Horn Ensemble Series: Transatlantic Horn Quartet

While I was researching for more horn quartet groups to write for a future post, I suddenly think of few groups that I know back when I was younger. One of that is Transatlantic Horn Quartet.

The group was found in 1998 by two prominent horn players from the UK and another two from the USA. Those are

• Richard Watkins - former Principal horn of Philharmonia Orchestra and Horn Professor at the Royal Academy of Music, UK
• Michael Thompson - former Principal horn of Philharmonia Orchestra and Horn Professor at the Royal Academy of Music, UK 
• David Ohanian - former Empire Brass and Canadian Brass, and Horn Professor at Boston Conservatory of Music. 
• Charles 'Skip' Snead - Horn Professor at The University of Alabama School of Music. 

They appeared at in many horn workshops especially in the US. Those included Southeast Horn Workshop in 2000 and Southwest Horn Workshop in 2004. I found their early profile from the latter workshop.

Here is the performance from their Southeast Workshop in 2000.

This group recorded one CD (as seen from video above). After that, I thought the group was disbanded and have heard nothing of them at all until today when I googled their name! 

To my surprise, the group name came up with recent performance video on YouTube and with new members!

Charles Snead is the only original member. The three new members are  

• Abel Pereira - Principal horn of National Symphony Orchestra (USA)
• Jeff Nelsen - Horn Professor at Indiana University and former Canadian Brass
• Leslie Norton - Principal Horn of Nashville Symphony Orchestra and Horn Professor at Vanderbilt University

Since all the member are now from the same continent, it does not really 'transatlantic' anymore. However, name is just a name. As long as it is still there, I don't think many people will care why they are called that way. 

The reason I wrote about them is not only I found that they are not disbanded. This group was probably the one of two active horn quartet group apart from American Horn Quartet around 1900s.
Even though members have changed, I am glad to see them back and I hope to hear more of them!

Thought on Carter and Tymoczko Quintet

It was interesting to listen to Elliot Carter's Brass quintet and Dmitri Tymoczko's Rube Goldberg Variations for Brass Quintet and prepared piano yesterday morning during Advanced Brass Ensemble Literature class. After finished listening, we were asked to answer below questions.

1. What is the overall affect of the piece? How does it make you feel? How does the composer achieve that?
2. List three remarkable or notable aspects of the piece. Include measure numbers or rehearsal numbers or letters and explain your answer.
3. Comment on the harmonic, melodic and rhythmic language used. What are some of the challenges presented in the performances of this work created by these languages?
4. Finally, compare and contrast both works. What are their similarities? What are their differences?

I would answer above questions in the following order: 3, 1, 2, 4. To me, it flows better that way.

Here are my thought

3. Comment on the harmonic, melodic and rhythmic language used. What are some of the challenges presented in the performances of this work created by these languages?

Base on my limit knowledge of atonal music and analysis, I will try my best to give the answer.

Carter

This piece is constructed using twelve-tone technique. The prime (if I understand correctly) is  D# B G# D A E Bb G C# E F# C which spread throughout the group from measure 1 to 7. Harmonic and melodic languages are based on the row and its inversion, retrogade and retrograde-inversion. I must admit that I am not sure how the motif construct. However, the different grouping of rhythmic language can be identified from the form of this piece. This is how the form constructed.

Whole ensemble (described as Quodlibet) followed by smaller groups (Trio or Duo). For example, this is how first 118 measures pan out: Quodlibet - Trio - Duo - Quodlibet - Duo - Trio... and so on. These sections are not clearly divided. They are, however, new section always come in before previous sections end. 

Quodlibet, according to dictionary.com, means "a humorous composition consisting of two or more independent and harmonically complementary melodies, usually quotations of well-known tunes, played or sung together, usually to different texts, in a polyphonic arrangement."

Even though Carter did not use any well-known tunes, he definitely captured other elements such as humorous, independent, and polyphonic arrangement. You might argue that this piece is not humorous and rather difficult to listen to, those elements and other individual expressions are provided in each part. It, sometime, gave me a sense that they are having a conversations. Composer provided formal plan of the whole piece on the score so that musicians can understand the whole picture of this piece, thus giving the best performance they can. 

