet & strings</span></span></li><li><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">No. 5, Trio for 3 recorders</span></span></li><li><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">No. 6, Quodlibet for orchestra</span></span></li></ol>
</section><p><span style="font-family: arial;">Ingolf Dahl Biography form Schott EAM</span></p><div style="text-align: left;">
<i><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><blockquote>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.</blockquote><p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://cdn.britannica.com/s:1500x700,q:85/99/12199-004-D4249B44/Dukas.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="300" data-original-width="232" src="https://cdn.britannica.com/s:1500x700,q:85/99/12199-004-D4249B44/Dukas.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Paul Dukas (1865-1935)</td></tr></tbody></table><p></p></span></span></i><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">Paul Dukas composed his ballet <a href="https://en.wikipedia.org/wiki/La_P%C3%A9ri_(Dukas)">La Péri </a>in 1912. Today we listened to his Fanfare to precede that ballet, and like many overtures, it has taken on a life of it's own in the brass world. We heard the Cincinnati Pops recording from 2004 with Erik Kunzel recording. What is a <a href="https://en.wikipedia.org/wiki/Peri">Peri</a>?<br /></span></span></div>ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-83761598196320167572023-03-20T09:00:00.000-05:002023-03-20T09:40:37.537-05:00Jan Bach Laudes and Maurer 12 (5) Pieces<br />
<a href="https://images-na.ssl-images-amazon.com/images/I/51eVlxaBQfL._SX425_.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="425" data-original-width="425" height="200" src="https://images-na.ssl-images-amazon.com/images/I/51eVlxaBQfL._SX425_.jpg" width="200" /></a><span class="Normal-C"> Today in class, we listened to a recording of five of Maurer's <i>12 Pieces</i> 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.</span><br />
<span class="Normal-C"><br /></span>
<span class="Normal-C"></span>From Wikipedia: <br />
<blockquote class="tr_bq">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/commons/thumb/2/2d/Ludwig_Wilhelm_Maurer.jpg/330px-Ludwig_Wilhelm_Maurer.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="442" data-original-width="330" height="200" src="https://upload.wikimedia.org/wikipedia/commons/thumb/2/2d/Ludwig_Wilhelm_Maurer.jpg/330px-Ludwig_Wilhelm_Maurer.jpg" width="148" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ludwig Maurer</td></tr>
</tbody></table>
<b>Ludwig Wilhelm Maurer</b> (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.
<br />
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.<sup> </sup>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.
</blockquote>
We also listened to <i>Laudes</i> by Jan Bach. It is considered one of the most important works for brass quintet in the 20th century.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.panonthenet.com/spotlight/2009/gmi/Janed1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="781" data-original-width="300" height="320" src="https://www.panonthenet.com/spotlight/2009/gmi/Janed1.jpg" width="122" /></a></div>
From <a href="http://www.janbach.com/">JanBach.com </a><br />
<blockquote class="tr_bq">
<span class="Normal-C">LAUDES </span><span class="Normal-C0">for brass quintet</span><span class="Normal-C1"></span><br />
<span class="Normal-C2">Program notes by the composer</span><br />
<span class="Normal-C1"></span><br />
<span class="Normal-C2">Laudes</span><span class="Normal-C1"> (loud-<wbr></wbr>ays), as its name may imply, is a Twentieth-<wbr></wbr>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. </span><span class="Normal-C2">Laude</span><span class="Normal-C1"> (loud-<wbr></wbr>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.</span><br />
<span class="Normal-C1"></span><br />
<span class="Normal-C1">The work is cast in four contrasting movements. </span><span class="Normal-C2">Reveille</span><span class="Normal-C1">
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. </span><span class="Normal-C2">Scherzo</span><span class="Normal-C1"> is cast in three-<wbr></wbr>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 </span><span class="Normal-C2">con sordino,</span><span class="Normal-C1"> the middle section consisting of chromatic scale segments in both principal and supporting material. </span><span class="Normal-C2">Cantilena</span><span class="Normal-C1">
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. </span><span class="Normal-C2">Volta</span><span class="Normal-C1">,
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.</span><br />
<span class="Normal-C1"></span><br />
<span class="Normal-C1">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. </span><span class="Normal-C2">Laudes</span><span class="Normal-C1">
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 </span><span class="Normal-C2">International Trumpet Guild</span><span class="Normal-C1">
members selected it (along with works by Dahl, Schuller, and Etler) as
one of the four most significant brass quintets ever written.</span></blockquote>
ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-66116658414013249882023-03-06T08:43:00.006-06:002023-03-06T09:28:07.933-06:00Brass Ensemble Music by Underrepresented Composers 2023<p><span style="font-family: arial;"> </span></p><p><span style="font-family: arial;">Brass Ensemble Music by Underrepresented Composers 2023 - <a href="https://youtube.com/playlist?list=PL86Ydo-nYR8OP3caWdJOs9s0DoyiqqJeO">Playlist on YouTube</a>: <br /></span></p><ol style="text-align: left;"><li><a href="https://www.halleonard.com/product/229025/saoko"><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;"><i></i></span></a><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;"><i><a href="https://www.florencemaunders.com/store/products/florence-anna-maunders-transmission-i-brass-sextet">Transmission I</a></i> - <a href="https://www.florencemaunders.com/#introduction">Florence Anna Maunders</a> - <a href="https://www.thebrassproject.com/">The Brass Project</a></span><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;"> (score in ABEL ICON page files)<br /></span></li><li><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;"><a href="https://www.thebrassproject.com/"> </a></span><span style="font-family: arial;"><a href="https://www.halleonard.com/product/229025/saoko"><span style="font-size: small;"><i>Saoko</i></span></a><span style="font-size: small;"><i> </i>- <a href="https://www.meridianartsensemble.com/">Tania Léon</a> - <a href="https://www.meridianartsensemble.com/">Meridian Arts Ensemble</a></span></span></li><li><span style="font-family: arial; font-size: small;"><i><a href="https://libbylarsen.com/works/brazen-overture/">Brazen Overture</a> </i>- <a href="https://libbylarsen.com/">Libby Larsen</a> - <a href="https://www.stilettobrass.com/home">Stiletto Brass Quintet</a></span></li><li><span style="font-family: arial; font-size: small;"><a href="https://www.anthonybarfield.com/work/invictus-for-12-piece-brass-ensemble"><i>Invictus</i> </a>- <a href="https://www.anthonybarfield.com/">Anthony Barfield</a> - <span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap">Musicians from The Metropolitan Opera Orchestra, New York Philharmonic, The Juilliard School, Jazz at Lincoln Center, New York City Ballet Orchestra, and the Mostly Mozart Festival Orchestra</span></span></li><li><span style="font-family: arial; font-size: small;"><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap"><i>The Five Chairs</i> - <a href="https://martiepstein.com/">Marti Epstein</a> - <a href="https://www.atlanticbrassquintet.com/">Atlantic Brass Quintet </a></span></span></li><li><span style="font-family: arial; font-size: small;"><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap"><a href="https://libbylarsen.com/works/fanfare-for-a-learned-man/"><i>Fanfare for a Learned Man</i> </a>- </span></span><span style="font-family: arial; font-size: small;"> <a href="https://libbylarsen.com/">Libby Larsen</a></span><span style="font-family: arial; font-size: small;"><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap"> - <a href="https://brassbandnw.org/">Brass Band Northwest</a></span></span></li><li><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;"><a href="https://www.wisemusicclassical.com/work/11619/Variations--Thea-Musgrave/"><i>Variations for Brass Band</i> </a>- <a href="https://www.theamusgrave.com/">Thea Musgrave</a> - </span><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;">Rutgers University Brass Band </span></li><li><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;"></span><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;"></span><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;"><a href="http://www.kennethamis.com/chamber_music_compositions.html#Brass_Chamber_Music_Compositions"><i>Quintet No. 2</i></a> - </span><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;"><a href="http://www.kennethamis.com/">Kenneth Amis</a> - </span><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;"><a href="https://blair.vanderbilt.edu/ensembles/blair-brass-quintet.php">Blair Brass Quintet</a></span></li><li><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;">Stiletto Brass Quintet Program:</span></li><ul><li><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;"></span><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;">A Scent of Paradise - Kenneth Amis (b. 1970) </span></li><li><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;">Tempesta (2021) - Velvet Brown </span></li><li><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;">Boy Meets Horn - Duke Ellington (1899–1967) arr. Kenneth Amis </span></li><li><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;">Sophisticated Ladies - Ellington arr. Jack Gale </span></li><li><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;">The Chili Ristra Tango - Elizabeth Garrett (1885–1947)arr. Charles Brandebury </span></li><li><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;">Sea Suite (2020) - Dorothy Gates </span></li><ul><li><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;">I. Gulls </span></li><li><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;">II. Sea Urchins </span></li><li><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;"> III. Heron by Moonlight </span></li><li><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;">IV. Seaweed Dance</span></li></ul></ul><li><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;"><a href="https://www.katahjcopleymusic.com/product-page/song-for-ursa"><i>Song for Ursa</i> </a>- <a href="https://www.katahjcopleymusic.com/">Katahj Copley</a> - <a href="https://www.facebook.com/pacificbrass.society/">Pacific Brass Societ</a></span></li><li><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;"><a href="https://dorothygates.com/compositions/">The State of Mind </a>- <a href="Dorothy Gates">Dorothy Gates</a> - <a href="https://myiwbc.org/monarch-brass/">Monarch Brass </a></span></li><li><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text" style="font-family: arial;"></span><span style="font-family: arial;"><i><a href="https://americanarchive.org/catalog/cpb-aacip_508-3t9d50gh3n">Sousa on the Rez: Native American Brass Bands and Beyond</a> - </i></span></li></ol><div style="margin-left: 40px; text-align: left;"><span style="font-family: arial;"><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text">Erin Fehr (Yup'ik), archivist at the Sequoyah National Research Center at the University of Arkansas (Little Rock), and John Troutman, curator of American Music at the Smithsonian’s National Museum of American History, will discuss the social, historical, and artistic experiences of Native American musicians from the early 1900s to today. Michael Pahn, head of Archives and Collections Digitization at the National Museum of the American Indian and Vice Chair of the Smithsonian Music Executive Committee, moderates the program. </span></span></div>ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-10287607149795305272023-03-01T11:04:00.001-06:002023-03-01T11:04:10.176-06:00Notes on Xiaoyu's Listening Presentation<p><span style="font-family: arial;"><span style="font-size: small;">Since several of your were away for ABA, I thought I would share a blog about Xiaoyu's listening presentation. It was an eclectic mix of types of group from around the world in several different styles. Here is <a href="s://youtube.com/playlist?list=PL4ABSBXoX-0U7L1sTd3ut2i2Wpcdyhx2v">her playlist.</a></span></span></p><p><span style="font-family: arial;"><span style="font-size: small;"><a href="https://www.boosey.com/shop/prod/Hazell-Chris-Three-Brass-Cats/624154"><i>Three Brass Cats</i></a> is a composition by Chris Hazell commissioned by the Philip Jones Brass Ensemble. The group we hear was from </span><span style="font-size: small;"><a href="https://www.sinfoniavarsovia.org/en/sinfonia-varsovia/about-us/">Sinfonia Varsovia</a>, an orchestra from Poland. From a German publishing website, here is a bit about the composer: </span></span></p><div class="col-md-9 col-sm-8">
<span style="font-family: arial;"><i><span style="font-size: x-small;">
</span></i></span><div class="paragraph"><span style="font-family: arial;"><i><span style="font-size: x-small;"></span></i></span><blockquote><span style="font-family: arial;"><i><span style="font-size: x-small;">Chris Hazell studied composition at
the Royal College of Music before joining the Argo division of Decca in
1973 as a producer. There he continued the legendary recordings of Sir
Neville Marriner, Philip Jones, King's College Cambridge and Peter
Hurford amongst others. As the Decca Group labels evolved his artist
base widened to incorporate such names as Sir Georg Solti, Dame Joan
Sutherland, Charles Dutoit and Sir Charles Mackerras with the Berlin,
Chicago, Montreal Symphony and all the major London Orchestras, becoming
Senior Producer in 1992. His many recordings with David Zinman in
Baltimore have continued (after becoming freelance in 1997) with the
Tonhalle Orchestra in Zurich, on their award winning Beethoven Symphony
cycle. His partnership on recordings with Simon Eadon is about to enter
its 30th year.<br /></span></i></span>
<span style="font-family: arial;"><i><span style="font-size: x-small;"><br />
Parallel to this has been his work as arranger and composer. His 'Brass
Cats' (written for Philip Jones) is standard repertoire world-wide. He
has worked extensively with Dame Kiri te Kanawa, and was both producer
and arranger on Bryn Terfel's recent best selling Welsh album. He also
works regularly with Angela Gheorghiu. He has written music for
television, including the title theme for the late Desmond Wilcox's
award winning documentary series 'The Visit.'</span></i></span></blockquote></div>
</div><blockquote><p><span style="font-family: arial;"><span style="font-size: small;"><span style="font-size: x-small;"><i>This is what Chris Hazell, the composer, had to say about ‘Three Brass
Cats': ‘Some years ago I had four cats in the house - all were strays
and decided that I was a soft touch when it came to free board and
lodgings, so instead of moving on, they all decided to stay. Sadly they
have all now gone to the great cattery in the sky. However, at the time
they were around I was asked to write some pieces for a brass group (The
Philip Jones Brass Ensemble). What should I write about? Well, I've
always liked writing about the people and places around me (they appear
in a lot of my music) so I thought.. I know, my cats. These days I don't
have any cats as I travel around a lot with my work, but it's nice to
think that they're still with me in the music.'</i></span> <br /></span></span></p></blockquote><span style="font-family: arial;"><span style="font-size: small;"><a href="https://www.sinfoniavarsovia.org/en/sinfonia-varsovia/chamber-ensembles/sinfonia-varsovia-brass/">Sinfonia Varsovia Brass</a></span></span><blockquote><p><span style="font-family: arial;"><i><span style="font-size: x-small;">is a
thirteen-person brass band formed of the members of the brass and
percussion sections of the Sinfonia Varsovia Orchestra. The ensemble’s
repertoire includes original compositions written for the ensemble as
well as arrangements of symphonic, jazz, and baroque music. The members
of the ensemble are particularly drawn to Latin music as well as film
scores. The ensemble has performed with notable soloists, such as Eric
Miyashiro or Wayne Bergeron. In 2017, Warner Classics published the
debut record of the Sinfonia Varsovia Brass, an energetic compilation of hits drawn from film scores and American and Latin music.</span></i></span></p><span style="font-family: arial;"><i><span style="font-size: x-small;">
