If you want to hear the original version for brass quintet, go here: https://soundcloud.com/remistjacques-composer/lever-de-soleil-dans-les-montagnes-5tette-cuivres-sunrise-in-the-mountains-brass-5tet?in=remistjacques-composer/sets/musique-de-chambre-chamber

Here's the second version with a reworked orchestration: https://soundcloud.com/remistjacques-composer/sunrisessymphony-n2-mvt2-in-the-mountains-2nd-version?in=remistjacques-composer/sets/orchestral

Lever de soleil dans les montagnes - Sunrise in the mountains (orchestré/orchestrated)

Nostalgia - Juan Carlos Enriquez

String Quartet in G Minor Mvt. III - Bradley de Lucia (2023)

Albert Camus once wrote ‘when I describe what the catastrophe of modern man looks like, music comes into my mind – the music of Gustav Mahler’. If asked to specify a particular work, it is quite possible that Camus would have proposed Symphony No. 6 in A minor – the symphony that Bruno Walter claimed portrayed ‘a terrifying, hopeless darkness, without a human sound’. Nevertheless, the period during which Mahler wrote his Sixth was one of the most successful and happiest of his life – prior to any marital difficulties, at the time of the birth of his second daughter Anna, his professional reputation growing. Alma Mahler, in her memoirs, suggested that the symphony was in fact predicting instances of future distress in the composer’s own life, and she and various commentators have proposed various interpretations of different elements. Most famous of these are possibly the hammer strokes in the Finale, falling, according to Alma, like ‘blows of fate’ on the ‘hero’ of the symphony. But Osmo Vänskä has a reputation for engaging with even the most iconic scores at face value, avoiding preconceived ideas and ‘time-honored’ traditions. His and the Minnesota Orchestra’s recording of Mahler’s Sixth follows upon the 2017 release of the composer’s Fifth Symphony. Nominated to a 2018 Grammy Award, that interpretation has been described as ‘at once committed and detached, intense and transcendentally timeless’ (Norman Lebrecht) and ‘an exceptional performance that promises great things to come’ (allmusic.com).

Mahler: Symphony No. 6 In A Minor "Tragic" II. Andante Moderato

Commissioned and Premiered by the Rogue Valley Symphony. Recorded live on February 18, 2018 at Grants Pass Performing Arts Center, Grants Pass, OR.

In the composer's own words: "Even though I am all the way on the east coast, "Rogue Sparks" was a celebratory piece to write, for myself as well. I concentrated on making the orchestra sparkle with accents and colors. Those are the "sparks" that I allude to in the title. And, of course, they are "Rogue" sparks - not only in honor of the fine RVS, but also their surprising manner in how these accents and colors appear in the work. Happy 50, RVS!"

Jonathan Leshnoff: Rogue Sparks

Piano Quintet No. 1 In C Minor, Mvt. 2 — Adagio Lamentoso

Wind Sextet in A (2019) — II. Adagio

For more information about this piece, visit daletrumbore.com/yes.

If I Say Yes was commissioned by the University of Maryland Chamber Singers and Edward Maclary for the 2019 NCCO National Conference, College Park, Maryland. This piece sets a poem by Trumbore about marriage and engagement, weighing this momentous decision against years of shared experiences.

IF I SAY YES

If I say yes, 
it won't be to some unknown future, 
some fifty years, but a yes 
to what we already have:
half a house and the two of us,
small sparrows in an unfamiliar nest.

If I say yes, it will be to words well-worn
and to ones we can barely speak aloud:
to house, or child, or forever.

If I say yes, know that I may be rusty
at choosing you over me, or me over anything.
I can hardly remember which finger takes a ring.

But I have studied us for years;
I have watched the way your neck greets your shoulders,
I have learned the laugh that means
you've forgotten yourself,
and I will choose that laughter every time.

And you will say yes to uncertainty 
saved for meals much smaller than this one,
to the teakettle whistling for minutes,
to the fruit overripe and the tea over-steeped,
to endless and to endlessly-wanted touch.

And I will be sure that,
if I still don't know the answer,
when we stand together overlooking 
anything vast and borderless,
those moments are the happiest I've been
to hover over the railing of uncertainty
and reach out to you again
with an unsaid yes.

And if neither of us is certain,
if we live in a land without rain,
then there is a yes to something surer here
even than certainty,
to something surer still than water,
and we have known that, here,
as sure as it does rain twice a year.

And if we are asking each other 
for time—
time our only matchmaker, 
time the tea-kettle's whistle, 
time the fruit overripe
and time the tea over-steeped, 
time our only choice, and time
always out of our hands—

then let's learn to time our asking.
Let's learn to ask only when the answer 
could be yes—will be yes—
so there is some small chance of it staying yes
as long as we both shall live.

When I was small, unable to sleep,
and imagining, somewhere,
a love I hadn't met, imagining that love
awake, imagining that love imagining me too,
I am certain that person was you.

I wish I knew another word for all of this—
I do. I do.

—Dale Trumbore

If I Say Yes

Wind Sextet in A - Movement III, Allegro

Op. 28 - Modulation Etude No. 8

Click the link here for a more colorful and visual experience: https://www.youtube.com/watch?v=LknrMeKjwjM

String Quartet in G Minor Mvt. III - Bradley de Lucia (2023)

Bradley de Lucia

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