TITLE: The Storm’s Path

COMPOSER: Brian Balmages

PUBLISHER: FJH Chamber Music Series

GRADE: 5

PERFORMANCE TIME: 4:15

NOTE: Dedicated to the James Madison University Trumpet Ensemble, James Kluesner, Director

"The Storm’s Path" was premiered at the International Trumpet Guild Conference in 1999. It is a programmatic work for eight trumpets depicting the progression of a dangerous oncoming storm. The first of four sections opens with cluster chords and harmon mutes (stem out) at a slow tempo creating the background for the following percussive effects. All sections of the piece use extensive contrapuntal voicing and advanced rhythmic and articulation demands. The third section features a first trumpet jazz solo written over the ensemble which leads towards a brilliant coda. The key centers of concert C, G and Bflat major are explored throughout. First trumpet range extends to a written "D" above the staff; however, the other parts are more conservative. Overall, "The Storm’s Path" is wonderfully scored and rich with ensemble challenges for any accomplished and dedicated trumpet ensemble. I highly recommend this performance endeavor.

TITLE: Symphony No. 1 for Brass

COMPOSER: Brian Balmages

PUBLISHER: FJH Chamber Music Series

GRADE: 5

PERFORMANCE TIME: 14:25

NOTE: Dedicated to the James Madison University Brass Ensemble, Kevin Stees, Director

Not often enough are we able to enjoy a new and well-developed composition for brass choir. This three movement work is scored for a traditional brass choir of 4 trumpets, 4 horns, 3 trombones, bass trombone, baritone/euphonium, tuba and percussion (suspended cymbal, crash cymbal, snare drum, bells). The first movement (2:45) contrasts an opening and closing fanfare motive with a beautiful low brass chorale that also serves as the melodic material for the entire work. Scoring is generally grouped by high, middle and low voices with more imitative writing in the trumpet parts. The second movement (6:00) highlights horn, trumpet, tuba and trumpet solos set in a slower andante framework. A great deal of thought was invested into the melodic progression of the second movement. It is more than feasible to program this movement alone if rehearsal time is a concern for the ensemble. The third movement (5:40) returns to an allegro con brio tempo with the opening fanfare and chorale themes and added sixteenth note runs in the trumpets, 1 and 2 horns and baritone/euphonium. Limited multi-meter passages exist as transition points within each movement while the work explores the key centers of concert Bflat, F, and C. Balmages’s first work for large brass ensemble is a significant contribution to the brass choir repertoire; we hope that it will not be his last.