</span></i></span><p><span style="font-family: arial;"><span style="font-size: small;"><i><span style="font-size: x-small;">The ensemble is made up of: Jan Harasimowicz (trumpet), Jakub
Waszczeniuk (trumpet), Ostap Popovych (trumpet), Andrzej Tomczok
(trumpet), Marek Żwirdowski (trombone), Tomasz Światczyński (trombone),
Tomasz Hajda (trombone), Mariusz Opaliński (trombone), Henryk Kowalewicz
(French horn), Krzysztof Mucha (tuba), Piotr Kostrzewa (drums),
Sebastian Frankiewicz (drums), and Tomasz Bielecki (drums).</span></i><br /></span></span></p></blockquote><p><span style="font-family: arial;"><span style="font-size: small;"><a href="https://brass-zero.tokyo/">Brass Ensemble Zero</a></span></span></p><p></p><blockquote><span style="font-family: arial;"><span style="font-size: x-small;"><i>In 2010, a group of recent music university graduates came together to
form Brass Ensemble ZERO. In keeping with their motto, “tradition and
innovation,” the ensemble strives to expand possibilities in different
directions to explore the true meaning of music. Their name contains
their goal – thinking up new things from nothing; from point zero. Since its founding, Brass Ensemble ZERO has presented primarily unique
programs with music for brass instruments at subscription concerts. The
ensemble’s programming includes early works, such as arrangements of
Early and Baroque music by Monteverdi, J. S. Bach and Handel, as well as
later works by Sibelius, Hindemith, and Stravinsky, which were composed
primarily for brass instruments. They also perform contemporary pieces
by composers such as Xenakis and Takemitsu, as well as works by Chris
Hazell, Jim Parker, and Goff Richards, which the well-known Philip Jones
Brass Ensemble has often played.</i></span><span style="font-size: small;"><span style="font-size: x-small;"><i> </i></span><br /></span></span></blockquote><p><span style="font-family: arial;"> This video below is from <a href="https://bpo.cat/en/">Paradise Balkan Orchestra</a></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Hi9fGAZnLgw" width="320" youtube-src-id="Hi9fGAZnLgw"></iframe></span></div><span style="font-family: arial;"> </span><p></p><p><span style="font-family: arial;">I commented that it was my new favorite band, and admired the video for how engaging, musical, dynamic and energetic is was. The audio is excellent, the videography is outstanding and compelling, and visually the scenery, settings, and "uniforms" work very well. From their website:</span></p><p></p><p><span style="font-family: arial;"><span style="font-weight: 400;"></span></span></p><blockquote><p><span style="font-family: arial;"><i><span style="font-size: x-small;"><span style="font-weight: 400;">Since they began their journey in
early 2015 in Barcelona, Balkan Paradise Orchestra has shown, in each
and every performance, their potential as an unusual and ground-breaking
group. Composed by wind and percussion players, the Balkan Paradise
Orchestra (aka BPO) is a breath of fresh air for the music panorama of
our country. Audiences are completely engaged with their pure
cheerfulness and distinguish playful vibes which will make it impossible
for you to sit still during they shows. </span></span></i></span></p>
<p><span style="font-family: arial;"><i><span style="font-size: x-small;"><span style="font-weight: 400;">With different studies, experiences
and influences, but inevitably connected with the Balkan tradition of
wind orchestras, they transform this musical genre to an authentic
elixir made of rhythms of the entire world. They offer a show that works
both on stage and on the street, with a surprising capacity of
generating empathy towards the public and always bringing joy, party and
an urge for dancing in every single corner of the world.</span></span></i></span></p></blockquote><p><span style="font-family: arial;"><span style="font-size: small;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://bpo.cat/wp-content/uploads/2022/03/BPO-baixa-gemmamartz-96.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="800" height="320" src="https://bpo.cat/wp-content/uploads/2022/03/BPO-baixa-gemmamartz-96.jpg" title="Balkan Paradise Orchestra" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Balkan Paradise Orchestra</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table> </span></span></p><p><span style="font-family: arial;"><span style="font-size: small;">The playlist also includes outstanding performances by the Samurai Brass, the China Philharmonic Orchestra Brass Quintet, the Canadian Brass and another work by Henri Tomasi, <i>Etre ou ne pas Etre (To Be or Not To Be)</i>. We didn't get to the last three selections on the list, but give it a listen and leave feedback on Xiaoyu's <a href="https://brassandcatsaffairs.blogspot.com/2023/02/wagner-for-five-bones-by-ben-van-dijk.html">latest blog post.</a><br /></span></span></p><p><span style="font-family: arial;"><span style="font-size: small;"> </span></span></p><p><span style="font-family: arial;"><span style="font-size: small;"> </span></span></p><p><span style="font-family: arial;"><span style="font-size: small;"> </span></span></p><p><span style="font-family: arial;"><span style="font-size: small;"> </span></span></p><blockquote><p><span style="font-family: arial;"><span style="font-size: small;">
</span></span></p><p><span style="font-family: arial;"><span style="font-size: small;"> </span></span></p></blockquote>ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-11925596251097967702023-01-24T10:53:00.000-06:002023-01-25T07:33:11.133-06:00Early Brass Ensemble Listening Session<p><span style="font-family: arial;"><span style="font-size: small;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://img.discogs.com/8eflmNSUGg5AEjiHIhPCLNfUro0=/fit-in/600x599/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-2829304-1302922609.jpeg.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="600" height="469" src="https://img.discogs.com/8eflmNSUGg5AEjiHIhPCLNfUro0=/fit-in/600x599/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-2829304-1302922609.jpeg.jpg" width="470" /></a></span></div><span style="font-size: small;"><br />In class today we listened to a playlist of brass ensemble music </span><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: arial;"><span style="font-size: small;">by European composers </span></span>ranging from the late Renaissance and Baroque eras to the 19th century. As I mentioned in class, rather than a simply passive listening experience (since we are studying scores), I encouraged you to take notes on any piece, composer or ensemble that peaked your curiosity and consider blogging or even writing your historical perspectives paper on that topic. Here is the complete playlist with as many hyperlinks as I could find of interest:<br /></span></span><p></p><ol style="text-align: left;"><li><span style="font-family: arial;"><span style="font-size: small;">The <a href="http://www.ecse.co.uk/">English Cornett and Sackbut Ensemble</a>, <i>La Bignani</i> by <a href="https://www.allmusic.com/artist/giovanni-cavaccio-mn0002284872/biography">Giovannio Cavaccio </a><br /></span></span></li><li><span style="font-family: arial;"><span style="font-size: small;">The English Cornett and Sackbut Ensemble, <i>Canzona a 5</i> by <a href="https://en.wikipedia.org/wiki/Claudio_Merulo">Claudio Merula </a></span></span></li><li><span style="font-family: arial;"><span style="font-size: small;"><a href="https://www.americanbrassquintet.org/" target="_blank">American Brass Quintet</a>, <i>Battle Suite</i>, II. Courant, by <a href="https://en.wikipedia.org/wiki/Samuel_Scheidt">Samuel Scheidt </a></span></span></li><li><span style="font-family: arial;"><span style="font-size: small;"><a href="https://www.fifeanddrum.army.mil/" target="_blank">U.S. Army Old Guard Fife and Drum Corps</a>, <i>March Fur Die Arche</i> by <a href="https://en.wikipedia.org/wiki/Carl_Philipp_Emanuel_Bach">C. P. E. Bach</a></span></span></li><li><span style="font-family: arial;"><span style="font-size: small;">Brass sections of the Philadelphia, Cleveland and Chicago Symphony Orchestras,<i>Canzona Per Sonare No. 27 by </i><a href="https://en.wikipedia.org/wiki/Giovanni_Gabrieli">Giovanni Gabrieli </a>from the Antiphonal Music of Gabrieli recording</span></span></li><li><span style="font-family: arial;"><span style="font-size: small;">The Ewald Brass Quintet, Brass Quintet No. 4, II. Minuetto by <a href="https://en.wikipedia.org/wiki/Jean-Fran%C3%A7ois_Bellon">Jean Francois Bellon</a> who composed as <a href="https://www.editions-bim.com/composers/jean-bellon">set of twelve brass quintets</a> in the 1850s.<br /></span></span></li><li><span style="font-family: arial;"><span style="font-size: small;">Chicago Symphony Orchestra Brass & Mark Ridenour, <i>Sonata Piano e Forte</i> by Giovanni Gabrieli </span></span></li><li><span style="font-family: arial;"><span style="font-size: small;"><a href="https://translate.google.com/translate?hl=en&sl=da&u=http://www.copenhagenbrass.dk/&prev=search" target="_blank">Copenhagen Brass</a>, Flensborger March by Jensen from their "Historic Danish Brass Music" recording</span></span></li><li><span style="font-family: arial;"><span style="font-size: small;">The Brass Ensemble of the <a href="https://www.tonkuenstler.at/en/orchestra/the-orchestra/tonkunstler-orchestra" target="_blank">Tonkuenstler Orchestra Lower Austria</a>, <i>Arie Per Il Balletto A Cavallo </i>by <a href="https://en.wikipedia.org/wiki/Johann_Heinrich_Schmelzer">Johann Heunrich Schmelzer</a><i><br /></i></span></span></li><li><span style="font-family: arial;"><span style="font-size: small;">The Brass Ensemble of the Tonkuenstler Orchestra Lower Austria, <i>Grund-richtiger Unterricht </i>by <a href="https://en.wikipedia.org/wiki/Daniel_Speer">Daniel Speer </a></span></span></li><li><span style="font-family: arial;"><span style="font-size: small;"><a href="https://music.apple.com/us/artist/deutsche-naturhorn-solisten/495445320" target="_blank">Deutsche Naturhorn Slisten</a> & Franz Ruml, <i>Air for 2 Horns and Organ</i> in F Major, HWV 410 by Handel </span></span></li><li><span style="font-family: arial;"><span style="font-size: small;"><a href="http://www.foyerruraldemontmelian.fr/rallye-cor_17.php" target="_blank">Le Rally-Cor de Montmélian</a>, <i>Les Honneurs du Pied</i> </span></span></li><li><span style="font-family: arial;"><span style="font-size: small;">Hermann Baumer & <a href="http://www.brasspartout.de/" target="_blank">Brass Partout</a>, Brass Quartet, Op. 38 <i>In Modo Religioso </i>by <a href="https://en.wikipedia.org/wiki/Alexander_Glazunov">Alexander Glazunov</a> (pub. 1893)<br /><i></i></span></span></li></ol>ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-55060937473439879932023-01-23T08:52:00.000-06:002023-01-25T07:29:23.023-06:00Brass Ensemble Music History <div style="font-weight: bold;">
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</div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs_djIBrcFjEaM8jY3BD_kgIx-Hj-cdZI9RteSN8ncC4XdacuFffQMNIsAJdnGQXyFEMJkDBfp-AjL0o60L_aF47b9CbphoSB4g-BNWRYMvF-y_RDSEaY2RvA4BOXBMvGfZUO5/s1600/Historic+Brass.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="480" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs_djIBrcFjEaM8jY3BD_kgIx-Hj-cdZI9RteSN8ncC4XdacuFffQMNIsAJdnGQXyFEMJkDBfp-AjL0o60L_aF47b9CbphoSB4g-BNWRYMvF-y_RDSEaY2RvA4BOXBMvGfZUO5/s320/Historic+Brass.jpg" width="320" /></a></div>
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<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><span style="font-weight: normal;">To give you some ideas of topics for your historical perspective paper, I've listed below some of the possible directions you might consider. Remember to keep within the realm of ensembles, not individual instrument history. </span><br /></span></span></span></span></div><div style="font-weight: bold;"><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"> </span></span></span></span></div><div style="font-weight: bold;"><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif">I. Principal Composers and Places of Brass Ensemble History:</span></span></span></span></div><span style="font-family: arial;">
<span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif">Links to Critical Places and Traditions:</span></span></span><br />
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<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif"><a href="https://en.wikipedia.org/wiki/Venetian_School_%28music%29"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif">The Venetian School (Wikipedia)</span></span></a></span></span></span></span></span></div><span style="font-family: arial;">
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<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif"><span style="font-size: small;"><a href="https://en.wikipedia.org/wiki/Venetian_polychoral_style">Venetian Polychoral Style</a> (Wikipedia)</span> </span></span></span><i> </i></span><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><br /><a href="https://www.brassquintetforum.com/15-dec-post-early-brass-music.html">Early Brass Music </a>(Brass Quintet Forum, Annapolis Brass)<a href="https://www.loc.gov/collections/civil-war-band-music/about-this-collection/" style="font-weight: normal;"><br />
Band Music from the Civil War Era</a> - Library of Congress</span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="https://www.thechamberlainbrass.com/brass-quintet-blog/a-brief-history-of-brass-quintets">A Brief History of Brass Quintets</a> (Chamberlain Brass)<a href="https://www.npr.org/templates/story/story.php?storyId=1321215" style="font-weight: normal;"><br />
Trombone Choirs </a>(NPR)<a href="https://moravianmusic.org/" style="font-weight: normal;"><br />
Moravian Music Foundation</a><a href="http://www.townwaits.org.uk/" style="font-weight: normal;"><br />
The Waits Website</a><br />
<a href="http://www.medieval-life-and-times.info/medieval-music/waits.htm">Waits</a> (Medieval Life and Times)<a href="http://www.grovemusic.com.proxy.lib.uiowa.edu/shared/views/article.html?from=search&session_search_id=397977402&hitnum=1&section=music.26515" style="font-style: italic;"><br />
</a><a href="http://www.grovemusic.com.proxy.lib.uiowa.edu/shared/views/article.html?from=search&session_search_id=397977402&hitnum=1&section=music.26515" style="font-weight: normal;">Stadtpfeifers</a> - Groves Online</span></span></span><br /></span>
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<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><i><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif"><i><a href="http://www.academia.edu/3435962/_The_Venetian_school_1550_1610_and_the_extensions_of_the_polychoral_style_Eng">The Venetian school and the Extensions of the Polychoral Style</a> - </i>Iakos Demetriou</span></span></span></span></i></span></span></span><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif"> </span></span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://www.nytimes.com/2006/04/09/arts/music/09kun.html?ei=5090&en=4bf29e24285dad92&ex=1302235200&partner=rssuserland&emc=rss&pagewanted=print"><span style="font-style: italic;">They're With the Band, Speaking That Global Language: Brass</span></a></span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif">by Josh Kun, New York Times, 4/9/2006</span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://www.trombone.org/articles/library/viewarticles.asp?ArtID=254"><span style="font-style: italic;">A Short History of the Trombone</span></a> by David Guion from the Online Trombone Journal</span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://mail.rochester.edu/%7Ejs015k/old%20site/history.html"> <span style="font-style: italic;">History and Heritage of the Trombone Choir</span></a> by John Marcellus, Eastman School of Music</span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="https://www.loc.gov/collections/civil-war-band-music/articles-and-essays/the-american-brass-band-movement/">The American Brass Band Movement</a> - Library of Congress </span></span></span></span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://bdhp.moravian.edu/music/trombones.html"><span style="font-style: italic;">Something About Trombones </span>(Moravian)</a> from the Bethlehem Digital History Project</span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://en.wikipedia.org/wiki/Venetian_polychoral_style"><span style="font-style: italic;">Venitian Polychoral Style</span></a> (Wikipedia entry)</span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://www.grovemusic.com.proxy.lib.uiowa.edu/shared/views/article.html?from=search&session_search_id=397977402&hitnum=1&section=music.26515" style="font-style: italic;">Stadtpfeifers</a> - Groves Online</span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://www.grovemusic.com.proxy.lib.uiowa.edu/shared/views/article.html?from=search&session_search_id=991142733&hitnum=2&section=music.29801" style="font-style: italic;">Wait</a><span style="font-style: italic;"> </span>- Groves Online</span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://en.wikipedia.org/wiki/Saxhorn" style="font-style: italic;">Saxhorns</a> (Wikipedia)</span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><i><a href="https://raymondburkhart.com/wp-content/uploads/2018/06/RDB-BCMinLandC-preview-pages.pdf">Brass Chamber Music in Lyceum and Chautauqua</a> </i>- Raymond David Burkhart</span></span></span><i><span style="font-size: small;"><span style="font-weight: normal;"> </span></span></i></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><a href="https://www.historicbrass.org/a-celebration-of-100-years-of-the-trombone-class-at-saratov-state-conservatory"><i><span style="font-size: small;"><span style="font-weight: normal;">A Celebration of 100 Years of the Trombone Class at Saratov State Conservatory</span></span></i></a><i><span style="font-size: small;"><span style="font-weight: normal;"> - from Historic Brass Society Journal </span></span></i>by Yury Gusev</span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://www.princeregentsband.com/blog/2016/10/7/introducing-the-celebrated-distin-family">The Disten Family</a> from the Prince Regent's Band</span><br /></span>
