L a w r e n c e M o s s
Symphonies
About his Symphonies for brass quintet and chamber orchestra, Moss writes:
Symphonies was written at the request of the Annapolis Brass Quintet, to whom it is dedicated. It was composed between October 1976 and March 1977 and received its premiere on April 29, 1977 by the American Camerata under John Stephens
My Symphonies is named after Stravinsky's Symphonies of Wind Instruments. I don't recall now exactly why I did this, except that the Stravinsky work is one of my favorites, and perhaps I hoped some of its beauty would magically rub off on its namesake. Also, one of the sounds I am most taken with in Stravinsky's Symphonies is that awesome wind and brass chord near the opening, and although I do not use anything like this, there are echoes of it towards the end of my second movement. The word symphonies also suggests "sounding together," and in this case would apply to the antiphonal treatment of the brass quintet and the instrumental choirs of the orchestra. These textures occur in a variety of moods--quietly murmuring (first movement), softly buzzing (beginning of the second) or playful, perpetual mobil (third movement).
Lawrence Moss
Symphonies
for
brass quintet and chamber orchestra
Annapolis Brass Quintet
American Camerata for New Music
John Stephens, Conducting
TAP > AUDIO BAR BELOW
(There may be a 10 to 20 second delay before sound begins)
Symphonies was written at the request of the Annapolis Brass Quintet, to whom it is dedicated. It was composed between October 1976 and March 1977 and received its premiere on April 29, 1977 by the American Camerata under John Stephens
My Symphonies is named after Stravinsky's Symphonies of Wind Instruments. I don't recall now exactly why I did this, except that the Stravinsky work is one of my favorites, and perhaps I hoped some of its beauty would magically rub off on its namesake. Also, one of the sounds I am most taken with in Stravinsky's Symphonies is that awesome wind and brass chord near the opening, and although I do not use anything like this, there are echoes of it towards the end of my second movement. The word symphonies also suggests "sounding together," and in this case would apply to the antiphonal treatment of the brass quintet and the instrumental choirs of the orchestra. These textures occur in a variety of moods--quietly murmuring (first movement), softly buzzing (beginning of the second) or playful, perpetual mobil (third movement).
Lawrence Moss
Symphonies
for
brass quintet and chamber orchestra
Annapolis Brass Quintet
American Camerata for New Music
John Stephens, Conducting
TAP > AUDIO BAR BELOW
(There may be a 10 to 20 second delay before sound begins)
American Camerata for New Music
John Stephens, Music Director
Annapolis Brass Quintet
David Cran - Martin Hughes - Robert Suggs - Arthur LaBar - Robert Posten
Lawrence Moss, Composer
Professor and Director of Composition at University of Maryland
John Stephens, Music Director
Annapolis Brass Quintet
David Cran - Martin Hughes - Robert Suggs - Arthur LaBar - Robert Posten
Lawrence Moss, Composer
Professor and Director of Composition at University of Maryland
Lawrence Moss details each movement of his
Symphonies for brass quintet and chamber orchestra:
"In the opening movement I tried to write in an unusual way for the soloists -- not so much in the familiar "brassy" way but as soft and undulating, something of an impressionist wash. (Stravinsky's work is dedicated to the memory of Debussy, and the French master looms pretty large behind my piece as well.) This opening wave-like idea -- really a combination of slow trill and tremolo in various timbres -- is repeatedly contrasted with a nimble, pointillistic sound in the woodwinds." READ MORE
Symphonies for brass quintet and chamber orchestra:
"In the opening movement I tried to write in an unusual way for the soloists -- not so much in the familiar "brassy" way but as soft and undulating, something of an impressionist wash. (Stravinsky's work is dedicated to the memory of Debussy, and the French master looms pretty large behind my piece as well.) This opening wave-like idea -- really a combination of slow trill and tremolo in various timbres -- is repeatedly contrasted with a nimble, pointillistic sound in the woodwinds." READ MORE
Symphonies was recorded in the National Presbyterian Church, Washington, D.C. in September 1978 under the direction of Curt Wittig, Recording Engineer. The recording would not have been possible without a grant from the General Research Board of the University of Maryland whose generous assistance is gratefully acknowledged.
[ Original Recording 1979 -- Orion Master Recordings (ORS 79362) ]
[ Original Recording 1979 -- Orion Master Recordings (ORS 79362) ]
FOSTERING BRASS CHAMBER MUSIC
The scores and parts for Flight and Symphonies by Lawrence Moss, along with the entire ABQ Special Collection, are available for study and performance from the Oberlin Conservatory of Music
TAP for Direct Link to Annapolis Brass Quintet Special Collection at Oberlin
The scores and parts for Flight and Symphonies by Lawrence Moss, along with the entire ABQ Special Collection, are available for study and performance from the Oberlin Conservatory of Music
TAP for Direct Link to Annapolis Brass Quintet Special Collection at Oberlin