University of Virginia Library

N.Y. Brass Quintet
Startles Audience

By Roy Bonavita

The finest brass quintet in the
United States gave one of the most
startling performances in Cabell
Hall Tuesday night that has been
heard in these parts for about ten
years. In this concert, the New
York Brass Quintet performed
works by Gabrieli, J.S. Bach, Ludwig
Maurer, Malcolm Arnold, Vincent
Persichetti, Robert Nagel
(their leader), Gunter Schuller,
Donald MacInnis (our own Professor
of Music), and Eugene Bozza.

The group read the Gabrieli
Canonza per sonare No. 2 well, as
with the transcription of the Contrapunctus
No. IV from Bach's
"Art of the Fugue", but it is quite
clear that the main talents and
sympathies of the Quintet lie in
modern music. One uses the term
"modern music" in its fullest sense
as the works of Malcolm Arnold,
the major English composer, and
Gunther Schuller are far removed,
although they fall into the general
category. Arnold has a special gift
for brass music, probably because
he began his musical career as a
trumpet player. Although not a
prodigious composer (Will there
ever be another Telemann?), he has
a certain way with modern music,
the English idiom, just as Bernstein
has captured the American idioms
in West Side Story.

Composition Credits

Vincent Persichetti is another
product of the American school of
composers. He has received the
major awards and prizes for composition
in this country; especially
valued was that which allowed him
to study with the late Fritz Reiner
at the Curtis Institute. Although
Persichetti's major works were composed
in the 1940's, his Parable for
Brass Quintet was composed in
1968, revealing a continuing talent.
The New York Quintet gave it a
highly sympathetic reading, with
the result that the inner subtleties
were portrayed with a real warmth.
It was both amusing and exciting,
simultaneously, all achieved and
sustained through five highly
different movements.

Robert Nagel, the leader of the
New York Brass Quintet, has
achieved an exciting vignette in his
Suite for Brass Quartet and
matched by his over-view of his
group; and, in this Suite he has
allowed the four instruments involved
(trumpet, French horn,
trombone, and tuba) to deliver
some interesting facets of the particular
qualities of each instrument
which are sometimes missed in ensemble
playing.

Computer Boom

Donald MacInnis is in the vanguard
of the modern school of
composition which has not only
been interested in new expression
of music, but innovations within
old modes as well as the development
of new ones. Mr. MacInnis
Sonogram (lb) for Brass and Tape
was composed in 1966 and therefore
represents some of his early
work using synthesized and live
music. Perhaps the general public's
current concept along these lines is
that current best-seller "Switched
on Bach" which is not to be taken
lightly at all. What is surprising is
that synthesized music is another
by-product of the computer
"boom." Of course, Walter Carlos'
recording on the Moog synthesizer
is 18th century music with a twist,
but it is receiving wide attention
from glossy magazines and will,
therefore, reach the majority of
America. Mr. Carlos has scratched
the surface. Mr. MacInnis has gone
far beyond this and is striking into
new fields through his beautifully
disciplined concept of music which
has raised him above the majority
of the modern school. He is presently
on leave from the University
under a Rockefeller Foundation
Grant as composer-in- residence
with the Atlanta Symphony under
the direction of Robert Shaw. The
Atlanta Symphony gave a performance
of Mr. MacInnis' symphony
"Intersection for Tape and
Orchestra" this past November, and
it received wide critical acclaim.
Moreover, the New York Composer's
Forum has sponsored his
works in the musical capital of the
world. No mean achievement in this
highly competitive field.

Wide Range Of Music

Mr. MacInnis's spectrum is wide
in range. He has pioneered serious
music in the Sound-to-Light mode
with, briefly, various orchestral
levels and dynamics translated in
performance into differing
diffusions of light on the stage. It is
bad to posture, but one feels that
the University should be terribly
proud to have such a prodigious
mind on the faculty. Just hope that
Mr. MacInnis continues to receive
wide recognition, and that we don't
lose him.

The Sonogram (lb) was a revelation.
The unlimited possibilities of
Mr. MacInnis' composition form astound
even the average listener. A
new, and almost completely novel,
effect is achieved through the use
of synthesized tape. One of the
treats to the composer, and listener
as well, in the employment of
computer and synthesizer is the
complete freedom of tonal and
sonoric ranges. It can be razor-sharp
or as watered-down as one likes.
Thus, much of the old constriction
and restriction is just thrown out.

The contagious enjoyment of
both the Quintet and the audience
during the work, about eleven
minutes long, was so obvious that it
can only be called an unqualified
success. Mr. MacInnis was here on
visit and was able to share the
plaudits coming from the audience
and the stage.