Monday, April 24, 2017
Class listening 3/20/2017
Today in ABEL we listened to pieces for large brass ensemble
Malcolm Arnold- Symphony for Brass
1st movement starts mysteriosly
non traditional chord progressions
Doesn't sound like his quintet at all in the opening
At F the trumpet lick sounds like the end of his quintet
reminds me of Dahl Sextet for Brass
not a lot happening in the trombone lines
killer tuba, horn and trumpet solos
movement 2
at F he passes high trumpet duet motive to the tuba part. Interesting contrast in textures
more extended tuba solos before I
than back to high trumpet duet
movement 3
This sounds just like Dahl movement one with bombastic loud sustained chords st A
give way to a beautiful horn solo at B. Very lyrical and contrasts the opening statement.
Movement 4
Features a much softer contrast to movement three. Back to featuring solo lines snaking chromaticaly. At L the style goes back into more tutti articulated passages. At K it begins to sound like the second movement from his brass quintet.
The ending reminds me of the way he ends his brass quintet with dueling trumpets.
PJBE
This recording demonstates that the PJBE was willing to go out on a limb and record pieces that were more serious in nature. This symphony is pretty dense in both sound, and musical ideas. The playing of the PBJE is very good, but it sounds a little dated to my ear. To me at times, they are pushing the line on aggressive playing. I love listening to it, but it also strikes me as something that we would not necessarily go for.
Final thoughts,
To me as a listener this piece seems a little long winded, and hard to hard to follow. It jumps from one contrasting section to constrasting section but does not easily invite the listener to make musical connections with examining the score.
Tomasi Fanfare Liturigiques
Biblical titles to the movements
pieces dipict biblical stories
sacred brass choir version of an oratorio
movement one
great moments where just the horn section plays
sounds like four part bach chorals
Movement II
Gospel
fantastic extended trombone solo
starts out much like the Rimsky Korsakov trombone solo in Russian Easter Overture which also uses the trombone to depict religious conotation. This is like the trumpet sounding. The word of God.
Movement III
apocolypse
the four hoursemen
the percussion at the beginning depict the galloping of horses
Movement IV
we get the famouns des ira chant in the tuba and trombone. Just like Berlioz used in his Symphonie Fantastique
Much more coherent that the Arnold. Maybe because this piece is more programatically driven. It is more satisfying to me as a listener because I am not constantly in whiplash. Things seem to be more in line with my expectations.
Group presentation 3/29/2016
I love days like these where we all show up with are favorite brass ensemble recordings. It's like playing pokemon (or so I would imagine) where we all show up with what we think are strong recordings and make them battle to see whose recording reigns superior. Totally kidding... kind of.
Kenken's contribution
Sonata for horn tuba and piano-- Kulesha
The instrumentation of this ensemble is really fun. Both the horn and tuba provide nice round conical sounds that blend well, but also cover a wide tessatura. The piano adds a lot the rhythmic grooves, for the tuba and horn to play over. The playing by Eastern Standard is excellent. The recording has a warm sound, and the harmonies and melodic lines are well executed.
Anna's piece
Daft Punk Brass remix
Vigilanre Brass Doin' it wrong
This recording is straight baller. I have never heard Vigilante brass before but they are also pretty tight.
Mark's Piece
Electronic tuba. Yes please. I think the piece we listened to was the chicken and the egg. It was a funky piece for brass ensemble that utilizes Electronic tuba to play the "bass" line. Like Seinfield style bass lines. This piece was a lot of fun to listen too, with really excellent solos by a trumpet with plunger and trombone.
I did Jesus is coming
Evan
Brass septet Imperial -- Sibelius
Overture in F minor
This is a nice traditional piece
Komsun
Piece for horn for horn ensemble
piece for eight horns. Group is from Thailand and played the piece from memory.
Farewell to the red Castle-- Kerry Turner
Kenken's contribution
Sonata for horn tuba and piano-- Kulesha
The instrumentation of this ensemble is really fun. Both the horn and tuba provide nice round conical sounds that blend well, but also cover a wide tessatura. The piano adds a lot the rhythmic grooves, for the tuba and horn to play over. The playing by Eastern Standard is excellent. The recording has a warm sound, and the harmonies and melodic lines are well executed.
