Salaputia Brass - Programmes

Programme suggestions 2021 | 2022

10 brass players, 1 drumer

All programmes with moderation

Fire Songs  
   
Georg Friedrich Händel (1685-1759) “Music for the Royal Fireworks”
Hildegard von Bingen (1098-1179)/ Paraphrases on “The Fire of Creation”
Peter Dörpinghaus (*1990)  
Michael Praetorius (1571-1621) i.a. “Fire of the Middle Ages” (Arr.: NN)
Gustav Holst (1874-1934) “Dance of Spirits of Fire” from “The Perfect Fool”
***  
Anthony DiLorenzo (*1967) “Fire Dance”
Oriol Cruixent (*1976) new work
Morten Lauridsen (*1943) from: “’Fire Songs’ on Italian Renaissance Poems”
Manuel de Falla (1876-1946) “Ritual fire dance” from “El amor brujo”

Heroic music - a breath taking adventure

Starting from Georg Philipp Telemann's Musique heroïque and corresponding works by other composers such as Gioachino Rossini, Edward Elgar, Joaquín Rodrigo and John Williams, Salaputia Brass entertainingly shines a light on various aspects of heroism from the past to the future. This both hilarious and contemplative evening awaits you with effective arrangements and a superb brass ensemble filled with an overwhelming joy of playing.

Georg Philipp Telemann (1681–1767) “Musique heroïque ou XII marches” TWV 50:31–42

In combination with works by César Franck, Jean-Philippe Rameau, Gioachino Rossini, Edward Elgar, Gustav Holst, John Williams, Julius Fučik, Robert Stolz, Clément Janequin, Aaron Copland, Franz von Suppé, Joaquín Rodrigo, Oriol Cruixent, Mitch Leigh, Georg Friedrich Händel and Jaques Offenbach.

Programme with moderation and intermission. Stage: 2 microphones.

Total length ca. 120 min.

Contemporary Brass  
   
Michael Tippett (1905-1998) “Fanfare for Brass”
Peter Dörpinghaus (*1990) 4 Bagatelles
André Previn (*1921) Excerpts from: “Triolet”
Einojuhani Rautavaara (1928-2016) “Playgrounds for Angels”
***  
Arthur Butterworth (1923-2014) “Triton Suite” (Septet)
Mark-Anthony Turnage (*1960) “Set to”
Hans Werner Henze (1926-2012) Ragtimes & Habaneras
Michael Nyman (*1944) “For John Cage”
Frohe Weihnachten, joyeux Noel and merry Christmas  
   
Georg Friedrich Händel (1685-1759) “Joy to the World” (Arr.: P. Dörpinghaus)
Johann Sebastian Bach (1685-1750) “Wachet auf” (Arr.: E. Crespo)
Claude Gervaise (um 1510-1558) Suite from “Danceries” (Arr.: P. Reeve/P. Dörpinghaus)
Johann Sebastian Bach (1685-1750) Air from “Orchestersuite Nr. 3” (Arr.: P. Lechner)
Anthony Holborne (um 1545-1602) Suite “The Fairie Round” (Arr.: R. Harvey)
Johann Sebastian Bach (1685-1750) “Jesu bleibet meine Freude” (Arr.: E. Crespo)
***  
Eric Ball (1903-1989) “The Kingdom Triumphant” (Arr.: P. Dörpinghaus)
Engelbert Humperdinck (1854-1921) “Abendsegen” from “Hänsel&Gretel” (Arr.: R. Hoffmann)
French Christmas “Les anges dans nos campagnes”, “Cantique de Noël”,
  “Il est né le divin enfant”, “Venez divin Messie” (Arr.: P. Dörpinghaus)
Traditional “Ding Dong Merrily on High” (Arr.: R. Harvey)
Sing along medley “Macht hoch die Tür”, “Fröhliche Weihnacht überall”,
  “Es kommt ein Schiff geladen”, “Süßer die Glocken nie klingen”,
  “Herbei o ihr Gläubigen” (Arr.: I. Luis)
Paris, Paris  
   