The challenge of this piece is how to put it together. I have not seen individual parts but given that today's technology is so advance, I might perform this piece looking at the whole score from one of the tablets. The recording did very well in staying together even though the time wasn't always steadied.

Tymoczko

Rube Goldberg Variations was composed in 2014 and is based on Rube Goldberg and his cartoon about complicated subject for simple task performance. Do watch the video on Rube Goldberg link above. It is fun!

This piece consists of four movements - I. To a leaf, II. Stravinsky Fountain, III. Homage, and IV. Father Makes the World. What special about this piece is the additional of 'prepared' piano to the brass quintet. Because piano is being prepared, it does give machine effect that composer might aim for. 

Unlike Carter, this piece is more tonal. The rhythmic language is more simple and straight forward. There aren't any clear melodies but motivic ideas can be heard clearly in each movement.

There are two challenges for this piece. To find a place that have a piano and willing to have it prepared and to have everything perfectly in sync to get a better effect which is not the case for Carter where characteristic and expression are more important.

1. What is the overall affect of the piece? How does it make you feel? How does the composer achieve that?

In order to answer above questions, there are many things need to be considered - what technique does composer used (answers given above), how much do performers put their interpretation in, and recording itself (let alone media players).     

Carter

As mentioned above, this piece gave me a sense of having conversations and expressing a lot of different emotions. I don't know if the American Brass Quintet got to work with the composer for the recording but, for me, they did very well in portray that to listeners. I don't think I could comment on how much each member put their interpretation on but the expression really came through. I also really like the balance and different colors and textures that came out of the recording. However they did it, it should be followed. 

My only comment is that sometime the beat does not always stay the same in each section. Being able to tap along or to find the actual beat would help listener (who are not familiar with this kind of music) to find thing that they can attach to. It would be fun to put this on Sibelius or Finale just to hear how it synchronize. 

Tymoczko

The idea of 'machine' can be heard clearly through repetitive rhythm/motifs in each movement. I really enjoy listening to this piece and really wish that I could read program note so that I can enjoy it even more! As the Atlantic Brass Quintet worked with the composer for this recording and the premiered, the interpretation or ideas of this piece should be agreed. The only thing that kind of annoy me a little bit (just me!) is that the recording sounds very studio recorded. It sounds really dry and the trumpets are too powering at times (especially when I listen to this piece with my earphone). I found the Carter recording above a lot easier to listen to due to this reason. It does not hinder the fact that this piece was very well performed by the group!

2. List three remarkable or notable aspects of the piece. Include measure numbers or rehearsal numbers or letters and explain your answer.

Carter

1. How the composer interprets 'Quolidbet' and doesn't make it sounds like random. 

2. Each parts have their own individual expressions to give contrasts to the piece. This also happen through out the piece.

3. Horn cadenza!! It is not easy and was remarkable to hear it perform flawlessly!

Tymoczko

I can only found two that I think are remarkable.

1. Prepared piano and its effect. Again, this happen throughout the piece. I didn't know that prepared piano can give so much sounds.

2. How the piece portray Goldberg machine using different kind of sound but it is still very easy to listen and to understand.

4. Finally, compare and contrast both works. What are their similarities? What are their differences?

Similarities

I think both pieces are so unique that it really have any similarities. If I have to pick one, it will be how both composers try to use as much tone colors from each instrument as possible to express what they want.

Differences

- Instrumentation.

- Composition technique and style - a tonal vs more tonal. 

- One movement vs multi-movement

- Clear stories vs Expressionism

Please follow this LINK for original post from Prof. Manning blog post and recording of both pieces.

Would love to hear your thought!

Thank you!

Horn Ensemble Series: American Horn Quartet

The American Horn Quartet was probably the first dedicated horn ensemble that brought world attention. They were founded in 1982 by four Americans who perform in European orchestras. Through winning several international prizes, the quartet embarked on to an international music scene.

Their first CD came out in 1991, 2 years after winning Philip Jones International Brass Chamber Music Competition in Barcs, Hungary in 1989). It is called 'American Horn Quartet'. The recording features 3 compositions by Kerry Turner one of which is 'Fanfare for Barcs' where he wrote this piece to commemorate their success at the competition above. I have been looking for American Horn Quartet performance of this piece but I couldn't find one but the performance below is also amazing.

