Brass Extreme Tokyo
contemporary brass music


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Recording & iTunes

  Senzoku 8.12.2013
  Seoul 1.11.2011
  Tokyo 24.10.2011
  Tokyo 25.11.2008
  Seoul 26.10.2006
  Kanagawa 23.10.2006
  Hong Kong 09.10.2005
  Tokyo 03.10.2005
  Tokyo 09.07.2004
  Seoul 31.10.2003

The Musicarama 2005 Festival in Hong Kong
October 9, 2005 Hong Kong City Hall Theatre 20:00
The Musicarama Festival 2005 in Hong Kong
Brass Extreme Tokyo Concert

    Brass Extreme Tokyo
    Kiyonori Sokabe (tp), Jin Ueda (tp), Atsushi Doyama(hn), Kousei Murata (trb), Shinya Hashimoto(tu)
    Changwon Park (Korea) / Spur.. (2003)
    Ho Shan-shan (China) / Space - Colour (2005)
    Luciano Berio (Italy)/ Sequenza V for trombone solo (1966)
    Takashi Fujii (Japan) / The Astronomical Danceology (2005)
    Fiona Chung (China) / Fanfare for the Mongolians (2005)
    Christopher Coleman (USA) / Politics, Money, Music (2005)
    Bernard Cavanna (France) / Pompes et pistons (avec lèvres) (2005)
    Tang Man-ngai (China) / Requiem for Brass Quintet - In Memory of Pope John Paul II (2005)

Program Note & Profile
    Changwon Park / Spur… for Brass Quintet (2003)
    Spur consists of seven little pieces of components. Each component has different motivic movements, which represent acoustic vestiges of brass quintet in various spaces. The last parts of the components vanish with the resonating sounding of vestiges of micro-tones.
    Changwon Park (b.1967)
    He graduated from Yonsei University(B.A), Mannheim-Heidelberg Muiskhochschule (K.A) and Karlsruhe Musikhochschule(K.E), studying Composition with Chanhae Lee, Inyong La, P.M Braun, U. Leyendecker, W.Rihm, Heiner Goebbels. In 1989, he won the Jung-Ang Competition, and Yonsei Cultur Award in 1990. His works have been performed at Karlsruhe, Stuttgart, Frankfurt, Madrid, Tongyoung and Daegue, Contemporary Music Festival, ACL in Korea and the 21st Century Music Society and ect… Currently, he is teaching at Yonsei University and also a music director & conductor of the Contemporary Music Ensemble SORI. (

    Ho Shan-shan / Space - Colour (2005)
    This piece is divided into two movements. The first movement is called Space. The composer arranges the alternative appearance of a rapid, rhythmic pattern and a long, sustained chromatic pattern. An even chromatic figure on the trombone and horn introduces the second half, fast section. This figure modifies and tightens the music to suggest the climax at the end.
    The second movement is called Colour. This is a slow movement with more chromatic harmony treatment. The music suggests a slow flowing motion.
    Ho Shan-shan (b.1983)
    is now in her second year of degree programme at the Hong Kong Academy for Performing Arts, studying composition under Clarence Mak, and composition and electronic music with Lo Hau-man.Ho was interested in music at an early age, and started the piano as a young child. Her recent compositional project was a part arrangement in the Chinese Cantonese opera Heaven Shaking Bow - Celebrating the Academy’s 20th Anniversary.

    Takashi Fujii / The Astronomical Danceology
    Circling motions found in traditional Eastern dance, appear to reflect the cycle of nature. When our everyday motion resonates with the cycle of nature, a dance starts within us. Our mind and body begin to circle slowly,once, twice, three times, round and round. Gradually they begin to turn around faster and faster, resulting in a whirl so fast that we are unable to control ourselves. At that moment, we will come to the realization that the universe is filled with the dance of astronomical objects. Music was commissioned by Brass Extreme Tokyo, in summer 2005.
    Takashi Fujii (b.1959)
    He graduated from Kunitachi College of Music in Tokyo, and studied with E. Nunes at the Musikhochschule Freiburg in Germany. His works have been performed in many cities in Japan, Europe and Asia. He received a commission to perform in "Ferienkurse fur Neue Musik of Darmstadt" in 1994. He won Fukui Harp Music Special Award in 1992 and Asahi Composition Award in 1995. He has given many creative music workshops with handicapped people since 1992. His work has received performance at the World Music Days in Switzerland 2004. His several works are published by Tre Media Edition(Karlsruhe), Ongakuno-tomo, Kawai Edition(Tokyo). He is member of ISCM Japan, and teaches at Kunitachi College of Music. Lives in Tokyo

