The New York Brass Quintet has won wide acclaim as the outstanding chamber group of virtuoso brass players in the country today. They present a unique repertoire of more than four centuries and have presented first performances of works by Eugene Bozza, David Uber, Frank Wigglesworth, Arthur Harris, Alec Wilder and Don Hammond, plus many others. Several composers such as Samuel Baron, Alan Hovhaness, Arthur Harris and Hall Overton have created works especially for the quintet. Their many concerts and music festivals have included such well known NYC venues as Carnegie Hall, Town Hall, Metropolitan Museum of Art; as well as the Library of Congress, Dumbarton Oaks, Castle Hill, and many educational institutions have included the NYBQ in their concert series. The quintet is proud of having helped establish school demonstration concerts with over 400 appearances for over 75,000 students. To further their pioneering work for the cause of brass chamber music they have formed their own publishing house for original brass music".

Over a span of 30 concertizing years NYBQ alumni are a distinguished few. Trumpet: Robert Nagel, Allan Dean, John Glasel, Ted Weis, Robert Heinrich. Horn: Paul Ingraham, Frederick Schmitt, Fred Bradford, John Barrows, Ray Alonge, Barry Benjeman. Trombone: John Swallow, Keith Brown, Erwin Price. Tuba: Thompson Hanks, Harvey Phillips.

THE NEW YORK BRASS QUINTET • 50^TH ANNIVERSARY YEAR

The first Brass Chamber Music Forum, October 21-23, 2004 was conceived, organized, implemented and hosted by Professor William L. Jones, trumpet player and faculty member of the Mariam Cannon Hayes School of Music, Appalachian State University, Boone, NC. Long a brass chamber music participant and enthusiast, and long an admirer of the New York Brass Quintet (NYBQ), Bill Jones was inspired to recognize the 50^th anniversary year of the New York Brass Quintet’s debut performance in New York City’s famous Town Hall on June 11, 1954. At that time the NYBQ was the only professional brass quintet anywhere in the modern world. Formally organized in the spring of 1954, founding members were: Robert Nagel and John Glasel, trumpets; Frederick Schmitt, horn; Erwin Price, trombone; and Harvey Phillips, tuba.

Pioneering performances of the New York Brass Quintet included being the first brass quintet to perform school demonstration concerts for Young Audiences, Inc. Between 1954-58 the NYBQ performed over 400 lecture demonstration concerts in schools throughout the east coast, often five concerts a day, for a week or more. The bulk of their repertoire was from the Renaissance (16^th century) with transcriptions of the Baroque (late 17th to early 18^thcentury). Most of this music was researched and adapted to modern brass instruments by Robert King, a Boston baritone player who in 1940 dreamed of touring with his Boston Brass Quartet. His dreams were dashed by Selective Service and America’s entrance into World War II. Disappointed, but possessing New Englander savvy, King began publishing the early brass music he had researched with his own music publishing company in his home town of North Easton, Massachusetts.

World War II ended in August 1945. By the fall of 1946, Juilliard like every other conservatory, college and university school of music was crowded beyond capacity by returning servicemen taking advantage of the GI Bill. Few schools were prepared for such a windfall. Juilliard, with only two orchestras and no wind ensemble or band program, could not offer sufficient performance opportunities for its abundance of great brass players, including 70 trumpets! An enterprising trombone student named Julian Menkin became aware of the early music for brass being available from Robert King and took it on himself to acquire copies. He then organized a large New York Brass Ensemble and prevailed upon his friend Samuel Baron, a renowned flutist, finishing a graduate degree in conducting, to coach and conduct the group. Baron with his enthusiasm for chamber music was perfect for the assignment and had earlier founded the New York Woodwind Quintet. As Baron molded the brass players into an outstanding ensemble, Menkin began booking concerts, often sharing programs with the New York Woodwind Quintet. In addition to concerts, Menkin booked a number of radio broadcasts and two LP recordings that are historic. The first NYBE recording on Esoteric/Counterpoint label presented Seven Canzoni of Giovanni Gabrielli and won a Grand Prix du Disque, Paris. Their second recording on Period Records label was also praised by critics and presented Gabrielli Sacre Symphoniae (multiple antiphonal choirs) conducted by Samuel Baron.

