Final Presentations - Professional Brass Ensembles

Today, for our final class, we heard presentations on professional brass ensembles, and I must say I was very impressed with the quality of the groups. Both the Eastern Kentucky University Brass Quintet and the Fine Arts Brass Quintet impressed me in their depth and dedication. As I mentioned in class, not in a "knock-you-over-the-head-with-our-fancy-press-material-and-viral videos" way, but in a quietly substantial way.

Eastern Kentucky University Brass Quintet

One of the dilemmas of a faculty brass quintet is that very few institutions have two trumpet faculty, so many assign the other trumpet part to a graduate student. This provides the student with an outstanding learning opportunity and affords them some valuable performing experience. As at the University of Iowa, if this position is attached to an assistantship, it serves as a great way to attract talented graduate students and is probably the ultimate "work study" program for students.

The fact that EKU happens to have two faculty trumpet positions is an incredible stroke of luck, and serves to bolster the quality of the group, while avoiding the "rotating chair" effect Evan mentioned. Even more impressive, is that the other trumpet player is on the theory faculty and an active and talented composer is a musical coup.

To learn more about the group, visit their website or watch their videos on their YouTube channel.

Fine Arts Brass Quintet

I had heard of the Fine Arts Brass Quintet but had no idea of their rich history and longevity. Formed in 1980, they have a long history of premiering works and despite their longevity, they have had relatively little personnel turnover. Kate also pointed out some of the hidden gems in their less-than-flashy website; like their FAB Tooters Tips and their extensive list of programs and program notes.

Both of these groups have made significant contributions to their field, and have been quietly successful for many years and deserve our attention. Here's to substance over superficiality!

Listening Session - 5/2/11

For our final listening session in Advanced Brass Ensemble Literature, I presented a collection of recordings I recently purchased featuring underrepresented styles: the brass trio, Mexican Banda music, and a brass "Shout Band."

We began with Antoine et Cleopatra, composed by Florent Schmitt (1870-1958). from the French recording "Musique Française - Grandes Fanfares Du XX Siècle by the Grand Ensemble de Cuivres et Percussion des Hauts de France (Rhapsody link) . This recording also includes an excellent performance of Tomasi's Fanfare Liturgiques.

From the University of Maryland Brass Trio recording (Amazon link), we heard David Sampson's "Duncan Trio". Movements were: I. Reflection, II. Solemn Hymn, and III. Crooked Dance in its entirety. We also heard about a minute each of the rest of the tracks, which included brass trios by Nelhybell, Plog, Hovanhess, Ewazen, and Bernofsky. This is a fantastic recording, with a great selection of repertoire and virtuoso playing by Chris Gekker, Greg Miller, and Matt Guilford.

For something completely different, we then heard La Arrolladora Banda el Limón  playing "Mi Gusto Es", and watched a bit of the YouTube video of Banda El Recodo - Te Presumo. It is very encouraging to see that Mexican pop/regional music still embraces a strong brass tradition.

Finally, in the tradition of Pentacostal Brass Shout Bands, we heard Kenny Carr and the Tigers play Fix Me and watched a short video of one of their performances. Truly inspiring.

Rehearsal Techniques

Today we discussed some interesting scenarios regarding brass ensemble challenges. That led to the creation of a "Top Ten" list of rehearsal techniques. Here is what we came up with:

1. Group warm up (scales, chords, chorales)
2. Recording and immediate playback
3. Simply and clarify the music (slower tempos, staccato version, remove melody)
4. Rehearse with an amplified metronome
5. Conceptualize a uniform group tone
6. Score study (everyone gets a copy, study individually, write in cues)
7. Sing and conduct (great when fatigued)
8. Group listening (to recordings of group and to reference recordings)
9. Research (historical background, composer information)
10. Comparitive playing (motifs, fugue themes, articulation and phrase checking)

Listening Session - 4/20/11

Wednesday morning, we had a group listening presentation, and Kate played for us a recording of Leonard Bernstein's Prelude, Fugue, and Riffs. Check out the video below of Bernstein himself conducting (from memory):



I played two selections from Meridian Arts Ensemble's recording called "Ear Mind I". They were Tom Pierson's Brass Quintet, which was commissioned by MAE, and their arrangement of Franz Zappa's Lumpy Gravy.

Ten Blogging Tips

Ten Blogging Tips:

1. I like to use an add-on called Scribefire for blogging because it splits the screen, allowing you to view a website and write simultaneously. You can also save posts, change settings, write using HTML, insert youtube videos and images easily, and publish right to your blog.

