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Symphony
MOZART THE SUBLIME IN UKIAH SYMPHONY'S CONCERT
by Terry McNeill
Sunday, September 22, 2024
Symphony
POTENT TCHAIKOVSKY INTERPRETATION IN PHILHARMONIC'S 25TH ANNIVERSARY OPENER
by Terry McNeill
Saturday, September 21, 2024
Recital
SPANISH MUSIC AT SPRING LAKE VILLAGE
by Terry McNeill
Wednesday, September 18, 2024
Chamber
BRASS OVER BRIDGES AT SPRING LAKE SERIES
by Terry McNeill
Wednesday, August 21, 2024
CALLEJA AND SANIKIDZE CHARGE THE ATMOSPHERE IN WEILL WITH SUMMER FAVORITES
by Pamela Hicks Gailey
Saturday, August 3, 2024
ENERGETIC SINGING IN CALLEJA/SANIKIDZE WEILL RECITAL
by Mark Kratz
Saturday, August 3, 2024
Chamber
MUSICAL CALM IN A WORLD OF POLITICAL IDIOTS
by Terry McNeill
Friday, August 2, 2024
Chamber
SUNBEAMS ON THE FESTIVAL DEL SOLE FROM THE FAR NORTH
by Terry McNeill
Thursday, August 1, 2024
Chamber
A FAURE TO REMEMBER
by Terry McNeill
Thursday, July 25, 2024
Chamber
DYNAMIC MENDELSSOHN AND SUBTLE BRAHMS AT FINAL PIANOSONOMA CONCERT
by Pamela Hicks Gailey
Thursday, July 25, 2024
CHAMBER REVIEW
Spring Lake Village Concert Series / Wednesday, August 21, 2024
Brass over Bridges. Brass Quintet. Two trumpets, two trombones, horn, tuba

Brass Over Bridges Quintet

BRASS OVER BRIDGES AT SPRING LAKE SERIES

by Terry McNeill
Wednesday, August 21, 2024

Innovative programming is alive at the Spring Lake Village Concert Series, with the usual piano trios and vocal groups upstaged by a recent formal solo harp recital and August 21 by Brass Over Bridges, an all brass quintet.

The short program in Montgomery Auditorium West included works by one of the performers and concluded with transcriptions of three of Ellington’s most memorable tunes – In a Sentimental Mood, Take the A Train and especially Satin Doll.

Surprisingly there was even a brass quintet work from the Romantic era, Victor Ewald’s Number One of four written in the 1890s. Musicians included trumpeters Ari Micich and John Freeman; Sophia Chen (horn); trombonists Esther Armendariz and Sam Wamhoff; and the dynamic tuba playing of Jonathan Seiberlich. Mr. Seiberlich’s instrument sounded wonderfully resonant in the Hall’s famously dry acoustics and was the strong supporting sound of Thomas Morley’s Four Elizabethan Ayers – Fyre, Fyre!; Good Morrow, fair ladies of the May; Gaude Maria Virgo and When lo, by breake of morning.

The audience of 85 applauded the unusual sound of five strident brass, though at one hour curiosity for some was surely sated.