About this Recording
8.574204 - Trumpets and Chamber Orchestra Music - ALBÉNIZ, I. / CHARLIER, T. / OSCHER, E. (Egregore+) (Brum, Kammerensemble Konsonanz, Flores)
English  Spanish 

Albéniz • Charlier • Oscher • Villa-Lobos • Vivaldi


In an occult or magical context, an ‘Egregore’ is a thoughtform that encompasses a group entity, and is the result of two or more people sharing their physical, emotional, mental and spiritual energies.

This project is new, modern and innovative, but nonetheless has a deep respect for the established art form. The idea is to influence listeners to enjoy the varied trumpet family, in a new and positive way, thus being the reason for the plus (‘+’) sign in the title ‘EGREGORE+’. To reach this goal, eight different instruments were used on this recording, and one of them was specially developed for this project. The instruments are a mix of six cornets, one flugelhorn and one trumpet, each with four piston valves. Using various modern instruments, we try to achieve never before heard sound colours and musical states.

Works of this quality for this instrumentation have not existed prior to this recording. Each work recorded here has either been arranged or written specifically for this album. We included eminent composers, such as Heitor Villa-Lobos, Isaac Albéniz and Antonio Vivaldi. We also have premieres on this album, such as Rapsodia latina by Efraín Oscher and the first orchestral arrangement of the well-known work for cornet, Solo de Concours by Théo Charlier.

The album was recorded in Bremen, Germany. The Kammerensemble Konsonanz and distinguished guests, together with conductor Pacho Flores and executive producer Efraín Oscher, assisted me in creating this new and positive Egregore.

Antonio Vivaldi (1678–1741): Griselda, RV 718 – Act II, Aria: Agitata da due venti

Griselda is an opera in three acts by the Italian composer Antonio Vivaldi. It is a work of maturity, in which the genius Vivaldi creates a true display of ingenuity and artifice, a spectacular exhibition of vocal virtuosity that is represented in over 20 arias. Griselda challenges the limits of the human voice, featuring almost impossible coloraturas, jumps spanning multiple registers, ornaments and passages of extreme tessitura. The F cornet used here helps the soloist to achieve a light yet warm sound, necessary for the coloratura and virtuosity of this piece.

Isaac Albéniz (1860–1909): Iberia, Book 2
(arr. Efraín Oscher as Suite Iberia)

Originally for solo piano, the three pieces contained in this book were premiered on 11 September 1907.

Rondeña is dedicated to the Andalusian town of Ronda. The predominant rhythm is the petenera, a variant of the fandango, which is characterised by the alternation of the time signatures 6/8 and 3/4.

Almería, inspired by the Andalusian port, is based freely on tarantas and is full of contrasts, with melancholic and cheerful tones.

Triana is one of the most popular pieces by Albéniz, evoking this Sevillian neighbourhood through a bustling and colourful seguidilla.

The soloist uses a C cornet throughout the piece, enveloping the listener in the characteristic warmth of its sound. Through the usage of four piston valves, the expansion in register becomes evident, and is explored in a highly profitable way by Oscher, whose orchestration is of the highest quality.

Efraín Oscher (b. 1974): Rapsodia Latina

This piece was composed especially for me by Efraín Oscher. It embraces the birthplace of Latin music, from the Caribbean to Brazil, in three continuous movements. The soloist uses three different instruments. The bright opening recalls the Cuban rhythm of guajira, which became famous through the iconic song Guantanamera. The orchestra provides a fairly percussive texture and establishes a dialogue with the powerful sound of the B flat trumpet, creating a stimulating energy that contrasts with a more melancholic intermediate section, imbued with the Africanflavoured rhythm of guaguancó.

After a brief cadence, the orchestra recreates a romantic atmosphere in a soft bolero. Evoking the tenor voice, the flugelhorn engages with the orchestra exploring rich, beautiful harmonies and melodic turns.

In the third section we visit my native land, Brazil, embracing its national music, choro. Considered to be the ‘cousin’ of the samba, choro retains the fast tempo and high rhythmic energy of the samba, while dispensing with the vast amounts of requisite drums. In fact, it is mainly accompanied by guitar and pandeiro (a Brazilian tambourine). The piccolo cornet in A, which did not exist prior to this album, and was specially designed for this recording, allows the soloist to clearly show the complex rhythms and melodic figures, characteristic of this cheerful style of music, easily reaching the high register typical of an oboe or clarinet.

Théo Charlier (1868–1944): Solo de concours

When listening to Théo Charlier’s Solo de Concours it is not surprising to find out that he was a singer as well as a brass player. The piece requires the interpreter to adopt an expressive and ‘singing’ tone, as well as a polished technique. Born in Belgium in 1868, Charlier was clearly influenced by the great Romantic composers of his time. Despite this, he managed to compose transcendental pieces, like this wonderful Solo. The work consists mainly of three parts, but often changes mood, tonality and tempo: a real expressive challenge for soloists.

Originally written for cornet and piano, this work has never before been recorded with orchestral accompaniment. The piece has an almost operatic character, so it is natural to hear the wonderful cornet solo accompanied by an orchestra. The complex polyphonic piano writing invites an assignment of orchestral voices to each line, leaving a challenge for the strings, who play in unusual keys. This chamber orchestra version uses four woodwind instruments (flute, oboe, clarinet and bassoon) that support the harmonies and highlight the melodic lines of the strings.

Heitor VILLA-LOBOS (1887–1959): Bachianas brasileiras No. 5

This is the most popular of the Bachianas brasileiras cycle. It is the only one that includes a vocal part, specifically for soprano. It consists of two contrasting movements: Ária: Cantilena and Dança: Martelo. In this version for string orchestra, the soloist uses a cornet in G throughout the Ária to embody the tone and colour of a soprano’s voice.

If the Ária is of great technical difficulty for the soloist, and also demands a great expressive capacity, the Dança: Martelo, with its crazy joyfulness, demands careful diction, given the difficulty of rhythm and speed of the lyrics of Manuel Bandeira’s poem. This movement in allegretto rhythm has a central più mosso section that contrasts and subsequently returns to the frenetic rhythm. The soloist uses a cornet in D for a clearer articulation and a powerful, bright sound.

Fábio Brum

Dedicated to the memory of my grandfather and mentor, Inácio Ferreira Pepino.

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