Anna's piece
Daft Punk Brass remix
Vigilanre Brass Doin' it wrong
This recording is straight baller. I have never heard Vigilante brass before but they are also pretty tight.
Mark's Piece
Electronic tuba. Yes please. I think the piece we listened to was the chicken and the egg. It was a funky piece for brass ensemble that utilizes Electronic tuba to play the "bass" line. Like Seinfield style bass lines. This piece was a lot of fun to listen too, with really excellent solos by a trumpet with plunger and trombone.
I did Jesus is coming
Evan
Brass septet Imperial -- Sibelius
Overture in F minor
This is a nice traditional piece
Komsun
Piece for horn for horn ensemble
piece for eight horns. Group is from Thailand and played the piece from memory.
Farewell to the red Castle-- Kerry Turner
Alvin Etler Brass Quintet
Composer: Alvin Etler (1913-1973) studied oboe, and composition with Hindemith at Yale
Composition date: 1963
Title: Piece for Brass Quintet
Four Movement pieces
notes of interest: rhythmic counterpoint even in the "intellectual" style of writing popular in the 1960's/
Rolph Smedvig invented a story about Etler's brother dying in the korean war as a Morse code operator and that is why he hid Morse code in this piece. After Professor Manning contacted Etler's grandson he found out that the Morse code was in fact there as a sign that Etler was a ghost composer for other commercial projects he may not have wanted his name on.
1.quarter= 60
Running 16th notes in all parts give this movement a nice motor rhythm and grooving effect
2. quarter=132
5/8 3+2 throughout
This is the movement with the "SOS" code written in. It actually sounds very idiomatic for a brass quintet to pass around this motif. It lends well to brass articulations, groove, and forward movement. The harmonies in the piece would definitely challenge anyone not familiar with this kind of writing, and may be difficult to pull of for audiences looking for a more entertaining show rather than something they have to think about it and reflect on.
3. quarter=56
Starts with a lyrical trumpet solo that could start any slow movement of a brass quintet. When the rest of the group enters we once again are in the realm of non functioning harmonies. I like the somber effect of this movement.
I wonder about composers during this time and the why the wrote music like this and their goal for that music. It's not that this music is torture to listen too or anything, but I do feel that if you are not up front with the audience about the experience they are about to receive that is can come off as confusing and not coherent.
4. quarter=138
this movement features markings such as "indistinct tonging", half valve passages and homorythmic passages. According to our fearless leader the last three bars of this movement (played in a homorythmic passage by the group) can also spell out S.H.I.T in Morse code as well. Tehee.
Me, personally.... I think this piece is pretty cool. But, and a strong one here. I am a brass player, getting my third degree in music, I played for two years in a professional brass quintet, and I have been to thousands of classical music concerts, studied musical forms, and in have a big interest in brass music. My question is, for the listener who only shares a few of these things in common with me, will they like this?
Composition date: 1963
Title: Piece for Brass Quintet
Four Movement pieces
notes of interest: rhythmic counterpoint even in the "intellectual" style of writing popular in the 1960's/
Rolph Smedvig invented a story about Etler's brother dying in the korean war as a Morse code operator and that is why he hid Morse code in this piece. After Professor Manning contacted Etler's grandson he found out that the Morse code was in fact there as a sign that Etler was a ghost composer for other commercial projects he may not have wanted his name on.
1.quarter= 60
Running 16th notes in all parts give this movement a nice motor rhythm and grooving effect
2. quarter=132
5/8 3+2 throughout
This is the movement with the "SOS" code written in. It actually sounds very idiomatic for a brass quintet to pass around this motif. It lends well to brass articulations, groove, and forward movement. The harmonies in the piece would definitely challenge anyone not familiar with this kind of writing, and may be difficult to pull of for audiences looking for a more entertaining show rather than something they have to think about it and reflect on.
3. quarter=56
Starts with a lyrical trumpet solo that could start any slow movement of a brass quintet. When the rest of the group enters we once again are in the realm of non functioning harmonies. I like the somber effect of this movement.
I wonder about composers during this time and the why the wrote music like this and their goal for that music. It's not that this music is torture to listen too or anything, but I do feel that if you are not up front with the audience about the experience they are about to receive that is can come off as confusing and not coherent.
