Chamber Music II

Saturday, March 4, 2017 • 7:30 p.m.
Resonance at SOMA Towers (288 106th Avenue NE, Suite 203, Bellevue)

purchase advance tickets

members of OSSCS
Olympic Brass Ensemble


Antonio Salazar (1928 – 2000)⁤/ arr. Tony Taño
Tres Canciones Mexicanas

Wolfgang Amadè Mozart (1756–1791)
Divertimento in E♭ major, K. 563


Leonard Bernstein (1918 –1990)
Trio for Violin, Violoncello and Piano

Victor Ewald (1860–1935)
Brass Quintet No. 3 in D♭ major, Op. 7

About the Concert

Soprano Peggy Kurtz, joined by clarinetist David Frank and pianist Rose Fujinaka, sings three Mexican songs (originally for voice and guitar) by Salazar. Violinist Alexander Hawker, cellist Roberta Rominger and pianist Lewis Thompson play Bernstein’s piano trio, composed when he was a student at Harvard (the slow movement later found its way into On the Town). Violinist Jason Hershey, violist Karen Frankenfeld and cellist Peter Ellis perform Mozart’s only work for string trio. The Olympic Brass Ensemble closes the program with a quintet by Victor Ewald.

Ticket price ($25) includes one drink from the bar. Only 100 seats available (purchase advance tickets); tickets will also be available at the door if any seats remain.


Program Notes

Between 1848 and 1850, Frenchman Jean-François-Victor Bellon (1795–1869) composed a dozen brass quintets, but these languished in obscurity for 150 years. Thus Victor Ewald, a Russian composer of German heritage, came to be acknowledged as the father of the brass quintet. Born in St. Petersburg, where he studied cello and composition at that city’s conservatory, Ewald maintained a “day job” as a successful professor of civil engineering while playing cello in an ensemble organized by Mitrofan Belyayev (a violist, timber merchant and music publisher) and widely recognized as the most influential string quartet in Russia.

Around 1888, Ewald—who also played cornet, horn and tuba—composed a quintet in A♭ major for five brass instruments. His B♭-minor quintet debuted a couple years later and became the first—and only—one of Ewald’s four quintets to be published (by Belyayev) during the composer’s lifetime. Ewald returned to the form some 15 years later, composing an E♭-major quintet. His final contribution to the genre, in D♭ major, debuted around 1912.

Ewald created these works for an ensemble consisting of two cornets, a rotary-valve alto horn, a rotary-valve tenor horn and tuba, but today they are generally performed by the standard brass quintet, substituting French horn and trombone for the alto and tenor horns.

Jeff Eldridge