2. Sign up for a Google News Alert on some aspect of your blog subject and you will receive periodic updates on the latest information.

3. Read other blogs related to your subject and comment on that blog as well as on your own.

4. Do a Google Image Search for interesting pictures related to your theme.

5. Do a "Ten Things..." list.

6. Make your opinion known. Write 200 words on what you have learned about your theme.

7. Blog about the group you will feature for your final project.

8. Blog about your listening presentations; include artist, composer, performers, label, where to find the recording etc.

9. Make comments on each others' blogs.

10. Blog about class-related topics, such as the pieces and composers of the Landmark Works lecture discussions, or current trends in brass ensemble literature.

Alvin Etler Pictures

Alvin Etler's grandson commented on this blog last year and was kind enough to share with me some pictures of Alvin Etler. We both noticed that there is not much information, especially photos of him, on the internet. Here are the photos:

Alvin Etler

Today, we studied the Brass Quintet by Alvin Etler, so I have re-posted this from last year:.

Etler's Wikipedia entry reads:

Alvin Derald Etler (February 19, 1913 - June 13, 1973) was an American composer and oboist. A student of Paul Hindemith, Etler is noted for his highly rhythmic, harmonically and texturally complex compositional style, taking inspiration from the works of Bartók and Copland as well as the dissonant and accented styles of jazz.
Though he played with the Indianapolis Symphony in 1938, he abandoned his orchestral life shortly thereafter to focus on his increasingly successful compositional career (which earned him two Guggenheim Fellowships during this period). In 1942 he joined the faculty at Yale University as conductor of the university band and instructor of wind instruments, where he began his studies with Hindemith. He also taught at Cornell University and University of Illinois before accepting a position at Smith College, which he held until his death. Notable works include his two woodwind quintets (from 1955 and 1957), a bassoon sonata, the 1963 "Quintet for Brass Instruments", and "Fragments" for woodwind quartet.
Etler is also the author of Making Music: An Introduction to Theory, an introductory-level theory text published posthumously in 1974.

Works list at G. Schirmer

Beethoven, Aliabev, and Bellon

Jean Francois Bellon (1795-1867)

Today we listened to Beethoven's Three Equali (1812), a Brass Quintet by Alexander Aliabiev [Aljabjew] (1787-1851), and Brass Quintet No. 1 by Jean Francois Bellon (1795-1867).

For more about each of these works, check out the following links:

• Beethoven Three Equali entry in Oxford Music Online
• Hear samples of Bellon's Brass Quintets on Classics Online 
• More about Aliabiev here from Musicalion.com
• A bio about Jean Francois Bellon here and a link to listen at GMN here
• Information regarding the Bellon quintets (from Editions BIM):

These 12 quintets, composed between 1848 and 1850, were all published in Paris during the 1850’s by Richault. The present, virtually complete edition of the entire series - lacking only the final movement of Quintet No. 12 - was realized thanks to the efforts of John Wallace, Anthony George and Anthony Rickard for quintets Nos. 1, 2 and 12, (which, together with No. 3, had been consigned to the British Library, London) and Raymond Lapie, owner of Nos. 3, 4, 5, 6, 7, 8, 9, 10 and 11, and editor of this complete edition. Quintet No. 12 is reprinted from a later edition dating to the final years of the 19th century, and which appeared in full score form in the London musical review, “Orpheus Journal”. From a musical standpoint, this new edition (Quintet No. 12 excepted) refers and fundamentally adheres to the original printed instrumental parts, issued without full scores in the 1850’s. A full score for each quintet has been reconstructed to permit better analysis of the music. Only flagrant errors and a few doubtful chords have been indicated as such and corrected. The five instruments originally specified were: 1) a small flugelhorn in Eb (or trumpet, or piston-valve cornet in Bb/A), 2) a piston-valve cornet in Bb/A, 3) a horn, 4) a trombone and 5) an ophicleide (in Bb or C). These works may be performed today on period instruments or with modern ones, as desired; in the latter case however, it being well to adapt the dynamics, especially if trumpets replace the cornets. The Eb flugelhorn part, as specified and provided for by the Richault edition already, can also be played on piston-valve cornet. The ophicleide part is playable on tuba (preferably an F tuba) or, better still, on euphonium or bass saxhorn. A separate brochure, relating all presently known details about these works, is published by Editions Bim (Raymond Lapie, “Jean-François-Victor Bellon, 12 major French brass quintets dating from 1848-1850, ISBN 2-88039-017-6; complete texts in French, English, German, Italian and Spanish). 