    Fiona Chung / Fanfare for the Mongolians
    This fanfare is written for all Mongolians. It is a fanfare for the coming of age of Mongolians, after all these years of struggle and development. Having emplayed common features found in fanfares, the composer has also added elements from Mongolian music to give the fanfare a sense of ethnicity.
    There is an association to the vastness of the steppes and endurance of Mongolians.
    Fiona Chung (b.1980)
    is a Ph.D. candidate in the Department of Music at The University of Hong Kong(HKU). Relatively new to this art form, she is now studying composition with Dr.Joshua Chan at HKU. She is a creative writer as well and her poems have been published in Yuan Yang. Her body of work inculudes play, short stories, poems and music compositions. Fiona was born in 1980. She attended the Li Po Chun United World College of Hong Kong and obtained the International Baccalaureate Diploma before she did her B.A. at HKU with a double major in English Studies and Comparative Literature.

    Christopher Coleman / Politics, Money, Music (2005)
    It has often been my habit to compose works in pairs, putting similar materials and techniques to contrasting gestures. Having just completed a large work for band that in spite of its title, A Jazz Funeral, is an optimistic celebration of life, I turned to this commission for Extreme Brass Tokyo from the Hong Kong Composers’ Guild. Inspired by the group’s name, I took the jazzy rhythms and inflections from the previous work and put them to darker and quite a bit more virtuosic use. Frustrated and angered by what I perceive as broken promises, outright lies, and other evil machinations by my government in the US, the government here in Hong Kong and China, and even within my profession, I gave vent to my feelings in this, my darkest piece yet. Politics, Money, Music develops a twisting chromatic figure throughout its nine-minute length, obsessively reorganizing the pitches repeatedly, beginning with melodic bursts and sequences that are brutally cut short by stabbing syncopations, and finally works its way to a quieter but still unsettled conclusion.
    Christopher Coleman (b.1958)
    composer, conductor and trombonist, is currently Composition Coordinator of the Hong Kong Baptist University Department of Music and Fine Arts. He has also taught at the University of Chicago, DePaul University, Columbia College, and in the Interlochen Center for the Arts summer programme. He earned his Ph. D. from the University of Chicago where he studied composition with Ralph Shapey and Shulamit Ran. While at the University of Pennsylvania, where he earned the M.A. in composition, he studied with George Crumb, George Rochberg and Richard Wernick, among others. While most of Coleman’s works are scored for traditional forces, recent efforts at Hong Kong Baptist University have resulted in two large scale multi-media/improvisation pieces: September Variations and Prophecies for a New Millennium. He has received commissions from the Hong Kong Bach Choir and Orchestra, the Hong Kong Composers’ Guild, the DuPage Symphony Orchestra, the Chicago-area chapter of the American String Teachers’ Association, and the University of Georgia Trombone Choir, among others. He has been awarded first place in the Percussive Arts Society Percussion Ensemble Composition Contest and the ASUC/SESAC Composition Contest. Following in the path of his father, visual artist Oliver M. Coleman, Jr., Christopher Coleman has recently begun working in sculpture and computer graphics.

    Tang Man-ngai / Requiem- In Memory of Pope John Paul II (2005) for two trumpets in C, French horn, trombone and tuba
    Requiem is written in memory of Pope John Paul II whom the composer respects highly of his fervent belief in peace and high standard of morality. An interlocking texture that gently pushes the music forward supports the dense harmonic rhythm that contributes to the heavy atmosphere at the beginning of the piece. A duet leads into the second section which then develops into animated exchanges within the ensemble. In the last section a merger of themes from previous sections builds up the climax. A chorale-like codetta concludes the music.
    Tang Man-ngai (b.1972)
    studied composition and electronic music with Law Wing-fai and Clarence Mak at the Hong Kong Academy for Performing Arts and graduated in 1998. Tang was then awarded the Composers and Authors Society Scholarship for Overseas Studies to study with Richard Mills and Brenton Broadstock at the University of Melbourne. Tang received a Master of Music from the University of Melbourne in 2001. Tang has written solo, chamber, vocal, electronic, multi-media and orchestral works. His compositions have been performed in Hong Kong, Taiwan, Japan, Australia and Switzerland.
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