Carter - Brass Quintet [score]

American Brass Quintet
"Classic American Brass"
Summit Records
2001
www.summitreco...
Elliott Carter (December 11, 1908 - November 5, 2012) is internationally recognized as one of the most influential American voices in classical music, and a leading figure of modernism in the 20th and 21st centuries. He was hailed as “America’s great musical poet” by Andrew Porter and noted as “one of America’s most distinguished creative artists in any field” by his friend Aaron Copland. Carter’s prolific career spanned over 75 years, with more than 150 pieces, ranging from chamber music to orchestral works to opera, often marked with a sense of wit and humor. He received numerous honors and accolades, including the Pulitzer Prize on two occasions: in 1960 for his String Quartet No. 2 and in 1973 for his String Quartet No. 3. Other awards include Germany’s Ernst Von Siemens Music Prize and the Prince Pierre Foundation Music Award. Carter was the first composer to receive the United States National Medal of Arts, and is one of a handful of composers inducted into the American Classical Music Hall of Fame. He was recognized twice by the Government of France: being named Commander of the “Ordre des Arts et des Lettres,” and receiving the insignia of Commander of the Legion of Honor in September 2012.
Program Notes:
The Brass Quintet was written during the summer of 1974 for the American Brass Quintet which commissioned the work. This group gave its premiere on October 20, 1974 at a Charles Ives Festival broadcast by the BBC from London, and its American premiere at the Library of Congress on November 15, 1974, and has recorded the work for Columbia Records.
The music, being almost constantly multilayered, as is my Second String Quartet, separates the players by individualizing their parts, but not completely, because each instrument shares parts of its repertory with one of the others. The first trumpet, for instance, near the beginning plays in a trio with the second trumpet and tenor trombone featuring the minor sixth in light, irregular chords of which the character and the interval become part of the repertory of the three participating instruments. A bit later, the first trumpet plays another trio with the horn and bass trombone that features fanfares and quiet, majestic music based on the perfect fifth, which then become part of the repertory of these three instruments. The horn, which has the largest repertory of all, however also frequently uses the augmented fourth which it does not share with any of the others.
All of the contrasting characters and their related musical intervals for a multilayered piece planned along the following pattern: Every third (that is, the first, fourth, seventh, etc.) of its overlapping 19 short sections is a brief five-part quodlibet in which the instruments oppose each other with contrasting parts of their individual repertoires. Between these is a duo preceded or followed by a trio in which two or three instruments join in music of similar character. Each duo and trio has a different instrumentation.
The general plan is interrupted midway through the work by a relatively extended unaccompanied horn solo which is cut off by angry octaves from the others. The slow music which began the piece and forms the background of the first three quodlibets is abandoned after the last of these, only to return in extended form near the end. The entire work, in fact, can be heard as one long, slow movement with interruptions.
This quintet, rather than employing all the resources of color possible with modern mutes for the brass, relies primarily on linear material, textures and the instrumental virtuosity for which the American Brass Quintet is notable.
E. C.
The purpose of this video is strictly educational and to promote chamber brass music abroad. The author makes no money or monetizes these videos. In fact, the owner of the copyrights to the original content can earn money from these videos. Please support composers and performers by purchasing their albums and sheet music.

[@taylorrossmusic]

So catchy. Its been stuck in my head all day.

[@windowtrimmer8211]

I’ve been fascinated by this great and majestic piece since this recording came out decades ago. Incredible playing. Performances today are extremely rare.

[@sprigatitolime2770]

I love these rhythmical techniques. The way the tempos themselves modulate is great to watch on a score.

[@machida5114]

quite good!

[@1MrZackdaddy]

This thing wanders everywhere and yet goes nowhere!

[@bernabefernandeztouceda7315]

It goes a lot of places

[@1MrZackdaddy]

@@bernabefernandeztouceda7315 Jesus aint coming!!