Band Journal, September 2004 issue Abolutely Gorgeous High Quality Sound Russian Brass : Finally coming to Japan this autumn Interview and Text: Editorial Department Interpreter: Akiko Oga Russian Brass that was founded in 1996 is a super brass quintet made up of first chair musicians from the famed St. Petersburg Philharmonic Orchestra. They possess an amazingly high level of performance technique and a gorgeous sound, and their elegant music captures the hearts of their listeners and never lets go. We spoke with them about their upcoming tour of Japan this autumn. An ensemble that utilizes individuality to the full Q: Please tell us how the group came to be founded. Sharapov: All over had played with different ensembles before. We we acquainted with each other, but we had never worked together before. All groups have their good and bad points, so we decided to form a brass ensemble of worldwide level. . . and that’s how things got started, Up to that time, Russia’s brass ensembles were not very well known in the rest of the world. So we formed our group in 1996 with the desire to familiarize the world with our sound. Q: You had a recent change of French horn players, didn't you? Belyaev: Stanislav Tses who worked with us before moved to the symphony orchestra of the Kirov Theater. The schedule of that orchestra is very, tight, and in the early days, he was able to somehow work out his schedule, but that became increasingly difficult , and it became impossible for him to rehearse with us. He is a truly marvelous musician, so we were disappointed to have to lose him. But Karzof who is also a member of the St. Petersburgorchestra than those you use ‘to play with the quintet? Sharapov: No, | don’t. | basically use exactly the same one. The deeply interesting Japan tour program Q: | look forward to your performance of the entire Pictures at an Exhibition on your Japan tour. What are its points of particular interest? Belyaev: The most important point about this Pictures at an Exhibition is that it is an arrangement of Mussorgsky’s original score. Karzof: That original score was only recently discovered. Q: There must be a lot of difficulties in performing this great piece as a brass quintet, aren’t there? Ignatiev: | have never heard of any other brass quintet performing the entire Pictures at an Exhibition in a live concert. Belyaev: And | am pretty certain that nobody has ever recorded on a CD, either. Ignatiev: Oh, someone has. Belyaev: Who?! They must have done a simplified version. Sharapov: It's pretty difficult physically. Your lips get tired. In order to perform the entire piece all the way through, you have to have a strong and sure embouchure. And it is also difficult in that there is no time to rest throughout the entire piece. You can't just do one section of the piece and take a rest before you do the next, after all. Q: We often hear the Ravel arrangement of Pictures at an Exhibition, so is there a stronger Russian flavor in your arrangement? Member: Yes. We have tried out a number of arrangements, but this one brings out the image of the original score the most strongly. Q: Did you have several meetings with the arranger Oskorkov? Member: Of course, we did. We gave him several CDs and a number of different arrangements that we had on hand. Avvakumov: The most important point is not only that the arranger understand music, but that he also knows the musicians who are toplay his arrangement. And he also must have a good grasp of the unique features of each of the instruments. . Q: What instrument does Oskorkov play? Member: The clarinet. His father is a composer. And he himself graduated from the composition department of the music conservatory. Q: Is he familiar with brass instruments? Avwvakumov: Very familiar. Belyaev: | think that it is best to say that we made him understand. . . (Laugh.) Q: Are any of your other pieces also arranged by him? Yes, the Nutcracker is. Q: What are you playing for an encore? Or is that a secret to be kept until the day of the concert? Member: Let's keep it a secret. Because if we announced our encore number and people were to demand that we put in on the actual program, we would be in trouble! Belyaev: (Half jokingly.) Maybe we'll just play our recording for the encore and mime playing it. (Giggling.) Q: There will likely be a lot of young people in the audience at your concerts in Japan. And | think that there will be a lot of them who will find that they want to become like you people. What advice to you have for such children? Belyaev: To love music passionately. Avvakumov: To listen to good performances of music. Belyaev: You must learn from only the best. And you must come to understand what you need and what you do not need, and then it is important to make a clear distinction between them. Avvakumov: You must pare away everything unnecessary, and study under a teacher who really teaches you music. And you must not concentrate on your own specialty only. It is important to maintain a