Brass ensembles and composers from Europe listening session

 Philip Jones Brass Ensemble

The first piece we listened to is titled "Rose Without a Thorne" written by none other than King Henry VIII. In true medieval/baroque style, the piece is highly tonal, sounding very organ-like in composition, and using standard tonal conventions of the time. The ensemble, being the Philip Jones Brass Ensemble, plays this work with much conviction and drive, adding a regal nature to the work. The ensemble was founded in 1951, and the work was arranged by Philip Jones himself. 

German Brass

The next work is an arrangement of an overture from Wagner's Lohengrin, likely done by someone within the group itself. The German Brass is one of Europes most revered brass ensembles, and their recording catalogue is extensive, mainly consisting of more well known arrangements, along with some commissions here and there as well. This arrangement in particular is very faithful to the original, even in the sections where the writing becomes very difficult as a result. The full range of the brass ensemble is taken advantage of here, and to great effect. 

Dutch Brass Sextet

The next arrangement comes from Shotakovich's The Golden Age, a ballet premiered in 1930. The polka, which is a very well known section of the music, as is arranged in brass ensemble setting here. 

Belgian Brass

Carrying on with more Shostakovich we have a waltz from his Jazz Suite arranged for brass ensemble. Everything we have heard so far works to great effect in a brass setting, but I believe this one might be the most effective yet of the arrangements. It almost sounds as if it was originally conceived with brass instruments in mind, and registers and timbres of the instruments fit the character of the music very well in my opinion. 

Same ensemble this time, next with a work by Susato, a fairly obscure renaissance composer. This piece is a jaunty fanfare, likely conceived for some type of celebration. Added to the brass ensemble is a set of church bells, which fills out the color of the ensemble. 

Spanish Brass

A Spanish ensemble playing music originally composed by a Brazilian composer in Heitor Villa-Lobos makes for an interesting combination of worlds. The South American flare is evident in the harmony of this work, as well as the rhythmic style employed, with off beat syncopated rhythms and broken chord shapes outline a tonal progression that sounds familiar, as a lot of pop and jazz tunes influenced by South American musical ideas carry these traits as well. Also of note is the fact that there is some beautiful high register playing on this album, particularly from the trumpet. The combination of sustain and intense clarity in the sound create a very pleasing listening experience. 

Arctic Brass 

The next work comes to us from an ensemble from Norway, entitled Dances for Brass Quintet. The work is very danceable, as it comes packed with a fair amount of mixed meter and "groove" built into the composition. This is contrasted by sections that break the dance, and involve all of the instruments singing together, almost as if the dance is over and it is time to relax and tell stories. Soon after this, the pace picks back up again the feeling of three becomes tangible again. This is then contrasted again by the melodic motif, and soon it becomes apparent of the multi-character story being told here. 

Modern Brass Ensemble 

The next piece is Serenade of the Seven Headed Dragon performed by the Modern Brass Ensemble. This piece is incredibly chaotic, and was almost certainly originally composed for the ensemble in question. The piece is absurd, build on scattered ideas and high energy stacks of sound. 

Ewald Brass Quintet 

Did not catch the name of the composition, but once it started the class had a brief couple of words attempting to determine the instrumentation. This brings about an interesting topic in brass chamber music, in that the instruments at a brass ensembles disposal are numerous. This gives arrangers, composers, and ensembles a lot of flexibility in choosing color and texture in their performance. Though this piece is not written by Ewald, it is very typical in the music the ensemble is named after to be picky with instrument selection. Brass timbres can have a hard time blending perfectly with one another, so for balance purposes as well it can be quite important to consider all the possible options you have. 

Black Dyke Band

William Walton's Spitfire Prelude and Fugue is the closing piece for my blog today, and a fitting way to end. The piece is for full brass band, and the Black Dyke Band being one of the very best brass bands in the world makes this an incredibly effective recording. As usual, the bands technique, sound, and overall presentation is next to spotless. Like many brass band pieces, the piece has varying sections showing the band in not only a jovial dance character, but also a longing songful character. British style brass bands are known for this players possessing skills meant to transcend their instruments. As the whole group is made up only of brass and percussion, the necessity to model other instruments and sounds becomes essential.