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American Brass Quintet Performs the World Premiere of Sebastian Currier's "Cadence, Fugue, Fade" (2013), Plus Other Works on Daniel Saidenberg Faculty Recital on Monday, October 14 at 8 PM in Juilliard's Paul Hall

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ABQ Members, Trumpeters Kevin Cobb and Raymond Mase, Hornist David Wakefield, Trombonist Michael Powell, and Bass Trombonist John D. Rojak, Will be Joined by Juilliard Brass Players from the ABQ Seminar

Start Date

Tuesday, September 17, 2013

Press Release Images

American Brass Quintet (Photo by Peter Schaaf)
American Brass Quintet (Photo by Peter Schaaf)

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The American Brass Quintet (ABQ), entering its 53rd season, performs the world premiere of alumnus Sebastian Currier’s Cadence, Fugue, Fade (2013) on its Daniel Saidenberg Faculty Recital on Monday, October 14 at 8 PM in Paul Hall. The program also features David Snow’s Dance Movements (1981), William Lovelock’s Miniature Suite (1967), Josquin des Prés’ Chansons, and Four Madrigals by Luca Marenzio, edited by Raymond Mase. The Quintet will be joined by Juilliard brass players from the ABQ Seminar in Two Canzoni by Giovanni Gabrieli, also edited by Raymond Mase. Members of the American Brass Quintet are: trumpeters Kevin Cobb and Raymond Mase, hornist David Wakefield, trombonist Michael Powell, and bass trombonist John D. Rojak.  Juilliard musicians, Jonathan Heim (trumpet), Kenneth Rodriguez (trumpet), Jordan James (horn), Sean Tripp (trombone), and Jack Noble (bass trombone), are assisting artists in Gabrieli's Two Canzoni.

FREE tickets will be available September 30 at the Janet and Leonard Kramer Box Office at Juilliard. Box Office hours are Monday through Friday from 11 AM to 6 PM. For further information, call (212) 769-7406 or go to www.juilliard.edu/chamber.

Sebastian Currier describes how he began composing his new work, Cadence, Fugue Fade (2013): “When I started to think about writing a brass quintet, the first sound that came to mind was that of brass music of the late Renaissance and early Baroque, with its rich, full-bodied sound, weaving between polyphonic and chordal textures.  One of the most important instrumental forms of the time was the canzona. The canzona is generally seen as an important forerunner of the sonata as well as a significant antecedent to the fugue. It's a sectional form that changes character, mood, tempo, and texture. In Cadence, Fugue, Fade, I wished to conjure, albeit in an indirect way, some of the aspects both of the sound and formal delineations of this wonderful chapter in music. Like a canzona, the piece is one continuous flow of sound, but divided into various sections of contrasting characters. The title refers to the three predominant types of material. The piece opens with a cadence, which is of course normally associated with a sign of closure, either of phrase or section. The Cadence, which begins in a way not unlike a cadential pattern one might encounter in the late Renaissance, quickly subverts this pattern, ending the phrase, not with a feeling of conclusion, but with one of open-endedness. The Fugue is the centerpiece of the work. Repeated-note chords, which pass material between the instruments in a hocket-like fashion, form Fade, which brings the work to a close as it slowly fades away to nothing.”

With works spanning both chamber and orchestral genres, Sebastian Currier’s works have been performed by ensembles including, the Cassatt, Ying, and Kronos string quartets, the New World and San Francisco symphonies, and the New York Philharmonic. Highlights of the upcoming season include this premiere by the American Brass Quintet, a new work to be performed by the Boston Symphony Chamber Players, and the Austrian, German, and Swiss premieres of Ringtone Variations by violinist Anne-Sophie Mutter and bassist Roman Patkoló. Currier has received many prestigious prizes, including the 2007 Grawemeyer Award (for the chamber piece, Static), Berlin Prize, Rome Prize, a Guggenheim Fellowship, a fellowship from the National Endowment for the Arts, and an Academy Award from the American Academy of Arts and Letters, and has held residencies at the MacDowell and Yaddo colonies. He received a D.M.A. from Juilliard, and from 1999-2007, he taught at Columbia University. His music is published by Boosey & Hawkes. 

David Snow’s Dance Movements (1981), written to be choreographed, is in six sections. The work was recorded by the American Brass Quintet on their New American Brass CD on the Summit label. Composer David Snow was born in Providence, Rhode Island and studied music composition at the Eastman School of Music and at Yale University, where his principal teachers were Joseph Schwantner, Warren Benson, Samuel Adler, and Jacob Druckman. He is the recipient of numerous awards and grants, including those from BMI, the ASCAP Foundation, the National Endowment for the Arts, and the Maryland State Arts Council. His compositions have been performed in concert by the Ensemble Intercontemporain, Ruby Shang Dance Company, Harvard Wind Ensemble, and Yale University Band, among others, and recorded on the Albany, Crest, and Clique Track labels. Mr. Snow is a music cataloger and archival processor at the Lila Acheson Wallace Library and Archives at Juilliard.