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<span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><span style="font-weight: bold;">III. Significant Composers Throughout Brass Ensemble History:</span></span></span></span><br />
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<span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif">A. Renaissance and Baroque Eras</span></span></span><br />
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<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://en.wikipedia.org/wiki/Andrea_Gabrieli">Andrea Gabrieli</a> (1533-1585) <span style="font-style: italic;">Ricercari</span></span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://en.wikipedia.org/wiki/Giovanni_Gabrieli">Giovanni Gabrieli</a> (c. 1557-1612) <span style="font-style: italic;">Sacrae Symphoniae; Canzoni</span></span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://en.wikipedia.org/wiki/Giovanni_Palestrina">Giovanni Pierluigi de Palestrina</a> (1525-1594)</span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://en.wikipedia.org/wiki/Claudio_Monteverdi">Claudio Monteverdi </a>(1567-1643) <span style="font-style: italic;">L'Orfeo </span>(five trombones)</span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://en.wikipedia.org/wiki/Gioseffo_Guami">Gioseffo Guami </a>(c. 1540-1611) <span style="font-style: italic;">Canzoni</span></span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://en.wikipedia.org/wiki/Anthony_Holborne">Anthony Holborne</a> (1584-1602) Consort Music, <span style="font-style: italic;">Pavans...</span></span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://www.goldbergweb.com/en/history/composers/11408.php">Matthew Locke</a> (1622-1677) Consort Music</span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://en.wikipedia.org/wiki/William_Brade">William Brade</a> (1560-1630) Dance Suites</span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://en.wikipedia.org/wiki/Tielman_Susato">Tielman Susato </a>(c. 1500- c.1562)</span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://en.wikipedia.org/wiki/Scheidt">Samuel Scheidt</a> (1587-1653)</span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://en.wikipedia.org/wiki/Johann_Schein">Johann Schein </a>(1586-1630)</span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://www.answers.com/topic/johann-christoph-pezel">Johann Pezel</a> (1639-1694)</span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://en.wikipedia.org/wiki/Handel">George Friederich Handel</a> (1685-1759) <span style="font-style: italic;">Water Music, Royal Fireworks</span></span></span></span></span></div><span style="font-family: arial;">
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<span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"> B. Classic and Romantic Eras</span></span></span><br />
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<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><br /></span></span></span></span></div>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://en.wikipedia.org/wiki/Beethoven">Ludwig van Beethoven</a> (1770-1827)<span style="font-style: italic;"> Drei Equali</span></span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://russia.rin.ru/guide_e/3/3/1.html">Alexander Alyabiev</a> [Aliabev] (1787-1851) Quintet in E-flat for Brass</span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://www.grovemusic.com.proxy.lib.uiowa.edu/shared/views/article.html?from=search&section=music.18126">Ludwig Maurer</a> (1789-1878)</span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://en.wikipedia.org/wiki/Berlioz">Hector Berlioz</a> (1803-1869) <span style="font-style: italic;">Messe Solenelle (1824), Grande Messe des Morts (Requiem) </span>[orch. + 4 antiphonal brass choirs]</span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://en.wikipedia.org/wiki/Victor_Ewald">Viktor Ewald</a> (1860-1935) <span style="font-style: italic;">Brass Quintets Nos. 1-4</span></span></span></span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><a href="http://www.schirmer.com/default.aspx?TabId=2419&State_2872=2&composerId_2872=1295">Wallingford Riegger </a>(1885-1961) <span style="font-style: italic;">Music for Brass Choir, op. 45</span></span></span></span><br /></span>
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<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><br /></span></span></span></span></div>
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<span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"> </span></span></span></span><br />ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-46595931332703377082023-01-20T09:23:00.000-06:002023-01-20T09:23:16.199-06:00Permont Brass Quintet<p><span style="font-family: arial;">This semester, the University of Iowa will be hosting a very special event<i>; </i>the <i><a href="https://international.uiowa.edu/PGF-music-festival">Festival of Contemporary Music from Israel</a></i>, which will be held from April 17th to 23rd, is a collaboration between the University of Iowa and the Jerusalem Academy of Music and Dance. As part of the festival, the Iowa Brass Quintet will be performing <a href="https://www.jamd.ac.il/en/content/prof-haim-permont">Haim Permont</a>'s Brass Quintet. It is a very interesting and challenging work, but well worth it. Here is a video of members of the Israel Philharmonic in an amazing live performance of the work. I have uploaded the score to our ICON Files page, and will be presenting in class later this semester. <br /></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ocRAKcW8hZs" width="320" youtube-src-id="ocRAKcW8hZs"></iframe></div><br /><p></p>ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-62995545103104544572023-01-16T16:37:00.000-06:002023-01-16T16:37:00.293-06:00Welcome Spring 2023 Students!<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVs3mEpXo7ESbTh7Zuwx7kw-Vs1Jvt7869fNYPBMekJx3pD8KuJhmmmcmgKezkCjz9PnPxRfoGs6t3k2jQhDGZj_yvZrFvTW59Z09krRF9EQ_X-aCwEn3WuxdI9RXnXx4ieIQR0kCSb_Z9wSuAsDe8e_DD9WZhRUUbwJ7o1FMS_RcVzweQ9A/s640/HB-Horns1_0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="364" data-original-width="640" height="182" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVs3mEpXo7ESbTh7Zuwx7kw-Vs1Jvt7869fNYPBMekJx3pD8KuJhmmmcmgKezkCjz9PnPxRfoGs6t3k2jQhDGZj_yvZrFvTW59Z09krRF9EQ_X-aCwEn3WuxdI9RXnXx4ieIQR0kCSb_Z9wSuAsDe8e_DD9WZhRUUbwJ7o1FMS_RcVzweQ9A/w320-h182/HB-Horns1_0.jpg" title="Hypnotic Brass Ensemble" width="320" /></a></div><p></p><p><span style="font-family: arial;">Welcome Spring 2023 Students! I look forward to working with you all this semester exploring Brass Ensemble Literature from many different eras, styles and genres. I will be using the ICON site for grades, announcements, submitting assignments, and course documents and resources. This blog, which has been used for this class since 2006, serves as a course blog and a central hub to access all of your student blogs, which you will maintain for most of the semester. You can choose a theme, but feel free to mix it up as well. You can quickly access the course syllabus at the top of the sidebar to this blog, as well as through the ICON site. You can also click on the lists of student blogs, organized by year, to peruse through posts from all of the students who preceded you, as well as links to your own blogs in the sidebar to the right. Keep an eye out here as I often post about recent or upcoming course-related topics.</span><br /></p>ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-22169191263096299552021-04-28T07:59:00.005-05:002021-05-05T08:53:50.580-05:00Carter and Tower<p><span style="font-family: arial;"><span face="Arial, Helvetica, sans-serif"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://static01.nyt.com/images/2012/11/06/arts/jpCARTER1-obit/jpCARTER1-obit-superJumbo.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="526" data-original-width="800" height="210" src="https://static01.nyt.com/images/2012/11/06/arts/jpCARTER1-obit/jpCARTER1-obit-superJumbo.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Elliot Carter (1908-2012)<br /></td></tr></tbody></table><span style="font-family: arial;"><span face="Arial, Helvetica, sans-serif"> </span></span><p></p><p><span style="font-family: arial;"><span face="Arial, Helvetica, sans-serif">Today, we
studied the recording <a href="https://www.elliottcarter.com/">Elliott Carter</a>'s Brass Quintet (1974) by the
American Brass Quintet. Elliott Carter was a very important figure in
modern music in the 20th century, who studied with Nadia Boulanger and
was influenced by Ives, Stravinsky and </span><span face="Arial, Helvetica, sans-serif">Varèse and won the Pulitzer prize
in music in 1960 and 1973. </span><br /></span>
<span style="font-family: arial;"><br /></span>
<span style="font-family: arial;"><span face="Arial, Helvetica, sans-serif">Below is a description of the piece in Carter's own words from the score:</span><br /></span>
</p><blockquote class="tr_bq">
<span style="font-family: arial;"><i><span face="Arial, Helvetica, sans-serif">The Brass Quintet was written during the summer of 1974 for the
American Brass Quintet which commissioned the work. This group gave its
premiere on October 20, 1974 at a Charles Ives Festival broadcast by the
BBC from London, and its American premiere at the Library of Congress
on November 15, 1974, and has recorded the work for Columbia Records.<br /><br />The
music being almost constantly multilayered, as is my Second String
Quartet, separates the players by individualizing their parts, but not
completely, because each instrument shares parts of its repertory with
one of the others. The first trumpet, for instance, near the beginning
plays in a trio with the second trumpet and tenor trombone featuring the
minor sixth light, irregular chords of which the character and interval
become part of the repertory of the three participating instruments. A
bit later, the first trumpet plays another trio with the horn and bass
trombone that features fanfares and quiet, majestic music based on the
perfect fifth, which then become part of the repertory of these three
instruments. The horn, which has the largest repertory of all, however
also frequently uses the augmented fourth which it does not share with
any of the other.<br /><br />All of the contrasting characters and their
related musical materials form a multilayered piece planned along the
following pattern: Every third (that is, the first, forth, seventh,
etc.) of its overlapping 19 short sections is a brief five-part
quodlibet in which the instruments oppose each other with contrasting
parts of their individual repertories. Between these is a dup preceded
or followed by a trip in which two or three instruments join in music of
similar character. Each dup and trip has a different instrumentation. <br /><br />The
general plan is interrupted midway through the work by a relatively
extended unaccompanied horn solo which is cut off by angry octaves from
the others. The slow music which began the piece and forms the
background of the first three quodlibets is abandoned after the last of
these, only to return in extended form near the end. The entire work, in
fact, can be heard as one long, slow movement with interruptions. <br /><br />This
quintet, rather than employing all the resources of color possible with
modern mutes for the brass, relies primarily on linear material,
textures, and the instrumental virtuosity for which the American Brass
Quintet is notable. <br /><br />--Elliott Carter</span></i></span></blockquote><p><span style="font-family: arial;">The score for the Carter Brass Quintet is available in the Files section of our ICON site, but here is a <a href="https://www.youtube.com/watch?v=av3dL90UEYY">YouTube video with a scrolling score</a> with the same American Brass Quintet audio recording, which may be more convenient to view.</span><span style="font-family: arial;"></span><span style="font-family: arial;"><span face="Arial, Helvetica, sans-serif"> To learn more about Carter, visit his Boosey and Hawkes page to view an excellent video on his early years <a href="http://www.boosey.com/podcast/Carter-on-Carter-1-Early-Years/13082" target="_blank">here</a>. </span></span></p><p><span style="font-family: arial;"><span face="Arial, Helvetica, sans-serif"> </span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://www.bmi.com/cache/images/news/2018/Joan-Tower2_770_436_70_s.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="436" data-original-width="770" height="181" src="https://www.bmi.com/cache/images/news/2018/Joan-Tower2_770_436_70_s.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joan Tower (b. 1938)<br /></td></tr></tbody></table><span style="font-family: arial;"><span face="Arial, Helvetica, sans-serif"><br /></span></span><p></p><p><span style="font-family: arial;"><span face="Arial, Helvetica, sans-serif">The second piece we heard was Joan Tower's </span><span><span style="font-size: small;">Fanfare for the Uncommon Woman No. 3. As the title implies, Tower composed other fanfares. As mentioned in Wikipedia, </span></span><br /></span></p><p><span style="font-family: arial;"></span></p><blockquote><span style="font-family: arial;"><b>Fanfares for the Uncommon Woman</b> is a series of six short compositions, or “parts” of one 25-minute composition, by Joan Tower. Parts I, II, III and V are scored for brass, Parts IV and VI for full orchestra. The score for the whole series includes 3 trumpets, 4 horns, 3 trombones, tuba, timpani, snare drum, 2 bass drums, 5 cymbals, 2 gongs, tam-tam, tom-toms, the triangle, glockenspiel, marimba, and chimes. Tower wrote Part I in 1987, Part VI twenty-nine years later, in 2016.<sup> </sup>The fanfares are a tribute to "women who take risks and are adventurous", with each dedicated to an inspiring woman in music.</span></blockquote><p><span style="font-family: arial;">The <a href="https://www.youtube.com/watch?v=hnlVKC7rxdg">recording we viewed on YouTube</a> was of the world premiere by members of the New York Philharmonic and the Empire Brass at Carnegie Hall in 1991. <br /></span></p><span style="font-family: arial;">
</span><p><span style="font-family: arial;"></span></p><p><span style="font-family: arial;"><span face="Arial, Helvetica, sans-serif"> </span></span></p><p><span style="font-family: arial;"><span face="Arial, Helvetica, sans-serif"> </span></span></p><p><span style="font-family: arial;"><span face="Arial, Helvetica, sans-serif"> </span><br /></span>
