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Wind Ensemble and Triton Brass Quintet Release Album

Wind Ensemble and Triton Brass Quintet Release The Unheard Music on Albany Records


The Boston Conservatory Wind Ensemble and Triton Brass Quintet recently released their new recording, The Unheard Musicon Albany Records. The collection presents five world premiere performances of new musical works commissioned by the Conservatory and Triton Brass and recorded live in concert. The disc is available online at Amazon and iTunes. It will also have a permanent home in the Naxos Online Music Library.

“Instigating and presenting music by living composers is central to our musical work here at The Boston Conservatory,” says Eric Hewitt, Woodwinds Department Chair. “It is our responsibility as artists to cultivate the repertoire of the future. Each of our composer colleagues has a unique and important voice and in many ways embody a cross section of the open, creative spirit, stylistic and aesthetic varieties indicative of the compositional landscape in America today.”

Produced with support from a Copland Foundation recording grant, this is the second CD of its nature from The Boston Conservatory. The works are by composers Lansing McLoskey and Nico Muhly, as well as Conservatory alumni and composition competition winners Keith Kusterer and Justin Barish.

Triton Brass, a Conservatory Ensemble-in-Residence, is featured in two tracks on the record: McLoskey’s concerto for brass quintet and wind ensemble What We Do Is Secret, and McLoskey’s Brass Quintet, The Maddening Crowd.

“This is American music at its best - imaginative, challenging, powerful, and direct ,” says Hewitt. McLoskey’s music has been performed in 15 countries on six continents and has won more than two dozen national and international awards, including the prestigious Goddard Lieberson Fellowship from the American Academy of Arts and Letters, the International Music Prize for Excellence in Composition 2011 and the first International Joint Wind Quintet Project Commission Competition.

“So to Speak is a piece of mine I had all but forgotten until Eric encouraged me to take a second look at it in an arrangement for wind ensemble,” composer Muhly says. “His infectious energy matched perfectly with the Pentecostal spirit of the piece and more than makes up for the lack of strings.” Muhly is currently in the process of mounting his opera at the Metropolitan Opera and has composed for dozens of others, including the American Ballet Theater, Boston Pops, Carnegie Hall, Chicago Symphony, New York City Ballet, New York Philharmonic, Paris Opéra Ballet, The Royal Ballet and Seattle Symphony.

 


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