BRITISH BRASS WORKS Album Tracks

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THE INTERNATIONAL TRUMPET GUILD BRITISH BRASS WORKS Album Tracks

Quintet No. 1, Op. 73 (1961) Malcolm Arnold (1921–2006) 1 I. Allegro vivace 4:15 2 II. Chaconne 4:18 3 III. Con brio 3:05

Ritornelli 2, Op. 100/2 (1979) Alun Hoddinott (1929–2008) 4 I. Moderato 2:25 5 II. Allegro molto 2:06 6 III. Andante 3:22 7 IV. Adagio 2:19 A Historical 8 V. Allegro 2:39 Sound Document of the New York 9 Commedia IV (1973) 13:17 Brass 2018Quintet – 2019 ITG Richard Rodney Bennett (1936–2012) Brass Quintet Jack Atherton (1909–1983) 10 I. Moderato 3:20 2019 – 2020 ITG 11 II. Adagietto, Tempo giusto 3:23 12 III. Allegro assai 5:06

Artists: Trumpets Robert Nagel and Allan Dean 13 Variations for Brass Quintet (1966) 11:51 Horn Paul Ingraham Elgar Howarth (b. 1935) Trombone John Swallow Quintet for Brass (1967) Tuba Thompson Hanks Edward Gregson (b. 1945) 14 I. Andante sostenuto 5:17 15 II. Allegro molto ritmico 4:19

ITG CD 28

BRITISH BRASS WORKS — A Historical Sound Document of the New York Brass Quintet, page 1 © 2020 International Trumpet Guild members to have a recording that is of the high- Manager Joe Walters ensure professionalism in est musical standard and is useful and unique. all content and its appearance. We also appreciate the counsel and unwavering support of Vice President’s message This recording is remarkable for a number of rea- President/President Elect Jason Bergman, Sec- sons. In addition to the ensemble’s world-class retary Elisa Koehler, Treasurer Dixie Burress, and Greetings, fellow trumpet musicianship, the included Quintet, Op. 73, by Past President Cathy Leach. lovers and members of Malcolm Arnold was written for and premiered the International Trumpet by the New York Brass Quintet. This performance Lastly, we owe special thanks to Edward Nagel, Guild! provides a historical perspective on a staple of son of Robert Nagel, for granting access to this the brass quintet repertoire by the very musicians recording; to Bruce Whisler, who engineered the On behalf of the ITG who inspired its creation—trumpeters Robert original recording and also serves on the ITG Board of Directors, I Grant S. Peters Nagel and Allan Dean; Paul Ingraham, horn; Recording Projects Committee; and to NYBQ am pleased to present John Swallow, trombone; and Toby Hanks, tuba. members Allan Dean, Paul Ingraham, and Toby British Brass Works—a previously unreleased Hanks for their participation. ITG appreciates recording by the New York Brass Quintet, Significant work goes into every publication that their vision and commitment to this project. featuring the British composers Malcolm Arnold, ITG produces for our membership. Facilitating Elgar Howarth, Richard Rodney Bennett, Alun this process are the highly capable Recording Enjoy! Grant S. Peters Hoddinott, Edward Gregson, and Jack Atherton. Projects Committee and their Chair, Brian Walker. President, International Trumpet Guild As with all our offerings, the Guild wants ITG Publications Editor Peter Wood and Layout

Until now, there has been no recording of this Nagel, for allowing us to have this recording piece by the group for which it was written. and assisting in bringing this project to fruition. Hello ITG members We are so pleased to be able to present this, I would also like to specifically thank Allan Dean and fellow trumpet along with other historically important material, for his contribution to this project. enthusiasts: to our membership. Last but not least, I would like to thank the ITG I am extremely excited I would like to thank the members of the ITG leadership for their vision, trust, and support to be able to provide this Recordings Committee—most notably Bruce in this process. Thank you, Grant Peters (presi- recording by the New Whisler, who made me aware of this recording dent), Jason Bergman (vice president/president York Brass Quintet, which and is a champion of the recordings and output elect), Cathy Leach (past president), Elisa Koehler Brian Walker gives us a historical of the New York Brass Quintet. Additionally, (secretary), Dixie Burress (treasurer), and the snapshot of some of the I am grateful to Jason Crafton for compiling the entire ITG Board of Directors. A special shout finest brass playing from the 1970s and 1980s notes you have before you and to Ross Alhorn, out goes to ITG Publications Editor Peter Wood and features repertoire that I hope everyone Marc Reed, and Peyden Shelton for their tireless for his endless work in making sure everything finds enjoyable to listen to. work on this mission. Special thanks is also due looks and reads the way it should. to Jan Conradi for designing the cover and being The most notable selection on this album is a joy to work with throughout this process. Sincerely, Brian Walker Malcolm Arnold’s Quintet, Op. 73. A staple in Chair, ITG Recordings Committee the brass quintet repertoire, this composition Thanks to the members of the New York Brass was written for the New York Brass Quintet. Quintet and to Edward Nagel, son of Robert