</p>ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-15124677213279854962021-04-25T23:24:00.014-05:002021-04-26T07:54:32.203-05:00Brass Ensemble Music by Underrepresented Composers<p><span style="font-size: small;"> </span></p><p dir="ltr" id="docs-internal-guid-4ee6b8a2-7fff-0091-76b3-f6d38038b492" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;">ABEL 2021</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;">Listening Session #4</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Playlist:</span></p><span style="font-size: small;"><br /><br /><br /></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: italic; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;">“Brass Ensemble Music by Underrepresented Composers”</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Presented by John Manning, Associate Professor, University of Iowa School of Music</span></p><span style="font-size: small;"><br /><br /></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: italic; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;">Saoko</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> (Brass Quintet) by </span><span style="font-size: small;"><a href="https://www.tanialeon.com/" style="text-decoration: none;"><span style="-webkit-text-decoration-skip: none; background-color: transparent; color: #1155cc; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre;">Tania León</span></a><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> (2’43”)</span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Score on ICON files page</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="font-size: small;"><a href="https://youtu.be/S_z7tPDU8v0" style="text-decoration: none;"><span style="-webkit-text-decoration-skip: none; background-color: transparent; color: #1155cc; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre;">YouTube Video</span></a><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> (audio only) of Meridian Arts Ensemble</span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="font-size: small;"><a href="https://youtu.be/qlQaa5gE7QI" style="text-decoration: none;"><span style="-webkit-text-decoration-skip: none; background-color: transparent; color: #1155cc; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre;">YouTube video</span></a><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> of a Live performance</span></span></p><span style="font-size: small;"><br /><span style="border: medium none; display: inline-block; height: 162px; overflow: hidden; width: 292px;"><img height="162" src="https://lh4.googleusercontent.com/e6zG9_xJS1VKkzTeKFBwUS8Tk8I9OFMYNezf4s_gho1HpSbs_fz7rvuvTjS9CEV6lD5L45ZMVXiATtmv3mvzJJVikL5rHZNoAe4x3A8CdtnfaHPEzclxOnhiGpUp4RWBkYNQ2br0" style="margin-left: 0px; margin-top: 0px;" width="292" /></span></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;"> </span></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;">Tania León</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> (b. Havana, Cuba) is highly regarded as a composer, conductor, educator and advisor <br />to arts organizations. Recent commissions include works for New York Philharmonic, Los Angeles <br />Philharmonic, NDR Symphony Orchestra, Grossman Ensemble, International Contemporary Ensemble, <br />and pianist Ursula Oppens with Cassatt String Quartet.</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;"> </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Appearances as guest conductor include <br />Philharmonic Orchestra of Marseille, Gewandhausorchester, Orquesta Sinfonica de Guanajuato, and <br />Orquesta Sinfónica de Cuba. Upcoming premieres feature commissions for the NewMusic USA <br />Amplifying Voices Program, The Musical Fund Society in Philadelphia to celebrate their 200th <br />anniversary, and for The Crossing chamber choir with Claire Chase, flutist, among others.</span></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">A founding member of the Dance Theatre of Harlem, León instituted the Brooklyn Philharmonic <br />Community Concert Series, co-founded the American Composers Orchestra’s </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Sonidos de las <br />Américas</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> Festivals, was New Music Advisor to the New York Philharmonic, and is the founder/Artistic <br />Director of the nonprofit and festival Composers Now.</span></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Her honors include the New York Governor’s Lifetime Achievement, awards from the American Academy<br /> of Arts and Letters and the American Academy of Arts and Sciences, and the ASCAP Victor Herbert Award, <br />among others. She also received a proclamation for Composers Now by New York City Mayor, and the</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;"> </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"><br />MadWoman Festival Award in Music (Spain).</span></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">León has received Honorary Doctorate Degrees from Colgate University, Oberlin and SUNY Purchase <br />College, and served as U.S. Artistic Ambassador of American Culture in Madrid, Spain. A CUNY <br />Professor Emerita, she was awarded a 2018 United States Artists Fellowship.</span></p><hr /><span style="font-size: small;"><br /></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: italic; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;">L'homme Armé</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> (Brass Quintet) by </span><span style="font-size: small;"><a href="https://martiepstein.com/bio-2" style="text-decoration: none;"><span style="-webkit-text-decoration-skip: none; background-color: transparent; color: #1155cc; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre;">Marti Epstein </span></a><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">(9’40”)</span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Score on ICON files page</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="font-size: small;"><a href="https://soundcloud.com/marti-epstein/lhomme-arme-1" style="text-decoration: none;"><span style="-webkit-text-decoration-skip: none; background-color: transparent; color: #1155cc; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre;">Soundcloud recording</span></a></span></p><span style="font-size: small;"><br /></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 12pt; margin-top: 0pt;"><span style="border: medium none; display: inline-block; font-size: small; height: 268px; overflow: hidden; width: 179px;"><img height="268" src="https://lh5.googleusercontent.com/ngb_w6qXgrdd648N12XZfSOm-s60wyJFKbRgOvldNQ0zFUUg67k_KP5rTWGwY4-QyKn8imp79GoBpqiCTFZcoum502bKEmPJEt3EUuKJlPmDuqLxdsjGL9cQ1FGZWl-XPQXGzIBw" style="margin-left: 0px; margin-top: 0px;" width="179" /></span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;"> </span></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;">Marti Epstein </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">(November 25, 1959) started studying composition in 1977 with Professor <br />Robert Beadell at the University of Nebraska. She has degrees from the University of Colorado<br /> and Boston University, and her principal teachers were Cecil Effinger, Charles Eakin, Joyce <br />Mekeel, Bunita Marcus, and Bernard Rands. Marti was a fellow in composition at the <br />Tanglewood Music Center in 1986 and 1988 and worked with Oliver Knussen and Hans Werner<br /> Henze. As a result of her association with Henze, she was invited by the City of Munich to <br />compose her puppet opera, </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Hero und Leander</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">, for the 1992 Munich Biennale for New Music <br />Theater. She was on the jury for the 1994 Biennale.</span></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Marti has received commissions from the Paul Jacobs Memorial Commissioning Fund, the <br />CORE Ensemble, ALEA III, Sequitur New Music Ensemble, the Fromm Foundation, guitarist <br />David Tanenbaum, the American Dance Festival, the A*DEvant-garde Festival of Munich, <br />tubist Samuel Pilafian, flutist Marianne Gedigian, the New England Brass Quintet, the Iowa <br />Brass Quintet, Boston Conservatory, Boston University Marsh Chapel Choir, pianist Kathleen <br />Supové, the CrossSound New Music Festival of Juneau Alaska, the Pro Arte Chamber Orchestra<br /> of Boston, the Radius Ensemble, the Ludovico Ensemble, and the Callithumpian consort. The <br />Longy School of Music commissioned her to compose </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Quartet</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> for BSO English horn soloist Robert<br /> Sheena to be played at the Inauguration of Karen Zorn, their new president. Marti’s music has been<br /> performed all over the world by ensembles, which include the San Francisco Symphony, the Radio <br />Symphony Orchestra of Frankfurt, the Atlantic Brass Quintet, and Ensemble Modern.</span></p><hr /><span style="font-size: small;"><br /><br /></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: italic; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;">Invictus</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> by</span><span style="font-size: small;"><a href="https://www.anthonybarfield.com/about-1" style="text-decoration: none;"><span style="-webkit-text-decoration-skip: none; background-color: transparent; color: #1155cc; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre;"> Anthony Barfield</span></a><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> (5’50”)</span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">[Score for sale on website]</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="font-size: small;"><a href="https://www.youtube.com/watch?v=6O8wKvJlLko" style="text-decoration: none;"><span style="-webkit-text-decoration-skip: none; background-color: transparent; color: #1155cc; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre;">YouTube Video</span></a></span></p><span style="font-size: small;"><br /><span style="border: medium none; display: inline-block; height: 268px; overflow: hidden; width: 179px;"><img height="268" src="https://lh4.googleusercontent.com/8id96km-oDmWJvxNQ4vGJaAL3L2Dcduq_Rhn4gy6xulflMX1qg9OeZulVsYAWobfWw3hdua03z8DXISWPJSmaIINph10DKeXkmWD-TpzPSc6BPUvQtAnsT-nGZ1bBpeC9YD_JIcO" style="margin-left: 0px; margin-top: 0px;" width="179" /></span></span><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;">Anthony Barfield</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> is a producer and composer based in New York City. Known for his lyrical <br />writing style, his compositions have been performed throughout the U.S., Europe and Asia. <br />Anthony has received commissions from groups such as The University of Kentucky Wind <br />Ensemble and Joseph Alessi of the New York Philharmonic. In 2012 he made his Carnegie Hall<br /> debut at the New York Wind Band Festival where his work "Here We Rest" was premiered. In <br />demand as a composer in residence, Mr. Barfield has worked with groups such as The United <br />States Army Band "Pershing's Own” and has had performances at the Southwest, Northwest <br />and Northeast College Bandmasters National Association. Anthony released his first composition <br />album in the fall of 2013 titled "Chapter II" with The University of Alabama Wind Ensemble. <br />Anthony studied composition with C.P. First with additional coaching from Thomas Cabaniss, <br />Avner Dorman, and Nils Vigeland.</span></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">As a former trombonist, he has performed at halls such as Carnegie Hall, Avery Fisher Hall, <br />Dizzy's Coca Cola Club, Alice Tully Hall, and the Kennedy Center. Anthony has served as a <br />Trombone teaching Artist for Grammy-award-winning producer Phil Ramone's Children's <br />Orchestra and was a member of the Black Pearl Chamber Orchestra in Philadelphia. He has <br />performed with The Malaysian Philharmonic Orchestra, Alabama Symphony, and Mobile <br />Symphony.</span></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Formerly the Media Production Manager for Juilliard Global Ventures, Anthony produced <br />content for the </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Juilliard Open Studios</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> app which was named by Apple as a </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Best New App</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> <br />in 2015. After leaving his position at JGV he founded a music production company called</span><span style="font-size: small;"><a href="https://www.velocitymusicnyc.com/" style="text-decoration: none;"><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> <br /></span><span style="-webkit-text-decoration-skip: none; background-color: transparent; color: #1155cc; font-family: Arial; font-style: italic; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre;">Velocity Music</span></a><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">, which has produced pop music for major artists such as the singer- songwriter<br /> Chris Brown, Lil Wayne, as well as scored music for independent feature films. Recently, <br />Velocity Music signed a record deal with</span><a href="https://pologroundsmusic.com/portfolio-items/velocity-music/?portfolioCats=39" style="text-decoration: none;"><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> </span><span style="-webkit-text-decoration-skip: none; background-color: transparent; color: #1155cc; font-family: Arial; font-style: italic; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre;">Pologrounds Music</span></a><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> a subsidiary of SONY RCA records.</span></span></p><p style="line-height: 1.38; margin-bottom: 12pt; margin-top: 12pt; text-align: justify;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Anthony holds degrees in trombone performance from the Juilliard School and Manhattan <br />School of Music. Teachers include Joseph Alessi, Per Brevig and Dan Drill. Mr. Barfield <br />currently resides in New York City with his wife Alaina and Black Pug Gouda.</span></p><span style="font-size: small;"><br /></span><hr /><span style="font-size: small;"><br /><br /></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: italic; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;">Fanfare for a Learned Man</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> (Brass Quintet) by </span><span style="font-size: small;"><a href="https://libbylarsen.com/" style="text-decoration: none;"><span style="-webkit-text-decoration-skip: none; background-color: transparent; color: #1155cc; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre;">Libby Larson</span></a></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Score on ICON files page</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="font-size: small;"><a href="https://libbylarsen.com/works/fanfare-for-a-learned-man/" style="text-decoration: none;"><span style="-webkit-text-decoration-skip: none; background-color: transparent; color: #1155cc; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre;">Website recording</span></a></span></p><h5 dir="ltr" style="line-height: 1.38; margin-bottom: 2pt; margin-left: 6pt; margin-top: 11pt;"><span style="border: medium none; display: inline-block; font-size: small; height: 206px; overflow: hidden; width: 293px;"><img height="206" src="https://lh3.googleusercontent.com/fG5PdmZ8GsDksgGtrv9eXmnmpzgssxFGdwO782O4L0wry1Htlkxhbp2RsFCQGW4phr2kiMmHBjzXQWOJufv0MhR6coTMmxuyGYn6kbT13VvcMILNj1C2vpXDYEV1d0s-4U35MZEj" style="margin-left: 0px; margin-top: 0px;" width="293" /></span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;"> </span></h5><h5 style="line-height: 1.38; margin-bottom: 2pt; margin-left: 6pt; margin-top: 11pt; text-align: justify;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;">Libby Larsen</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">, born December 24, 1950 in Wilmington, Delaware, is one of America’s most <br />performed living composers. She has created a catalogue of over 500 works spanning virtually<br />every genre from intimate vocal and chamber music to massive orchestral works and over 15 <br />operas. Grammy award-winning and widely recorded, including over 50 CDs of her work, she is <br />constantly sought after for commissions and premieres by major artists, ensembles, and orchestras <br />around the world, and has established a permanent place for her works in the concert repertory.</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"><br />An advocate for the music and musicians of our time, in 1973 Larsen co-founded the Minnesota</span><br /></h5><p style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> Composers Forum, now the American Composer’s Forum. Grammy Award winner and former holder </span><span style="font-family: arial;">of<br />the Papamarkou Chair at John W. Kluge Center of the Library of Congress, Larsen has also held residencies with the Minnesota Orchestra, the Charlotte Symphony, and the Colorado Symphony. As Artistic Director of the John Duffy Institute for New Opera (2014-2020), she guides a faculty of practicing professional artists in nurturing and production of new opera by American Composers. Larsen’s 2017 biography, Libby Larsen: Composing an American Life, Denise Von Glahn, author, is available from the University Illinois Press.