Also, from the Wikipedia article on Ewald:

For many years Ewald’s four quintets were considered to be the first original pieces composed specifically for an ensemble which is recognisable today as essentially the modern brass quintet - consisting of two treble, valved instruments, one alto, one tenor and one bass. A recent discovery of 12 four-movement brass quintets, thought to have been written in the 1840s (pre-dating Ewald by some 60 years) by the French composer Jean Francois Bellon (1795–1869; violinist and one-time leader of the Paris Opera Orchestra), show that Ewald was not actually the unwitting pioneer he was long thought to be. However, the popularity of his quintets has in no way diminished because of this.

Welcome Students - Spring 2011

Welcome to Advanced Brass Ensemble Literature, Spring 2011.

Pop Brass Ensemble Music

Today, we heard several recordings of "Pop" music recorded by various brass ensembles. They included:

Brassil plays Brazil
Nimbus Records NI5462
Brassil
We heard tracks 15-19 (Andrezza, Coletanea '93)

Rhythm and Brass
Sitting in an English Garden
Tracks 3 and 15 (Here, There and Everywhere by the Beatles, and Money/Munchkin Song by Pink Floyd/Wizard of Oz

Boston Brass
Young Fogies
How High the Moon

Empire Brass
Braggin' in Brass
Slap Happy, Braggin in Brass, St. James Infirmary

The Bollywood Brass Band
Rahmania
Mere Yaara Dildara

Frozen Brass: Africa and Latin America
PAN Records 2026CD
2. Highlife Hymm

Atlantic Brass Quintet
By George
Porgy and Bess Suite arranged by Jack Gale

Metalofonico

Metalofonico - a group founded by Jon Nelson and comprised of members of the Meridian Arts Ensemble, the Atlantic Brass Quintet, and the LA Philharmonic - recorded the CD we heard in class Monday. The piece featured was "Insomnio", by Jon Nelson. I am proud of this recording, not only due to the quality of the sound, but the variety and quality of the repertoire. If you are looking for a brass ensemble for the 21st century, check out Metalofonico.

Here is a note from 8Bells Records:

This collection of Brass Music represents the panacea of compositional innovation in Western Music. With the exception of Charles Ives, all of these composers are contemporaries. With the advent of new technologies and discovery of the past 100 years came many different modes of thought and theories of Art. In tracing the brass tradition from its folk roots to the highest artistic form of expression, an ensemble has formed out of the music contained in this cd. Influences and abilities abound in this group, comprised of musicians who are adept in virtually any style imaginable. To be blunt, these guys can play anything.

In the interest of full disclosure, here is a link to a not-so-good review.

The Loudest Brass Recording

Today we had a contest for presenting the loudest brass recording. The winner, at over 100 decibels, was this YouTube video of the sousaphone line from Virginia State.

Brass Quintet by Alvin Etler

This is a YouTube video of the Meridian Arts performing the fourth movement of the Alvin Etler Brass Quintet live in Romania, 2007.

Army Brass Quintet

Last night, the University of Iowa enjoyed a visit by the U.S. Army Band Brass Quintet, from "Pershing's Own" band in Washington D.C.  They presented a wonderful, entertaining, and classy recital - including music of Bach, Haydn, and Glinka. They are on their mid-west tour and we were pleased to be the first stop. After the concert, they generously gave a masterclass for several of our students, and provided some valuable feedback. As a brass musician, a military career is a valid option, especially in this economy, so it was good to hear and see how much these military musicians enjoy their jobs.

Brass in Blue

Last night, the Air Force Brass in Blue gave a fantastic performance at the Englert Theater in Iowa City. This group is comprised of four trumpets, two horns, two trombones, one euphonium, one tuba, one percussionist and one vocalist. Recently, all 60-piece Air Force bands were reduced to 45, which limits the wind ensemble, but has led to this very unique solution - the Brass in Blue. This group, which part of the Air Foce "Heartland of America" band is based at Offut Air Force Base in Nebraska, tours eight months out of the year. Their repertoire ranges from original works for brass choir from composers such as Ewazen and Turrin, to arrangements of marches, orchestral works, and big band style jazz standards. Today, we are honored to have Staff Segeant Matt Erickson, the leader and trombonist with the band.

