I’ve added some things I’ve written over the years. Below, find: Brass Chamber Music Rojak on the Road, 50 states ABQ in Brazil
For Brass Legacy, the quarterly newsletter of Axiom Brass
Brass Chamber Music and the role of the bass trombone
In a 9,000-word essay thoroughly exploring chamber music from the 17th through 20th centuries in Britannica, a word search for “brass” yielded—wait for this—zero entries. We brass players have not had an easy time gaining acceptance and full respect in the world of serious chamber music. Perhaps this article will help to rectify that.
Chamber Music is recognized as a genre that started around the time of Joseph Haydn, meaning the early Classical era. Although there were consorts consisting of all sorts of wind instruments during the Renaissance, especially for cornetti and sackbuts, the ideal of chamber music was not embraced until the mid-18th century. During the Baroque period, keyboard and string instruments became much more evolved. These virtuoso instruments of the time replaced the cornetto of the Renaissance and early Baroque. Haydn wrote 68 string quartets, Mozart 26, and Beethoven 16. Somehow, they produced 0 brass quintets among them. Chamber music during that time implied intimate performances in rooms inside a home and we understand the issues with brass indoors, even though some of the homes certainly had adequate space for any ensemble.
With the definition of chamber music being ensembles ranging from 2-8 players, one on a part, and generally without conductor, current times have seen an incredible diversity of ensembles. Even in the 19th century, wind quintets started to become a recognized ensemble and to a lesser degree, brass quintets and quartets. That has evolved into groups of similar families, such as ensembles of saxophones, flutes, trumpets, etc., and mixed ensembles such as Levels, a quintet consisting of trombone, sax/clarinet, viola, electric guitar, and percussion, to take one example.
Getting back to some history of brass chamber music, there are few known works for brass in the 19th century, those being 12 quintets by Jean Bellon, a contemporary of Berlioz, 13 by Ludwig Maurer in St. Petersburg, Russia, and some quartets by Anton Simon and Wilhelm Ramsoe, also composers who settled in St. Petersburg. This greater use of brass was a result of the incorporation of the valve into trumpets and horns, which also allowed the creation of instruments such as the tuba family. Valves for brass instruments were invented and developed throughout the early and mid-1800’s in several European countries, slowly becoming utilized in orchestras and bands. [Edward Tarr has written very detailed accounts of this history for the Historical Brass Society Journal and other publications for anyone interested in exploring deeply into this interesting subject.]
This flourish of activity for brass chamber music continued into the early 20th century with the music becoming more developed. The most well-known composer of this Romantic era style is, of course, Victor Ewald with his 4 quintets, the last of which was composed in 1912. Danish trumpeter Thorvald Hansen wrote a quartet for 2 cornets and 2 trombones in 1904, and there is the wonderful sextet (1911) by Oskar Böhme. The survival of these pieces would suggest there are other pieces that have been lost and that a culture of brass ensembles existed in some way. However, the next significant brass ensemble piece that remains popular is Francis Poulenc’s Sonata for horn, trumpet, and trombone (or the Poulenc Trio to all us brass players) composed in 1922, 10 years after Ewald wrote his last quintet. Another 10 years passed before Paul Hindemith wrote Morgenmusik for 2 trumpets and 2 trombones, although it was intended to be performed by multiple players.
Robert King was responsible for jump-starting 20th century brass chamber music in the United States.
Dr. King was a euphonium player and arranger in the Boston area who in the late 1930’s began arranging Early Music for brass ensembles. He used flexible instrumentation with substitute parts to facilitate performance by whatever instrumentalists were available. Most brass players have likely utilized his arrangements at some point in their development.
After World War II was over in 1945 many military musicians were seeking outlets to continue playing. The Big Band era thrived, with countless bands having busy touring schedules throughout the US. Other brass players found small group playing rewarding and more quintets and quartets formed. Perhaps the first major piece from the mid-20th century that not only survived but is one of the most frequently played brass chamber music pieces is Music for Brass Instruments by Ingolf Dahl. Written in 1944, the instrumentation is for 2 trumpets, horn, 2 trombones and ad lib tuba. Other composers, such as Robert Sanders and Robert Starer, wrote quintets in the late 1940’s, using the same instrumentation but without tuba.
