Brass Roots

Los Angeles Brass Quintet - Brass Roots

An LP of three works: "Nonet for Brass and Percussion", "Madrigals for Brass Quintet", and "Concertino for Piano & Brass Quintet".

"Nonet for Brass and Percussion": Composed by William Kraft. Performed with Los Angeles Percussion Ensemble. It is scored for brass quintet (2 trumpets, horn, trombone, tuba) and percussion quartet playing a wide variety of instruments.

Following notes from William Kraft: There are 6 movements: the first is a dramatic opening. Out of the din of the final chords emerges the ringing of an F# gong which connects the first to the second movement where the F# becomes an axial pedal point - never disappearing - around which the entire movement revolves. For the third movement, a solo trio of the heaviest instruments of the nonary ensemble - tuba, trombone and timpani - is isolated. As if to find gravity they thrust themselves into a virtuosic display of agility - rapid - pointillistic - hocket-like.

The fourth movement is central to the structure of the whole work. Lyrical and contrapuntal it opens - after introductory statements by the vibraphone - with solos by each trumpet with full accompaniment. The tremolo line of the glockenspiel and vibraphone which outlines the guileless middle section, raises images of a beautiful fantasy merry-go-round. This leads to an expansive adagio founded on a broad horn solo.

In its own way, the fifth movement is somewhat Proustian in its references to previous pieces of the composer. It is scored for the percussion quartet alone. Underlying the entire movement is a quasi-electronic sound created by playing on metal rods with a pair of triangle beaters.

The sixth movement is a climactic summation of the work. Most of the references to previous movements are devious, but not the parallel seconds at the end - they are obviously taken from the second movement.

"Madrigals for Brass Quintet": Composed by Frank Campo. Following notes by the composer: A common method of examining a work such as Madrigals is to isolate the basic pitch series, establish whether or not any other elements have been subjected to similar organization, then in road map fashion trace these materials throughout the score. Such an approach, though perhaps useful for pedagogic purposes, often tends to obscure certain other relevant issues. Suffice it to say that Madrigals is based on a structured row in which six tones subjected to continuous permutation serve as the sole melodic and harmonic material. Other elements such as rhythm and timbre are organized but not in any manner that could be described as serial.

More germane perhaps is the fact that when asked by the Los Angeles Brass Quintet to compose a work for them, the concept of the 16th century Italian madrigal struck me as a happy source of motivation. It will be recalled that these often innovative part songs, designed to interest both audience and participant, were intended for performers (five being a favored number) of great ability and sensitivity. Carrying the analogy further I decided to employ an alternating contrapuntal, pseudo-contrapuntal and homophonic texture with frequent pitting of one or more voices against the others. Adopting also the concept of "word painting" (depicting literary ideas in terms of musical sound), I gave each movement a title and proceeded by obvious means (the sound of rushing air in Aria perduta) and more subtle ways to employ this characteristic device.

"Concertino for Piano & Brass Quintet": Composed by William Schmidt. Performed with Sharon Davis - piano. Following notes by the composer: The Concertino for Piano and Brass Quintet was commissioned by the New York Brass Society and given its premier by Sharon Davis with the Fine Arts Brass Quintet in Los Angeles in 1969. The three movement work (Allegro con brio - Largo - Allegro con spirito) is a combination of classic form with post-impressionistic harmonies and rhythms peculiar to American jazz.

Tracklisting:

Side 1

1. Nonet for Brass and Percussion: Presto {4:47}

2. Nonet for Brass and Percussion: Andante {3:46}

3. Nonet for Brass and Percussion: Interlude 1 - Scherzo A Tre {1:08}

4. Nonet for Brass and Percussion: Allegretto; Quasi Scherzando {4:55}

5. Nonet for Brass and Percussion: Interlude 2 - Scherzo A Quatro {2:31}

6. Nonet for Brass and Percussion: Maestoso e Rubato {4:46}

Side 2

1. Madrigals for Brass Quintet: I. Indifference {2:43}

2. Madrigals for Brass Quintet: II. Unrequited Love {1:58}

3. Madrigals for Brass Quintet: III. Aria Perduta {3:03}

4. Concertino for Piano & Brass Quintet: Allegro con Brio {2:35}

5. Concertino for Piano & Brass Quintet: Largo {3:51}

6. Concertino for Piano & Brass Quintet: Allegro con Spirito {2:37}

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