Voices in Brass; Blog #1 - The Horn's Voice in Victor Ewald’s Brass Quintet No. 1 in B-flat minor, Op. 5
Voices in Brass; Blog #1
Hello, brass enthusiasts! Let’s kick things off with a true classic from the brass quintet repertoire: Victor Ewald's Brass Quintet No. 1. Now, you might be thinking, "Ah, a trumpet player writing this? Bet we're diving straight into trumpet solos!" But plot twist, before I picked up the trumpet, I actually started out on the horn, and it is still my favorite brass instrument!. So today, we’re zooming in on the horn’s voice, why it’s absolutely essential in this ensemble setting, and what is does in this piece.
We are also going to be basing today's post on a specific quintet, Center City Brass Quintet. I chose this group not only for their music ability, but because one of my trumpet heroes and one of my mentors, Ryan Anthony, was a part of this group and on this recording. Let's get into it!
The Horn's Voice in Victor Ewald’s Brass Quintet No. 1 in B-flat minor, Op. 5
Introducing the Piece:
Victor Ewald’s Brass Quintet No. 1 in B-flat minor, Op. 5 is widely regarded as one of the earliest compositions written specifically for modern brass quintet instrumentation. Composed around 1890 during Russia's flourishing Romantic era, Ewald (1860–1935) was not only a composer but also a civil engineer(architect) and cellist, deeply influenced by the Russian nationalist musical movement. This quintet showcases Ewald's unique ability to blend classical forms with the rich, sonorous timbres of brass instruments, creating a work that remains a cornerstone of the brass quintet repertoire.
Introducing the Ensemble:
We’re also shining the spotlight on a stellar quintet today: the Center City Brass Quintet. Why this group, you ask? Well, not only do they have serious chops and a reputation for jaw-dropping performances, but one of my trumpet heroes and mentors, Ryan Anthony, was part of this ensemble and featured on this very recording. That connection makes this music feel even more personal to me, and I hope you’ll hear that same inspiration as we dive in.
Here’s the current lineup of the ensemble:
Anthony DiLorenzo (trumpet)
Geoffrey Hardcastle (trumpet)
Richard King (horn)
Ko-ichiro Yamamoto (trombone)
Craig Knox (tuba)
The Piece:
In Brass Quintet No. 1, Ewald crafts a compelling musical journey across three movements:
Moderato: This opening movement features warm, melodic lines woven seamlessly between the trumpet voices, supported by rich harmonic textures. The balance between lyrical passages and rhythmic vitality sets the tone for the quintet. https://www.youtube.com/watch?v=lhozJtCx0bo
Adagio - Allegro: The slow introduction showcases contemplative, expressive melodies before transitioning to the lively Allegro section, characterized by rapid passages, dynamic contrasts, and rhythmic interplay. https://www.youtube.com/watch?v=VTGI-0jp3RU
Allegro Moderato: The final movement highlights the ensemble's cohesion through call-and-response motifs and thematic development, creating an engaging and spirited conclusion. https://www.youtube.com/watch?v=X46kiRh-PJc
The Importance of the Horn:
In this quintet, the horn serves as both a bridge and a voice of lyrical expression. Positioned sonically between the trumpets and trombones, the horn provides a crucial middle register that blends the bright brilliance of the trumpets with the darker, more grounded tones of the lower brass.
Ewald utilizes the horn to great effect:
In the Moderato, the horn introduces warm, sustained melodic lines, adding lyrical depth and providing a counterbalance to the more rhythmically active trumpet passages.
In the Adagio - Allegro, the horn's mellow timbre enhances the slow section's contemplative character, while its agility shines during the faster Allegro, navigating rapid passages and syncopated rhythms with clarity.
In the Allegro Moderato, the horn excels in blending and leading, often driving transitions between thematic sections. Its call-and-response interactions with the trumpets showcase its versatility as both a harmonic anchor and a melodic voice.
Ewald’s writing for the horn demonstrates a deep understanding of its expressive range. The instrument is not just filling harmonies; it's integral to the quintet's narrative, adding warmth, color, and dynamic contrast. For horn players, this piece is a showcase of both technical skill and musical sensitivity, requiring control over phrasing, articulation, and tone color.
Stay tuned for the next entry in Voices of Brass, where we'll dive into another recording, exploring the unique contributions of a different brass instrument within the ensemble. Let me know your thoughts on Ewald's Brass Quintet No. 1 or share your favorite brass quintet recordings in the comments!
Center City is a group that gets both too much praise, and not enough all at the same time. They are one of "thee" brass quintets, but I feel as though some of their recordings are seminal, such as their recording of Ewald 1. I feel the sound of Center City matches much more with the powerful potential of their instruments, and I'm happy that there exists a quintet that isn't afraid to challenge the boundaries of chamber dynamics.
ReplyDeleteI've never read an analysis of Ewald 1 that focused solely on the horn. I feel as though Ewald really writes stereotypical horn parts. By that, I mean that they never really serve a function other than what horns typically do, as you mentioned, bridging the gap between the trombone and trumpet. In modern music, I feel like its role has evolved to be more of a second trombone than its own distinct instrument.
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