Here is Fanfare for Barcs performed by Budapest Festival Horn Quartet.

 
They recorded 9 albums for horn quartet music in total. That does not only provide amazing recordings for us to listen and to reference to but also new repertoires for horn quartet setting in which Kerry Turner has also became well-known as a leading composer for horn.

Sadly, the quartet ends their journey in 2015. However, their impact to the horn world is immense. It is in a way similar to how London Horn Sound did with big horn ensemble but nearly 20 years earlier.

More of horn quartets will be introduced and in future posts.

Members:
David Johnson (left in 2009)
Charles Putnam

Kerry Turner

Geoffrey Winter
Kristina Mascher (joined in 2009)

PS. I read from some that there was another founding member before Charles Putnam joined but I couldn't find any information now. Anybody knows? Thanks!

Here are selections of their performance. Enjoy!

Live performance part 1

Live Performance part 2

Live Recording from Thailand Brass and Percussion Conference 2014 (from 21:00 onward)

Reference:
http://www.hornquartet.com/home.html
http://www.naxos.com/person/American_Horn_Quartet/33115.htm
https://www.discogs.com/artist/1559066-American-Horn-Quartet
http://www.allmusic.com/artist/american-horn-quartet-mn0002347193

Reflection on Tomasi and Arnolds

This reflection comes a little late but I want to reflect on Malcolm Arnold's Symphony for Brass and Henri Tomasi's Fanfares Liturgiques after hearing then from last Monday class. 

That was the first time I heard the Arnold's. It was such a great music to listen to. This piece, I thought, was well written brass ensemble and especially for Philip Jones Brass Ensemble (whether or not it was for or dedicated to them, I am not sure) or those of their calibre at the time. It did definitely push brass playing to the next level. I am sure there are many ensemble who can perform this today.

This recording by Philip Jones Brass Ensemble really exemplify British Brass playing tradition. Having spent two years in London, this style is unmistakably British. Flashy, bold, brave, taking risk, and more on the edge and playing beautifully at the same time. It is not a perfect recording but that does not really matter since it can be compensated by music that they made. I am also guessing that they did this recording in fewer takes than we might expect.

Arnold's Symphony for Brass by PJBE

My first experience with Tomasi's Fanfares Liturgiques was back in the summer of 2006 when I attended Canton International Summer Music Academy in China which ran for three years from 2005 - 2007. It was a great academy with a lot of world renowned musicians as well as great conductor such as Charles Dutoit or Stéphane Denève (I got to work with him few more times and he is a great conductor!) to name a few. 

In 2006, we did the Tomasi as part of Brass Ensemble concert at the camp. We got to play alongside our faculty members where Jorge van Rijen was on 1st trombone, Laurence Davies of Royal Philharmonic Orchestra in London was on 1st horn, and conducted by James Thompson. It was such a great experience. Sadly, I couldn't find the recording any where. After that experience, I totally forgot about this piece until my next encounter with this piece last year where Princess Galyani Vadhana Institute of Music Youth Orchestra performed this piece as part of their concert season. 

Again, I think this is a very well written for brass ensemble. I also like how Tomasi explore different timbres that gave this piece something more unique that perfectly match its story. 

Tomasi performed by members of Philadelphia, NY Philharmonic, Baltimore Symphony, and National Symphony brass and percussion players.

Personally, I do enjoy being in a mixed ensemble (such as woodwind quintet, or mix ensemble with piano) rather than brass ensemble as the latter does not give variety of tone colors comparing to the former. However, listening to brass ensemble music in this class slowly change my mind. I do realize that I have limited knowledge of brass ensemble repertoire and I am glad to learn more throughout this semester.

Lastly, more information about these two pieces can be found at Prof. Manning's blog here.

Will be back with more horn ensemble related for the next one!

Thoughtful Tuesday: Benefit from Ensemble Playing

Why is ensemble playing important?

While writing this, I am listening to Circulo Trio rehearsing for their performance last Saturday at Steinway Gallery in Chicago. Even though they are not brass related ensemble, the elements of ensemble playing are still the same. They are interacting, exchanging idea, and having fun together. They are bonded through music making.

