Brass quintet

Polychromes combines elements of the first two quintets by Anthony Plog - the bright colors of the Four Sketches and the darker and more monochromatic colors of the Mosaics. The six movements of this Polychromes suite are divided into two distinct... Read more

Circular Argument takes its roots in the music of Balcan countries. Each movement of this suite has its own character, based on a main theme. A lively and casual work which connects to all kinds of memories and emotions. Read more

The work consists of five movements of which the first, Intrada, makes use of rhythmic play interspersed with a short expressive Andante. The second, Fantasia, consists of cadenzas for each instrument which finally unites in a brief and peaceful... Read more

This arrangement intended in part as parody, includes music from the opening horn-chorale, the "Jägerchor", the "Jungfrau Lied" and even has a Swiss folksong (meas. 75 1st Trpt.) thrown in for good measure (The opera's setting was to have been a... Read more

Kaitsenko was an exclusive warrior society of the Kiowa Indians. The Kaitsenko vowed to each other to die only in battle with their enemies. It was the desire of the composer to capture the drama of the Kaitsenko pact. The “Song” is an authentic... Read more

Known by most Germans as an ''Abschiedslied" or farewell song, Muss i' denn is a traditional German folk song which was popularized in America in the 60's by the late Elvis Presley. This arrangement is most effective as a final encore with each... Read more

Thomas Tomkins was an organist and composer of early English church music in the late Renaissance. A student of William Byrd and highly respected among his contemporaries, Tomkins was a master of the English Anthem (the English equivalent to the... Read more

Recuerdos de la Alhambra (Memories of the Alhambra) is a “tremolo” study with a romantic, suitable and absolutely captivating melody. The procedure insists on repetition, placing the background on an ethereal line where Arabesque and rhythm prevail. Read more

“Mitia” was his intimate's nickname for Dmitri Shostakovich. “We have a happy life under the sun of Stalin’s constitution”. This prudently ironical quotation is taken from the private correspondence of the composer. It also represents the genesis of... Read more

Igor’s Dance is a virtuosic, molto allegro parody of the Ballerina’s Dance from Igor Stravinsky’s Petrouchka, with the quintet parts including some isolated musical elements, such as single rhythmic figures or motives from some of Stravinsky’s early... Read more

Spring is a time of new beginnings; of growth and warmth returning. Each instrument has a chance to “blossom” in this opening movement. Summer is a joyous dance of great speed and agility - the music is, except for a short section in the middle... Read more

The work was written in loving memory of Jeff Hodapp, my friend and former student, who passed away tragically in 2009 at the age of 52.  Jeff was known to all his friends as “Hodes”; thus the unusual title of the work which is a variation on the... Read more

"Frabrics" was inspired by the many beautiful handmade quilts made over the years by Mr. Stevens' mother. The title refers to the many colors and weaves of sound of which the brass quintet is capable. Once again, the setting of a mood is of primary... Read more

"Collage" was written by John Stevens in spring 2009, while he was residing on Cape Cod, Massachusetts. The music and the movement titles reflect the beauty of the seaside surroundings. The seven movements are to be performed without pause, inspired... Read more

Although the 'ripieno' and 'concertante' elements are played equally by each of the five instruments in turn, this fast, virtuosic and pithy work is essentially a mini-concerto for brass quintet. Cast in three main sections with coda, the work takes... Read more

Brass quintet tubists often complain that they don’t get their share of the limelight. In this piece, even though it only lasts ten minutes, they can demonstrate their musical talent and technique. Although the piece is conceived as an ongoing... Read more

Stylistically, Simon’s compositions for brass instruments can be situated between the twelve brass quintets by Jean Bellon, the Twelve Little Pieces by Ludwig Maurer and the first quintet by Victor Ewald. Simon’s melodic and harmonic writing are... Read more

The "Kinderszenen" is certainly one of Schumann's best work for piano. Every one of the 13 movements is a masterpiece by itself. His sense of phrasing was one of his greatest gifts as a composer. It pervades all his music but most especially the... Read more

The curious titles of the movements (1. James Agee: Writer; 2. Bobby Hackett, Jazz Cornetist; 3. Brother Paul Diveny: Benedictine Monk; 4. Ben and Mark: My Sons) were chosen from a long list of people who have had a profound effect on the composer's... Read more

This is a piece for brass quintet featuring the horn in the solo role. With ample phrases and its distinctively rich sound, the horn truly reveals the noble, wistful and slightly romantic character of the Waltz. Principe is also very enjoyable for... Read more

Impressioni is a work consisting of five movements of different and contrasting styles and musical form intended to evoke visual and acoustic memories of far away places, real or imagined, including the calls of the animals and other wildlife that... Read more

Composed specifically to show off the voice by means of lightning runs, colorful ornamentation and flashy cadenzas, the coloratura aria has traditionally provided the opera singer with the opportunity of achieving fame and becoming a "prima donna".... Read more

Over fourteen years, Respighi published three four-movement suites under the title Antiche Danze ed Arie per Liuto. The first (1917) was set for chamber orchestra, the second (1923) for large orchestra and the third (1931) for string orchestra. The... Read more

With the exception of the lyrical third movement, the piece is fairly rhythmic, taking advantage of the capabilities of each instrument for a wide timbral and sound spectrum or expressive dissonances. Read more

"Tamino's Aria" from Mozart's "The Magic Flute" represents a supreme achievement for the lyrical operatic tenor aria in music. Mozart somehow instilled in this music the quality never to grow tiresome to the ear. It remains fresh, new and moving... Read more