</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> </span></p><hr /><span style="font-size: small;"><br /></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: italic; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;">Variations for Brass Band </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">by </span><span style="font-size: small;"><a href="https://www.theamusgrave.com/biography" style="text-decoration: none;"><span style="-webkit-text-decoration-skip: none; background-color: transparent; color: #1155cc; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre;">Thea Musgrave</span></a><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> (7’43”)</span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Online </span><span style="font-size: small;"><a href="https://www.wisemusicclassical.com/work/11619/" style="text-decoration: none;"><span style="-webkit-text-decoration-skip: none; background-color: transparent; color: #1155cc; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre;">Score</span></a></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="font-size: small;"><a href="https://www.youtube.com/watch?v=xIi2a0faA80" style="text-decoration: none;"><span style="-webkit-text-decoration-skip: none; background-color: transparent; color: #1155cc; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre;">Video</span></a></span></p><span style="font-size: small;"><br /><span style="border: medium none; display: inline-block; height: 184px; overflow: hidden; width: 274px;"><img height="184" src="https://lh5.googleusercontent.com/I6ADs4XH0Ae4WWCtANnd0QV8PVX8Yv4HW-lOE9NASD_YxdA1QtMsWUpYJeejeVK3qetnmXLUOr_ARFWx6DS4GIx0sxmIy9H2wB73KUIQDqROrfre3q6RLtfIdP9btQ9r74XCjSEr" style="margin-left: 0px; margin-top: 0px;" width="274" /></span></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;">Thea Musgrave </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">(b.1928), composer of over a dozen operas, began her studies in Edinburgh <br />and in 1950 went to Paris to study with Nadia Boulanger. While still at the Paris Conservatoire her</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> music began attract attention in her native Scotland. By the mid-sixties she was a much-respected </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">and widely-commissioned composer in the UK, conducting many of her own works. In 1972, Musgrave </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">moved with her husband, the violist and conductor Peter Mark, to Virginia, USA where he was invited </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">to set up the Virginia Opera. From there her career as an opera composer took off, and in 1977 Scottish </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Opera premiered her watershed grand opera </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Mary, Queen of Scots</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">.</span></p><span style="font-size: small;"><br /></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">During the late sixties- early seventies, Musgrave began working on group of works which sought to </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">elevate the inherent drama of the concerto form, extending the conventional boundaries of instrumental </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">performance by directing players in their physical movement around the performance space. While </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">instruments took on a ‘character’ in doing so, such early works were by no means programmatic, and </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">soon after, were referred to by the composer as being examples of ‘dramatic-abstract’. In recent years </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">her musical style has developed into something more lyric and immediate, but certainly no less inventive, </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">dramatic or unique.</span></p><span style="font-size: small;"><br /></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">With over 160 mature works to date for choir, orchestra, chamber ensemble and the stage, Musgrave </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">remains a respected voice in composition, having been commissioned by some of the world’s finest </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">companies such as the Royal Opera House, The BBC Orchestra and Choirs, and the Boston Symphony </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Orchestra.</span></p><span style="font-size: small;"><br /></span><hr /><span style="font-size: small;"><br /></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: italic; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;">Transmission I</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> by (Brass Sextet) </span><span style="font-size: small;"><a href="https://www.florencemaunders.com/" style="text-decoration: none;"><span style="-webkit-text-decoration-skip: none; background-color: transparent; color: #1155cc; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre;">Florence Anna Maunders</span></a><span style="background-color: transparent; color: black; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> (3’15)</span></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="font-size: small;"><a href="https://www.youtube.com/watch?v=oiyfab7IR6s" style="text-decoration: none;"><span style="-webkit-text-decoration-skip: none; background-color: transparent; color: #1155cc; font-family: Arial; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre;">YouTube Recording</span></a></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt; text-align: center;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Score on ICON files page</span></p><span style="font-size: small;"><br /><span style="border: medium none; display: inline-block; height: 252px; overflow: hidden; width: 252px;"><img height="252" src="https://lh4.googleusercontent.com/ECUFAmIhECYnRCaGUlnmUIkGPBIsAQ3CU0ts31LjSXerE_2bWT9XRTQO5We4De-EApLnT1W5udaNl_Bvru7azEcPp-5YJJpHjlcGzt1FZb-md1yAneDeZnpTnG1IjsyQ0zLqs8M3" style="margin-left: 0px; margin-top: 0px;" width="252" /></span></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;">Florence Anna Maunders</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> started to compose music when she was a teenager, and her early</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> tape-based pieces from this time reveal an early fascination with the unusual juxtapositions of </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">sounds and collisions of styles which have been a hallmark of her music-making ever since. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">This is perhaps a reflection of the music which interested and excited her from a very young </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">age – medieval dance music, prog-rock, electronic minimalism, bebop jazz, Eastern folk music,</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> the music of Stravinsky & Messiaen, and the grand orchestral tradition of the European concert </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">hall. Flori started out young, as a chorister, clarinetist and saxophone player, but following an </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">undergraduate degree at the Royal Northern College of Music, where she studied with Anthony </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Gilbert, Adam Gorb, Simon Holt & Clark Rundell, she's enjoyed a mixed and international career </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">as a jazz pianist, orchestral percussionist, vocalist arranger, electronic music producer and teacher. </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Since 2018 she's had a bit of a radical transformation of herself and her career, and returned to </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">composition as a main artistic focus, winning a series of awards & competitions, and with her music </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">performed across the UK, Europe, the USA and the rest of the world - performances and collaborations </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 6pt; margin-right: 6pt; margin-top: 0pt; margin: 0pt 6pt;"><span style="background-color: transparent; color: black; font-family: Arial; font-size: small; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">with leading ensembles, orchestras and soloists.</span></p>ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-29058657205346159552021-04-19T02:27:00.005-05:002021-04-19T02:29:20.773-05:00Listening Presentation for 4/19<p><span style="font-family: arial;"><span><span>Due to the Horn Search, I asked each of you to submit some YouTube videos of live brass ensemble music performances in place of meeting on Monday 4/19. Here are your contributions,</span></span></span></p><p><span style="font-family: arial;"><span><span><u>From Ben:</u></span></span></span></p><p><span style="font-family: arial;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/KHDp_WycOQA" title="YouTube video player" width="560"></iframe><br /></span></p><p dir="ltr" style="line-height: 1.295; margin-bottom: 8pt; margin-top: 0pt;"><span style="font-family: arial;"><span><span face="Calibri,sans-serif" style="background-color: transparent; color: black; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> </span></span></span></p><p dir="ltr" style="line-height: 1.295; margin-bottom: 8pt; margin-top: 0pt;"><b><span style="font-family: arial;"><span><span face="Calibri,sans-serif" style="background-color: transparent; color: black; font-size: 11pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre;">Army Trumpet Ensemble – “Cyclone”</span></span></span></b></p><span style="font-family: arial;">Most musicians are familiar with military ensembles. This particular group is likely taken from some of the top U.S. Army bands including the “Pershing’s Own” band. The group performs a piece by Erik Morales titled “Cyclone.” The work was “dedicated to all those who had to endure many hardships during Hurricanes Katrina and Rita. The piece depicts the thoughts and emotions of those who are forced to endure a hurricane.” Erik Morales (b. 1966) is a modern composer who has written over one hundred and forty publications which include works for wind, orchestral, jazz, and chamber ensembles.<span><span face="Calibri,sans-serif" style="background-color: transparent; color: black; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> </span></span></span><p dir="ltr" style="line-height: 1.295; margin-bottom: 8pt; margin-top: 0pt;"><span style="font-family: arial;"><span><span face="Calibri,sans-serif" style="background-color: transparent; color: black; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> </span></span></span></p><p dir="ltr" style="line-height: 1.295; margin-bottom: 8pt; margin-top: 0pt;"><span style="font-family: arial;"><span><span face="Calibri,sans-serif" style="background-color: transparent; color: black; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/zrxt2XBufIo" title="YouTube video player" width="560"></iframe> <br /></span></span></span></p><span style="font-family: arial;"><span><br /></span></span><span style="font-family: arial;"><b>Tokyo Brass Symphony – “A Song for Japan”</b><br /><br /> As a trombonist, “A Song for Japan” is a piece that is well known in the literature significantly due to the massive community surrounding the song. This piece was part of a project started by Japanese trombonists living outside of Japan to support Japan after it was rocked by a 9.0 magnitude earthquake and multiple resultant Tsunami waves in 2011. I ended up stumbling across a performance of this piece by the Tokyo Brass Symphony. Although I could not find much information about the performers, the entire list of performers is listed on the YouTube video. This piece was originally composed by Steven Verhelst. Verhelst is a Belgian composer and trombonist. As a composer, Verhelst has written for several large name artists and ensembles and remains as an active performer in many Belgian and Dutch orchestras.<br /><br /><br /><br /><span><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/OOKKK7rjo-s" title="YouTube video player" width="560"></iframe><br /></span></span><p dir="ltr" style="line-height: 1.295; margin-bottom: 8pt; margin-top: 0pt;"><span style="font-family: arial;"><br /></span></p><p dir="ltr" style="line-height: 1.295; margin-bottom: 8pt; margin-top: 0pt;"><b><span style="font-family: arial;"><span><span face="Calibri,sans-serif" style="background-color: transparent; color: black; font-size: 11pt; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre;">United States Naval Academy Band – Toccata in D Minor</span></span></span></b></p><p><span style="font-family: arial;">Originally for organ, J.S. Bach’s Toccata and Fugue in D Minor was arranged by A.P. Taylor for trombone quartet. This particular recording is by the United States Naval Academy Band. Located in Annapolis, Maryland, the Naval Academy Band is termed “The Navy’s Oldest and Finest.” The group has been active since 1852.<br /></span></p><p><span style="font-family: arial;">From Irene:</span></p><div class="title style-scope ytd-video-primary-info-renderer" style="text-align: left;"><b><span style="font-family: arial;">Divertimento Op. 47 for Brass Ensemble - Trygve Madsen</span></b></div><p><span style="font-family: arial;"><iframe width="560" height="315" src="https://www.youtube.com/embed/ZFQV-2Q38Cw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br /> </span></p><p><span style="font-family: arial;"><span><b>From Me:</b></span></span></p><p><span style="font-family: arial;"><span><b> </b></span></span></p><p><span style="font-family: arial;"><span><b>Empire Brass - Live in Venezuela, Scarlatti Sonata in C Major<br /></b></span></span></p><p><span style="font-family: arial;"><span><b></b></span></span></p><p><span style="font-family: arial;"><span><b></b></span></span></p><p><span style="font-family: arial;"><span><b></b></span></span></p><p><span style="font-family: arial;"><span><b></b></span></span></p><p><span style="font-family: arial;"><span><b></b></span></span></p><p><span style="font-family: arial;"><span><b></b></span></span></p><p><span style="font-family: arial;"><span><b></b></span></span></p><p><span style="font-family: arial;"><span><b></b></span></span></p><p><span style="font-family: arial;"><span><b></b></span></span></p><p><span style="font-family: arial;"><span><b></b></span></span></p><p><span style="font-family: arial;"><span><b></b></span></span></p><p><span style="font-family: arial;"><span><b></b></span></span></p><p><span style="font-family: arial;"><span><b></b></span></span></p><p><span style="font-family: arial;"><span><b><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/-G6r5KcgJQw" title="YouTube video player" width="560"></iframe></b> </span></span></p><p><span style="font-family: arial;"><span> </span></span></p><p><span style="font-family: arial;"><span>IWBC Monarch Brass Concert - Tara Islas <i>Ascent to the Summit</i></span></span></p><p><span style="font-family: arial;"><span><i> </i></span></span></p><p><span style="font-family: arial;"><span><i><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/90jueguWlzI" title="YouTube video player" width="560"></iframe> </i></span></span></p><p><span style="font-family: arial;"><span>German Brass - Handel, <i>Rejouissance</i> from Royal Fireworks Music</span></span></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/vUokPOA4FFg" title="YouTube video player" width="560"></iframe>
ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-17777220815323467482021-04-07T10:37:00.006-05:002021-04-07T10:37:46.525-05:00<p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://images.squarespace-cdn.com/content/v1/56609109e4b0c11cf6c7f1dc/1517252378254-DHBMO132JRWG890A7FRT/ke17ZwdGBToddI8pDm48kHH9S2ID7_bpupQnTdrPcoF7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0nQwvinDXPV4EYh2MRzm-RRB5rUELEv7EY2n0AZOrEupxpSyqbqKSgmzcCPWV5WMiQ/Dirty_Dozen_Brass_Band-2017-promo2.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="534" data-original-width="800" height="341" src="https://images.squarespace-cdn.com/content/v1/56609109e4b0c11cf6c7f1dc/1517252378254-DHBMO132JRWG890A7FRT/ke17ZwdGBToddI8pDm48kHH9S2ID7_bpupQnTdrPcoF7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0nQwvinDXPV4EYh2MRzm-RRB5rUELEv7EY2n0AZOrEupxpSyqbqKSgmzcCPWV5WMiQ/Dirty_Dozen_Brass_Band-2017-promo2.jpeg" width="512" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Dirty Dozen Brass Band<br /></td></tr></tbody></table><br /></p><p><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">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.</span><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><br /></span></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif">Here is the Apple Music playlist called <a href="https://itunes.apple.com/us/playlist/abel-brass-ensembles-in-popular-music/pl.u-vmK6sWx3zv">Brass Ensembles in Popular Music</a> which I played from today</span>.