I would like to offer some of my thought and from other sources that I could find too.
It is worth mentioning that by ensemble I will be discussing about a smaller ensemble without conductor (or you could call it Chamber Music).

It is fun to be working with few more fellow musicians or friends after all self-practice. Playing with other people also helps developing other skills that self-practice can't such as

• Develop your musicianship such as listening, rhythmic skill as a group
• Learn your role - to be a good leader, a good support, and to be a good partner. 
• Learn to collaborate and sustain group's relationship. - Being in a Chamber group is like being in a family. Discussion/Opinion/Argument or however you call it during rehearsals and works need to be respected, and should be left once it is done. Once it is being taken personally, it deems to be doomed. 
• The most important of all is to communicate. Those could include listening, looking, body language or any mean that would group message deliver to audience. Basically, communication at any level.

These are things that I think why being in a small ensemble is important.

Here are some interesting articles about this topic.

• Making of a chamber musician - https://www.peabody.jhu.edu/past_issues/spring07/the_making_of_a_chamber_musician.html
• Benefits of being in an ensemble - http://theendinmind.net/benefits-of-being-in-an-ensemble/
• Why ensemble playing is so beneficial - http://chordmelody.org/pdf/ensemble.pdf
• The Practice of Practice by Jonathan Harnum --> highly recommended!

Please share your thought on this topic!

Horn Ensemble Series: a Story of Horn Pure

Horn Pure was an up and coming horn ensemble from College of Music, Mahidol University in Thailand. Members were students from Dr. Darren Robbins' horn studio.

You might be wondering why I use past tense for this group. Yes, they are disbanded and have gone their own way. 'Isn't this normal?' you may ask. Well, yes, it is part of our live for things to come and go. But for this case, it is quite sad and might as well be a good lesson for many of us to think.

As mentioned above, Horn Pure was a highly dedicated in performing horn ensemble music from Thailand. Since its inception in 2009, they went on to win competition both nationally and internationally. The most notable prize was First Prize Winner of International Horn Symposium (IHS) Ensemble Competition 2010 in Brisbane, Australia. They were subsequently invited to appear as a feature ensemble the IHS 2012 in University of North Texas and IHS 2014 in London to a critical acclaim.

Here are some articles about this group.
- John Ericson's Horn Matter - http://hornmatters.com/2011/04/more-on-horn-pure/
- 2 parts interview by James Boldin's horn world: Part 1, Part 2, blog dedicated to Horn Pure.

What made them won the competition and became more known was not only how well they played, they performed some of selected pieces by memory!! Very impressive back at that time.

Here are video recordings of their performances from IHS 2012 and 2014.

IHS 2012 at University of North Texas

IHS 2014 in London to a full house audience

Since they seemed to be doing so well, you might ask 'what went wrong?'

I would say nothing went wrong but it is how things go in today's music world especially in the country where classical music is not part of their cultural roots. So, the support was very limited. Even though they were invited to appear in both IHS but they still do need to find enough money to cover their flight and accommodation. Their school was able to give part of it so they went busking and looking for sponsors at different places. If you look on their facebook page, you will see a lot of their pictures performing in Malls or street sides. Yes, they were dedicated and wanted to do well for themselves and for the country too.

But after doing the same thing for few years, they were burned out. Besides, some of the members were graduating and need to decide on their future. Hence, the end came to the group.

Now, what can we learn from this?

• Firstly, surviving as professional musician is difficult and especially in a place where there are limited supports. At the end, we all need steady in come in order to survive. One could argue that we could try doing it for the art/dream sake but how long can you keep it on for? Some balance need to be made.
• My next question is, would they be able to survive if they were in other countries with more support such as European countries or here in the US? Honestly, I don't know. They may or may not. But, it will surely be easier and it would be harder to burn out.
• In the world now, funding for arts seem to be the first thing that get cut. If that is the case, being in any place in the world would be almost the same. What should we do? 
• Being creative in presenting or to find something new, and to stay active are, of course, one of ways to be able to survive. But if we look closely to those ensembles in my previous posts, all of them have their own full-time job where they earn steadily. True, there are string quartets, or soloist who could earn their living through performing only but would this happen to everyone? And can you really do that with horn ensembles? I am not sure.