4. quarter=138
this movement features markings such as "indistinct tonging", half valve passages and homorythmic passages. According to our fearless leader the last three bars of this movement (played in a homorythmic passage by the group) can also spell out S.H.I.T in Morse code as well. Tehee.
Me, personally.... I think this piece is pretty cool. But, and a strong one here. I am a brass player, getting my third degree in music, I played for two years in a professional brass quintet, and I have been to thousands of classical music concerts, studied musical forms, and in have a big interest in brass music. My question is, for the listener who only shares a few of these things in common with me, will they like this?
Monday, April 10, 2017
class listening party 4/5
These class listening parties have turned into great listening experiences for me. It is always fun to discover pieces you had no idea existed. Here is last Wednesday's account our ABEL class produced.
Anna's offering
Fugue in D minor (Original in G) Arr. Mexi Budapest Festival Horn Quartet
Miklos Nagy
Laszio Rakos
Laszio Gal
Tibor Maruzsa
The horn quartet is a really nice vehicle for these Bach Fugue pieces because of the different colors and the size of tessatura available to the instrument. I have heard this piece played by trombone quartet (the Puerto Rican trombone quartet does this piece from memory.) This groups arrangement really exploited the potential of the horn in terms of registers and dynamics. Also the trills were great.
Kenken's choices
Victory Fanfare by Benhamin Blasko
Tromba Mundi- group
This was an interesting piece for trumpet ensemble playing in front of a wind ensemble. This composer sounds like he has borrowed liberally from John Williams, and at times things sounded pretty Star Warsish (Warsy... Warsyish?). There were also some minimalist element sections such as an ostinado played by a mallet instrument and later going to the clarinets. This music was very exciting to listen to, and well orchestrated. It also at times had a western vibe. I liked the variety of styles and the overall tonal atmosphere of the piece.
Mark's offereings
Divertimento for Brass and Percussion
Karel Husa 4-3-3-1 (2)
I. Overture
II. Scerzo
III Song
IV Slovak Dance
UNT Brass choir
E.M Corporan- conductor
Nice overture
Second movement start with muted brass. This piece sounds like a typical Husa composition. I think the tempo could have been a little faster for a scherzo.
III. I really liked this movement titled song. It reminded me of the second movement of the Plog Octet in the static harmonies in the beginning, and than the introduction of the lyrical trumpet solo. Beautiful piece of music here.
Evan Fowler's offering
Clarino Quartet
Ellen Taffe Zwillich
Thiery Gervias
I. Maestoso
This piece had a really unique sound. Utilizing piccolo and E flat trumpet and having two C trumpets on the bottom. This is a contemporary work and not exactly easy listening. The trumpet is great for virtuosic passages as well as playing high notes. This ensemble executed this piece very admirably.
Komsun's Piece
Jazz Suite for Four horns
Harpischord, guitar Bass, and Drum
1. Horns o plenty
This piece has is an interesting pairing of horns, jazz, and harpsichord. Not the most obvious choices, but I thought it worked well. I don't know if I would want to to hear a whole concert of this music but it was definitely interesting experience.
Sunday, April 2, 2017
Post Recital Decompression
Warning, this post has little if nothing to do with brass ensembles or beer. Apologies. We will get back to those later.
This post is about a recital that I gave three days ago at the University of Iowa as part of my degree program. The last time I had presented a solo recital was as a student at Roosevelt University in 2012. I remember after I had performed at Roosevelt that I should write down some things to remember for "next time" to help make the process easier. That thought came and went and those thoughts were never written down. This morning I was watching recital video, and I thought what the hell, this could be a good post. (Some of these are more specific for trombone players and people who tend to sweat when nervous.)
Here are 10 thoughts you might consider as you plan a recital
1. The date and time of your recital should be picked with great consideration to your schedule, and how busy you will be the week(s) leading into it. The less distractions leading into your recital the better.
2. Think about your body movements on stage and how it is perceived by the audience. I am so use to sitting in the back row and counting rests on my fingers, that I actually did this at my recital... MULTIPLE TIMES!!! I also moved my horn around like I was shadow conducting my accompanist.