It ranged from Pink Floyd and the Beatles, to Tower of Power and David
Byrne . Please share links to any videos or recordings of brass
ensembles that fit withing this category. </span><br /></span>
<span style="font-family: arial;"><br /></span>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif">For more visuals, here is a related <a href="https://www.youtube.com/playlist?list=PL86Ydo-nYR8NeyI_McYUH7wl9_MSJpsQm">YouTube playlist</a> I created.</span> It includes the full versions of the videos viewed in class today, including everything from Herb Albert and the Tijuana Brass, Pink Floyd, Chicago, Chase, Tower of Power, Blood Sweat and Tears, the Dirty Dozen Brass Band, Banda El Recodo and the Roots. If you enjoyed these videos, please watch the full versions on YouTube. </span></span></p><p><span face=""arial" , "helvetica" , sans-serif"><span style="font-family: arial;">As I mentioned in class, I think it's important to recognize all genres of brass ensemble music and I encourage you to learn more about these styles and if you are ever offered the chance to play with a an ensemble like this, seize the opportunity. Not only is if really fun to play "toe tapping" music for enthusiastic crowds, but it will help you become a more well-rounded musician. </span><br /></span></p><p><span face=""arial" , "helvetica" , sans-serif"> </span></p><p><span face=""arial" , "helvetica" , sans-serif"> </span></p>ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-69761533751013527922021-03-31T00:22:00.004-05:002021-03-31T08:31:29.309-05:00Jan Bach "Laudes" and André Previn "Four Outings for Brass"<p><span style="font-size: small;"><span style="font-family: arial;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbCRVqnqIx019dIw-YpDKCXk2F8LRW1V031-YdRhk1xUwuZeSfKSEBP71HUv2uoGTaHPsAuL6OP9ShMj8D7l617pXIBTrhP_bsBcTpfVURMdb9I5FLOPjtXmENoSLayAzxWm6R/s749/CenterCityBQ.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="749" data-original-width="720" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbCRVqnqIx019dIw-YpDKCXk2F8LRW1V031-YdRhk1xUwuZeSfKSEBP71HUv2uoGTaHPsAuL6OP9ShMj8D7l617pXIBTrhP_bsBcTpfVURMdb9I5FLOPjtXmENoSLayAzxWm6R/s320/CenterCityBQ.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Center City Brass Quintet<br /></td></tr></tbody></table><p><span style="font-size: small;"><span style="font-family: arial;"><br />For today's class, we listened to <i>Laudes</i> (1972) by <a href="https://en.wikipedia.org/wiki/Jan_Bach">Jan Bach</a> and <i>Four Outings for Brass </i>(1974)<i> </i>by <a href="https://en.wikipedia.org/wiki/Andr%C3%A9_Previn">André Previn.</a> There are several similarities between these two landmark works; each is a four-movement work for brass quintet, written in the early 1970's by American composers although </span></span><span style="font-size: small;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: arial;">Previn was born in Germany and emigrated to the US when he was
nine, </span></span></span></span>and both recordings we listened to were made by the <a href="http://www.centercitybrassquintet.com/">Center City Brass Quintet.</a> <br /></span></span></p><p></p><p><span style="font-size: small;"><span style="font-family: arial;">We just lost composer Jan Bach on October 30th, 2020. Laudes is one of the most important works for brass quintet of the 20th century. His writing is imaginative, challenging, and utilizes the full range and color of all of the instruments. The four movements of Laudes are:</span></span></p><p style="margin-left: 40px; text-align: left;"><span style="font-size: small;"><span style="font-family: arial;">I. </span></span><span style="font-size: small;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: arial;"><span class="Normal-C2">Reveille<br /> </span></span></span>II. </span></span><span style="font-size: small;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: arial;"><span class="Normal-C2">Scherzo</span></span></span><br />III. Cantilena<br />IV. Volta<br /></span></span></p><p><span style="font-size: small;"><span style="font-family: arial;">Program Notes by Jan Bach:</span></span><br /><span style="font-size: small;"><span style="font-family: arial;"></span></span></p><p></p><blockquote><span style="font-size: small;"><span style="font-family: arial;">
<span class="Normal-C2">"Laudes</span><span class="Normal-C1"> (loud-<wbr></wbr>ays), as its name may imply, is a Twentieth-<wbr></wbr>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. </span><span class="Normal-C2">Laude</span><span class="Normal-C1"> (loud-<wbr></wbr>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.</span><br />
<span class="Normal-C1"></span><br />
<span class="Normal-C1">The work is cast in four contrasting movements. </span><span class="Normal-C2">Reveille</span><span class="Normal-C1">
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. </span><span class="Normal-C2">Scherzo</span><span class="Normal-C1"> is cast in three-<wbr></wbr>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 </span><span class="Normal-C2"><i>con sordino</i>,</span><span class="Normal-C1"> the middle section consisting of chromatic scale segments in both principal and supporting material. </span><span class="Normal-C2">Cantilena</span><span class="Normal-C1">
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
polychord. </span><span class="Normal-C2">Volta</span><span class="Normal-C1">,
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.</span><br />
<span class="Normal-C1"></span><br />
<span class="Normal-C1">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. </span><span class="Normal-C2">Laudes</span><span class="Normal-C1">
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 </span><span class="Normal-C2">International Trumpet Guild</span><span class="Normal-C1">
members selected it (along with works by Dahl, Schuller, and Etler) as
one of the four most significant brass quintets ever written."</span></span></span></blockquote><p><span style="font-size: small;"><span style="font-family: arial;"><i>Four Outings for Brass</i> has a more accessible and popular-influenced sound to it, which is not surprising as Previn composed for films and performed and recorded jazz, but it is also very challenging to perform. The four movements are:</span></span></p><p style="margin-left: 40px; text-align: left;"><span style="font-size: small;"><span style="font-family: arial;">I. Moderato, with energy<br />II. Blues tempo<br />III. Slowly<br />IV. Vivace<br /></span></span></p><p><span style="font-size: small;"><span style="font-family: arial;"> Here are the program notes from the Stockholm Chamber Brass recording liner notes:<br /></span></span></p><p></p><blockquote><span style="font-size: small;"><span style="font-family: arial;">"More than half a century after Stravinsky wrote Ragtime, the pianist,
conductor and composer André Previn wrote <i>Four Outings for Brass</i>. The
piece was written for the Philip Jones Brass Ensemble and was first
performed at the 1974 South Bank Summer Festival in London. Each
movement represents a soloist. The first movement is light-hearted in
character, with the tuba as soloist. The second movement is in blues
style with two trumpets playing the principal part. The third movement,
with hints of Kurt Weill in the Mahogany-like trombone solo, reminds us
of Previn's early Berlin background. The fast and scherzo-like final
movement presents a smooth horn melody in a rough and rhythmical
pattern. Four Outings is dedicated to 'Fletcher'."</span></span></blockquote><p> </p><p><br /></p><p></p><p></p>ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-17159599704013458032021-03-23T23:51:00.002-05:002021-03-23T23:54:53.080-05:00Malcolm Arnold - Symphony for Brass and Brass Quintet No. 1<p><span style="font-family: arial;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://www.thetimes.co.uk/imageserver/image/%2Fmethode%2Ftimes%2Fprod%2Fweb%2Fbin%2F2de28e10-22bf-11eb-bb49-9a393f31c7ae.jpg?crop=814%2C458%2C121%2C412" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="450" data-original-width="800" height="290" src="https://www.thetimes.co.uk/imageserver/image/%2Fmethode%2Ftimes%2Fprod%2Fweb%2Fbin%2F2de28e10-22bf-11eb-bb49-9a393f31c7ae.jpg?crop=814%2C458%2C121%2C412" width="515" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sir Malcolm Arnold (1921-2006)<br /></td></tr></tbody></table> <br /></span></p><p><span style="font-family: arial;">Today we will be listening to two landmark works by Sir </span><span style="font-family: arial;"><span style="font-family: arial;"><a href="http://malcolmarnold.co.uk/index2.html">Malcolm Arnold</a></span>; his </span><span style="font-family: arial;"><span class="elevenbold"><span class="twelveboldblue style13">Symphony for Brass, Op 123</span> <i>(1978) </i></span>and his </span><span style="font-family: arial;"><span class="elevenbold"><span class="twelveboldblue style13">Brass Quintet No 1, Op 73</span> <i>(1961). <br /></i></span></span></p><p class="eleven"> <span style="font-family: arial;"></span><span style="font-family: arial;"></span></p><blockquote><p class="eleven"><span style="font-family: arial;">Born in Northampton in 1921, Malcolm
Arnold is one of the towering figures of the 20th century, with a
remarkable catalogue of major concert works to his credit, including
nine symphonies, seven ballets, two operas, one musical, over twenty
concertos, two string quartets, and music for brass-band and wind-band.
He also wrote132 film scores, among these are some of the finest works
ever composed for the medium including Bridge on the River Kwai (for which, in 1958, he was one of the first British composers ever to win an Oscar), Inn of the Sixth Happiness (for which he received an Ivor Novello Award in 1958), Hobson’s Choice and Whistle Down the Wind.</span><br /></p><span style="font-family: arial;"></span><span style="font-family: arial;"></span><p class="elevenbold">
<span style="font-family: arial;"><br />
Arnold began his professional musical life in July 1941
as second trumpet with the London Philharmonic Orchestra. Acknowledged
as one of the finest players of the day, he eventually became the
orchestra’s Principal Trumpet. By the end of the 1940s he was
concentrating entirely on composition. The long and close relationship
established between Malcolm Arnold and the LPO continues unabated, with
the orchestra performing and recording the composer’s music widely. <br /></span>
<span style="font-family: arial;"><br />
In 1969 he was made a Bard of the Cornish Gorseth and
was awarded the CBE in 1970. He holds Honorary Doctorates of Music from
the Universities of Exeter, Durham and Leicester - and in America from
the Miami University, Oxford, Ohio; he was made a Fellow of the Royal
College of Music in 1983 and is an Hon. R.A.M. and an Hon. F.T.C.L. In
1985 Malcolm Arnold received an Ivor Novello Award for “Outstanding
Services to British Music”, the Wavendon Award in 1985, and a
knighthood in the 1993 New Years Honours List for his services to
music. In 1994 the Victoria College of Music appointed Malcolm
Arnold as their President. In 2001 he was made a Fellow of the British
Academy of Composers and Songwriters. In 2004 he was also honoured with
the Incorporated Society of Musician’s Distinguished Musician Award
“for his lifetime’s achievements as one of the greatest composers of the
20th century.” In 1989 he received the Freedom of Northampton. In 2003
he was awarded an honorary degree by the University of Winchester. On
29th June, 2006, the University of Northampton conferred on Malcolm
Arnold an Honorary Doctorate.<br /></span>
<span style="font-family: arial;"><br />
Throughout his life Malcolm Arnold has maintained a
strongly held social conscience. In May 1957, as a guest of the Union
of Czechoslovak Composers, he represented the British Musicians Union
at the Prague Spring Festival. It was at this time that Arnold first
met Shostakovich. To mark the Centenary of the Trades Union Congress, he
was commissioned to write the Peterloo Overture; a work premiered by the Royal Philharmonic Orchestra at the Festival Hall on 7 June 1968. <br /></span>
<span style="font-family: arial;"><br />
His most popular works have a global audience and his
finest body of music, the nine symphonies, are available in numerous
recordings including two complete cycles on the Chandos and Naxos
labels – and, from September 2006, on Decca. Malcolm Arnold’s music has
– and continues to be – performed and recorded extensively by leading
orchestras both nationally and internationally. His work in musical
education has been impressive and consistent. He helped establish and
support, through the writing of works and fundraising, the National
Youth Orchestra of Great Britain. His belief in contemporary music led
him to be an influential advocate for Pierre Boulez’s entry into
British musical life. <br />
Special musical tributes took place throughout 2006 to mark Malcolm Arnold's 85th anniversary year.<br /></span>
<span style="font-family: arial;"><br />
A revival by the Royal Ballet of the Malcolm Arnold/Fredrick Ashton acclaimed ballet Homage to the Queen,
opened on 5 June at the Royal Opera House. Commissioned to honour the
Queen’s Coronation, this work was first performed by the Royal Ballet
at Covent Garden on 2 June, 1953. On 23 September 2006 the Northern
Ballet Theatre embarked on a UK tour with the world premiere of a new