These are questions that need to be asked and to think in order to help supporting these younger generations for their creativity so they won't get dishearten and slowly disappeared.

Now, there is a new group emerging from the same studio called Horn Corner. How would we help them to be able to sustain what they do?

Lastly, I would like to end with Ai Weiwei, Chinese contemporary artist, quote which I happened to see when I visit his exhibition at Meijer Garden in Grand Rapids, MI.

"Creative is part of human nature. It can only be untaught." - Ai Weiwei

So true, isn't it?  

Horn Ensemble Series: What happen after 'Give it one'?

After London Horn Sound "Give it one", there were many recordings of horn ensembles that came out. It did not, of course, follow the way the London Horn Sound does.

Here are some interesting ones.

Vienna Horns released two CDs. (All for 12 horns)
- Their second CD is 'A Journey with Strauss, Schubert, Brahms' with a collaboration with ART OF BRASS Vienna.

3rd movement from Bruckner's Symphony no. 4

- Their third CD is a collection of movie soundtracks called 'Director's Cut'.

"Independence Day" from Director's Cut CD

The Hornists of the Berlin Philharmonic released Opera album which consists of arrangements of famous operatic music for 8 horns. More information about this group can be found from my earlier post here.

The Mallet-Horn Jazz Band is a Jazz inspired group based in France. The group consists of 8 horns, a mallet, and a rhythm section. I am not sure if this is true but I have a feeling that this group was inspired by 'Give it one' recording. There are lots of sample tracks on their website as well as on YouTube.

China Horn Ensemble is a group comprise of leading Chinese horn players founded by Yi Man who is the horn professor at Central Conservatory in Beijing. Its member include internally known horn musician such as Xioaming Han of German Radio Philharmonic Orchestra, Xiaoming Han of Singapore Symphony, and Lin Jiang of the Hong Kong Philharmonic Orchestra to name a few. Since there are a lot of emerging horn talent from China, it is no surprise for them to form such a group.

Here is there short introduction video

Do you know any horn ensembles from other countries or regions or any different styles? Do give your comment below!

Thanks for reading!

Horn Ensemble Series: a fight back from the London Horn Sound!

It has been almost a month since I last post of Horn Ensemble. Anyway, let's get going!

As the title suggested and after the release of Vienna Horns, London Horn sound by Geoffrey Simon and Hugh Seenan were planning to do another recording. Since Vienna Horns did so well, they need to find another plan to make it more exciting. And the idea that came is using London Horn Ensemble in a big band setup!

"Give it one."- Big Band Jazz with London Horn Sound and guest pianist Gwilym Simcock is the result!

This recording comprise of Jazz arrangements and new compositions in various jazz/blues style for horn ensemble.

I don't think writing would be necessary. Just listen to these amazing recordings!

ENJOY!

"Give it One" 

Tim Jacksons - "Three Point Turns" featuring Tim Jacksons and Frank Lloyd

Richard Bissill - "Los Jaraneros" featuring Richard Bissill and Pip Eastop

What do you think? Was this one of the greatest response from them? Whatever the case, it gave horn ensemble world its new light!

Development of British Brass Band Scene

Advanced Brass Ensemble Literature today was presented by a Yamaha Tenor Horn Artist and a former solo Tenor Horn of the infamous Black Dyke Band in the United Kingdom, Arfon Owen.

Arfon Owen is on his two weeks tour in the United States where his first stop is at the University of Iowa where he will present master class and a recital!

Here is the news of his tour. http://www.4barsrest.com/news/detail.asp?id=28338

In today's class, Owen told us about the Development of British Brass Band scene.

Britain is considered a birthplace of modern brass band which was formed as a part of industrial revolution around 1850s. Because of this revolution, new mines and factories were open in many towns. The brass band was formed with few different aims.

• Recreation activity for workers
• To help unify workers and to create community
• To prevent workers from drinking beer or alcohol after works
• To prevent them from spending time meeting and discussing with each other. Hence, no union for workers found.

