Gaudete Brass Celebrates John Corigliano on New Cedille Records Album
Gaudete Brass celebrates one of America's most popular and highly honored living composers on its new album, "sevenfive-The John Corigliano Effect," featuring music by Corigliano and his protégés, including world-premiere recordings of Corigliano's only works scored exclusively for brass.
On "sevenfive-The John Corigliano Effect," available February 10, Chicago-based Gaudete Brass offers world-premiere recordings of Corigliano's "Antiphon" and "Fanfares to Music," both for double brass choir.
The album includes premiere recordings of Gaudete-commissioned works from five of the award-winning composer's former students, in honor of his 75th birthday: Jonathan Newman's "Prayers of Steel," Steven Bryant's "sevenfive," Jeremy Howard Beck's "ROAR," David Sampson's "Still," and Conrad Winslow's "The Record of a Lost Tribe," plus Chicago conductor-arranger Cliff Colnot's arrangement of Corigliano's "Gazebo Dances Overture." The album's aptly titled opening track, Sampson's "Entrance," is the only non-premiere: it was first recorded by the American Brass Quintet, for whom it was written (Cedille Records CDR 90000 169).
Corigliano's many honors include four Grammy Awards, the Pulitzer Prize in Music, the Grawemeyer Award, and an Academy Award. He has mentored many aspiring composers as a faculty member at the Juilliard School and at Lehman College, City University of New York.
On April 22, 2013, Gaudete Brass gave a special concert that launched a four-day Chicago celebration of Corigliano's 75th birthday year, encompassing different artists and venues.
As the CD booklet explains, "it was that performance that provided the inspiration for this album where the music of mentor and protégés are heard side by side."
But, devising a concert-length Corigliano program for brass quintet posed a challenge.
"Everyone in Gaudete Brass loved playing Corigliano's orchestral music and admired his film scores," Gaudete tuba player Scott Tegge said in an interview for Cedille Records. "But when the celebration's organizers invited us to perform a concert salute to the composer, we were in a quandary because he'd written very little for brass ensemble alone."
So, Gaudete Brass decided to illuminate Corigliano's enduring influence by commissioning works from several generations of composers who studied with him and then performing their world premieres alongside Corigliano's existing brass pieces, Tegge explained.
The concert took place at Roosevelt University's historic Ganz Hall, with Corigliano and the other composers present. The performance included all the music later destined for the album except Sampson's "Still" and Colnot's "Gazebo Dances" arrangement, which were written later for the recording project, Tegge said.
Corigliano's "Fanfares to Music" (1993) and "Antiphon" (1994) are listed individually on his website and also together as "Two Works for Antiphonal Brass" (1994). According to the website's information, these are his only published works solely for brass. To record these works scored for two brass groupings, Gaudete Brass recruited additional seasoned professional brass players from among their close friends and past teachers.
Corigliano wrote "Fanfares to Music" for the Chamber Music Society of Lincoln Center's 25th anniversary season. He calls it a "short, lyrical, introspective piece" performed by a standard brass quintet on stage, with six musicians playing "fanfare elements" from the back of the hall. The music is infused with Franz Schubert's famous song "An die Musik" (To Music).
Gaudete Brass and its recording team chose a different spatial layout, with the principal ensemble on stage and the other brass players in a choir loft surrounding it. This gave the second ensemble a better view of their visual cues from the stage while maintaining a sonic separation, Tegge explained in his Cedille Records interview.
"Antiphon" proceeds in a measured, stately manner befitting the building-dedication ceremony for which it was written. Microtonal tunings "add unique bends of color to the pillars of sound," observes Kathryn J. Allwine Bacasmot in her CD program notes. At the recording session, Gaudete Brass was seated on the left side of the stage, from the listener's perspective, with the second brass ensemble on the right.