full length Arnold ballet, The Three Musketeers. The first Arnold Festival took place on 21st and 22nd October at the Royal and Derngate Theatre in Northampton, the composer’s birthplace. Sir Malcolm Arnold died on 23 September 2006.</span></p></blockquote><p>If you have not heard it, <a href="https://youtu.be/JbCRO1hQ7IY">listen to Arnold's Brass Quintet No. 2 here</a>. <br /></p><p class="elevenbold"><span style="font-family: arial;"></span></p><p><span style="font-family: arial;"><br /></span></p><p><span style="font-family: arial;"><br /></span></p>ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-38229973544557279702021-03-15T11:29:00.002-05:002021-03-15T11:29:17.100-05:00 Listening Presentation - European Brass Ensembles <p><span style="font-family: arial;"></span></p><div style="text-align: center;"><a href="https://static.wixstatic.com/media/4e73ef_7a581c8a41d64602b5c1d5bfd4c3af30~mv2.jpg/v1/fill/w_725,h_486,al_c,q_80,usm_0.66_1.00_0.01/SCB%20Green%20Sitting_A3_300dpi_sRGB_%C2%A9Miki_A.webp" imageanchor="1"><img border="0" data-original-height="486" data-original-width="725" height="399" src="https://static.wixstatic.com/media/4e73ef_7a581c8a41d64602b5c1d5bfd4c3af30~mv2.jpg/v1/fill/w_725,h_486,al_c,q_80,usm_0.66_1.00_0.01/SCB%20Green%20Sitting_A3_300dpi_sRGB_%C2%A9Miki_A.webp" title="Stockholm Chamber Brass" width="595" /></a></div><p></p><p style="text-align: center;"><span style="font-family: arial;"> <span style="font-size: x-small;">Stockholm Chamber Brass</span><br /></span></p><p><span style="font-family: arial;"> </span></p><p><span style="font-family: arial;">Today in class we listened to recordings of European brass ensembles by European composers. I invited you to "live-blog" this class, so I look forward to reading your posts. </span></p><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><ul style="text-align: left;"><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Wilhelm_Rams%C3%B8e">Wilhelm Ramsøe</a> - <i>Quartet No. 1</i> performed by the <a href="http://www.ewald.hu/en/recordings/wilhelm_ramsoe">Ewald Brass Quintet (Ensemble)</a><br /></span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Ludwig_Wilhelm_Maurer">Ludwig Maurer </a>- two movements from <i>12 Kleine Stüke</i>, I. <i>Maestoso</i> and III. <i>Allegro Grazioso</i> performed by <a href="https://www.quintettoinflagranti.ch/english/bio/">Quintetto Infagranti</a><br /></span></li><li><span style="font-family: arial;"><a href="https://www.classical-music.com/features/articles/musical-life-king-henry-viii/">Henry VIII</a> - two movements from <i>Rose Without a Thorn Suite</i>, II. <i>Pastime with Good Company</i>, III. <i>Adieu! Madame et Ma Maistresse</i> performed by the <a href="https://pjbe.org/">Philip Jones Brass Ensemble</a><br /></span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Tielman_Susato">Tielman Susato</a> - <i>La Mourisque</i> as performed by the <a href="http://www.belgianbrass.be/en/">Belgian Brass</a></span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Michael_Praetorius">Michael Praetorius</a> - <i>Courante</i> (from <a href="https://en.wikipedia.org/wiki/Terpsichore_(1612)">Terpsichore</a>) </span><span style="font-family: arial;">as performed by the Belgian Brass</span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Peter_Graham_(composer)">Peter Graham</a> - <i>Metropolis 1927</i> performed by <a href="https://www.ecmelodia.ch/">Ensemble de Cuivre Melodia</a> which was inspired by Fritz Lang's science fiction epic <i>Metropolis </i></span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Malcolm_Arnold">Malcom Arnold</a> - <i>Fantasy for Brass Band</i> performed by the <a href="http://www.grimethorpeband.co.uk/">Grimethorpe Colliery Band</a><br /></span></li><li><span style="font-family: arial;"><a href="https://www.hillborg.com/">Anders Hillborg</a> - <i>Brass Quintet </i>as performed by the <a href="https://www.stockholmchamberbrass.com/">Stockholm Chamber Brass</a></span></li><li><span style="font-family: arial;"><a href="https://en.wikipedia.org/wiki/Kamill%C3%B3_Lendvay">Kamilló Lendvay </a><i>- Further Eight Arrogant Ideas</i>, movements:</span></li><ol><li><span style="font-family: arial;">Intrada</span></li><li><span style="font-family: arial;">Ah, Tristan</span></li><li><span style="font-family: arial;">Intermezzino</span></li><li><span style="font-family: arial;">Replication</span></li><li><span style="font-family: arial;">Tango</span></li><li><span style="font-family: arial;">Polkissimo<br /></span></li></ol></ul><div style="text-align: left;"><span style="font-family: arial;"> </span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"> </span><br /></div><p><br /></p><p><br /></p><p><br /></p><p>https://music.apple.com/us/playlist/abel-european-brass-ensembles/pl.u-6YpLU8YLBR<br /></p>ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-65054100363723392232021-03-08T09:18:00.004-06:002021-03-08T09:18:42.904-06:00Boehme and Lutoslawski<div style="text-align: left;"><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwUY_Sk14n6PPYHXMM8ev5rLugLnxhSSq4VVpHvYyVRLdSWLu2jj7CDEMc2Q-NfupDO-lf2lkwO56VfnnFQwqPO0gZXnpBR1S2q61cyVGjtrtYD16d9uzJgi353mnLuhzC0S1T/s1113/Screen+Shot+2021-03-08+at+9.12.20+AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="527" data-original-width="1113" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwUY_Sk14n6PPYHXMM8ev5rLugLnxhSSq4VVpHvYyVRLdSWLu2jj7CDEMc2Q-NfupDO-lf2lkwO56VfnnFQwqPO0gZXnpBR1S2q61cyVGjtrtYD16d9uzJgi353mnLuhzC0S1T/w510-h242/Screen+Shot+2021-03-08+at+9.12.20+AM.png" width="510" /></a></div><br /></span></div><div style="text-align: left;"><span style="font-family: arial;">Oskar Böhme (1870-1938) composed the <i>Trompetensextett</i>, Op. 30 in Eb minor around 1906. Written for Cornet, two trumpets, Bass trumpet (Altohorn), Trombone (Tenorhorn) and Tuba (Bariton). </span><span style="font-family: arial;"><span style="font-family: arial;">Böhme was born in Dresden and in 1897, he moved to St. Petersburg and played in the Mariinsky Theatre orchestra.<br /></span></span></div><p><span style="font-family: arial;">Witold Lutoslawski (1913-1994) was a Polish composer and one of the most famous European composers of the 20th century. He composed <i>Mini Overture</i> in 1982 and dedicated it to Ursula and Philip Jones, of the Philip Jones Brass Ensemble, for Ursula's 50th birthday.</span></p><p><span style="font-family: arial;">From www.lutoslawski.org:</span></p><p></p><blockquote><p>
<i>The Mini Overture was originally to be the first piece in a suite ending in a Galop. The impulse for the creation of the Mini Overture
(defined by Witold Lutosławski as a "small caricature of an overture")
was provided by the fiftieth anniversary of the birth of Ursula Jones,
wife of Philip Jones.</i></p><p><i>
The barely three-minute composition, dedicated to Walter Strebi, who was
the initiator of a project for a collection of pieces for this type of
ensemble, does not occupy in Lutosławski's output a place as important
as the Epitaph for oboe or Grave for cello. Rather, its rank could perhaps be compared to that of Slides or the two Fanfares
- one for Cambridge University and the other for Lancaster University.
Yet it has an irresistible charm, which clearly points to the
Neoclassical aesthetic of a grotesque scherzo. Short ‘pugnacious'
motives seem to resound with the pastiche idioms of Stravinsky from the Histoire du soldat,
and where the instruments play unisono or where they resound with
lively and regular chords, it would be difficult to recognize the hand
of Lutosławski if not told what is being played. Why is that so? This is
because here Lutosławski does not apply his special earmark - the
technique of aleatoric counterpoint, which in his music from the 80s
plays an ever lesser role. A special characteristic of this work is also
the fact that it exhibits a particular contrariness: the sunny shine
left by the French Neoclassicism is obtained with a construction based
on two markedly contrasting 12-tone series which create the outline of
sonata form. Thus, in the score composed of three continuously played
segments we are dealing with something that is trifling and even
entertaining, but also full of finesse and intelligence, like a smartly
constructed toy.</i>
</p><span style="font-family: arial;"> </span></blockquote><br /><p></p>ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-61770947951669271162021-03-01T10:29:00.005-06:002021-03-01T10:31:39.247-06:00American Brass Quintet Database<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://www.americanbrassquintet.org/images/slideshow/471572693_64035.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="273" src="https://www.americanbrassquintet.org/images/slideshow/471572693_64035.jpg" width="485" /></a></div> <p></p><p>Thank you to Dr. Louis Hanzlik for being our guest speaker today. In addition to learning a bit about his background, and sharing resources about historical brass music, he took us on a tour of the <a href="https://database.americanbrassquintet.org/">American Brass Quintet Database</a>. Their, you can search for brass quintet music using a variety of parameters, including keywords, composer, gender, demographics and grade level. If you register, you can contribute to the database, which functions like a Wiki where composers and brass quintets can share information about new works. <br /></p><p> </p><p> <br /></p>ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-1753216185383078302021-02-22T10:00:00.000-06:002021-02-22T10:25:44.034-06:00Ewald Resources<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: arial;"><a href="https://images.squarespace-cdn.com/content/v1/57e6ad83e4fcb5e38dfcd3e0/1474744341241-VYF0CZ6EJ95DJZ0IO3BR/ke17ZwdGBToddI8pDm48kPG_LRw4N1_l_B22AJjbnJ1Zw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpxs9ifNjeNhYkrAk7ioNbvRplc0205xmhBkTAa5g1XGCMKhdTclSY5s7RyEdtCnKjo/image-asset.jpeg?format=1000w" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="310" data-original-width="690" height="89" src="https://images.squarespace-cdn.com/content/v1/57e6ad83e4fcb5e38dfcd3e0/1474744341241-VYF0CZ6EJ95DJZ0IO3BR/ke17ZwdGBToddI8pDm48kPG_LRw4N1_l_B22AJjbnJ1Zw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZUJFbgE-7XRK3dMEBRBhUpxs9ifNjeNhYkrAk7ioNbvRplc0205xmhBkTAa5g1XGCMKhdTclSY5s7RyEdtCnKjo/image-asset.jpeg?format=1000w" width="200" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;"><span face="Arial, Helvetica, sans-serif">Viktor Ewald</span></span></td></tr>
</tbody></table><span style="font-family: arial;">
<span face=""arial" , "helvetica" , sans-serif"><span style="font-size: small;">The most valuable resource on accurate, well-research information about Viktor Ewald can be found in a series of articles in the International Trumpet Guild Journal by Andre Smith. I have uploaded these articles to the files section of our ICON site for your perusal. They include:</span></span><br />
</span><ul>
<li><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><i><span style="font-size: small;">Viktor Ewald</span><span style="font-size: small;"> </span></i></span></span></li>
<li><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><i><span style="font-size: small;">The History of the Four Quintets for Brass by Victor Ewald </span></i></span></span></li>
<li><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><i><span style="font-size: small;">The Four Brass Quintets of Viktor Ewald </span></i></span></span></li>
<li><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span style="font-size: small;"><i>Brass in Early Russia </i></span></span></span></li>
</ul><span style="font-family: arial;">
<span style="font-size: small;">You can find a few of these articles in the Files/Articles section of our ICON Page.</span><br />
<br />
<span face=""arial" , "helvetica" , sans-serif"><span style="font-size: small;">From the <a href="https://www.nytimes.com/1975/01/15/archives/music-ewalds-quintet-no-3-revived-american-brass-gives-2d-of-4.html">New York Times, January 15, 1975</a></span></span><br />
<br />
</span><blockquote class="tr_bq">
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span style="font-size: small;"><i>Victor Ewald is a name that has only
recently turned up in, English‐language music encyclopedias, although he
lived from 1860 to 1935. He was a Russian composer, who, like many of
his kind, followed a profession and had music as an avocation. He was a
civil engineer. He played the cello and the French horn and was an avid
chamber‐music participant in St. Petersburg circles before the
Revolution.</i> </span></span></span></blockquote><span style="font-family: arial;">
</span><blockquote class="tr_bq">
<div class="css-exrw3m evys1bk0">
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span style="font-size: small;"><i>Three of his works for
brass quintet were found not long ago in Rumania by Andre M. Smith; a
trombonist and musicologist, who presented them to the American Brass
Quintet for its series this season in Carnegie Recital Hall. The Brass
Quintet No. 3 in D flat (Op. 7) was played Monday night in the second of
the ensemble's four programs.</i></span></span></span></div>
</blockquote><span style="font-family: arial;">
</span><blockquote class="tr_bq">
<div class="css-exrw3m evys1bk0">
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span style="font-size: small;"><i>It is a
conventional four movement Romantic score, very decently crafted. If it
won't set the world on fire, it is certainly pleasant, to hear in its
strongly melodic, tonally mellifluous way. In view of the shortage of
works for brass quintet, it should be a useful addition to the
repertory.</i></span></span></span></div>
</blockquote><span style="font-family: arial;">
<br />
<span face=""arial" , "helvetica" , sans-serif"><span style="font-size: small;">From <a href="http://www.princeregentsband.com/blog/2017/10/22/russian-revolutionaries-vol-i-victor-ewald-and-oskar-bohme">Prince Regent's Band Blog</a>: (Prince Regent's <a href="http://www.princeregentsband.com/">full website link here</a>)</span></span><br />
<br />
<span face=""arial" , "helvetica" , sans-serif"><span style="font-size: small;">"Russian Revolutionaries Vol. I: Victor Ewald and Oskar Böhme" October 22, 2017</span></span><br />
<br />
</span><blockquote class="tr_bq">
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span style="font-size: small;"><i>In 1972 the American Brass Quintet (ABQ) approached Smith with a view to including the additional Ewald Quintets in their 1974–75 season as the quintet was keen to focus on nineteenth-century repertoire in their programming. The first event in this celebration was a performance of the Quintet in E-flat Major, Op. 6, as part of an ABQ concert at the Carnegie Recital Hall on the 18th of November, 1974. Following performances of all four quintets Smith was contacted by the principal horn of the Leningrad Philharmonic, Vitaly Buyanovsky (1928–93), who was eager to see the quintets. Smith sent his parts to the second (Op. 6) and third (Op. 7) quintets, retaining the fourth quintet (Op. 8) as he was ‘not yet satisfied with their accuracy’ and because the ABQ had exclusivity on this quintet for a year. Apparently Buyanovsky misinterpreted Smith’s insistence that the parts not be shared further and made his own copies of the two quintets which he then shared freely.<br /><br />One of Buyanovsky’s pupils was the eminent Norwegian horn player Frøydis Ree Wekre (b. 1941). Ree Wekre made numerous copies of music she encountered during her studies. This included the Ewald Op. 6 and Op. 7 quintets which she later shared with the Empire Brass Quintet. Many contemporary editions of the second and third quintets appear to be offshoots of the Ree Wekre sources and make the fundamental change of altering the instrumentation from two cornets, althorn, tenorhorn and tuba to the more standard modern brass quintet of two trumpets, French horn, trombone and tuba. This raises the question of what other alterations have occurred. It would be erroneous to suggest that Ree Wekre’s sources were necessarily of Buyanovsky’s edition from Smith (thus providing an intriguing thread of Ewald–Gippius–Smith– Buyanovsky–Ree Wekre–Empire Brass) given that Ree Wekre’s studies in the autumn of 1967, the spring of 1968, and visits in subsequent years appear to be prior to Smith sharing his version with Buyanovsky (post 1974 at the earliest), thus suggesting another source. Indeed a set of parts to the Quintet in E-flat major, Op. 6 exist in the music library of the St Petersburg Philharmonic and it is these, with the kind permission of the library, that PRB have used. The parts are hand written on manuscript paper from the hugely productive printing firm of Ivan Dmitrievich Sytin (1851–1934) based in Valovaya ulitsa (‘Gross Street’) Moscow. This publishing house (‘The Association of Printing, Publishing and Book Trade ID Sytin and Co.’) was subsumed by the State Publishing House in 1919 and this set of parts was consigned to the Philharmonic library in 1950.</i></span></span></span></blockquote><span style="font-family: arial;">
