A Variety of Major Works for Brass Quintets

 This week I had the pleasure of presenting a series of major works for brass quintet.  The presentation included slightly over 30 minutes of music for brass quintet.  I felt inclined to share some of the works that I found here.

Ludwig Maurer (1789-1878) - 12 Little Pieces for Brass

    This performance by the London Brass (previously the Philip Jones Brass Ensemble) showcases the first four pieces of this fantastic work by Maurer (performed 1, 4, 3, 2).  For those who don't know, Maurer was a German composer who moved to Russia at the age of 17.   Maurer performed in Russia until he became the conductor of Count Vsevolozhsky’s orchestra.  Maurer returned to Germany with his children where he maintained his musician’s lifestyle.  Eventually, Maurer returned to St. Petersburg and would remain there for the remainder of his life.

     Originally written for two trumpets, two horns, and a trombone, Maurer’s 12 Little Pieces for Brass is a staple in the modern brass quintet repertoire.  Often groups like the American Brass Quintet will perform several movements on a concert.  The number of pieces allows for a group to continually create minor changes on any concert while also selecting an appropriate amount of work for the given time.

      The London Brass is a group made up of leading London brass players.  The group makes routine trips around Europe and has performed in the USA and Japan at international festivals.  The dissolution of the Philip Jones Brass Ensemble and subsequent restructure as London Brass allowed the group to embrace a new direction and perform with musicians of many different styles.  

    Upon reflection, I noted the following thoughts about the piece.  The first movement is very dancelike.  The flow and ebb between the trumpets and the trombone and horn provides for an enjoyable experience.  The group does a great job of adding additional accents to the final portion of the piece.  Furthermore, the cleanliness of the sixteenth notes throughout the movement is immensely enjoyable.

            The fourth movement takes some of the ideas of passing off the melody and refines it.  Here, the trumpets partake in an enjoyable conversation.  Often, the handoffs between the trumpets are almost indistinguishable yet the second trumpet’s continual repetition of the first trumpet elegantly showcases Maurer’s melodic ideas. 

            The second movement provides a necessary contrast to the previously performed movements as the Andante con moto feels like a funeral dirge in comparison to the other movements that we’ve listened to.  My favorite part of the movement is roughly halfway through this movement when the melody is handed to the tuba.  Meanwhile, the rhythmic activity of the three inner voices provides some interest to the piece. 

            The third movement again returns to a dance-like feel with continual melody sharing.  The staccatos throughout this movement provide fantastic contrast to the slurred lines that exist simultaneously throughout the movement.  

Victor Ewald (1860-1935) - Brass Quintet No. 2

Note: This piece begins at 13:10

    Ewald is a name in chamber brass literature that we have all grown accustomed to.  A civil engineer by trade, many credit Ewald as one of the major forces behind the creation and establishment of the modern instrumentation for the brass quintet.  Unlike many of his contemporaries, Ewald was Russian-born and Russian-taught.  However, his presence in St. Petersburg gave him the musical ecosystem where he could perform, study with, and talk to musicians from many different locations.  His four brass quintets are some of the earliest written quintets using modern instrumentation.

    Founded in 1972, the Empire Brass is a major American brass quintet who, for a long time, would put on upwards of 100 concerts a year.  Furthermore, this group has also released substantial quantities of CDs.  This record is a performance of the first three Ewald Brass Quintets by Rolf Smedvig (trumpet), Charles A Lewis Jr. (trumpet), David Ohanian (horn), Norman Bolter (trombone), and Sam Pilafian (tuba). 

    Once again, my thoughts on the music follow.  Ewald’s music is exceedingly musical.  The beautiful melodic transitions create a challenge for any brass ensemble.  The first movement is intriguing especially with the constant ritardandos appearing throughout the movement.  Furthermore, the quintet remains light even during times of rhythmic intensity.  The second movement is a theme and variations.  Ewald’s writing constant reworking of the theme is gorgeous yet intricate.  Perpetually, Ewald manages to maintain the theme while continually increasing the rhythmic and harmonic demands of the ensemble.  The final movement is rhythmically intense and driving. The tuba at the end is something to certainly listen for.

George Frideric Handel (1685-1759) - Aria for Winds

Note: Piece begins at 0:02.

    Handel certainly makes the list for composers that practically every musician knows.  Although Handel is known especially for his work with operas and oratorios in England, Handel also wrote several chamber works.  Although originally written for two oboes, two horns, and bassoon, this piece has been arranged for brass quintet (in this performance, it is two trumpets, two horns, and euphonium). 

    This piece is a great addition to those groups interested in performing a short work from the Baroque period for brass quintet.  The piece lies extremely well on the instruments and provides a great opportunity for every part to be challenged.  I love the flourishes in both the trumpet and horn parts that arise throughout this entire movement.  It is challenging yet gorgeous and rich.

Johann Christoph Pezel (1639-1694) - Intrade, Sarabande, and Bal

Note: Piece begins at 14:34.

    Pezel was a German violinist, trumpeter, and composer.  Although his work is less recognized today that composers like Bach and Handel, Pezel did compose a great deal of instrumental work including this piece.  Pezel worked primarily around Leipzig and Bautzen where he was employed by the cities.

    Although originally composed for two trumpets and three trombones (alto, tenor, and bass), this work lies extremely well on the modern instrumentation.  This performance is extremely well done with the selective but tasteful employment of ornamentation.  The second movement (the Sarabande) is slow and gorgeous and allows the audience a reprieve from the slightly quicker first movement.  Again, the ornamentation employed by the first trumpet is a very tasteful inclusion in the work.  The last movement contrasts with the prior movement by returning to an up-tempo dance.