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Music Review: American Brass Quintet

The American Brass Quintet is currently touring Australia for the first time in 46 years. Conducting a national charm offensive with the help of Musica Viva, they are doing for brass what Italians did for pasta.

imagesThe American Brass Quintet is currently touring Australia for the first time in 46 years. Conducting a national charm offensive with the help of Musica Viva, they are doing for brass what Italians did for pasta.

The Adelaide Town Hall concert on Thursday evening demonstrated that the quintet, established in 1960, are not only here for a long time; they’re also here for a good time. Taking to the stage in dark suits and ties, their sharp attire matched their exacting approach to music, but when they started to play, and later speak, their personalities and that of their instruments connected with their audience; one reason for the group’s popularity and longevity.

Many attending were not familiar with the cleverly chosen repertoire, and the ABQ kindly and humbly accounted for this. Good-humoured trumpeter Kevin Cobb schooled us on the pieces In Gabrieli’s Day, the 16th century compositions from the “golden age of brass”; Sacro tempio d’honor (Sacred temple of honour) by Giovanni Gabrieli a highlight for its exquisite beauty.

Australia’s adopted composer William Lovelock met the previous ABQ incarnation in 1968, and mutual appreciation and a lasting relationship ensued. Producing a sound much bigger and more complex than their number, the group performed his Miniature Suite; the second movement, Fugue, wonderfully contrasting drama and delicacy.

Bass trombonist John Rojak charismatically introduced Chesapeake; composer David Sampson’s enchanting, triumphant and engrossing tale of a sailing trip around Chesapeake Bay. The piece’s third movement, Bloody Point, has been amusingly renamed “Bloody Lip” due to the technical challenges for trumpeters, however, Cobb and Louis Hanzlik made the masterful performance look effortless.

After interval, the third of Ludwig Maurer’s Five Pieces, delivered a varying and pendulous rhythm and Claudio Monteverdi’s third madrigal, Ah dolente partita (Ah, painful parting) indicated how we might feel when the ABQ leave town.

The stellar ABQ commissioned 2006 piece Copperwave by Joan Tower saw lightning fast mute changes and delivered extraordinary timbre through ludicrously complex cadenzas. Although a tough act to follow, the encore succeeded with the frenetic and billowing Scherzo from Mosaics by Anthony Plog ending to enthusiastic applause.

The American Brass Quintet’s wonderful performance proved that brass isn’t only bold; it can also be subtle, expressive and exciting.

Praising the Adelaide Town Hall and McLaren Vale (following an earlier-in-the-day wine tasting), the ABQ promised to not wait 46 years until their next visit. Well gentlemen, we’re going to hold you to that.

The final Australian concert of the American Brass Quintet is Saturday 31 May in Sydney.

Reviewed by Gordon Forester (@GordonForester)

Venue: Adelaide Town Hall

Season: 29 May 2014
Duration: 2 hours
Bookings: Musica Viva

American Brass Quintet

 

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