<br />
<span face=""arial" , "helvetica" , sans-serif"><span style="font-size: small;"> For more about one of the controversies around publication of Ewald's works, read <a href="https://slippedisc.com/2015/04/exclusive-shock-resignation-of-conservatory-chief/#comments/80039">André Smith's open letter</a> (scroll down in the comments section). </span></span></span>ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-19392871040261435792021-01-25T10:30:00.000-06:002021-01-25T10:29:35.072-06:00Starting Your Own Blog<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: arial;"><a href="http://www.blogger.com/"><img alt="www.blogger.com" border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoyHoJe5vz-zeXSuKgzC7BXtF4NFheRytYruneWdN-1_i4QOLb2luYq6HuydNkAUqVXjksgSBlfbTqGZLutHvHq6d4sYBkdMeQ5Gy7yvx-NgYuLXJ5zn1LwwTOQi-UUcuf-DMq/s200/Blogger-Logo.jpg" title="" width="200" /></a></span></div><span style="font-family: arial;">
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 <a href="http://www.blogger.com/">Blogger</a> and follow the instructions to create a new blog.<br />
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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.<br />
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2. Not every post you create <i>has</i> 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.<br />
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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.<br />
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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.<br />
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5. Hyperlinks are essential. If you are discussing the American Brass Quintet, it is more interactive to provide a link to the <a href="https://www.americanbrassquintet.org/">American Brass Quintet</a>. It should be fairly easy to learn how to do this in your blog.<br />
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6. Be sure to post an average of once per week, plus two longer posts for a total of at least 15 posts.<br />
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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.<br />
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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.<br />
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9. I encourage you to peruse student blogs from the past (listed on the right sidebar of this blog) as well as older posts of mine on ABEL central.<br />
<br />
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.</span>ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-75934425475316307202021-01-24T23:40:00.000-06:002021-01-24T23:40:02.680-06:00Welcome Spring 2021 Students<p><span style="font-family: arial;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyJoAgubYAUJ7rbl9b0bv53JB8xStZjsqPUX0RwZ2D3dQJadh-Rf5T4VrVgbwXlIU2qK_MCxZU6hwiG0ghTSpRNuAJj8wNtHBUrFFYFoWqf3H7wRNq1Yf8t0pfWcELBxIkRLUJ/s670/Brass+Quintet+Silhouette.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="335" data-original-width="670" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyJoAgubYAUJ7rbl9b0bv53JB8xStZjsqPUX0RwZ2D3dQJadh-Rf5T4VrVgbwXlIU2qK_MCxZU6hwiG0ghTSpRNuAJj8wNtHBUrFFYFoWqf3H7wRNq1Yf8t0pfWcELBxIkRLUJ/s320/Brass+Quintet+Silhouette.jpg" width="320" /></a></div>Welcome to Advanced Brass Ensemble Literature. We will be meeting online via Zoom from 9:30 to 10:20am. I will use this course blog as a means of making announcements and as a resource in addition to a central hub with links to all of your course blogs. I will also be using the ICON site, mainly for scores and other course documents and grades. <br /><p></p>ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-55875390243614234672021-01-22T10:56:00.002-06:002021-01-22T10:59:54.526-06:00Bugles in Military History<div style="text-align: left;"><span style="font-family: arial;">As this course is titled "Advanced Brass Ensemble Literature", when it comes to early historical information about brass instruments, I avoid discussing details about specific instruments and their development. Instead, I try to focus on brass ENSEMBLES and their music. </span></div><div style="text-align: left;"><span style="font-family: arial;"> </span></div><div style="text-align: left;"><span style="font-family: arial;">In the record of early western music, prior to 1400, the vast majority of written music is sacred, due to the devoted and scholarly religious scribes who recorded it for posterity. Secular music, (such as dance music, folk music, love songs and lullabies) existed but was rarely written down and was passed down in the aural tradition or often improvised. Similarly, "ensembles" of ancient brass instruments existed for use in ceremonies, during war, for royalty, and long-distance communication. However, much of that music was not written down, or was monophonic or unison in nature and most likely learned aurally. It is for that reason I have not included much discussion of the bugle in the course until now. The video below, from the YouTube channel <a href="https://www.youtube.com/channel/UC4sEmXUuWIFlxRIFBRV6VXQ">The History Guy </a>provides an insightful examination of bugles, including the implication of groups of bugles throughout history. <br /></span></div><div style="text-align: left;"><span style="font-family: arial;"> <br /></span></div><p></p><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="351" src="https://www.youtube.com/embed/gOxuoJHPCJA" width="422" youtube-src-id="gOxuoJHPCJA"></iframe></div><br /><p></p>ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-57440398248764474602020-05-04T11:16:00.001-05:002020-05-04T11:16:02.189-05:00Students' Choice Day(Star Wars, Sheet Music Resources and Ska for Brass Ensembles)<br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">In honor of May the 4th, we heard a cross section of recordings of brass ensembles performing music from Star Wars. They included:</span><br />
<ul>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.filmharmonicbrass.com/index.html">Filmharmonic Brass </a></span></li>
<li><a href="https://open.spotify.com/artist/34NpqgLhcU23yuJLqvc7k6"><span style="font-family: "arial" , "helvetica" , sans-serif;">London Studio Brass Band</span></a></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.presidiobrass.com/">Presidio Brass </a></span></li>
<li><a href="https://www.quintettoinflagranti.ch/"><span style="font-family: "arial" , "helvetica" , sans-serif;">Quintetto Inflagranti:</span></a></li>
<li><a href="https://ryukoku-windmusic.com/"><span style="font-family: "arial" , "helvetica" , sans-serif;">Ryukoko Symphonic Band</span></a></li>
<li><a href="https://oberaargauerbb.jimdo.com/"><span style="font-family: "arial" , "helvetica" , sans-serif;">Oberaargauer Brass Band</span></a></li>
<li><a href="http://www.pacificbrass.org/pacificbrass/The_Pacific_Brass_Ensemble.html"><span style="font-family: "arial" , "helvetica" , sans-serif;">Pacific Brass Ensemble</span></a></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://www.army.mil.nz/about-us/who-we-are/nz-army-band/default.htm">New Zealand Army Band</a></span></li>
</ul>
<iframe allow="autoplay *; encrypted-media *;" frameborder="0" height="450" sandbox="allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation" src="https://embed.music.apple.com/us/playlist/abel-star-wars-for-brass-ensembles/pl.u-AjlpIxMe2j" style="background: transparent; max-width: 660px; overflow: hidden; width: 100%;"></iframe>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Sheet Music Resources for Brass Ensemble Music:</span><br />
<ul>
<li><a href="https://www.cimarronmusic.com/"><span style="font-family: "arial" , "helvetica" , sans-serif;">Cimarron Music</span></a></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">Robert King - Publications can be found at <a href="https://www.sheetmusicplus.com/ensembles/brass-quintet/robert-king-music/500005+1303495">Sheet Music Plus</a> and <a href="https://www.jwpepper.com/sheet-music/alphonse-leduc-robert-king-inc-sheet-music.list">J.W. Pepper</a></span></li>
<li><a href="https://www.editions-bim.com/"><span style="font-family: "arial" , "helvetica" , sans-serif;">Editions Bim</span></a></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.editions-bim.com/">Cherry Classics </a></span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.justforbrass.com/manufacturer/encore-music-publishers">Just for Brass</a></span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://keisersouthernmusic.com/catalog/brass/brass-duo-ensemble">Southern Music </a></span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://store.brassworks4.com/brass-ensembles/quintets">Brassworks 4 </a></span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://watertonbrassmusic.com/">Waterton Brass Music </a></span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://brassmusiconline.com/">Brass Music Online </a></span></li>
</ul>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Ska for Brass Ensembles <a href="https://youtu.be/CVyJkKKfRFs">Playlist on YouTube </a></span><br />
<ul>
<li><a href="https://www.youtube.com/user/casculi/featured"><span style="font-family: "arial" , "helvetica" , sans-serif;">Klandestinos Brass Band </span></a></li>
<li><a href="https://www.tokyoska.net/"><span style="font-family: "arial" , "helvetica" , sans-serif;">Tokyo Paradise Ska Orchestra</span></a></li>
<li><a href="http://www.melbourneskaorchestra.com/"><span style="font-family: "arial" , "helvetica" , sans-serif;">Melbourne Ska Orchestra</span></a></li>
<li><a href="https://www.youtube.com/watch?v=KUJPiZ0w4HY"><span style="font-family: "arial" , "helvetica" , sans-serif;">Ska Vengers and Kawa Band</span></a></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.youtube.com/watch?v=WBCXX689BHA">Too Many Ska Horns</a> (parody from College Humor) </span></li>
<li><a href="https://www.thespecials.com/"><span style="font-family: "arial" , "helvetica" , sans-serif;">The Specials</span></a></li>
<li><a href="http://www.skatalites.com/"><span style="font-family: "arial" , "helvetica" , sans-serif;">The Skatelites</span></a></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://www.bosstonesmusic.com/">The Mighty Mighty Bosstones</a> (only one trombone)</span></li>
</ul>
<br />ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0tag:blogger.com,1999:blog-21359041.post-53191723996234540892020-04-29T09:12:00.001-05:002020-04-29T09:13:39.947-05:00Brass Ensemble Music from Other Cultures<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.glp.at/sites/default/files/1311280354--About-Mela-(2).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://www.glp.at/sites/default/files/1311280354--About-Mela-(2).jpg" data-original-height="288" data-original-width="288"></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.glp.at/artist/jaipur-kawa-brass-band"><span style="font-family: "arial" , "helvetica" , sans-serif;">Jaipur Kawa Brass Band</span></a></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The diversity and variety of brass ensemble traditions is rich and deep, and certainly not limited to Western European art music genres. Today, we will be listening to selections from a playlist of recordings of brass ensembles from around the world, as well as here in the U.S., that illustrate this diversity. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">My playlist for this particular class offering has grown over the years, and currently contains over two hours and twenty minutes of music and growing. Of course, I will not play every track or every second of every track. I will pick and choose as we go and highlight the many traditions and styles represented.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The different categories include:</span><br />
<ul>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">Balkan Brass Bands from the Roma tradition</span></li>
<ul>
<li><a href="https://www.asphalt-tango.de/artists/fanfare-ciocarlia"><span style="font-family: "arial" , "helvetica" , sans-serif;">Fanfare Ciocarlia</span></a></li>
<li><a href="https://en.wikipedia.org/wiki/Boban_Markovi%C4%87#Boban_Markovi%C4%87_Orchestra"><span style="font-family: "arial" , "helvetica" , sans-serif;">Boban Markovic Orkestar</span></a></li>
</ul>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">Brass Bands from India and Pakistan</span></li>
<ul>
<li><a href="http://www.glp.at/artist/jaipur-kawa-brass-band"><span style="font-family: "arial" , "helvetica" , sans-serif;">Jaipur Kawa Brass Band</span></a></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://bollywoodbrassband.co.uk/">Bollywood Brass Band </a>(U.K.) </span></li>
</ul>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">Brass Bands from the Kingdom of Tonga </span></li>
<ul>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://itunes.apple.com/bw/artist/beulah-college-band/356982860">Beulah College Band</a></span></li>
</ul>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">Mariachi and Banda from Mexico</span></li>
<ul>
<li><a href="https://www.amazon.com/Pepe-Guti%C3%A9rrez-Mariachi-De-Villa/s?k=Pepe+Guti%C3%A9rrez+%26+Mariachi+De+Pepe+Villa&rh=n%3A163856011"><span style="font-family: "arial" , "helvetica" , sans-serif;">Pepe Gutierrez & Mariachi De Pepe Villa</span></a></li>
<li><a href="http://www.bandaelrecodo.com.mx/"><span style="font-family: "arial" , "helvetica" , sans-serif;">Band El Recodo</span></a></li>
<li><a href="http://bandacarnaval.co/"><span style="font-family: "arial" , "helvetica" , sans-serif;">Banda Carnaval</span></a></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">(...and several others)</span></li>
</ul>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">Polka Music from U.S., Austria and Germany</span></li>
<ul>
<li><a href="https://www.riverbenddutchmen.com/"><span style="font-family: "arial" , "helvetica" , sans-serif;">Kris and the Riverbend Dutchmen </span></a></li>
<li><a href="https://www.amazon.com/Die-Tiroler-Blasmusikanten/e/B001LH4ZIE"><span style="font-family: "arial" , "helvetica" , sans-serif;">Die Tiroler Blasmusikanten</span></a></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.amazon.com/20-German-Beer-Drinking-Songs/dp/B00962ZEJA">The Oktoberfest Oompah Band</a></span></li>
</ul>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">African Brass Band</span></li>
<ul>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.facebook.com/gangbebrassband/">Gangbé Brass Band </a></span></li>
</ul>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;">Klezmer and Shout Bands from the U.S.</span></li>
<ul>
<li><a href="http://www.franklondon.com/dsk.html"><span style="font-family: "arial" , "helvetica" , sans-serif;">Frank London's Klezmer Allstars</span></a></li>
<li><a href="https://www.amazon.com/Shout-Testify-Trombone-Band-Music/dp/B00005Q6IS"><span style="font-family: "arial" , "helvetica" , sans-serif;">The Tigers</span></a></li>
</ul>
</ul>
ABEL Centralhttp://www.blogger.com/profile/12238699226520429182noreply@blogger.com0