From 1950-1952, outstanding members of the larger NYBE were leaving to take important orchestra and teaching positions. The future for brass chamber music was uncertain. However, Robert Nagel, an original member of the NYBE, did not lose his dedication to the music he had become so expert at interpreting. Nagel started experimenting with brass quintets but continued using the NYBE name. Finally, in the spring of 1954 he recruited four other highly respected free-lance brass players who could sustain a good livelihood apart from the quintet; players who enjoyed the challenges of brass chamber music and saw potential for that medium; players who made time for rehearsals, often in their Carnegie Hall studio; starting at 10 or 11 p.m. after commitments to ballet, opera, symphony, recordings, or television engagements had finished. Their commitment to school demonstration concerts for Young Audiences, Inc., often required quintet members to sacrifice important higher paying free lance recordings and concerts. Nonetheless, gratification came with the reception of teachers and students they reached. And, very important, new compositions started to materialize as composers became aware of a new excellent ensemble to play their music. A trickle of new works became a flood as the New York Brass Quintet and composers sought each other out and formed alliances for producing concert opportunities.

The Sonatine for Brass Instruments (1951) by Eugene Bozza was premiered by the NYBQ at Castle Hill, Ipswich, MA, August 6-7, 1954 in a series of programs shared with Geoffrey Holder and his Jamaican Drummers. The Sonatine was a catalyst for inspiring new compositions from noted composer friends. The Sonatine leveled the playing field for the NYBQ instrumentation by requiring equal agility, technique, rhythmic precision and tonal control from each individual instrument. Composers were challenged and inspired by this newly discovered high level of brass chamber music playing. They were also impressed by the endurance required and sustained by five brass players performing full concert programs, compared NYBQ 50^{T H} ANNIVERSARY - Page 2

to the endurance required by the bulk of symphonic repertoire. Composers were quick to recognize these new potentials for extended brass technique and endurance and exploited them in their new brass quintet compositions. Robert Nagel has chronicled some 1,000 works written for the NYBQ since the Bozza Sonatine was premiered in August 1954. Note that the NYBQ music library and other archival materials are on deposit with the Yale Music Library, Yale University, P.O. Box 208246, New Haven, CT 06520-8246.

In the early years of touring and concertizing, the NYBQ often relied on two specific works to contrast Bach transcriptions and the early music of Gabrielli, Pezel, Holborne, Purcell, etc. These two works were Quintet No. 1 For Brass Instruments by Victor Ewald (obviously influenced by Tchaikovsky), a great feature just before intermission, and as a concert closer, the Eugene Bozza Sonatine featuring technical and dynamic fireworks that left audiences breathless. Attending brass players and composers were impressed that the Quintet could play such a piece at the end of a full evening’s concert. They were not accustomed to hearing such musical nuance, technical precision, endurance, balance and blend, not expected from brass instruments playing brass chamber music. Overheard after one concert, "......those guys are just a bunch of show-offs!" For over thirty years, from 1954 to 1984, the NYBQ concertized throughout America, Canada and Europe. There were many rehearsals, many premieres, many concerts, many recordings, and many tours. This single "brass chamber music acorn," planted and nourished, grew into a giant oak that will continue scattering new acorns into the future, all with potential for success and musical maturity. The future looks bright for brass chamber music, and "the modern brass quintet is as much an American export as Coca-Cola or Jazz."

On hand to take part in the First Brass Chamber Music Forum, will be members and former members of the New York Brass Quintet and the American Brass Quintet (ABQ). Joining in discussions of important topics related to past, present and future of brass chamber music will be eminent composers Gunther Schuller, and Eric Ewazen as well as Frank Battisti, renowned wind ensemble conductor and chamber music enthusiast.

Also important to the discussions will be input from the Appalachian State University Marian Cannon Hayes School of Music Brass Faculty and other attending performers, scholars, and students devoted to brass chamber music.

