Nov. 17, 2023Print | PDF
Burn3 by Nathan Daughtrey (b. 1975)
Glacial Vistas by Howard J. Buss (b. 1951)
Rachael Harris, flute
Louise Pilatan, clarinet
Madison Keats, percussion
Sonata for Horn, Trumpet, and Trombone by Francis Poulenc (1899-1963)
I. Allegro Moderato
Trio for Brass by Vaclav Nelhybel (1919-1996)
I. Leggiero marcato
II. Andante moderato
III-A. Molto vivo, con bravura
III-G. Molto vivo, con bravura
REK Brass Trio:
Keri Bailey, trumpet
Evan Turner, French horn
Ryan Minten, trombone
Piano Quartet No. 3, Op. 60 “Werther” by Johannes Brahms (1833-1897)
I. Allegro non troppo
Kaitlynn Cook, violin
Hazel Millar, viola
Katie Schlaikjer cello
Sam Domzella, piano
Oboe Sonata, Op. 166 by Camille Saint-Saëns (1835-1921)
II. Ad Libitum – Allegretto – Ad Libitum
III. Molto Allegro
Davis Po, oboe
Lucy Lu, piano
Canzona Bergamasca by Samuel Scheidt (1587- 1654), arr. David R. Thomas (b.1966)
Sarabande & Minuet by J.S. Bach (1685-1750), transcribed by John Corley (1919-2000)
That's A Plenty by Lew Pollack (1895-1946), arr. Scott Ramsey (b.1994)
NCOM Brass Quartet:
Cassandra Paiva and Madeline Lawrence, trumpets
Nicholas Rush, French horn
Owen Clothier, tuba
Gloria in C Major by Dietrich Buxtehude (1637-1797), arranged by Michel Rondeau
Pastorale for Trumpet, Trombone, and Piano by Eric Ewazen (b. 1954)
Cousins by Herbert L. Clarke (1867-1945)
JRC Brass Trio:
Ryan Minten, trombone
CJ Buelow, trumpet
Jack Wyndham, piano
Burn3 was premiered as a duet for alto saxophone and marimba and was commissioned by Robert Faub for the 2016 North American Saxophone Alliance Biennial Conference at Texas Tech University. The alto saxophone part has since been adapted for Bb clarinet, and the flute part has been added to provide an additional layer of interest and colour. The piece is meant to imitate the myriad of ways a fire can burn, and it is organized into seven highly evocative sections. The first section, Spark, opens with rapidly ascending melodic lines that imitate sparks being thrown from a fire. The piece then continues through its remaining six sections: Ignite, Dance, Scorch, Smolder, Incinerate, and Extinguish.
Glacial Vistas is a trio in three movements that seeks to capture the grandeur and beauty of Montana’s Glacial National Park, which the composer visited in the summer of 2011. The piece is dedicated to flautist John Bailey and was premiered in 2013 at the University of Nebraska’s Kimball Recital Hall.
REK Brass Trio
Written in 1922, Francis Poulenc’s Sonata for Horn, Trumpet and Trombone is a three-movement work dedicated to Poulenc’s dear friend, Mademoiselle Raymonde Linossier. This piece moves us to many different emotions from a playful first movement, to a sorrowful, yearning second movement, finally bringing us to a carefree, quirky finale.
Vaclav Nelhybel’s Trio for Brass features 3 main movements, embracing and enhancing the natural timbre of brass using mutes, syncopation, and extravagant phrasing. The third movement features 7 short sub-movements, focusing on a recurring dance-like melody throughout the different variations.
Upon sending the score of his Piano Quartet No. 3 to his publisher, Brahms left a note: “On the cover you must have a picture, namely a head with a pistol to it,” a reference to Goethe’s 1774 The Sorrows of Young Werther, in which the titular character commits suicide due to his unreiquited love for a married woman whose husband he admires. While it was the last of his piano quartets to be published, Brahms’ Piano Quartet No. 3 simultaneously predates his other two piano quartets by the completion of its first version in 1856. The then-23-year-old composer found himself in Werther’s shoes, conflicted by sorrow for his mentally ill friend, Robert Schumann, and his restrained love for Clara Schumann, his friend’s wife. The first movement is often said to begin with a descending motive often interpreted as sighing “Clara” and later develops into a transposition (E♭–D–C–B–C) of Robert Schumann’s “Clara theme” (C-B-A-G♯– A). The “Werther” Quartet premiered in Vienna on November 18, 1875, by Brahms himself on piano alongside members of the Hellmesberger Quartet.
In the final year of his life, Camille Saint-Saëns set about writing works for instruments he felt were lacking in solo repertoire. Before his passing, he produced sonatas for oboe, clarinet, and bassoon. Written in a neoclassical style, the oboe sonata rejects the common sonata structure of fast-slow-fast movements, instead increasing the tempo with each successive movement. In these movements, Saint-Saëns expertly weaves melodic lines for the oboe that accentuate its unique, from the gentle sweetness and soaring heights of the first movement, to the serenity and elegance of the second movement, to the rip-roaring yet playful runs and towering drama of the last movement. Despite the composer not living to hear a single performance, Saint-Saëns’ oboe sonata endures as a standard of oboe literature.