Paul Dukas (1865-1935) Fanfare from “La Péri”
Claude Gervaise (1540-1560) Suite from “Danceries” (Arr.: P. Reeve & P. Dörpinghaus)
André Lafosse (1920-1995) Suite impromptue (for brass quintet)
Claude Debussy (1862-1918) “Masques” L 105 (1904) (Arr.: C. Mowat)
***  
Georges Delerue (1925-1992) “Fanfares pour tous les temps” (excerpts)
Roy Hargrove (1969-2018) “Strasbourg / St. Denis” (Arr.: P. Dörpinghaus)
Maurice Ravel (1875-1937) “Alborado del Gracioso” from “Miroirs” (Arr.: NN)
Various (Arr.: NN) “So ist Paris” (French Chanson-Medley from the 20th century)
With Jeroen Berwaerts - trumpet and jazz singing  
   
Signals from heaven  
   
Toru Takemitsu (1930-1996) “Signals from Heaven - Day Signal*”
Giovanni Gabrieli (1557-1612) “Canzon primi toni” (C170)
Duke Ellington (1899-1974) from: “Sacred Concerts”: “Come Sunday”
  (Arr.: B. Netsvetaev)
Giovanni Gabrieli (1557-1612) Canzon (C194)
Trad. Spiritual “Sometimes I feel like a motherless child”
  (Arr.: B. Netsvetaev)
Toru Takemitsu (1930-1996) “Signals from Heaven - Night signal*”
***  
Trad. Spiritual “Swing Low, Sweet Chariot”
Giovanni Gabrieli (1557-1612) Canzon noni toni (C173)
Toru Takemitsu (1930-1996) “Garden Rain”
Trad. Spiritual “Nobody knows the Trouble I See” (Arr.: B. Netsvetaev)
Giovanni Gabrieli (1557-1612) Canzon septimi toni (C172)
George Gershwin (1898-1937) “Summertime” (Arr.: B. Netsvetaev)

* The publisher Schott-Verlag charges a fee of approx. 500,- euro per concert for the sheet music of “Signals from Heaven”, which would accrue in addition to the artists' fee. Alternatively the ensemble offers to play “Spheres” by Peer Markusson (Arr. Peter Dörpinghaus).

Instrumentation: Solo-Trumpet/vocal, 4 trumpets, 4 trombones

With Sebastian Küchler-Blessing - organ  
   
Brass and Organ  
   
Claudio Monteverdi (1567-16439) “L‘Orfeo” (for brass ensemble)
  Toccata (for brass ensemble)
Johann Caspar Kerll (1627-1693) “Capriccio sopra il Cucu” (for solo organ)
Giovanni Gabrieli (1557-1612) from: “Symphoniae sacrae”:
  Toccata C175 „Pian e Forte“
  Canzon primi toni C170 (for brass ensemble)
  Canzon XVI a 12 (for brass ensemble and organ)
Johann Sebastian Bach (1685-1750) Choral “Jesus bleibet meine Freude” (for brass ensemble
  and organ) Cantata “Herz und Mund
  und Tat und Leben”
Zsolt Gárdonyi (*1946) “Mozart Changes” (for solo organ)
Felix Mendelssohn Bartholdy (1809-1847) “Ein Sommernachtstraum” (Arr.: R. Harvey)
  Notturno: Con moto tranquillo (Arr.: R. Harvey)
Richard Strauss (1864-1949) “Feierlicher Einzug” (Arr. for brass ensemble and organ: H. Albrecht)
n.n. Work for organ
Marcel Dupré (1886-1971) “Poème Héroïque” (for brass ensemble and organ)

With delicate Gabrieli canzonas, Strauss' powerful sound clouds and Dupré's martially heroic phrases this programme celebrates the tonal variety of the queen of instruments in interplay with the instruments of the kings: The brass players move around in the venue and play accordingly to the local conditions from different positions in the space. This way they play with the spatial possibilities like it was the case more than 400 years ago in the Dome of San Marco in Venice. The pieces for ensemble alternate with pieces for solo organ to make room for the brass players to change their positions.