Home : Concerts

Quintet: Andrew Brinsford

Barbican Brass commissioned Andrew to write a piece in 2009. Premiered at the Appleby Music Festival in September of that year, the Group went on to give the London Premiere of the piece in October 2009 at Music in Mayfair with the composer in attendance. Since then, ‘Quintet’ has proved very popular and Barbican Brass hope to record the work sometime in the near future. Andrew has also rumoured that he may even add a fourth movement!

Andrew's description of the piece is below:-
The first movement is a very gentle andante, almost pastoral in feel, but with something very dark lurking in the background. A long lyrical horn melody gives way to pealing bell like phrases, which in turn yield to a gentle trombone and tuba duet. The piece ends with another horn solo, and an uncomfortable resolution onto A Major.

The second movement opens with a long horn melody which extends to the upper reaches of the register of the instrument. Accompanied by a simple bass line, this establishes the minor/major conflict within the whole piece. Solos for trumpets, and trombone follow before a piercing climax during which glimpses of the opening horn melody can be heard. A declamatory solo for tuba, leads to the heart of the whole piece: a series of alternating cluster chords and harmonic chords. The piece descends into chaos and ends quietly with open fifths in the trumpets and a brief recapitulation of the horn melody in lower brass.

The third and final movement is a wild dance. After a brief introduction by tuba, a motor rhythm is established in the lower brass over which trumpets play a disjointed, almost bell like duet. Brief snatches of melody are heard but quickly vanish before the central section erupts into a demonic waltz. The second time we hear this melody it is played by the trumpets and horn in a crushing three note cluster. A full recapitulation of the opening section leads to the coda, where earlier themes are brought back over scurrying trumpets. The tempo continues to get faster until we reach the final statement of the Tuba's introduction played by the full ensemble.

One of the most notable features of this piece is that the whole piece is in 3/4 or a variant of triple time (6/8 9/8 12/8 3/2 etc). Also, the whole piece revolves around D, although key signatures are not given. Nor is it major or minor, although the relationship between the two is closely examined, as is the relationship between harmony and dissonance.

“I was hugely inspired by the virtuosity of Barbican Brass, whose brilliant technique and flawless musicianship allowed me to write such demanding music.”