Wednesday, February 23, 2011

Ewald: Brass Quintet #3 - breaking the brass mold



In 'thinking up' music I usually have some kind of a brass band with wings on it in back of my mind.
– Charles Ives

            For some reason, brass ensembles always sound British to me; perhaps it’s some subconscious connection of the medium to military ensembles, I’m not sure.  Yet Victor Ewald, who for a long time was credited as the first to write for the modern brass quintet, was a civil engineering professor from St. Petersburg, Russia.  I for one would never have guessed listening to his music.  His writing is restrained and more lyrical than that of Stravinsky, Tchaikovsky, and Rachmannanov, and his tonality and harmonic treatment seem more classical than late romantic/early 20th century.  Perhaps it’s closer to Moussorgsky or Borodin, but I for one jump to the other three first when I consider the great composers of Russia.
            One of the striking characteristics of Ewald’s quintet is the emphasis on the trombone and horn as opposed to the trumpets; by placing the melodies more prominently in the mid-low brass (and occasionally the tuba,) the tone is softened considerably, both because the horn’s conical bore and just the range of the instrument.  Along these lines, Ewald achieves the coveted changes in texture that are so rare in brass ensembles.  In fact, when the fanfaring trumpets take their prominent place throughout the second movement, they are a welcome exception, as opposed to the rule they so often are.
            The third movement begins to take on some of the harmonic qualities I for one more readily associate with the romantic era; the writing becomes less homophonic and instead the melody and harmonic accompaniment are treated as separate elements.  While the melody is once again in the trumpet on a somewhat regular basis, it stays primarily in its lower register.  The lower voices often simulate an arpeggiated pattern, as one would find in a Chopin nocturne.
            The final movement once again showcases the balance and well-roundedness of the ensemble.  With a mix of textures, counterpoint and chorale, and a truly equal hierarchy of the brass family, this lively finale caps off a truly enjoyable piece.  Again, I think Ewald’s tonal language is less than innovative, but his technique within that framework is extraordinary.
            A brief side note – in an effort to round out my musical experience, I’m making an effort to attend more live music throughout the year.  In fact, as I think I mentioned in the introduction to this project, the idea was spawned by a performance from the Melrose Symphony Orchestra of Brahms’ double concerto for violin and ‘cello.  A couple weeks back, I had the pleasure of seeing one of my favorite jazz vocalists perform; the remarkable Tierney Sutton.  In a couple days, Kurt Elling will be performing here in Cambridge, and I wouldn’t miss it for the world.  To top it all off, this morning I discovered a gift from a lovely couple here at the church – a pair of tickets to the Melrose Symphony’s upcoming premiere of a newly commissioned concerto for bassoon and clarinet, which has completely made my day.  Perhaps a live music blog supplement may be in order some time soon…

Tomorrow –  Trident (McCoy Tyner)
Next week – J. S. Bach: English Suites (selections TBD)

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