BRITISH BRASS WORKS — A Historical Sound Document of the New York Brass Quintet, page 2 © 2020 International Trumpet Guild Lincoln Center, 1967. (L – R): John Swallow, Allan Dean, Paul Ingraham, Robert Nagel, Thompson Hanks

BRITISH BRASS WORKS A Historical Sound Document of the New York Brass Quintet

The British Brass Works album was originally in- The NYBQ did very little recording during its writing for brass from the 1960s and 70s that tended as the next archival recording in a series long career from 1954 to 1984, though there was has gone out of fashion in the present time. that Robert Nagel was issuing as a retirement an early vinyl in the 50s. I joined the group in I think they are worth a hearing, and it is project. In cementing his legacy as “Mr. Brass 1966, and that year we recorded Baroque Brass possible that one or more of these works may Quintet” (as Harvey Phillips referred to him), for RCA. One other studio recording was made see the light of day in performance once Bob issued Bach and Before in 2006, Romantic at Northwestern University during a Midwest again. The members of the quintet very much Age Brass in 2007, and 20th Century Brass tour in 1977. This recording included Vincent appreciate the ITG for releasing this recording. in 2013. Late in life, Bob turned over this final Persichetti’s Parable for Brass Quintet, Jan group of recordings to Toby Hanks, tubist of the Bach’s Laudes, and Michel Leclerc’s Par Monts Allan Dean group, and to myself. The project languished et Par Vaux and was issued by Crystal Records Trumpet, New York Brass Quintet until Bruce Whisler, a friend of Bob’s and master in 1978. Professor Emeritus, Yale University of all these recordings, pushed to publish the CD. The remaining living members of the It is good that this new collection of relatively NYBQ—Paul Ingraham, Toby, and myself—have unknown works will be heard, even if the perfor- agreed to this ITG project. mances are not perfect; they are in a style of

About the Notes Program Notes recorded it… It is a good representation of how we played the piece, which we did dozens and The program notes that follow were assembled Great Britain has long been at the forefront of dozens of times if not more. from a multitude of sources (see works cited), brass ensemble music. While British-style brass including the first draft of Robert Nagel’s bands may be the most well-known example The ability to hear an early performance by the performance notes and extensive email cor- of this rich tradition, there is a long history of commissioning ensemble of such an important respondence with Allan Dean. Every effort brass playing outside this arena as well. From work in the brass quintet repertoire is of great has been made to use as much of this primary the Distin family saxhorn ensembles of the significance to performers and historians alike. source material as possible in order to preserve mid-nineteenth century to the Philip Jones Mr. Nagel’s original vision, in spite of the Brass Ensemble of the mid-twentieth century Ritornelli 2 by Welsh composer Alun Hoddinott is challenges posed by the passage of time. To and modern-day groups such as Septura, the one of three similarly titled works written be- quote Allan Dean, “It was only fifty years ago, influence of British brass playing on our current tween 1974 and 1991. The first of these, Ritornelli, so I can’t imagine why I don’t remember!” musical landscape is undeniable. was recorded by NYBQ trombonist John Swallow These hurdles notwithstanding, it has become on his 1985 album A Little Trombone Music. clear that this recording and the accompanying Malcolm Arnold’s Quintet No. 1, Op. 73, is one of As implied by its title, the five movements in documents will be of great interest to the ITG the most well-known and frequently performed Ritornelli 2 are structured as ritornelli, with repe- membership and to generations of performers works in the brass quintet repertoire. The piece titions of the primary melodic material separated and scholars to come. was commissioned and premiered by the New by episodes of often contrasting material. York Brass Quintet (NYBQ) in the early 1960s, Hoddinott was a prolific composer of opera, Jason Crafton, April 2020 but it was not recorded by the group for nearly as well as orchestral and chamber music. His a decade—around the same time that the Philip output for brass includes concertos for trumpet, Jones Brass Ensemble released the first com- trombone, and euphonium; a concertino for mercial recording of the piece in 1970. Trumpet- trumpet, horn, and orchestra; and several works er Allan Dean remembers that the NYBQ record- for brass band. The performance included on ing of the Arnold was: this album includes movements two through five and was recorded live at the Manhattan School …[made] at the end of a session at the Rutgers of Music in March of 1982. Church on West 73rd Street in New York City around 1970. As I recall, we had done another Sir Richard Rodney Bennett was an English piece or two, probably for CRI records, and had composer and pianist, known most widely for some extra time, so we decided to do a rundown his over forty film scores. He composed his four of the Arnold. This quintet of course was Commedias for mixed instrumental ensembles written for the NYBQ, but the group had never between 1972 and 1973. Commedia IV is the only