After the revolution, instrument making became cheaper and easier to make. Also, the development of valve also help with rapid growth of instrument making, especially for brass.

The first brass band competition was held in either 1850 or 1851 and it was held in a boxing ring. There were 15,000 attendees for the competition. The big number came from supporter who came to support their band. Hence, they have definitely and successfully created a sense of community.

During the earlier year, main repertoires were arrangement of oratorio or light operatic aria. The first test piece for brass band competition was written in 1913 called ‘Lobour and Love’ by Percy Fletcher. This piece was written for a competition in 1913 at Crystal Palace in London. Percy Fletcher was a conductor and a composer for light and salon music. Labour and Love was not the intended title from the composer but given by editor.

This music still has a hint of light opera music which is more accessible to the brass band member. It also has a hidden propaganda. Try reading the first page from the score below and see if you agree.

And here is a performance of this piece.

Once the competition became more popular. It also became a place where business could also be promoted through the brass band since name of each brass band was based on mine or factory's name. Hence, the company wanted to attract more people by finding best players (which later became star players) to join their band. The first star player was cornet player Alexander Owen. Later, these star player, even though employed as a mine worker, they don't need to work in a mine but only performing music.

As the band got better, test piece became more difficult. Modern composers were asked to write test piece. The first composer who did so was Gustav Holst. 

Holst was commissioned by BBC to write a piece for the competition. He wrote A Moorside Suite in 1927 and was used in the competition in a following year.

Here is the piece conducted by Imogen Holst - daugther of Gustav Holst!

The next person who contributed greatly to the development of brass band and its repertoire is Elgar Howarth. As a trumpet player, he grew up playing in a brass band. He was also a member of Philip Jones Brass ensemble. As a conductor, he was a conductor for Grimethorpe Colliery Band. As a

composer, he was a prominent person in moving music from traditional to a more challenging music. He wrote a piece called 'Firework' which is a version of Britten's young person's guide to the orchestra for brass band. However, it wasn't well received during the first performance as narrator wasn't allowed to be part of the competition so each section was sounded detach from each other and audience could not understand the meaning. Beside, the audience was still used to the old traditional brass band music as well.

This piece was used in 1972 national finals competition which held annually at the Royal Albert Hall (after Crystal Palace was destroyed by fire). Here is 'Firework'.

Later, Howarth commissioned Harrison Birtwistle to compose a test piece for Brass Band. Birthwistle wrote 'Grimethorpe Aria' which was written for Grimethorpe Brass Band. This piece unusually gave it premiere in a concert not in a competition. The style of this piece was so new to the audience that audience walked out from the hall during its first performance. However, this music proved to be the next step of pushing brass band music from light/easy listening music to a modern current trend of music.

There were some instability to the brass band development during Magaret Thacher era. The ex-prime minister wanted to close down coal mine industry which was a big community for the brass band. Some of the mine were closed down. You may read this article for some information. This story also portrayed in a movie 'Brassed Off' starring Ewan McGregor.

After music of Howarth and Birtwistle, test music for brass band become much more technical challenging. The Extreme Make-Over base on Tchaikovsky music composed by Johan de Meij for 2005 European Championship is one of the most difficult piece for brass band that ever written (according to Arfon Owen). 

In a short period of time, composer find it difficult to write a piece that is difficult enough to challenge to the point where musical content is being sacrificed to the difficulties. (music is for music sake is no longer important for brass band test piece which a kind of a downfall for the brass band movement). It will be interesting to see how this movement go in the near future. Lastly, even though brass band became popular, it is still being considered music for working class until today.

P.S. This website by Stephen Rhodes provides some interesting information for British Brass Band.

Final Thought.

It was a very interesting lecture. I was thinking to myself that the original idea for setting up brass band would be one of the ideal way to promote music to other part of Thailand. It would also help creating a stronger bond between community. It does not have to be brass band. It could be any kind of musical ensemble but it should be similar. Government could set up a competition where all participant can participate as well as promoting their business. It would be a fun way to help spreading music outside of Bangkok.

Also, it felt great to hear British accent again! (Even though there were some Welsh in there!)

Anyway, will do more work on this and see what project could be moving forward!