Although little is known about any regular ensembles from before 1960 that used 2 trombones, a couple of important quintets formed in the early 1950’s: the Chicago Symphony Brass Quintet (1951) and the New York Brass Quintet (1954.) Both are known for using tuba as the bottom voice, although founding trumpeter Robert Nagle revealed at a celebration of their 50th anniversary that the original low instrument of the NYBQ was Julian Menken, a bass trombonist. He left before the first performance though and was replaced by Harvey Phillips, a legendary virtuoso of the tuba.
The American Brass Quintet officially began its existence on December 11, 1960. The roots go back a little further, when Arnold Fromme left the San Antonio Symphony to move to New York in the late 1950’s. Arnie had a brass ensemble in San Antonio and wanted to continue exploring chamber music when he moved north, so he invited various players to read music with him. Those sessions consisted of 4, 5 or 6 players and included many of his editions of Renaissance music. Eventually, Arnie settled on 5-part music and an ensemble of 2 trumpets, horn, trombone, and bass trombone, believing that combination would work best in the historically informed performance of early music. Fortuitously, Arnie had also taken a copyright on the name “American Brass Quintet” while in Texas and was able to use it for this new ensemble.
While a tuba on the bottom of a quintet will have an easier job of creating a full sound on the bottom providing a timbre some find very appealing, an ensemble with tenor and bass trombones will have an easier job of blending and balancing. When the trumpet players switch to flugelhorns, often the entire ensemble will have nearly identical sounds. However, a skilled bass trombonist and a skilled tubist will find ways to come close to achieving what the other can do.
The American Brass Quintet decided its mission would be to bring brass chamber music to a similar level in concert halls as string quartets. The main problem was with repertoire, so in addition to creating many editions of music from the Renaissance, the group began commissioning composers. Both of these methods continued from the beginning of ABQ through present day and a significant body of repertoire has been created. ABQ seeks out composers ranging from the best known to up and coming, emerging ones, to young ones with potential. Due to the success of many of the pieces and the track record of ABQ performing and recording so many works, composers will occasionally submit pieces without a commission. Some of those have entered the repertoire, although there are many that await a first reading. __________________________________________________________________________________
As the 3rd bass trombonist in the history of ABQ, I have a profound respect for the chair. Gil Cohen was the founding member but played for only 2 years before joining the New York Philharmonic as 2nd trombone. Bob Biddlecome then played for 28 years, not only as bass trombonist, but as the catalyst for much of the success of the mission. Bob, who was also the Executive Director, was crucial in creating the not-for-profit status of the organization, helped secure the residencies at the Aspen Music Festival and at Juilliard, and took on most of the business and administrative tasks, especially for securing grants to pay for commissions, recordings, and tours.
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When a composer writes for ABQ, I try to communicate the desire for a part that can be performed successfully on either bass trombone or tuba. I especially discourage the notion of a “trombone 2” part, even though some of the mid-20th century gems were written that way. Unfortunately, most of the standard orchestration books are not up to date for the new standards of bass trombone playing. The Piston and Hindemith books suggest that a C 2 octaves below middle C is the lowest practical note. Samuel Adler’s book adds another 3rd below that, but bass trombonists these days have nearly a full octave below that C and most can move around easily at least to a low F (4 ledger lines below the bass clef) with a good sound. Many composers are not familiar with the bass trombone from their schooling and experience, so it has been advantageous to show what bass trombones and tubas can do. Over my 3 decades with ABQ, many of the lowest parts in the repertoire have been written through our collaborating with composers, a vital aspect of the process.
Several times, I’ve been asked by composers to make suggestions as to how they can revise a “tuba” part so it will be playable on bass trombone. With one exception so far, revisions for range, fast chromatic passages, and any other considerations have been unnecessary. Tuba and bass trombone have similar ranges and technical capacity. Bass trombonists spend years in the practice room using many tuba method books as well as trombone methods. Similarly, tuba players use trombone methods, and nearly all brass players utilize trumpet and horn books, such as Kopprasch and Clarke studies.
