Youtor
Hillborg Brass Quintet score
>> YOUR LINK HERE: ___ http://youtube.com/watch?v=kcpf7tFjk1M
Axiom Brass • New Standards • Released Nov 16th, 2010 • Dorival Puccini, trumpet • Colin Oldberg, trumpet • Matthew Oliphant, horn • Brett Johnson, trombone • Kevin Harrison, tuba • http://www.axiombrass.com/newstandards • One of Sweden’s leading composers, Anders Hillborg is that rare artist whose music strikes a chord across many different countries and cultures. Born in Sweden in 1954, an early interest in electronic music developed from a beginning as a keyboard improviser in a pop band, but contact with Ferneyhough, and the music of Ligeti quickly led to a fascination with counterpoint and orchestral writing. Since then, Hillborg’s love of pure sound and the energy that he gives it, has appealed to many major conductors including Alan Gilbert, Sakari Oramo, Kent Nagano, and Gustavo Dudamel, Peacock Tales, Hillborg’s theatrical clarinet concerto for Martin Fröst, displays another strand of his large and varied output: a sense of humour and the absurd. The piece has been taken up with enthusiasm in several different versions and has received a staggering number of performances. • Brass Quintet was commissioned by Stockholm Chamber Brass in 1998 and premiered by this ensemble that year in Stockholm. Brass Quintet “relies heavily on a steady, energetic pulse, closer to the articulation in a jazz/rock context than that of the classical”. This is evident in the very opening few moments of the piece – the trombone signals a descending minor third (B- flat → G) which is immediately echoed in the trumpets and horn on each strong beat of the measure. • This announcement sets up the primary material, the hocket that is used throughout. It is the motor, the driving force that establishes the foundation for the entire work. The hocketous signals that occur in this opening are written in such a way that the ensemble becomes a machine – with instruments representing cogs that work together to create rhythmic motion. Soon the tuba is introduced, and instruments begin fading in and out of each other with fragmented material creating a wave-like experience. This treatment of brass sound remains constant throughout the work in various forms. • • All in all, there are four juxtaposing materials that occur throughout Brass Quintet that are united by an overall sense of drive: Hocket, Chorale, Point, and Rapid Articulations. • In the opening of the work, each of these larger thematic sections occurs almost as blocks with sudden shifts in mood. Hillborg draws on this material throughout the Brass Quintet, and when each section returns, it is blended and phased effortlessly, creating seamless transitions between sections. More significant, however, is the fact that Hillborg is able to achieve such richness in musical character without the use of extended techniques. He doesn’t even use mutes in this piece – just the basic “classical” approach to brass. Yet, through the uniqueness of his writing, he is able to achieve remarkable sounds. Two places of note: beginning in measure 37 (and its return at measure 270), Hillborg has written the music in such a way that it sounds like the music is being played in reverse. • Analysis from Brass Herald article: • https://static1.squarespace.com/stati... • The purpose of this video is strictly educational and to promote chamber brass music abroad. Please support composers and performers.
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