BRITISH BRASS WORKS — A Historical Sound Document of the New York Brass Quintet, page 4 © 2020 International Trumpet Guild Correspondence between composer Malcolm Arnold and Robert Nagel regarding the creation of the Quintet Op. 73.

piece included in this album, outside of the Arnold, that found its way into the NYBQ’s regu- lar repertoire after the ensemble heard the piece performed by the Philip Jones Brass Quintet at a concert in Europe. This recording is from a live concert given by the NYBQ at the New England Conservatory in 1980.

Jack Atherton was best known as the conductor of the Carlton Main Frickley Colliery Brass Band, leading them to the British Open title in 1958. While little, if any, information is available on Atherton’s compositions, Robert Nagel’s recounting of the NYBQ’s introduction to Atherton and his music makes for an entertain- ing read:

…[Atherton] came into Wigmore Hall in London, where the NYBQ was practicing in prepara- tion for our first tour concert in England that eve- ning. He handed us the manuscript, parts, and score to a brass quintet work that he had composed and said, “Play this.” It was a rather dif- ficult work, but we sight-read quite well. Then he demanded, “Perform it on your concert tonight.” We declined, saying that the program could not

BRITISH BRASS WORKS — A Historical Sound Document of the New York Brass Quintet, page 5 © 2020 International Trumpet Guild Final correspondence from composer Malcolm Arnold to Robert Nagel about the completion of the Quintet Op. 73.

be changed. He angrily stormed out, leaving the music with us. We performed it in the U.S. only once or twice, although we consider it one of the best works on this recording.

This performance of Atherton’s Brass Quintet was recorded live at the Annual Symposium of Contemporary Music for Brass at Georgia State University in February of 1970. This symposium was presented by Georgia State, along with Southeastern Composer’s League, in the 1960s and 1970s; during the thirteen years the symposium was held, over 400 new works for brass were performed. The New York Brass Quintet performed several Sunday afternoon concerts at this event that included newer pieces—such as those by Atherton, Hoddinott, and Howarth— that they rarely performed elsewhere.

Most devotees of brass music know Elgar How- arth for his work with the Philip Jones Brass En- semble as a performer, composer, and arranger. However, Howarth is best known for his career as a conductor, where he worked frequently with composers Györgi Ligeti and Harrison Birtwis- tle. Howarth continued to compose and arrange for brass ensembles, often under the pen name W. Hogarth Lear, producing concertos for both trumpet and trombone, as well as several works

Bradshaw, Susan. “Bennett, Sir Richard Rod- ney.” Grove Music Online. Oxford University Press, 2001, doi-org.ezproxy.lib.vt.edu/10.1093/ gmo/9781561592630.article.02705. Accessed 12 April 2020.

Dean, Allan. Email correspondence. 1 April 2020.

Goodwin, Noël. “Howarth, Elgar.” Grove Music Online. Oxford University Press, 2001, doi-org. ezproxy.lib.vt.edu/10.1093/gmo/9781561592630. article.13429. Accessed 12 April 2020.

Gregson, Edward. “Quintet for Brass: Programme Note.” Edward Gregson: Composer. edwardgregson.com/works/quintet-for-brass. Accessed 12 April 2020.