The exception mentioned above is a new piece from Francisco Coll. The biggest obstacle for me is a very low note of long duration with a crescendo to fortissimo. I think a tuba can do it, but I can’t! Another movement ends on a G which is lower than the lowest note of a piano but is playable because of the approach. That note is a “false” note and with practice, it is available on bass trombone as a double pedal tone.
Some composers know all the brass instruments extremely well and sometimes will challenge us. John Zorn’s Blue Stratagem stretched us all to the limits of technique. The bass trombone part has a range of just over 4 octaves, although the last note of the piece is a suggested “lowest tone possible.” For me to play the full length of the note, it is best to play a double pedal A (the lowest note on a piano) which is over 4 octaves from the high Bb earlier in the work.
Over the years, I have given facetious answers when asked why ABQ has a bass trombone rather than a tuba. “It fits in the overhead,” “I don’t play tuba well enough,” “We’d have to rent a truck to transport a tuba,” etc. However, I have always wanted to have a demonstration class where a tubist and bass trombonist would alternate in a quintet playing the same pieces to highlight the similarities more than the differences in how the bottom voice can be navigated. If the music takes precedence over the choice of instrumentation, brass has a better chance of being taken seriously in the realm of serious chamber music. Maybe we’ll get a mention in the next revision of Britannica.
Travel articles for ABQ
ROJAK on the ROAD—USA completion edition
I have now joined the club of ABQ members who have performed in all 50 states. It took 29 seasons to do it and the last 4 states were slow to add, but on November 8 we played at Bates College in Lewiston, Maine and my ABQ map of the USA was complete. The last 4 states were surprising to me, being Maine, Delaware, Washington and Arizona. Over the past 3 years most were rectified, playing at the Musical Instrument Museum in Phoenix, the concert series in Lewes, Delaware, then a tour through Washington that included Tacoma and Port Townsend. But Maine was elusive until I mentioned it to our old student Alan Carr. Alan came through the ABQ seminar at Juilliard and had landed a job at Bates. Fortunately for us, part of his job was curating the concert series and when I mentioned my deficiency, he went to work on securing my destiny.
Ironically, by the time our concert happened, Alan had moved on to another job in Virginia but left us in good hands. Our stay in Maine was too brief but still wonderful. The concert hall was very brass friendly with a beautiful resonance, the guest house where we stayed was like a New England inn, and the scenery could have been a postcard.
Traveling as much as we do can provide insights and perspectives one can’t gain staying home. I’ve had terrific experiences in all 50 states and found there are interesting people and places everywhere. I learned the history of the Dalton Gang in Coffeyville, Kansas, climbed Flat Top Mountain in Anchorage, visited museums in Omaha and Montgomery, walked on volcanic ash in Hawaii, met one of my best friends walking along the Mississippi River in Minneapolis, and the list goes on and on. 50 states, 15 countries, 5 continents—only Africa and Antarctica to go! See you on the road!
ABQ Returns to Brazil!
When each of the current members of ABQ joined the group, we heard at some point about a legendary extended tour that occurred in 1976. That tour started in Iran, went on to Central and South America for 6 weeks, stopped in New York for a day to repack suitcases, then continued to the 9-week residency at the Aspen Music Festival. Exhausting and exhilarating, it sounded like an incredible adventure that yielded not only memorable travel experiences, but also the wonderful Fantasia and Rondo by Osvaldo Lacerda. Mr. Lacerda met the quintet in Sao Paulo and shortly after, sent that music to ABQ in New York. We’ve played it dozens of times and it served as an encore for many concerts.
Not too unlike our relationship with Australia, which took 43 years for a return visit, another tour to Brazil finally materialized in the fall of 2016, a mere 40 years since we last needed to learn a few words of Portuguese. While speaking with the good folks at Juilliard Global about our chances of visiting their Tianjin affiliate in coordination with some other concerts in Asia, it was mentioned that there was a request to have us spend a week in Sao Paulo under the auspices of Santa Marcelina, an organization that services over 13,000 underprivileged children for music lessons and classes.
We decided that September would be best for us, as I coincidentally was asked to be a guest artist at the Brazilian Trombone Festival in Manaus, Brazil, during the 3rd week of that month. With a 10-hour layover in Sao Paulo on my route to Manaus, I was met by old friends and had a chance to explore a bit with locals. Joao Paulo Moreira, a bass trombonist, of course, and his girlfriend Bruna showed me around some popular streets and a couple of good places to eat. We visited MASP, an amazing art museum that also is home to the auditorium where ABQ would be playing our major recital. The Brazilian generosity and warmth that we would come to know well was immediately apparent that day.
