CD-Contents:

1'44''

Little Fugue in f-minor, BWV 578
(Arr. Caens)

2'59''

  3   Johann Sebastian Bach

Allegro assai from 2. Brandenburg Concerto
(Arr. Frackenpohl)

2'54''

       Hidas Frigyes   (*1928)

Quintetto Concertante for Brass Quintet and Symphonic Orchestra
(SWR Radio Orchestra, Conductor: Klaus Arp)

  4

    1. Allegro Energico

5'01''

  5

    2. Lento

7'11''

  6

    3. Moderato scherzando

4'44''

Adagio from Stringquartet op. 11
(Arr. McNeff)

6'02''

Scherzo (3. movement from 4. Symphony)
(Arr. Jürgen Pfiester)

5'11''

Sabre Dance from the Ballet "Gajaneh"
(Arr. Holcombe)

2'04''

       Johann Sebastian Bach

Suite in b-minor, BWV 1067
(Arr. Jürgen Pfiester)

10

    Bourree I - Bourree II

2'20''

11

    Polonaise

3'12''

12

    Menuett

0'58''

13

    Badinerie

1'28''

14   Johann Sebastian Bach

Toccata and Fugue in d-minor
(Arr. F. Mills)

8'34''

       Hidas Frigyes

Three Little Scherzos

15

    Allegro molto

1'48''

16

    Scherzo brillante

2'08''

17

    Allegretto scherzando

2'13''

18   Del Staigers   (1899 - 1950)

The Carneval of Venice
(Arr. F. Heieck)

4'31''

Total Time:   

65'50''

"Brass Quintet" - A Short History

    The development of this specific formation of brass chamber music was not possible until the use of valves, which made the chromatic scale available to all brass instruments. This invention took place in the first half of the 19th century, but the mechanism was not perfected until about 1850. Composers extended their writing for brass instruments, and also within the orchestra the brass gained more significance. At the same time the musical skills and virtuosity flourished with soloists such as Arban, Clarke, Staigers and others, who are still entitled to highest admiration today. Also in the field of jazz and entertaining music the brass instruments took over a leading role, due mainly to the success of Louis Armstrong and Glenn Miller.

    The 19th century chamber music did not give any combination of brass instruments much recognition. Obviously most of the composers of this time period were not yet accustomed to the new possibilities of brass players, concerning technique, dynamics and sound. There is one exception, however, the Russian composer Victor Ewald (1860 - 1933), who wrote the first pieces for mixed brass ensemble.

    In the realm of "classical music", it was not until the middle of this century, that many outstanding soloists such as Maurice André lead to an increasing familiarity, acceptance and popularity of brass instruments, also proving, that the musical and dynamical ways of expression and creativity do not have to be inferior to other instruments.

    Caused by the further development and improvement of teaching principles and methods, a second but calm revolution, concerning the art of brass playing, started in the beginning of the sixties. The chamber music became more interesting for the players and vice versa. Ensembles such as Canadian Brass and Empire Brass helped to bring a tremendous success to this type of nowadays standard brass instrumentation, the "brass-quintet", making it famous in all the worldrenowned concert halls.

    The lack of original literature is compensated in a similar way Maurice André had done previously, with adaptations of pieces, written initially for other instruments. There will always be a constant dispute about what is possible and permissible in dealing with a composition as long as arrangements will exist. Brass players themselves discuss this matter the least, probably because of their rather pragmatical way of thinking.

    This CD includes, in our opinion, many quite excellent arrangements; a few of them originate from Canadian Brass. With our recording of these pieces we acknowledge the skills and the merits of this unique formation.

    Both of the pieces from Frigyes Hidas (born 1928 in Budapest) are original compositions for "brass quintet" and demonstrate the high standards of Hungarian brass music. His Quintetto concertante represents something extraordinary, being one of the very few compositions for "brass quintet" and symphonic orchestra.

    The Suite in b-minor from J.S. Bach and the Scherzo from P.I. Tchaikovsky were arranged for DAS RENNQUINTETT by Jürgen Pfiester, The Carneval in Venice was adapted by our friend and "master arranger" Fritz Heieck. Many thanks to the both of you!

CREDITS

Digitally recorded in June 1993
Sound engineer: Fritz Heieck, Sigurd Krumpfer
Digital Mastering: Sigurd Krumpfer
This Compact Disc was produced without any sound effects, solely the placement and selection of the microphones determine the instrumental sound.
Production: Rudolf Bayer
Translation: Bernadette and Jochen Scheerer
Photos: Carmen Kreiss