Gresham, Mark. “Memorial Drive: Atlanta’s Norfolk Chamber Music Festival, June 1988 Forgotten Classical Music History.” Arts ATL. (L – R): John Swallow, Allan Dean, Harvey Phillips, Paul Ingraham, Robert Nagel 2011, www.artsatl.org/memorial-drive-atlantas- forgotten-classical-music-history. Accessed 12 April 2020. for brass band. His Variations for Brass Quintet, first professional performances with his quintet. written in 1966, but not published until 1979, The piece was one of Gregson’s first published Lewis, Geraint. “Hoddinott, Alun.” Grove Music was recorded in performance by the NYBQ at works in a career that has since yielded dozens Online. Oxford University Press, 2001, doi-org. the Annual Symposium of Contemporary Music of published compositions for brass. Written in ezproxy.lib.vt.edu/10.1093/gmo/9781561592630. for Brass at Georgia State University in 1970. two movements, “Andante sostenuto” and “Al- article.13118. Accessed 12 April 2020. legro molto ritmico,” Gregson’s Quintet is heard Edward Gregson composed his Quintet for Brass here performed by the NYBQ on a concert at the Mutum, Tim. “4BR Hall of Fame: No. 1: Jack in 1967 while still a student at the Royal Manhattan School of Music in February of 1983. Atherton.” 4barsrest. 2020, www.4barsrest.com/ Academy of Music, dedicating the work to the articles/2019/1832.asp. Accessed 12 April 2020. Philip Jones Brass Ensemble. Jones, who was in the audience for the premiere, gave the work its Nagel, Robert. Unpublished notes for British Brass Works. No date.

conductors Leopold Stokowski, Leonard Bern- stein, Pablo Casals, and Igor Stravinsky. Nagel recorded extensively with CBS, RCA Victor, NBC, and MGM. Among these are many iconic recordings, including the 1961 recording of L’Histoire du Soldat, conducted by Igor Stravinsky, and the second Brandenburg Concerto, by J. S. Bach, conducted by Pablo Casals. Nagel performed Robert E. Nagel Jr. with the Bach aria group, the Contemporary Chamber Ensemble, the Casals Festival in Puerto Rico, Yale at Norfolk, and the Aspen Music Fes- Robert E. Nagel Jr. (1924 – tival. 2016) had an illustrious career as a trumpet player, Perhaps his most enduring contribution to music teacher, composer, Allan Dean was in the area of brass chamber music. Nagel conductor, and arranger. was the founder and director of the New York He was a pioneer of brass Allan Dean, Professor Brass Quintet, which performed across the chamber music. Emeritus at the Yale School United States and Europe for over thirty years. of Music, retired from the He commissioned numerous works for brass He attended The Juilliard School of Music for school in 2019 after 31 quintet and was a founder of the International one year before entering the US Army, where he years on the faculty. He is Trumpet Guild and recipient of the prestigious played in the West Point band for three years. still actively performing ITG Honorary Award. As a composer, he wrote After returning to Juilliard, he studied composi- with the Berkshire Bach orchestral and chamber works, trumpet method tion with Peter Mennin and Vincent Persichetti. Society in Great Bar- books, and solo and ensemble arrangements. To For several summers, he was a student at rington, Massachusetts. promote brass chamber music, he launched his Tanglewood, where he studied trumpet with own publishing company, Mentor Music, in 1959. Georges Mager and composition with Aaron In the early music field, Copland. Dean was a founding member of Calliope: A Nagel served as a faculty member of the Yale Renaissance Band and the New York Cornet and School of Music, the New England Conservatory, Upon completing his studies at Juilliard, Nagel Sacbut Ensemble. Dean was a member of the The Juilliard School, the Manhattan School of was appointed first trumpet of the Little Orches- New York Brass Quintet for eighteen years and Music, the Hartt School of Music, North Carolina tra Society in New York City. This appointment freelanced in the New York City concert and School of the Arts, and Rutgers University. launched a freelance career that lasted over recording field for over twenty years before join- twenty years. During this time, he played with ing the faculty of Indiana University in 1982. In

