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. Strings reign supreme in chamber music, their extensive repertoire expressing the breadth and depth of the human condition. Three peerless examples – Elgar’s youthful Serenade, Walton’s turbulent Sonata, and Shostakovich’s masterful 8th quartet – are magnified by the uniquely powerful sound of the brass septet.

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