Harvey G. Phillips

In the fall of 1958, trombonist Keith Brown joined the NYBQ and although he was only with the ensemble for one year, leaving in the fall of 1959 to join the Philadelphia Orchestra, his playing had a profound effect on the other members of the quintet. It was a very productive year, bringing about major decisions. Concert bookings increased dramatically and lucrative free lance engagements could no longer be sacrificed for school demonstration concerts. So amicably, the Quintet left Young Audiences, Inc. to other newly formed brass quintets. To maintain the NYBQ’s high level of performance and repertoire required scheduled rehearsals, formal concert engagements and concert tours. It was time to seek the booking services of professional management. Helpful to these bookings would be an "in concert" LP recording that presented sample concert repertoire of this "new" brass chamber music, unknown to community concerts. Having no record company connections at that time, the NYBQ decided to produce their own master tape on speculation. So in the spring of 1959 they engaged long time friend Bobby Blake, a recording engineer with studios on the 9^th floor of Carnegie Hall, convenient to their rehearsal and teaching studios on the 14^th floor. The results of these collaborations were enhanced enormously when Clark Galehouse, President of Golden Crest Records, Inc. agreed to re-master and release this NYBQ IN CONCERT recording (Golden Crest 4023)......excerpts from the liner notes of the original LP....."the New York Brass Quintet presents a panoramic view of their concert repertoire typical of their unusual programs which have received such enthusiastic reception in concert halls throughout the United States in recent years. Incidentally, the quintet possesses one of the most complete brass chamber music libraries today, and maintains a performance repertoire of more than a hundred compositions, many of which have received their first performances by the quintet. In addition, the quintet has done much to encourage the performance of brass music through their own publishing company (Mentor Music, Inc.), which specializes in brass literature. Not only are these very talented musicians superb chamber ensemble artists, but each of them is a capable solo virtuoso in his own right, which has been most clearly demonstrated in the solo albums they have made for Golden Crest....the unqualified success of the New York Brass Quintet....has opened up new vistas of bright promise for the future of brass chamber music."

THE NEW YORK BRASS QUINTET IN CONCERT - PROGRAM:

Four Movements: I-Intrada; II-Sarabande; III-Courante; IV-Gigue......................................Johann Pezel (1639-1694)

A German town bandsman and composer, one of a humble yet privileged class of musicians. The works Pezel is most remembered for are his 5 part cornet and trombone ensembles performing twice daily from the Rathaus tower in Leipzig. One of his publications is a collection of 76 pieces, mostly intradas and examples of various dance forms such as sarabande, courante, allemand, bal, and gigue; there seems to be no formal order for these dance movements.

Canzona No. 1 - La Spiritata.........................................................................................Giovanni Gabrielli (1557-1612) Undoubtedly the best known brass composer represented in this recording. Entire LPs have been devoted to the magnificent music of Gabrielli and much has been written concerning his rich creative genius. So little needs to be said here. This marvelous polyphonic masterpiece speaks for itself in all its majesty, perfect music for brass.

Toccata (quartet: 2 trumpets, trombone, tuba)....................................................................Edmund Haines (1914-1974)

This vigorous rhythmic work is a little gem of contemporary brass music, written for a quartet of 2 trumpets and 2 trombones, the tuba plays the second trombone part. The virtuoso style of this toccata presents a real challenge to the brass player.

Four Moods For Brass Quintet (1957)...................................................................................Arthur Harris (1927-1992)

I. Komm susser Tod II. Waltz III. Lyric Piece IV. Finale

Composed especially for the New York Brass Quintet in 1957 and first performed at the Library of Congress, this outstanding modern brass work exploits the varied possibilities of the brass quintet. An imaginative chorale prelude setting of the well-known Komm susser Tod is followed by a delightful Waltz after which a romantic Lyric Piece and a brilliant, sparkling little Finale follows.

Three Pieces: I. Muy Linda II. Pavan III. Gailliard............................................Anthony Holborne ( ? - 1602)

Growing interest in brass music has brought to light a host of unfamiliar composer’s names, not the least of which is Anthony Holborne. On this recording are three examples taken from a group of more than 60 five-part compositions by this gifted Elizabethan composer, and designated to be performed by "Viols, Violins or other Musical Winde Instruments." Muy Linda is surprisingly poly-rhythmic, alternating 3/4 and 6/8 meters; the stately Pavan contains some interesting harmonic changes and the sprightly Gailliard shows Holborne’s inventiveness.

Sixteenth Century Carmina (edited and transcribed by John Glasel)

ich sag ade (duet: two trumpets)..........................................................................................................Anonymous

als ich anschau das frolich Gscht (trio: horn, trombone, tuba)..............................................................Anonymous

Carmen in La (quartet: two trumpets, horn, trombone)......................................................................Ludwig Senfl

Greiner zanner (quintet).................................................................................................................Heinrich Finck

Four unusual early works written in the contrapuntal German Renaissance style are arranged here for different combinations of brass within the quintet. The first entitled ich sag ade is a duet for the trumpets. This is followed by als ich anschau das frolich Gscht for a trio of horn, trombone, and tuba. Both these works are of anonymous origin. Next is a Carmen in La by Ludwig Senfl for quartet (no tuba). Finally, there is a five-part work entitled Greiner zanner by Heinrich Finck.