3. Find out if there will be stage hands at the venue, or if you need to ask your friends a favor. The University of Iowa does not provide stage help.
4. Liberal use of vibrato does not a musical phrase make.
5. Try to get the best accompanist you can, this is not the time or place to be cheap.
6. When switching instruments, remember to play a few notes on the new instrument backstage before walking out.
7. Consider putting the alto trombone piece right before intermission so that you have the most amount of time to reacquaint yourself with the tenor/euph. Going from alto to tenor takes more time than you think.
8.Bring a towel onstage or wear a sweat band.
9. Wear contacts or tighter fitting glasses.
10. Looking at this list, they can almost all be boiled down into the phrase: plan out every last detail with more thought and effort, you will appreciate it in the moment.
My beer of choice after my recital was ............
What can I say.... I love this stuff. For all those judging me now,
I offer the contents of my recent trip to Davenport, where an amazing place called Endless Brews is showing the world of beer service how it is done.
This post is about a recital that I gave three days ago at the University of Iowa as part of my degree program. The last time I had presented a solo recital was as a student at Roosevelt University in 2012. I remember after I had performed at Roosevelt that I should write down some things to remember for "next time" to help make the process easier. That thought came and went and those thoughts were never written down. This morning I was watching recital video, and I thought what the hell, this could be a good post. (Some of these are more specific for trombone players and people who tend to sweat when nervous.)
Here are 10 thoughts you might consider as you plan a recital
1. The date and time of your recital should be picked with great consideration to your schedule, and how busy you will be the week(s) leading into it. The less distractions leading into your recital the better.
2. Think about your body movements on stage and how it is perceived by the audience. I am so use to sitting in the back row and counting rests on my fingers, that I actually did this at my recital... MULTIPLE TIMES!!! I also moved my horn around like I was shadow conducting my accompanist.
3. Find out if there will be stage hands at the venue, or if you need to ask your friends a favor. The University of Iowa does not provide stage help.
4. Liberal use of vibrato does not a musical phrase make.
5. Try to get the best accompanist you can, this is not the time or place to be cheap.
6. When switching instruments, remember to play a few notes on the new instrument backstage before walking out.
7. Consider putting the alto trombone piece right before intermission so that you have the most amount of time to reacquaint yourself with the tenor/euph. Going from alto to tenor takes more time than you think.
8.Bring a towel onstage or wear a sweat band.
10. Looking at this list, they can almost all be boiled down into the phrase: plan out every last detail with more thought and effort, you will appreciate it in the moment.
My beer of choice after my recital was ............
What can I say.... I love this stuff. For all those judging me now,
I offer the contents of my recent trip to Davenport, where an amazing place called Endless Brews is showing the world of beer service how it is done.
Friday, March 31, 2017
Kenken's presentation
John Williams – music for brass
National brass ensemble--
I liked the tuba lines in the middle of the piece. Very easy to listen
to sounded tonal. I liked the different contrasting sections. Virtuosic writing
for all the instruments. This is on the CD they recorded in Sonoma in 2014.
Jan Koetsier - was a guitarist but wrote a brass symphony. Whoa.
Ten things
n
Rondo -- played by an all female brass ensemble. reminds me a little of the Bourme sextet in way there moving individual lines create polyphony and harmony. It sounded romantic at times, and then would give way to more contemporary harmonies.
Luminosity- Di Lorenzo
Reminded me of Star wars.
Copland sounding line in the horn during middle section. Very open sounding? A mix of Ewazen and Copland?
Messiah College Brass Choir? Luminosity,
Brass Quintet
Gaelic Variations -- John Cheetum
Faculty brass quintet IUP
folk song, opening reminds me of Lord of the rings.
The middle section sounds like they are playing an articulation game that I use to play in Axiom. We would play Bach Chorales but each note was played staccatissimo.
Really enjoyed the immitative texture between the tuba and rest of the ensemble in another section.
The work as a whole is 14 minutes in one movement.
In the Bleak MidWinter
IUP Brass quintet
Very cool arrangement. I played an arrangement of this in Axiom Brass that a little more traditional. I like the contrapuntal lines that were added. I liked that the lines became more active as the piece went on. Also the staccato muted trumpet in the middle was a interesting addtion.
