The brass septet is a brand new invention, and therein lies the root of our compulsion to steal: we have no canon of repertoire, no grand history of great compositions.
And so we’re inventing one. Like musical Robin Hoods we thieve from the richest ensembles to create a counterfactual history — a parallel universe in which, in the world of chamber music, the brass septet rules.
The 18th century orchestra of Handel’s Rinaldo and Rameau’s Dardanus is brought to life in borrowings for brass. Septura’s Pergolesi, by contrast, is third-hand: Stravinsky got there first, and his neoclassical Pulcinella is re-imagined for brass.
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