SOUNDS OF EVOLUTION
New brass chamber music for and with Salaputia Brass
The CD Sounds of Evolution brings together new chamber works for brass; with the exception of
a single “older” work, the program consists exclusively of pieces commissioned by Salaputia Brass
and receiving their premiere on this recording. In addition, all of the works are being recorded
here for the first time.
Daniel Schnyder, Oriol Cruixent, Peter Dörpinghaus, Fernando Morais, Derek Bourgeois, Markus Geiselhart, and Peer Markusson have written completely new pieces for the twelvemember
ensemble, and with George Gershwin’s I Got Rhythm, Ingo Luis has arranged a jazz standard. The music is worth listening to at every moment – always enjoyable, it’s never aloof or elitist. Salaputia Brass, consisting of four trumpeters, four trombonists (plus one extra alternating trumpeter), a French hornist, a tuba player, and a percussionist, provides convincing evidence that “today’s music” can indeed be fun. They make use of their many international connections along the way, performing music by Swiss, Catalan, German, Brazilian, British and American composers.
Renowned Swiss jazz saxophonist and composer Daniel Schnyder has written music both for classical symphony orchestra and jazz ensembles, and naturally also for every stylistic genre in between. The number of works he has composed for all kinds of brass combinations – Schnyder’s preferred repertoire, as we might expect – will soon reach the three-digit mark. His 2015 Brass Symphony, written for the ensemble’s standard instrumentation (without percussion), consists of five movements: from the first surge of chords in the Entrada to the Roxanne ballade, the neobaroque-like Hymnus, the muted Scherzo, and the rhythmically complex Finale, Daniel Schnyder’s work is a kaleidoscope of stylistic possibilities – and a powerful, ten-voice Brass Symphony. The composer himself offers the following comments:
1. Entrada: this is a kind of overture, combining ideas from funk music (familiar to every brass player from James Brown) with polyphonic structures, where musical themes and rhythmic patterns cumulatively overlay one another at the end. This music is stylistically difficult, since it combines a classical developmental model with a musical idea from the 1960s and 70s. Brass players are the only classical musicians today capable of successfully playing this music; all the other instrument families are as yet unable to do so. It’s thus a sort of music of the future, where the trumpeters are the flying saucers and the alien planet is named James Brown.