Onyx Brass: Bach Through Brass

Diese Veranstaltung fand in der Vergangenheit statt

Kings Place: Hall One90 York Way, London, Greater London, N1 9AG, Vereinigtes Königreich

Datum/Zeit in London Zeitzone

Programm

Schostakowitsch, Dmitrij (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)	Das Wohltemperierte Klavier I: Präludium und Fuge Nr. 1 in C-Dur, BWV846 (Arr. Shute)
Schostakowitsch, Dmitrij (1906-1975)	Prelude and Fugue in A flat major, Op.87 no.17 (Arr. Miller)
Cohen, Jacques	Concertino
Schostakowitsch, Dmitrij (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
Händel, Georg Friedrich (1685-1759)	Ode for the Birthday of Queen Anne, HWV 74: Eternal Source of Light Divine (Arr. Shute)
Bach, Johann Sebastian (1685-1750)	Das Wohltemperierte Klavier I: Präludium und Fuge Nr. 5 in D-Dur, BWV850 (Arr. Keatley)
Schostakowitsch, Dmitrij (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 und Fuge d-Moll, BWV565 (Arr. Mills)
Bach, Johann Sebastian (1685-1750)	Chromatische Fantasie und Fuge in d-Moll, BWV 903 (Arr. Miller)
Bach, Johann Sebastian (1685-1750)	Nun komm, der Heiden Heiland - chorale prelude in G Minor, BWV659 (Arr. Powell)

Darsteller

Onyx Brass
Niall Keatley	Trompete
Brian Thomson	Trompete
Andrew Sutton	Horn
Amos Miller	Posaune
David Gordon Shute	Tuba

Plan

An einen Freund senden

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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