Poopy Pants Blues Adam Rapa
written by Adam Rapa in a very short period of time.
released in 2006 on the alblum life on the road.
The vocal effects in the beginning do sound like they are produced with an instrument. Also it sounds like there was a trombone in the mix, but apparently is was all just trumpet ensemble.
Tuba quartet- Riverbottom Quartet
Calypso by Adam Rappa
"party piece"
sounds like la bamba and Mario brothers
has that steel drum quality to it.
Crooked Dance -David Sampson
Maryland Brass trio
Sounds like a Sampson work in that the harmonies are tonal but are not operating in the traditional harmonic progressions. Also the tempo changes from 3/4 to in 1 feel at to the crooked dance like feel. Sounds more like a march than a dance.
Extreme Makeover for brass band.
Black Dyke Brass Band.
Harrisons Dream Peter Grahm
written for navy personal that passed in ship accident(s)
Cory Band
t
Anna Marshall's class listening presentation
Kerry Turner- Casbah of Tetouan (1990)
Horn Quintet
American Horn Quartet 1991
David Johnson
Charles Putnam
Kerry Turner
Geoffrey Winter
I knew this piece from playing the brass quintet version at Roosevelt University. This piece is really fun to play, and the different scenes depict a busy middle eastern market. We hear a lot of modal scales to give it that gypsy flavor. The horn arrangement works very well. I love the auxiliary percussion effects, and they are a lot of fun to play. When I did this piece at Roosevelt I had to do the whistles during the horn cadenza-ish type solo. It was always a great time.
--------------------
Stven Snowden - Take This Hammer (2008)
Tuba euphonium Quartet
Sotto Voce Quartet
Demondrae Thurman- Euphonium
Mark Carlson- Euphonium
Nat McIntosh- Tuba
Mike Forbes - Tuba
quote from Snowden ( I wanted to address the working-class roles that these instruments often occupy in large ensembles and how this character trait could be brought to life in a chamber setting.)
This piece start out sounding very nice and traditional and than launches into a rhythmic section that sounded like it was utilizing someone slapping their mouthpiece while the euphonium players used false tones. This piece is very hip sounding and not your daddy's euph quartet piece.
------------------------------------
Lennon and Mccartney Penny Lane Arr. Chhristopher Dedrick
Brass Quintet
Live Performance 2013 Canadian Brass
Caleb Hudson
Chris Coletti
Eric Reed
Achilles Liarmakopolulos
Chuck Daellenback
I love the extended piccolo solo arrangement, and it doesn't get much better than hearing Caleb Hudson nail the solo. He is one of my favorite trumpet players right now, and his video of himself playing unaccompanied bach on youtube is mind blowing. Also Achilles on trombone is a force or nature. This group often gets pigeonholed as a group that goes for the entertaining value over artistry, but as far as talent goes this is it for me.
----------------------------
Jean-Francois Michel Suite Pour Trompette, Cor et Trombone (1994)
I. Overture
II. Nocturne
III. Allegro
brass trio
uncommon ground CD 2014
Amy Schendel- Trumpet
Bernhard Scully- Horn
Todd Schendel- Trombone
The more I listen to brass trio music the less I find myself enjoying it. However, this piece I find really interesting. I like the open horn solo at the beginning and the way the instruments are introduced one at a time.
Nocturne- is a really beautiful movement.
I like the rythmic energy of the mixed meters
-------------------------
James Horner Arr. Richard Bissill- Titanic Fntasy (1998-2004)
Horn ensemble
Vienna Horns, CD 2004
Vienna Horn Ensemble
This piece is a fun one to listen to, and brings back memories of seeing the movie in the theater. It does ride the line of being a little cheesy at times, but overall manages to capture the beauty of the pieces that were played in the movie. Listening to horn ensemble play "My Heart Will Go On" just seems a little silly at times.
