Allegro and Fugue for Brass Quintet

This short piece was inspired by Malcolm Arnold, Ingolf Dahl, and a touch of George Gershwin. I don't have much else to say about it at this point other than it should be fun to play. My quintet will be performing this at some point.

Hi @JordanRoberts,

I like the rhythmic punch of the movement. Its funny to listen to with those glissandos, and the scoring is very detailed. Good job on this!

I see that it's a sonatina. But this movement is only in ternanry form but not in sonata fotm when materials from the 2nd subject recapitulate in the 2nd half.

Also I would love to have more interplays between the instruments, as it's mostly the 1st trumpet carrying the melodic line. It does have interactions particularly in the middle section but I want more of that!

Also I hope the linkage between the sections stronger, as I think they are just put together and transition can cohere them better esp. the retransition in rehearsal no. 64.

Thanks for sharing Jordan!

Henry

I made some edits to the first movement and composed a fugue as well as coming up with some program notes:

This two-movement work for brass quintet features the driving Allegro and complex Fugue.

The Allegro features some strong rhythmic playing broke up by a section that is reminiscent of a canon with lines and voicings that draw a lot of influence from George Gershwin.

The subject of the Fugue is a twelve-tone row of Eb, G, Db, F, B, Bb, D, Ab, F#, A, E, C. Despite a modern concept of the twelve-tone system, most of the traditional rules of the art of the fugue are followed creating a unique juxtaposition of an old form with a new sound that is fitting for the brass quintet repertoire.

Hi @JordanRoberts,

I will focus on the fugue since I've commented on the Allegro before. 

For me the use of serialism here is quite fascinating since it's harmonized with major-minor chord throughout, making the language not so modern. The tone row itself has many major/minor 3rd/6th moves which makes it closer to the major-minor language with Eb-G, Db-F, Bb-D, F#-A and E-C. Also the accompanying voices themselves are not speaking in a modern language, thus for me this piece is a good attempt on using the serialistic method with a tonal language in it! It's very close to an Organ fugue and great job on this!

One thing I observed is you usually have the last beat unmoved by having a dotted quaver in the last beat, thus weakening the movement of the music. Also the rhythm is very distinctive and you can have more imitations of the rhythms between voices! Mixing them up will be very interesting!

P.S. I don't think using fugal method with dodecaphonic technique a juxtaposition of old form with new sound, since Schoenberg had already done that before! And fugue is by no means old! Also can you explain more on the "traditional rules of the art of the fugues"? Thx!

Thanks for sharing Jordan! I love this fugue.

Henry

On 4/14/2023 at 4:25 AM, Henry Ng Tsz Kiu said:

"rules of the art of the fugues"

oh that is easy...start by examining WTC I and II, the Art of Fugue, the fugues of Shostakovich and Hindemith...describe each and everything that happens in those works and voila! you will discover that the one rule and only rule that exists in fugue writing is that there are no rules except for this one rule here-in now stated: there are no rules. fugue is an idea and not a well-defined term or thing. i suspect that this is obvious to you but for the benefit of all potential artistic fugal-ists i say this here, now, again.

[here i make the mistake of speaking of tonal combinations/ear-and-soul-vibrations using these silly things called words but if in an attempt to prove the above point i must, then i must...is the 8th Contrapunctus of the Art of Fugue a 'fugue'? the 11th?  what rule or rules could give rise to such things as those? as they come to a close i find it impossible to care or know how they came to be].

I won't comment on the technical aspect of the work, not my strength; however, I did enjoy your ideas/color of the work as well as it whimsical quality and orchestration.

Mark

Great piece of music.... absolutely loved it!

The interplay between the instruments is great and I enjoyed the slower section breaking up the more rhythmically charged section. 

I agree with Henry that the fugue doesn't sound "modern"... it's actually giving me Monteverdi (that's a compliment). Even with the twelve tone atonality happening, the accompanying voices create a very late renaissance harmonic feel. It's really beautiful!

P.S.... I didn't notice it at the beginning, but because you repeat the phrase a few times coming out of the slow section, I'm hearing a little The Barber of Seville there.