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Ariel
MIRARI BRASS brass quintet
ARTISTS
short bio
E
ngaging and eclectic, the Mirari Brass Quintet
brings a spirit of joyful collaboration and innovation to music spanning many centuries and
genres. The commissioners of multiple new works for brass,
the group performs a spectacular tight-rope act, balancing
intensity with levity and refined virtuosity with pure fun.
Now in its fifth season, Mirari has performed extensively across
the United States, forging connections with audiences through
lively and polished performances. The group has performed on
concert series for the Fredericksburg Music Club (TX), the
Manteca Kindred Arts Concert Association (CA), and Friends
PHOTO BY JASON ALDRIDGE
of Music at Emanuel (CT), as well as held concert residencies at numerous universities, including Cornell University, SUNY Potsdam’s
Crane School of Music, and many more.
Since 2009, Mirari Brass has added nearly two dozen works to the brass quintet repertoire, with group members also contributing a
number of arrangements and original compositions. Their debut album, Spires (2012), offers as its centerpiece Mirari’s commissioned
work from Rome Prize winner and Guggenheim Fellow Eric Nathan, adventurously contextualized by works from the Renaissance and
Baroque periods, as well as jazz standards re-imagined and transformed.
The Mirari Brass Quintet showcases its passion for music education through master classes, clinics, and performances with students of all
ages. All collegiate music professors, the quintet members relish extended time to interact with young musicians. Presenting clinics on
topics such as Fearless Performance, Yoga for Musicians, and Creative Improvisation, the Mirari Brass Quintet examines all aspects of life
as an artist and helps to foster the development of complete musicians.
As a central tenet of the group, and by their name’s definition, all Mirari members share an admiration and respect for each other not
only on stage and in music, but also in friendship. Mirari Brass is Alex Noppe and Matthew Vangjel (trumpets), Jessie Thoman (horn),
Sarah Paradis (trombone), and Stephanie Frye (tuba).
testimonials
“The Mirari Brass Quintet presented a virtuosic program that
“These stellar musicians are the perfect combination of talent
thrilled and inspired our audience. Equally at home performing
and insight. Their performances are full of contagious musical
everything from Renaissance transcriptions to Charles Mingus
expression, and their master classes are clear and simple, yet
charts, the ensemble is quickly establishing itself as one of the
have a dramatic effect on the way students play with one
premier groups of its kind.” –Dr. James Boldin, University of Louisi-
another.” –Cory Mixdorf, Georgia State University
ana-Monroe
“It was like someone pressed shuffle on my iPod and found all
“The quintet’s performance was flawless, energetic, and captivating, as
my favorite music. The Mirari Brass Quintet performs a dynamic
well as being educational and entertaining. The group demonstrated
mix of genres that delights. Beautifully executed and lots of
advanced knowledge and communication skills when working with
fun!” –Cynthia Johnston Turner, Director of Wind Ensembles,
the students, who were inspired to reach new levels in their own
Cornell University
performances.” –Dr. Kathryn Aducci, San Jose State University
SPIRITS TO ENFORCE
art to enchant
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Ariel
MIRARI BRASS brass quintet
ARTISTS
program offerings
E-flat major, Op. 12
PUBLIC CONCERT
In eighteenth-century Europe, a growing demand for music outside
of the aristocracy led to the creation of ticket-based concert series.
Audience members at these concerts would be treated to a wide
variety of music from different performers and composers: sympho-
Enrique Crespo, Suite Americana
Giacomo Puccini (arr. Tony Rickard), “Nessun Dorma” from
Turandot
Eugene Bozza, Sonatine
nies, concerti, arias, and even oratorios. In this program, Mirari
David Sisco, New work TBA
creates a modern version of this public concert, featuring music
Thad Jones (arr. Noppe), A Child Is Born
from a large number of styles and genres. To achieve the effect of a
Charles Mingus (arr. Noppe), Moanin’
larger array of performing musicians, the quintet will borrow many
works from outside the standard brass vehicles, including choral,
strings, opera, and jazz combo.