Sonatine for Brass (1951).........................................................................................................Eugene Bozza (1905-1991) I. Allegro II. Andante ma non troppo III. Scherzo IV. Finale: Fanfare - tarantella

This is without a doubt the most difficult and most brilliant work in the entire brass repertoire. It is a technical tour da force for both the composer and the performers. The New York Brass Quintet gave the premiere American performance of the Sonatine, and it has been standard fare on their programs since then. Bozza a French composer, has written prolifically for wind instruments; and this particular work shows his mastery of brass writing quite clearly. In this regard, it is worth mentioning the exceptional virtuosity of the tuba writing. The first movement is a bright allegro in typical French fashion. The second movement begins in a reflective , lyric mood which gives way to a strong declamatory statement in conclusion. The third movement is a scherzo full of instrumental fireworks. The finale begins with a slow introduction punctuated by short muted fanfares, after which the movement takes form as an exciting tarantella, ending in a burst of virtuosity.

THE NEW YORK BRASS QUINTET PRESENTS TWO CONTEMPORARY COMPOSERS:
ALEC WILDER and DON HAMMOND Golden Crest 4017.

Harvey Phillips remembers.....When I arrived in NYC in the fall of 1950 to live in William J. Bell’s teaching studio (419 West 121^st Street), to attend Juilliard, and to pursue a free lance career on tuba, Alec Wilder had already achieved the highest rank of "musical legend," conferred and bestowed upon him by legends of lesser rank by their adulation, admiration, and affection for him. I was constantly meeting musicians who knew him, and spoke of him admiringly but somehow he escaped my acquaintance until the fall of 1959. I had started to wonder if he actually existed until one day I answered the ring of my telephone and a man with a gravelly deep voice said, "Harvey Phillips? This is Alec Wilder. John Barrows suggested that I call you and ask if your brass quintet could read a six movement work I have written for the Philharmonic Brass Quintet, but they’re too busy to read it down for me. I want to know if it works or not!" I was impressed by his telephone manner and tried to disguise my eagerness by saying, "The Philharmonic brass players are all friends of ours so I think we should speak with them about your quintet and make sure there is no misunderstanding" Alec then said, "Its alright, they’re all for your doing it and doubt if they could even get to it this season. I already spoke to them about your doing the piece, I mean read it down." I said, "How do we get the parts?" "Oh," said Alec, "you can pick up score and parts from my copyist, Stanley Webb." I replied that I knew Stan Webb and would pick up the parts but would like a week to prepare for the reading. That it was a busy time and I would have to verify each quintet member’s time for the reading. "That’s great" said Alec, "call me at the Algonquin Hotel when it’s okay for me to come to a rehearsal." We said our telephone goodbyes and the rest is history. Alec became the most wonderful friend my family and I ever had, we enjoyed every visit and every opportunity to be together. Not a day goes by without our thinking about Alec Wilder. We feel he is still with us and we feel his presence often. His first Suite for Brass Quintet is a unique addition to our repertoire. John Swallow joined the quintet just in time to have the Wilder Suite No. 1 For Brass Quintet be his first assignment. We were all excited by our good fortune to have John in the quintet; Alec was so impressed he dedicated his "Suite for Trombone and Piano" to John Swallow.

Suite No. 1 For Brass Quintet (in six movements - 1959) ..............................................................Alec Wilder (1907-1980)

1. Trumpet Prelude 2. Horn Elegy 3. Tuba Showpiece 4. Trombone Lyric 5. Toccata 6. Finale

(Quoting the original program notes): There is an ever-increasing trend among many of our contemporary composers; the seeming necessity to divorce their creative impulse from their performers and listeners. Often by the simple device of adopting a "system" which is complex beyond the ear of the auditor, the composer achieves a dual victory over critic and competition, and at the same time, through the completely abstract method of approach, the creator remains unscathed and unrevealed.

