FIVE! Is a new idea, a series devoted to woodwind and brass quintets. Chamber music may be the most essential form of instrumental expression, and is certainly the most complete iteration of instrumental music education. A successful chamber music performer must draw equally upon the skills of a soloist as well as those of an ensemble player, and all without a conductor. Plumb the experience of those expert professionals who have succeeded as players in the top Wind and Brass Quintets with “FIVE”, tm today!
Canadian Brass 2014, Windsync 2014, Boston Brass 2015, Mnozil Brass 2015, Spanish Brass 2014, Dallas Brass 2014, Seraph 2014, Atlantic Brass Quintet 2015, Mirari Brass 2015, Axiom Brass 2015, Scott Hartmann of the Empire Brass 2015, Jeffrey Curnow of the Empire Brass 2015, Ron Barron and Ken Amis of the Empire Brass, Meridian Arts Ensemble 2015, Berlin Philharmonic Woodwind Quintet 2015, American Brass Quintet 2015 Triton Brass 2016,Â
FIVE! tm Hosts The Canadian Brass!
Since their founding in 1970, The Canadian Brass have been the greatest ambassadors for brass and one of the premiere chamber music groups in the world. Their refreshing approach to the brass quintet was that of virtuoso soloists. This, along â€¦ Continue reading
“FIVE!” tm No. 1 tm Launches with Windsync!
In the words of Windsync oboist Erin Tsai, â€œWe are approachable and accessible to seasoned concert goers AND to those who have never heard classical musicâ€. In a wind chamber music environment dominated by brass touring groups, Windsync has drawn from the best of those traditions, blended in their own unique and yet cohesive musical personalities and added dash of inspiration from the Imani Winds to fashion a compelling and mesmerizing chamber music ensemble. Breaking boundaries and blazing trails seems matter of course for the group, as they incorporate blocking, memorization, costumes and unusual spaces into their performances. â€œFive!â€ tm, is davidbrubeck.comâ€™s celebration of chamber music quintets, and we are scintillated to sail our maiden voyage with the delightful and generous members of Windsync! Read more…
â€œFIVE!â€ tm Hosts Boston Brass, and Rip Van Winkle Wakes
Posted on September 16, 2014 by David Brubeck
Mixing the traditions and styles of different generations, languages and musical backgrounds, the new Boston Brass has emerged a very different group than its predecessor. While the earlier edition of BB drew some influences from the dramatic and musical elements â€¦ Continue reading â†’
“FIVE!” tm-Mnozil Brass Reinvents Brass Concerts!
Striking. Fresh. Bold. Innovative. Like the first recordings of the Chicago Symphony Orchestra Brass Quintet, or the Initial engaging performances of the Canadian Brass, MNOZIL BRASS has set brass chamber music on its ear and changed the course of history. Born as a quintet in 1991 with friends from the university in a local bar named Mnozil, they added two members in 1996, and stage direction in 2001. THOMAS GANSCH, ROBERT ROTHER, ROMAN RINDBERGER, LEONHARD PAUL, GERHARD FÃœSSL, ZOLTAN KISS, WILFRIED BRANDSTÃ–TTER-three trumpets, three tenor trombones and tuba, Thomas Gansch speaks for the group as “FIVE!”tm (ahem, plus TWO!), is delighted to welcome the revolutionary Mnozil Brass to our theatre- the curtain rises!
1. “Applied Brass” is where the rubber hits the road. Please talk about your relationship with your audiences and how they may differ from those of traditional concert ensembles.
Music is the most direct art form. You get back what you give immediately, but the relationship between musician and audience is defined by the player. I, for example, am always looking for eye contact with audience members. It encourages me to see peoples’ reactions to our show. With a brass instrument, itÂ´s just great fun to use the whole dynamic scale and watch the audience reactions to that. You can make them cry, cheer, cover their ears or dance in their seats-itÂ´s like telling stories. The difference for classical audiences is that they never know whatÂ´s going to happen in our show, and I think they like that! Read more...
Spanish Brass Brings The Fire of Iberia to â€œFIVE!â€ tm
The Spanish Brass have plumbed the depths of standard brass literature for 25 years, adding choreography, innovative commissions and collaborations, and incorporating fresh jazz and bebop inspired arrangements. They present a formidable aural and visual experience that is exciting, fresh â€¦ Continue reading â†’
“FIVE!” tm No. 2, Hosts the Dallas Brass!. Few, if any, chamber music ensembles have had more direct contact with student musicians than has Dallas Brass. Performing with and inspiring thousands each year, they have captured and distilled Americana and the musical traditions of our great nation and her bands. Founded in 1983, Dallas Brass initially infused ragtime and jazz rhythms into a line-up that would include a bass trombone (in place of the tuba), and a distinctive sixth member-percussion. They have embraced professional blocking, incorporated hand rhythms and produced grand musical gestures from Gershwinâ€™s â€œRhapsody in Blueâ€ to â€œAmerican In Parisâ€- all with the forces of six dedicated musicians. When combined with local musicians, the synergy of the Dallas Brass and their mission are an irresistible joy. davidbrubeck.com is ecstatic to present Dallas Brass as the second installment of our salute to chamber music, â€œFIVE!â€ tm. Read more…
Seraph Alights Upon â€œFIVE!â€ tm
Posted on October 12, 2014 by David Brubeck
Seraph is new. Five young women, extraordinarily well-versed as musicians and artists with solid philosophical underpinnings and chemistry. Their perspectives and hopes are inspiring and their individual accomplishments make the sum total of Seraph beam with promise. davidbrubeck.com and â€œFive!â€ â€¦ Continue reading â†’
The Atlantic Brass Quintet is a remarkable group comprised of five multi-faceted and intriguing individuals.
8. The Atlantic Brass Quintet Fuses a Hybrid Jazz Chamber Music. What expressive and audience experiences have you noted?
My goal has always been to encourage classical audiences to realize their love for jazz, and jazz audiences to realize their love for the great classical composers. I believe that the commonalities between the two genres go far deeper than many presenters realize. Audience reactions to my jazz groupâ€™s performances corroborate this idea. Presenting, for example, a jazz/improvised version of a Messiaen song cycle, we repeatedly hear things from classical audiences like â€œI never thought Iâ€™d enjoy a jazz performance so muchâ€, and from jazz audiences â€œIâ€™ve never heard Messiaenâ€™s music before, but now Iâ€™m going to go listen to everything he ever wroteâ€.
The beauty of the cross pollination goes deeper than just audience-building. Musically, jazz players bring the work of classical composers to life in a uniquely vibrant way. Of course, on the surface, there is the improvisational element that extrapolates upon the original composerâ€™s material. But in a more general sense, jazz musicians are instinctually committed to freedom and rule-breaking in a way that allows performances to breathe very openly. In fact, the great classical soloists have this too. Yo-Yo Ma is a great example. I also just heard Anne-Sophie Mutter perform a magical Sibelius Violin Concerto at Carnegie Hall. Her interpretation was so free that it would be almost impossible to transcribe. The music was completely internalized, and was performed as if it was flowing directly from her soul. John Coltrane would have totally dug that performance, and I believe Anne-Sophie Mutterâ€™s mind would have been blown at a Coltrane performance. Thereâ€™s an idea for a boo! Read more…
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