The American brass Quintet met English composer William Lovelock while on an eight-week tour of Australia in 1968. At the time, he was music critic for the Brisbane Courier Mail, having move to Australia from his native England in 1957 to become Founding Director of the Queensland Conservatorium. In England, he was a well-established teacher, composer, and author of music textbooks and had served as Dean of the Faculty of Music at the University of London. Of the Miniature Suite, Lovelock writes: “The first movement, Prelude, is cheerfully rhythmical. The second is a fairly complex Fugue, serious in feeling. The third movement, Intermezzo, has the instruments muted throughout and is rather elusive in style, acting as a bit of relaxation between the gravity of the Fugue and the rumbustiousness of the Finale.” Miniature Suite can be heard as played by the ABQ on their recent recording, Jewels (Summite Records DCD 484). 

Josquin des Prés is often regarded as the most important composer of the High Renaissance. His Chansons are masterful in counterpoint and variety of spirit. His output of twenty masses, one hundred motets, and seventy-five secular pieces was long forgotten until he was rediscovered by the music historian Burney in the late 18th century. Chansons can be heard on ABQ’s fortieth anniversary CD, American Brass Quintessence (Summit DCD 263). 

The ABQ performs Two Canzoni from Giovanni Gabrieli’s (1557-1612) Sacrae Symphoniae (1597), edited by Raymond Mase. The two canzoni on the program are taken from the sixteen instrumental works tucked away among 45 vocal pieces in Gabrieli’s Sacrae Symphoniae and are considered the finest examples of the 16th-century ensemble music. They can be found on ABQ’s 2005 CD, In Gabrieli’s Day (Summit DCD 429).

The ABQ performs Four Madrigals by Luca Marenzio (1553-1599), edited by Raymond Mase. At the end of the 16th century, the madrigal was considered the most progressive form of musical composition, and the Italians were the leading madrigalists. Luca Marenzio was an admired Italian composer, and his output included more than 500 works. His madrigals were extremely popular throughout Europe and were published in Antwerp, Paris, Nuremberg, and London, in addition to many Italian cities. The four madrigals that the ABQ performs are taken from Marenzio’s early books, published between 1581 and 1584. Marenzio often used pastoral poetry as the text for his works. These works can be found on ABQ’s recording In Gabrieli’s Day (Summit DCD 429).

About the American Brass Quintet

Recently named the 2013 recipient of Chamber Music America’s highest honor, the Richard J. Bogomolny National Service Award for significant and lasting contribution to the field, the American Brass Quintet is internationally recognized as one of the premier chamber music ensembles and an icon in the brass world. The ABQ's fifty-three year history includes performances in Europe, Central and South America, the Middle East, Asia, Australia, and all fifty of the United States; a discography of over fifty-five recordings; and the premieres of over one hundred fifty contemporary brass works.

American Brass Quintet commissions by Robert Beaser, William Bolcom, Elliott Carter, Jacob Druckman, Eric Ewazen, Anthony Plog, David Sampson, Gunther Schuller, Joan Tower, and Melinda Wagner, are considered among the most significant contributions to the modern brass quintet repertoire. Since 2006, the ABQ’s Emerging Composer Commissioning program has brought forth new brass quintets by Gordon Beeferman, Jay Greenberg, Trevor Gureckis, and Shafer Mahoney. In commemoration of the ABQ’s 50th anniversary in 2010, Summit Records released a double CD, State of the Art—the ABQ at 50, of works written for the ABQ in the last decade.

Equally committed to the promotion of brass chamber music through education, the American Brass Quintet has been in residence at The Juilliard School since 1987 and at the Aspen Music Festival since 1970. Since 2001 the ABQ has offered its expertise in chamber music performance and training with a program of mini-residencies as part of its regular touring season. Designed to offer groups and individuals an intense chamber music experience over several days, the program has proven a success in over one hundred locations in nine countries.

Hailed as "the high priests of brass" by Newsweek, "positively breathtaking" by The New York Times, and "of all the brass quintets, the most distinguished" by the American Record Guide, the American Brass Quintet has created an unparalleled legacy among the foremost chamber music ensembles of our time.

 

PROGRAM LISTING:

Monday, October 14, 8 PM, Paul Hall

American Brass Quintet

Presented as Part of Juilliard’s Daniel Saidenberg Faculty Recital Series

Raymond Mase and Kevin Cobb, trumpets

David Wakefield, horn

Michael Powell, trombone

John D. Rojak, bass trombone

 

With Juilliard musicians from the American Brass Seminar:

 

Jonathan Heim, trumpet

Kenneth Rodriguez, trumpet

Jordan James, horn

Sean Tripp, trombone

Jack Noble, bass trombone

 

WILLIAM LOVELOCK Miniature Suite (1967)

JOSQUIN des PRÉS Chansons

SEBASTIAN CURRIER Cadence, Fugue, Fade (2013, world premiere)

LUCA MARENZIO Four Madrigals (edited by Raymond Mase)

DAVID SNOW Dance Movements (1981)

GIOVANNI GABRIELI Two Canzoni from Sacrae Symphoniae (1597) (edited by Raymond Mase)

 

FREE tickets will be available September 30 at the Janet and Leonard Kramer Box Office at Juilliard. Box Office hours are Monday through Friday from 11 AM to 6 PM. For further information, call (212) 769-7406 or go to www.juilliard.edu/chamber.

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