Schoenberg's string quartets are some of my favorite 'crunchy listening', so discovering his works for brass was one of my favorite parts of this class. Twentieth-century 'classical' brass writing, with its various influences, and coupled with the developments made in both brass manufacturing and performance, make it some of the most interesting listening out there. Today's post will reflect on various major brass compositions from 20th-century avant-garde composers.
One of the pieces that we listened to ages ago in ABEL that I fell in love with was the Lutoslawski Mini Overture.
Another that I've performed before, which isn't specifically for brass ensemble, but has massive brass parts, is Hindemith's Symphony in B flat for Wind Ensemble.
While at the Atlantic Brass Quintet Seminar, I performed Plog's Four Sketches for Brass Quintet. The performance experience is just as energized as the listening experience is - the chromaticism and tight tempo demand intense focus and precise rhythm, as well as intentional musicality.
This post reflects on Too Many Zooz, Moon Hooch, Youngblood Brass Band, and other various nonsense popular brass ensembles. I've loved Youngblood Brass Band since my freshman year of high school, when a trumpet player in the band started blasting it in his car when we were driving around. Nat Mcintosh's playing, and the bombastic nature of the band (with its New Orleans influences) kept me dancing around the basement like a good high school kid should. I tried transcribing and imitating Nat's playing, got a couple right notes down for the trumpet and trombone parts in a few songs, and was eventually invited to play sousaphone on Brooklyn with my high school's jazz band. I remember being terrified, but I did alright for a high-energy high school kid looking at a wall of unfamiliar ink and chord changes on the solo section. My hype song in Junior year was YBB's Under Your Influence. I still haven't figured out the lyrics entirely. Since then, I've joine...
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