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Current time:0:00Total duration:10:06

Video transcript

like many composers in even in the historical past I from time to time occasionally I'd like to revisit something that I did earlier not necessarily to revise but rather to look and listen again and probably place the music in a different context to that effect I had written quite a number of years ago a very brief brass quintet called fanfare and because I particularly wanted to accent the fact that Jared Schwartz was renowned trumpeter with the New York Philharmonic before beginning his distinguished career as a conductor I decided I would take that little fanfare and in two parts of the work in two sections in a sense dismantle it in the first half and then reassemble it in the second half placing it then in another context of a string orchestra Arjuna by ogron's is one of the 18 guns Modi Commission's that I premiered and 2010-11 season it was a commission from the Seattle Symphony to not to celebrate Jets leaving but the fact that for all these years he'd been a champion of contemporary music and so many contemporary composers know him well he knows they work well they work closely together and I've been fortunate to be one of those I have to assume that he wrote for brass quintet because prior to my days as a trumpet player with the New York Philharmonic I was in a brass quintet called the American brass quintet in those days this would be in the late 60s there were two well-known brass quintet sit in the United States the New York brass quintet the American brass quintet and at the age of 18 I was in the American brass quintet so I assumed that Bernhard wrote this piece for brass quartet and strings as a looking back into my life as a brass player it is a fabulous piece again very short it juxtaposition of those two quintets the quintet of strings one two violins viola cello bass and two trumpets horn trombone and tuba it starts out I would say aggressively loudly with a rhythmic motive play by the violins all these motives at the beginning were all combinations of threes and twos but they happen in unusual places so for example it starts but I'm done I mean it's it's a little unusual after the initial statement of that he repeats it but this time he adds the violas and then he has the challenge at the end of the phrase he also adds the basis then the brass entrance so is the first entrances to the trumpet playing a solo and it's in a what in a sense the same kind of threes and twos so the trumpet plays the rhythm is but that the gum but that that Dom but that the time but at a time so it's threes twos and threes and it carries and then eventually he does his whole little his little entrance theme and then the second trumpet comes in and complements that and then the horn comes in and joins in so now we have a trio next obviously we have to get the trombone in which he does and then he brings in the tuba after that we have this conversation between the strings and the finally the brass are left alone that they can shine by themselves and in this in this wonderful little interlude that ends with the strings playing a couple of beautiful long chords the next new material starts off with the horn and now we're using mutes so with the brass do is they they put something in the end of the instrument a different kind of mutes they're straight mutes and companies and Harmon mutes and bucket mutes and horns have basically two options the horns have their hand in the Bell to make the sound a little more mellow they can stuff the hand in the Bell which is called stopped he does some of that or they can use a mute but there's only one kind of mute for the horn so the horn sauce with the mute then the trombone then the second trumpet first trumpet eventually the tuba and the strings now are just punctuating rather than really answering and then the strings have a little interlude leading to the next section of the brass again led by the horn trombone tuba second trumpet first trumpet then we have what one could call the recapitulation of the beginning or the repeat at the beginning so at the very beginning he had all the violins playing loud now he does the same thing but he has all the violins playing very softly this leads to the trumpets Elly second trumpet joins in just like the first time around the horn trombone and then the tuba and then we do have this conversation just as we did the first time again occasionally the strings are having the conversation sometimes it's just punctuating with little gestures among ordering the brass solo group and the press really now is full-fledged solo quintet Rasch Wang with the restraints in an accompanying role and until pretty much like that until the end and the brushes flourish at the end and it ends as you would expect our Jia to end how would you expect if someone says goodbye and you can just see them sailing away and and so it ends you know someone says goodbye and then they disappear and in fact us how it ends with the strings disappearing as the brass plays strong they stop that the court remains as the strings disappear it's very difficult to to strike the balance between informing a potential listener what might strike them and how they might listen and not prescribing them and putting constraints on them there is only one way to listen that stone your ears and open your mind and open your heart and just let it take you very well