Les Miserables Brass Band - "Manic Depression" from d b on Vimeo.

This is a video put out in 1990 by Les Miserables Brass Band. Very innovative and tons of talent and energy in this group which includes Marcus Rojas on tuba, Dave Harris on trombone, and Marshall Seeley on horn.

Preview some of their tracks from their album Manic Traditions on Amazon.com here.

Brass Bonanza Audio Link!

Just listen to the Brassy Goodness!

Field Trip!

Let's all go see Mnozil Brass at the Chicago Brass Festival, Sunday March 21st at 3pm at Northeastern Illinois University - I'll drive!

African Roots of New Orleans Brass Bands

Featured recently in the University of Iowa "Be Remarkable" campaign, Dr. Richard Brent Turner is the author of a new book Jazz Religion, the Second Line, and Black New Orleans. Here is an excerpt from the feature:

The second line is the group of dancers—sometimes thousands strong—who follow the first procession of church and club members, brass bands, and grand marshals in New Orleans jazz street parades, including jazz funerals.

A typical jazz funeral looks something like this: The crowd starts to gather near the close of the church service, often a Catholic mass at a site like the venerable St. Augustine’s in Tremé, the oldest African American community in the United States.

The casket is placed in a horse-drawn carriage, and the brass band leads the second line—members of Black Indian tribes wearing ritual masks, others twirling umbrellas, everyone dancing in rhythm—to the cemetery. The procession can take hours. Later, participants gather at the repast to eat, swap stories, and rest.

“These are multilayered rituals,” Turner says. “They reflect the West African spiritual philosophy that involved the entire community in the funeral ritual and sees the cemetery as a crossroads where human beings interact with the ancestral world of spirits.”
Through it all plays the music, leading the crowd in sorrow and celebration and shifting from one to the other in just a few notes, a power Turner calls “almost magical.”

This mingling of music and spirituality originated in Congo Square, the New Orleans site where slaves performed African drumming and dancing every Sunday from the late 1700s to the mid 1800s. The second line began there, drawing on African culture, Haitian Vodou, and French-Catholic influences.

A Survey of Selected Professional Brass Ensembles

 

Spanish Brass

American Horn Quartet

Est. 1982; 8 CDs; First Prize Philip Jones 1989; NOTAMUS, Brussels 1991,Tokyo 1992; 1994 NEA Chamber music grant;Rep: Schumann and Hindemith to Bernstein and Ewazen.

Sotto Voce (tuba euphonium quartet) 

Est. 1996; semi-finalists at Fischoff and CAG; 1998 ITEC and Colonial Tuba Quartet competitions; 2 CDs; Rep: Bach and Haydn to Stevens and Forbes.

American Brass Quintet

Est. 1960, Juilliard & Aspen, Stanton Mgmt., + 45CDs? “Serious brass chamber music”, “High Priests of Brass”, +100 commissions; Rep: Monteverdi & Bach to Etler and Ewazen

Canadian Brass Quintet

Est. 1970, over 70 CDs, 12 videos, +100 commissions, ICM Mgmt., Rep: Bach and Mozart to Jelly Roll Morton and Sousa

Dallas Brass

Brass Quintet plus percussion, Est. 1983, 5 CDs, Rhythm and Brass spinoff

Meridian Arts Ensemble
Brass quintet with drummer; 1990 Concert Artist Guild, (ASCAP/CMA); Adventurous Programming awards; 8 CDs; Rep: Gesualdo and Bach to Babbitt and Zappa.

Chestnut Brass Company

Brass Quintet; Est. 1977, Grammy Award, +12 CDs, specializes in brass music on original instruments, SMG Artists.

Empire Brass Quintet

Est.1971, CAMI, Naumberg Award 197?, 18 CDs, Boston University, Tanglewood, Telarc

Spanish Brass Luur Metalls

Est. 1989, Staumvi Trumpets, Romera Brass mouthpiece collection, 9 CDs & 1 DVD, Won Narbonne prize 1996, Academia Spanish Brass

Mnozil Brass (Brass Septet) 

Est. 1990, Austrian, 5 CDs, 100 concerts annually, very unique singing, choreographed entertainment-oriented band.

Other Notable Small Ensembles:

• Saint Louis Brass Quintet
• Proteus 7
• Boston Brass
• Center City Brass Quintet             
• Trombones de Costa Rica
• Dirty Dozen Brass Band
• Youngblood Brass Band