Papageno in Mozart's "The Magic Flute" is a bird catcher who is himself half-bird and half-man and who in addition to catching birds is constantly looking for a mate. Somewhat of a simpleton but nevertheless a jovial character, Papageno could in... Read more

The Queen of the Night in Mozart's "The Magic Flute" is wicked and evil. In choosing a very high soprano for this role Mozart makes effective dramatic use of the voice's extreme upper range to emphasize the queen's sinister character. Read more

The Brass Quintet is in 4 continuous movements. The Scherzo, which comes second, is a Rondo mainly in 5/ 8 time, the 1st Episode being an English folk-dance tune, the 2nd a canon between horn and tuba, and the 3rd a rhythmical transformation of a... Read more

With Start!, Jean-François Michel has hit the musical bulls eye with this concert opener. The frenzied tempo  of this brief work displays the rhythmic intensity and sound potential of the brass quintet in a manner that is certain to bring the... Read more

The four untitled movements of this work exhibit all of the same characteristics: within archaic Renaissance polyphonic musical structures (for instance, in the style - but not the music - of the opening Toccata of Monteverdi’s Orpheo), Zdenek Lukas... Read more

The fairgrounds and circus world is fascinating. Not the circus with three animated arenas and noisy lightshows, no, the real circus, the one where the clown catches sometimes a cold, and about the carousel with limping horses... Therefore, the... Read more

Electronic tracks available on SoundCloud. Read more

Although Joplin uses the same musical form in "Solace" that is so familiar in his rags, " Solace" is not a rag but rather a slow drag, which differs in tempo and mood. Even in the faster rags Joplin warns the performer against playing too fast; this... Read more

Explores the numerous characteristics of the different instruments constituting the brass quintet, especially their wide dynamic resources, wherein a quiet «pastoral» atmosphere can quickly evolve into a strong «symphonic» outburst. Read more

These six short pieces yield modes and harmonies suggestive of music from various cultures and ethnicities. Read more

This work certainly is not  “authentically Spanish”, nor was it ever meant to be taken as such. But the three movements were inspired by traditional dances and structured in Classical forms: Habanera/Sonata, Pavane/Variations, Bolero/Rondo (with... Read more

Tiento
The Tiento is one of the oldest forms of the "cante flamenco". Its very condensed form originates in variations on a short melodic motif or an area of harmony. The old conte is diyided ito yery brief capias (couplets), often without... Read more

These dances from the late 16th and early 17th centuries were chosen specifically to show the variety of musical styles to be found during that time within the confines of only what was considered to be "dance" music. Read more

This Concerto for brass quintet was written in the classical Sonata form. Through the continual use of all five instruments, the piece takes on a symphonic character. Read more

This work was written in 2005 and is dedicated to the Simon Bolivar Brass Quintet. The movements represent four episodes of a knight’s life. Subtitled “Stories of a legend”, this vivid and rhythmic work is written in tonal mode. Read more

Delineations is a free variation form. The theme, eight variations, and coda flow together without pause and are arranged so as to fall into a five part pattern: fast-slow-fast-slow-fast Read more

To the best of present-day knowledge, the 12 brass quin­tets composed by Jean Bel­lon ca. 1848-50, are the old­est and most significant in the his­to­ry of cham­ber mu­sic for brass­es. Read more

To the best of present-day knowledge, the 12 brass quin­tets composed by Jean Bel­lon ca. 1848-50, are the old­est and most significant in the his­to­ry of cham­ber mu­sic for brass­es. Read more

To the best of present-day knowledge, the 12 brass quin­tets composed by Jean Bel­lon ca. 1848-50, are the old­est and most significant in the his­to­ry of cham­ber mu­sic for brass­es. Read more

To the best of present-day knowledge, the 12 brass quin­tets composed by Jean Bel­lon ca. 1848-50, are the old­est and most significant in the his­to­ry of cham­ber mu­sic for brass­es. Read more

To the best of present-day knowledge, the 12 brass quin­tets composed by Jean Bel­lon ca. 1848-50, are the old­est and most significant in the his­to­ry of cham­ber mu­sic for brass­es. Read more

To the best of present-day knowledge, the 12 brass quin­tets composed by Jean Bel­lon ca. 1848-50, are the old­est and most significant in the his­to­ry of cham­ber mu­sic for brass­es. Read more

To the best of present-day knowledge, the 12 brass quin­tets composed by Jean Bel­lon ca. 1848-50, are the old­est and most significant in the his­to­ry of cham­ber mu­sic for brass­es. Read more

To the best of present-day knowledge, the 12 brass quin­tets composed by Jean Bel­lon ca. 1848-50, are the old­est and most significant in the his­to­ry of cham­ber mu­sic for brass­es. Read more

To the best of present-day knowledge, the 12 brass quin­tets composed by Jean Bel­lon ca. 1848-50, are the old­est and most significant in the his­to­ry of cham­ber mu­sic for brass­es. Read more

To the best of present-day knowledge, the 12 brass quin­tets composed by Jean Bel­lon ca. 1848-50, are the old­est and most significant in the his­to­ry of cham­ber mu­sic for brass­es. Read more

To the best of present-day knowledge, the 12 brass quin­tets composed by Jean Bel­lon ca. 1848-50, are the old­est and most significant in the his­to­ry of cham­ber mu­sic for brass­es. Read more

This Suite para Quinteto is tonal, and is rich in varied use of melody, harmony, and rhythm. It is intended more for musicians with "soul" than for virtuoso or good versed technicians. The foremost interest is the musical expression. Read more

The "Prelude and Fugue No. Vlll" is taken from "Eight Little Preludes and Fugues" which were composed during Bach's tenure at Cöthen. They were intended most probably as instructional pieces for his children and because of their brevity they are... Read more