After a wonderful week in Manaus, I was back in Sao Paulo for a day before the rest of the guys arrived. Once again, Joao Paulo and Bruna introduced me to a restaurant that would serve us very well during our stay, Viena. The food in Brazil is delicious and seemingly limitless! When everyone else landed the next day, we took advantage of Viena’s bounteous buffet and our band of mostly Midwesterners ate their birthright share of steaks.
With good nourishment and a nice rest in our hotel, we were ready to start working. Our van drove across the city to EMESP, a conservatory that also houses the offices of Santa Marcelina. First, we met with Mauricio and Renato. They explained the program, whom we would be teaching, where we would perform, and other details of what students are reached by these programs. Santa Marcelina is a most ambitious and inspiring organization. By reaching the poverty-stricken neighborhoods of Sao Paulo, they are creating a similar situation to Venezuela’s now famous El Sistema. A number of the students that participate in elementary through high school years end up in the conservatory of EMESP.
We gave master classes each day as a quintet as well as breaking into separate instrument groups. Not only were there students from EMESP and their satellite schools, we found several students had made journeys of several hours to come experience our classes and performance. One of the days was spent at a school in a neighborhood a good distance from the center of the city. We gave classes in the morning and afternoon, and lunch was spent sharing sandwiches with the students. At first hanging back, the students eventually became more and more comfortable with us and lunch morphed into a long, joyous photo shoot.
We heard some very good players. Mike and I were quite surprised to learn that a very talented trombone player was a mere 15 years old. He told us he practices 5 hours a day! I hope we will hear him again in a few years, maybe when he auditions for Juilliard. The afternoon session was brief, as the students were very excited to hear us for a little while, then resume the photo shoot. Facebook must have been overflowing with ABQ portraits in Sao Paulo for a few days.
Not too far from Sao Paulo is the factory of Marco Bonna, a maker of excellent instrument cases. We had a morning free for a field trip and were able to have our driver take us in the van. We saw some different terrain as we left the outskirts of the city and arrived after an hour and a half. We toured the factory, visited with Marco himself, and made several handsome purchases. Eric, Kevin, and Louis are the proud owners of several new beautiful cases that have an extra story to them. That story came on the trip back to Sao Paulo for our afternoon master class. After we left Bonna’s, we soon encountered very heavy traffic. Looking for shortcuts and using the Waze app, our driver ventured off the highway and onto some back streets. Before too long, we were on a dirt road with tall grasses on either side. It had a remote look to it, but Waze was assuring us this was the best route. The road got rougher and rougher and our necks were getting snapped all over the place. The coup de grace (not sure how to write that in Portuguese) came as we finally regained sight of the highway, our dirt road narrowed and descended steeply with an angle pitching the van towards a cliff. We wondered if ABQ was about to have a spectacular finale, but somehow the vehicle remained upright and we found our way back onto pavement. With that adventure, we were only an hour late to our class where we found a full house waiting patiently for us.
Our concert was received well and was especially meaningful for us, as Osvaldo Lacerda’s widow was in the audience. We were able to dedicate her husband’s music to her and express our gratitude for creating significant additions to our repertoire. She was equally gracious and came with gifts of CDs for us of Osvaldo’s music and her piano playing.
With our work complete, we could concentrate on more consumption of Brazilian meat and beer! Our final free day before flying home allowed us to discover the Japanese district with a fantastic street market, then a cutting-edge coffee shop. One might think that Sao Paolo would have an abundance of hip java joints, but those are new for them. Coffee has until recently been a commodity for export and they didn’t keep much of the best for themselves. At the Coffee Lab, we had coffee in wine glasses, one bean served via 3 methods, and exotic blends. We almost could fly without the plane by the time we left!
Teaching and performing in Sao Paolo was most gratifying and we certainly hope it won’t be another 40 years for ABQ’s return. We look forward to reconnecting with our many new friends in that wonderful city and country. See you on the road!