BRITISH BRASS WORKS — A Historical Sound Document of the New York Brass Quintet, page 8 © 2020 International Trumpet Guild 1988, he moved back to the Northeast to join the Yale faculty. Prior to his appointment with the Thompson Hanks New York Brass Quintet, he was a member of the American Brass Quintet for two years. Upon Thompson Hanks studied retirement from the New York Brass Quintet Paul Ingraham at the Eastman School in 1984 after eighteen years, Dean joined the of Music and the Tangle- St. Louis Brass Quintet - a position he held for Paul Ingraham enjoyed wood Berkshire Music thirty-five years retiring this spring 2020. a long and distinguished Center. He was principal career as a professional tuba with the Minneapo- Dean performs and teaches each summer at the horn player and teacher. lis Symphony (as it was Norfolk Chamber Music Festival in Norfolk, He was active in a variety called then), as well as Connecticut. He is a frequent soloist with Keith of musical activities, in- the San Antonio and Brion’s New Sousa Band. Dean has also cluding studio recordings, Puerto Rico Symphonies. appeared at the Spoleto and Casals Festivals, orchestral and chamber He left the Minneapolis the Banff Centre (Canada), the Orford Arts music, and solo appear- Symphony in 1967 to join Centre (Canada), Musiki Blekinge (Sweden), ances. He joined the New the New York Brass the Curitiba Music Festival (Brazil), and the York Brass Quintet in 1963 Quintet and the New York Morella Festival (Spain). He can be heard play- and the New York City City Ballet Orchestra. ing both modern trumpet and early brass on Ballet Orchestra as solo He founded the New York over eighty recordings on most major labels horn in 1965. Around the Tuba Quartet, with which including RCA, Columbia, Nonesuch, Summit, same time, he joined the he recorded an album (Tubby’s Revenge—CD and others. On early instruments, he has faculty of the Yale School 221), in addition to a solo album (Sampler—CD recorded with Calliope, The New York Cornet of Music, where he taught for 35 years. Prior to 395) for Crystal Records. Hanks attended Lamar and Sacbut Ensemble, The Waverly Consort, this, he performed with the Metropolitan Opera University, where he studied with Richard Burkart, The Ensemble for Early Music, and The Smith- Orchestra and the Minneapolis Symphony (now and the Eastman School of Music, studying with sonian Chamber Players. Dean previously the Minnesota Orchestra), the Mostly Mozart Donald Knaub. Hanks also engaged in extensive served on the faculties of Indiana University, Festival Orchestra, and the Casals Festival additional study with Arnold Jacobs and served the Manhattan School of Music, the Hartt Orchestra under the direction of the legendary on the faculties of the Yale School of Music, School, the Eastman School, and the Rafael Pablo Casals. A longtime member of the Contem- the New England Conservatory, the Peabody Mendez Brass Institute. porary Chamber Ensemble, Ingraham performed Conservatory, the University of Maryland many premieres of new composi-tions, including School of Music, and the Manhattan School of the American premiere of Ian Hamilton’s Voyage Music, where he served as chair of the brass for solo horn and orchestra. department.

Arnold, Quintet No. 1 – Recorded at Rutgers Church, New York, NY, ca. 1970

Hoddinott, Ritornelli 2 – Recorded live at the Manhattan School of Music, New York, NY, March 12, 1982 John Swallow Bennett, Commedia IV – Recorded live at the New England Conservatory, Boston, MA, 1980 John Swallow was born in 1924, the youngest of five siblings, in Oneida, New York. During Atherton, Brass Quintet – Recorded live at the Annual World War II, he served in the US Army Band in Symposium of Contemporary Music for Brass, Georgia Washington, DC, where he played trombone for State University, Atlanta, GA, February 1970 Franklin D. Roosevelt’s funeral and Dwight Howarth, Variations for Brass Quintet – Recorded live D. Eisenhower’s return home. Swallow studied at the Annual Symposium of Contemporary Music for at The Julliard School of Music in New York Brass, Georgia State University, Atlanta, GA, February City. A member of the acclaimed New York 1970 Brass Quintet for more than 25 years, he was considered one of the most important trombone Gregson, Quintet for Brass – Recorded live at the Manhattan School of Music, New York, NY, February performers and teachers in the United States. 25, 1983 He enjoyed performance associations with the Utah Symphony, under the direction of Maurice Abravanel, and the Chicago Symphony, under Credits the direction of Fritz Reiner. Artists: Robert Nagel and Allan Dean, trumpets; Paul Ingraham, horn; John Swallow, trombone; Swallow was principal trombonist with the New Thompson Hanks, tuba York City Ballet Orchestra for over forty years and was a member of such groups as Gunther Mastering Engineer: Bruce Whisler Schuller’s Twentieth Century Innovations and Program Notes: Jason Crafton Arthur Weisberg’s Contemporary Chamber Copy Editors: Amber Zoe Smith and Peter Wood Ensemble. Swallow was a professor of music Art Director and Design: Jan Conradi at the Yale School of Music, where he served as head of the brass department for many ITG Recordings Committee: Brian Walker, chair; years; the New England Conservatory of Music; C. Ross Ahlhorn; Jason Crafton; Marc Reed; J. Peyden Shelton; and Bruce Whisler the Hartt School of Music; and the Manhattan School of Music. Special thanks to Edward Nagel, Allan Dean, and Bruce Whisler