Marginalised, neglected, ignored for centuries, and only now coming to the fore. The fate of brass chamber music mirrors that of the female composers of the past. Our counterfactual history redresses both balances: placing the music of two female composers, Barbara Strozzi and Clara Schumann, alongside that of their historically more celebrated male contemporaries; and imagining that these women had written for brass.

Giovanni Gabrieli Exultavit cor meum
Barbara Strozzi Il Primo de Madrigali (selection)
Orlande de Lassus Lagrime di San Pietro
Felix Mendelssohn Organ Sonata in C minor
Clara Schumann Sonata in G minor

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.

The 18th-century orchestra of Handel’s Rinaldo and Rameau’s Dardanus is brought to life in borrowings for brass, alongside some early neoclassical piano works by Prokofiev.

Rameau Dardanus
Prokofiev Op. 12 Suite
Handel Rinaldo

Marginalised, neglected, ignored for centuries, and only now coming to the fore. The fate of brass chamber music mirrors that of the female composers of the past. Our counterfactual history redresses both balances: placing the music of two female composers, Barbara Strozzi and Clara Schumann, alongside that of their historically more celebrated male contemporaries; and imagining that these women had written for brass.

Giovanni Gabrieli Exultavit cor meum
Barbara Strozzi Il Primo de Madrigali (selection)
Orlande de Lassus Lagrime di San Pietro
Felix Mendelssohn Organ Sonata in C minor
Clara Schumann Sonata in G minor

Marginalised, neglected, ignored for centuries, and only now coming to the fore. The fate of brass chamber music mirrors that of the female composers of the past. Our counterfactual history redresses both balances: placing the music of two female composers, Barbara Strozzi and Clara Schumann, alongside that of their historically more celebrated male contemporaries; and imagining that these women had written for brass.

Giovanni Gabrieli Exultavit cor meum
Barbara Strozzi Il Primo de Madrigali (selection)
Orlande de Lassus Lagrime di San Pietro
Felix Mendelssohn Organ Sonata in C minor
Clara Schumann Sonata in G minor

Programme tbc

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.

The 18th-century orchestra of Handel’s Rinaldo and Rameau’s Dardanus is brought to life in borrowings for brass. Septura’s Pergolesi, by contrast, is third-hand: Stravinsky got there first, and his neoclassical Pulcinella is re-imagined for brass, alongside some early neoclassical piano works by Prokofiev.

Rameau Dardanus
Prokofiev Op. 12 Suite
Handel Rinaldo
Stravinsky Pulcinella

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.

The 18th-century orchestra of Handel’s Rinaldo and Rameau’s Dardanus is brought to life in borrowings for brass. Septura’s Pergolesi, by contrast, is third-hand: Stravinsky got there first, and his neoclassical Pulcinella is re-imagined for brass, alongside some early neoclassical piano works by Prokofiev.

Rameau Dardanus
Prokofiev Op. 12 Suite
Handel Rinaldo
Stravinsky Pulcinella

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.

The 18th-century orchestra of Handel’s Rinaldo and Rameau’s Dardanus is brought to life in borrowings for brass. Septura’s Pergolesi, by contrast, is third-hand: Stravinsky got there first, and his neoclassical Pulcinella is re-imagined for brass, alongside some early neoclassical piano works by Prokofiev.

Rameau Dardanus
Prokofiev Op. 12 Suite
Handel Rinaldo
Stravinsky Pulcinella

Programme tbc

Programme tbc

Programme tbc

Programme tbc

Programme tbc

Marginalised, neglected, ignored for centuries, and only now coming to the fore. The fate of brass chamber music mirrors that of the female composers of the past. Our counterfactual history redresses both balances: placing the music of two female composers, Barbara Strozzi and Clara Schumann, alongside that of their historically more celebrated male contemporaries; and imagining that these women had written for brass.

Giovanni Gabrieli Exultavit cor meum
Barbara Strozzi Il Primo de Madrigali (selection)
Orlande de Lassus Lagrime di San Pietro
Felix Mendelssohn Organ Sonata in C minor
Clara Schumann Sonata in G minor

Marginalised, neglected, ignored for centuries, and only now coming to the fore. The fate of brass chamber music mirrors that of the female composers of the past. Our counterfactual history redresses both balances: placing the music of two female composers, Barbara Strozzi and Clara Schumann, alongside that of their historically more celebrated male contemporaries; and imagining that these women had written for brass.

Giovanni Gabrieli Exultavit cor meum
Barbara Strozzi Il Primo de Madrigali (selection)
Orlande de Lassus Lagrime di San Pietro
Felix Mendelssohn Organ Sonata in C minor
Clara Schumann Sonata in G minor

Marginalised, neglected, ignored for centuries, and only now coming to the fore. The fate of brass chamber music mirrors that of the female composers of the past. Our counterfactual history redresses both balances: placing the music of two female composers, Barbara Strozzi and Clara Schumann, alongside that of their historically more celebrated male contemporaries; and imagining that these women had written for brass.

Giovanni Gabrieli Exultavit cor meum
Barbara Strozzi Il Primo de Madrigali (selection)
Orlande de Lassus Lagrime di San Pietro
Felix Mendelssohn Organ Sonata in C minor
Clara Schumann Sonata in G minor

Programme tbc