Onyx Brass: Bach Through Brass

This listing is in the past

Kings Place: Hall One90 York Way, London, Greater London, N1 9AG, United Kingdom

Dates/times in London time zone

Programme

Shostakovich, Dmitri (1906-1975)	Prelude and Fugue in G major, Op.87 no.3
Bach, Johann Sebastian (1685-1750)	Prelude and Fugue in G Major, BWV541 (Arr. Maynard)
Bach, Johann Sebastian (1685-1750)	Well-Tempered Clavier 1: Prelude and Fugue No. 1 in C Major, BWV846 (Arr. Shute)
Shostakovich, Dmitri (1906-1975)	Prelude and Fugue in A flat major, Op.87 no.17 (Arr. Miller)
Cohen, Jacques	Concertino
Shostakovich, Dmitri (1906-1975)	Prelude and Fugue in A flat major, Op.87 no.17 (Arr. Thomson)
Bach, Johann Sebastian (1685-1750)	Well-Tempered Clavier 1: Prelude and Fugue No. 17 in A Flat Major, BWV862
Handel, George Frideric (1685-1759)	Ode for the Birthday of Queen Anne, HWV 74: Eternal Source of Light Divine (Arr. Shute)
Bach, Johann Sebastian (1685-1750)	Well-Tempered Clavier 1: Prelude and Fugue No. 5 in D Major, BWV850 (Arr. Keatley)
Shostakovich, Dmitri (1906-1975)	Prelude and Fugue in D major, Op.87 no.5 (Arr. Miller)
Duddell, Joe (b. 1972)	Still Life
Jackson, Timothy	Anything But
Bach, Johann Sebastian (1685-1750)	Toccata and Fugue in D minor, BWV565 (Arr. Mills)
Bach, Johann Sebastian (1685-1750)	Chromatic Fantasia and Fugue in D minor, BWV903 (Arr. Miller)
Bach, Johann Sebastian (1685-1750)	Nun komm, der Heiden Heiland - chorale prelude in G Minor, BWV659 (Arr. Powell)

Performers

Onyx Brass
Niall Keatley	Trumpet
Brian Thomson	Trumpet
Andrew Sutton	French horn
Amos Miller	Trombone
David Gordon Shute	Tuba

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Ten alternative versions of Bach

Danny Riley, 12th February

Historically-informed performance fanatics, look away now.

Bach unwrapped through brass: Onyx Brass at Kings Place

Julia Savage, 3rd May

I must admit that Bach through Brass, as this concert was entitled, filled me with a certain amount of trepidation. Bach, on instruments for which the music in the programme was not designed, on instruments which were not even around in Bach’s time (at least not in their modern-day form), did not sound immediately appealing; nevertheless, something drew me in, and I was pleasantly surprised.

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