Onyx Brass: Bach Through Brass

Este programa ha pasado

Kings Place: Hall One90 York Way, Londres, Greater London, N1 9AG, Reino Unido

Fechas/horas en zona horaria de London

Programa

Shostakovich, Dmitri (1906-1975)	Preludio y fuga núm. 3 en sol mayor, op. 87
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)	Preludio y fuga núm. 17 en la bemol mayor, op. 87 (Arr. Miller)
Cohen, Jacques	Concertino
Shostakovich, Dmitri (1906-1975)	Preludio y fuga núm. 17 en la bemol mayor, op. 87 (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)	Preludio y fuga núm. 5 en re mayor, op. 87 (Arr. Miller)
Duddell, Joe (n. 1972)	Still Life
Jackson, Timothy	Anything But
Bach, Johann Sebastian (1685-1750)	Tocata y fuga en re menor, BWV565 (Arr. Mills)
Bach, Johann Sebastian (1685-1750)	Fantasía cromática y fuga en re menor, BWV903 (Arr. Miller)
Bach, Johann Sebastian (1685-1750)	Nun komm, der Heiden Heiland - chorale prelude in G Minor, BWV659 (Arr. Powell)

Intérpretes

Onyx Brass
Niall Keatley	Trompeta
Brian Thomson	Trompeta
Andrew Sutton	Trompa
Amos Miller	Trombón
David Gordon Shute	Tuba

Mapa

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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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