Certainly Alec Wilder is a happy exception to this clinical concept. This Brass Quintet is a good example of his attitude towards the creative task.

Composed in 1959, the six movements are deceptively simple and delightfully direct. Each movement offers some opportunity to feature solo lines against massed backgrounds. Thus the prelude shows off both trumpets; in the second movement the horn is cast in a sad melancholy role; the third movement puts the tuba into orbit; while the fourth movement displays the strong, serious side of the trombone. The fifth and sixth movements break loose for all concerned. (Notice the very brilliant and difficult solo played by the first trumpet in the fifth movement.)

For the musical surgeons, it may be noticed that the Suite is properly made up of all necessary technical ingredients, but for others, its warm communication will outweigh its cerebral aspects and will prove a welcome addition to the library of "Music for Live People."

Quintet For Brass (in five movements - 1960)..........................................................................Don Hammond (1917-1986)

1. Ballad 2. March 3. Hymn & Variations 4. Waltz 5. Rondo

Don Hammond’s Quintet For Brass, like the Wilder, is also a unique addition to our growing literature. A much in demand free lance woodwind doubler as well as a composer, Don is a well known colleague and friend of NYBQ members. This work offers significant challenges and rewards for each instrument. (Quoting the original program notes): The first movement

is a "Ballad" only in that it Parallels, in musical form, the construction of certain short stories which have been found entertaining. There are only two main motifs, and most of the subsequent themes are from combinations of these.

The "March" is a straight-forward A-B-A construction, with an introduction that also serves as a coda.

The " Hymn & Variations" movement is Hymn (as the main theme) followed by Variations; a Carol, a Spiritual, a Fugato, a Blues, an isometric Presto, a Jazz Variation, a Scherzando in 3/4 which is repeated in 8/4 over the original theme, in the tuba. After a short interlude by the horn, the hymn reappears in a somewhat more secular harmonization.

The "Waltz" is a light and charming movement, with which this fine group of musicians shows how delicately brass instruments can be played.

The "Rondo" last movement is extremely difficult. Its "Rondo" figure occurs five times in slightly different forms. The variations that follow these figures are very intricate and require virtuosity of the highest sort.

THE ARTISTS

ROBERT NAGEL, trumpet. B.S. and M.S. from the Juilliard School of Music. First trumpet in the Little Orchestra Society, Goldman Band, Symphony of the Air, and the Long Island Symphony. Instructor of Brass at Yale School of Music. Soloist and composer. A cornet virtuoso at age 12. Recently gave premiere TV performance of George Antheil’s "Trumpet Sonata."

JOHN GLASEL, trumpet. B.A. and M.A. from the Yale School of Music. Has played with the New Haven Symphony, Little Orchestra Society, Radio City Music Hall and Broadway musical show orchestras. Has toured and recorded with his own jazz group.

FREDERICK SCHMITT, horn. Bachelor of Music from the Manhattan School of Music. Has played with the Indianapolis, Chautauqua and National Symphony Orchestras. Now playing with the Little Orchestra Society and other concert and recording groups.

JOHN SWALLOW, trombone. Studied Juilliard School of Music and Columbia University. U. S. Army Band, Goldman Band. Played with the Ballet Russe de Monte Carlo and Sadlers Wells Ballet Orchestras. Toured with the Symphony of the Air. Recorded and played with such conductors as Fritz Reiner (Chicago Symphony), Arthur Fiedler (Boston Pops), Charles Munch (Boston Symphony), and Dimitri Metropolis (New York Philharmonic).

HARVEY PHILLIPS, tuba. Juilliard and Manhattan Schools of Music. Ringling Brothers and Barnum & Bailey Circus Band, Band of America, Goldman Band, Voice of Firestone Orchestra, Bell Telephone Hour Orchestra, New York City Ballet Orchestra, New York City Opera Orchestra, Symphony of the Air, Sauter-Finegan Orchestra, Leading Dance Bands, various solo and ensemble recordings. Clinician-Soloist for C.G. Conn Instrument Company, Brass Coach and Instructor National Orchestral Association.

DEDICATION

This LEGACY SERIES is dedicated to the memory of CLARK F. GALEHOUSE (1911-1983), founder and CEO of Golden Crest Records, and CFG Publishing for his dedication to music, musicians, music education and life! Selected LPs from the Golden Crest Archives for release on CD format illustrate his open endorsement of every music discipline.