John Williams -- Music For Brass 2014
National Brass Ensemble
I was at the the concert that this piece was premiered on. This ensemble is the most exciting brass ensemble to watch and listen too. Last fall I was able to sit in on a discussion with Micheal Sachs one of the trumpet players in this group and it was great hearing him talk about his experiences with this group. This is music making by the greatest brass players in the world who are also having a great time. I think that enthusiasm for playing in this group comes though in the way the play together. Sachs mentioned that he is trying to get more projects for this group, but schedules and money are big obstacles. The John Williams piece I think it fun to listen to with a lot of angular melodies and rhythmic motives. It was fun to hear this in Chicago because it was a nice contrast to the mostly Gabrelli heavy program. Speaking of which, think about how crazy it would be if someone invented a time machine, went back in time, kidnapped Gabrielli and than brought him to that concert. How different his music must have sounded in the 1600's being played on sacbut and conetti.
Horn Quintet
American Horn Quartet 1991
David Johnson
Charles Putnam
Kerry Turner
Geoffrey Winter
I knew this piece from playing the brass quintet version at Roosevelt University. This piece is really fun to play, and the different scenes depict a busy middle eastern market. We hear a lot of modal scales to give it that gypsy flavor. The horn arrangement works very well. I love the auxiliary percussion effects, and they are a lot of fun to play. When I did this piece at Roosevelt I had to do the whistles during the horn cadenza-ish type solo. It was always a great time.
--------------------
Stven Snowden - Take This Hammer (2008)
Tuba euphonium Quartet
Sotto Voce Quartet
Demondrae Thurman- Euphonium
Mark Carlson- Euphonium
Nat McIntosh- Tuba
Mike Forbes - Tuba
quote from Snowden ( I wanted to address the working-class roles that these instruments often occupy in large ensembles and how this character trait could be brought to life in a chamber setting.)
This piece start out sounding very nice and traditional and than launches into a rhythmic section that sounded like it was utilizing someone slapping their mouthpiece while the euphonium players used false tones. This piece is very hip sounding and not your daddy's euph quartet piece.
------------------------------------
Lennon and Mccartney Penny Lane Arr. Chhristopher Dedrick
Brass Quintet
Live Performance 2013 Canadian Brass
Caleb Hudson
Chris Coletti
Eric Reed
Achilles Liarmakopolulos
Chuck Daellenback
I love the extended piccolo solo arrangement, and it doesn't get much better than hearing Caleb Hudson nail the solo. He is one of my favorite trumpet players right now, and his video of himself playing unaccompanied bach on youtube is mind blowing. Also Achilles on trombone is a force or nature. This group often gets pigeonholed as a group that goes for the entertaining value over artistry, but as far as talent goes this is it for me.
----------------------------
Jean-Francois Michel Suite Pour Trompette, Cor et Trombone (1994)
I. Overture
II. Nocturne
III. Allegro
brass trio
uncommon ground CD 2014
Amy Schendel- Trumpet
Bernhard Scully- Horn
Todd Schendel- Trombone
The more I listen to brass trio music the less I find myself enjoying it. However, this piece I find really interesting. I like the open horn solo at the beginning and the way the instruments are introduced one at a time.
Nocturne- is a really beautiful movement.
I like the rythmic energy of the mixed meters
-------------------------
James Horner Arr. Richard Bissill- Titanic Fntasy (1998-2004)
Horn ensemble
Vienna Horns, CD 2004
Vienna Horn Ensemble
This piece is a fun one to listen to, and brings back memories of seeing the movie in the theater. It does ride the line of being a little cheesy at times, but overall manages to capture the beauty of the pieces that were played in the movie. Listening to horn ensemble play "My Heart Will Go On" just seems a little silly at times.
John Williams -- Music For Brass 2014
National Brass Ensemble
I was at the the concert that this piece was premiered on. This ensemble is the most exciting brass ensemble to watch and listen too. Last fall I was able to sit in on a discussion with Micheal Sachs one of the trumpet players in this group and it was great hearing him talk about his experiences with this group. This is music making by the greatest brass players in the world who are also having a great time. I think that enthusiasm for playing in this group comes though in the way the play together. Sachs mentioned that he is trying to get more projects for this group, but schedules and money are big obstacles. The John Williams piece I think it fun to listen to with a lot of angular melodies and rhythmic motives. It was fun to hear this in Chicago because it was a nice contrast to the mostly Gabrelli heavy program. Speaking of which, think about how crazy it would be if someone invented a time machine, went back in time, kidnapped Gabrielli and than brought him to that concert. How different his music must have sounded in the 1600's being played on sacbut and conetti.
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