The musical journey begins with Canyon Run, a modern fanfare by
Mirari trumpeter Alex Noppe, influenced both by contemporary
American music and jazz. Mirari then goes back in time with a set
of Renaissance works originally for voice. Elegy, again by Alex
Noppe, was written in 2011 for the memorial service of his grandmother. The centerpiece of the program is Felix Mendelssohn’s
monumental String Quartet No. 1, orchestrated here by the late
hornist Verne Reynolds. Mirari opens the program’s second half
with a set of American (both North and South) dances by Enrique
Crespo. Hornist Jessie Thoman is featured on a beautiful and
powerful arrangement of “Nessun Dorma” from Puccini’s opera
Turandot. Next is music by Eugene Bozza, who lived through many
European stylistic periods of the 20th century, as can be heard in
his Sonatine for Brass. David Sisco’s new work is written specifically
for Mirari Brass, with movements conceived as musical portraits of
each group member. The final two jazz works are a contrasting set
of tunes, beginning with trumpeter Thad Jones’s beautiful ballad A
Child Is Born and coming to an energetic and thrilling close with the
staple tune of the Charles Mingus Big Band, Moanin’.
Works to be performed on the “Public Concert” program include:
Alex Noppe, Canyon Run
Claude Le Jeune (arr. Noppe), Revecy venir du printans
John Wilbye/Thomas Vautor/William Byrd (arr. Stephanie Frye),
English madrigals (selected)
INTO THE MIRROR
Mirari Brass Quintet’s “Into the Mirror” program centers around
two very different works conceived for the group and written
five years apart. New York-based composer and performer
David Sisco completed his as-yet untitled work for Mirari Brass
in 2014. Based on interviews with each member of the group,
the first five movements each feature an individual Mirari
member and are written around their life history, experiences,
and interests. The final movement ties all the musical themes
together, proof that the whole truly is greater than the sum of
its parts. The other major work on the program is Spires, by
Guggenheim Fellowship-winning composer Eric Nathan. Spires
is based upon artist Julie Mehretu’s ink and acrylic on canvas
artwork of stacked architectural blueprints of a plaza in Berlin.
The music is rotated and viewed from different vantage points
until the scaffolding falls away, leaving only a starkly clear
picture of buildings and towers.
Surrounding the Sisco and Nathan pieces are shorter vignettes
from the lives and artistic sensibilities of the quintet members.
From bombastic and virtuosic fanfare, to the witty and buoyant,
to the deeply spiritual, the quintet embarks on a journey
through light and dark. It is a challenging, humbling, and
inspiring experience to look into the mirror of one’s own artistry
and observe what reflects back. The audience is invited to
“reflect and wonder” (the definition of “Mirari”) alongside the
musicians, and to explore the intricacies of music as both a
means of personal expression and a social experience.
Noppe, Elegy
Felix Mendelssohn (arr. Verne Reynolds), String Quartet No. 1 in
SPIRITS TO ENFORCE
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Ariel
MIRARI BRASS brass quintet
ARTISTS
program offerings (cont.)
Works to be performed on the “Into the Mirror” program include:
Mirari’s debut album, is a tour-de-force of brass technique and
Alex Noppe, Canyon Run
pointillistic composition.
John Wilbye/Thomas Vautor/William Byrd (arr. Stephanie Frye),
English madrigals (selected)
The second half opens with Rich Campbell’s American Riffs, a set
David Sisco, New work TBA
of infectious grooves drawn from the rhythms of 1970s funk.
Mirari tubist Stephanie Frye is featured in Hodesanna by noted
Noppe, Elegy
composer John Stevens. Another synthesis of styles, its five
Louis Romanos, New work TBA
movements draw from bebop, waltz, tango, and the blues within
Greg Bartholomew, Marvel
contemporary classical forms. Mirari closes with a series of
Austin Jaquith, Quintet for Brass
homages to American popular music, beginning with several
Imogen Heap, Hide and Seek
songs from one of the most popular Broadway musicals of all
Eric Nathan, Spires
time, West Side Story. Finally, Mirari presents two tunes by bassist
Thad Jones (arr. Noppe), A Child Is Born
Charles Mingus, both radically different takes on the blues.
Chick Corea (arr. Noppe), Spain
Works to be performed on the “Music of Our Roots” program include:
MUSIC OF OUR ROOTS
American music at its core is an art based on synthesis, influenced
by the tonal language and formal construction of Europe, the sound
sets and improvisatory nature of African music, and the rhythmic
grooves from Central and South America. Each of the works on this
program draws in various ways from those roots and each comprises
John Cheetham, A Brass Menagerie
Enrique Crespo, Suite Americana
Caprice Fox, Silence of Time
Louis Romanos, TBA
Eric Nathan, Spires
a unique combination of styles that interact in often unpredictable
Rich Campbell, American Riffs
ways. As brass instruments can be found in nearly every genre of
John Stevens, Hodesanna
American music, the Mirari Brass Quintet is an ideal vehicle to
Leonard Bernstein, West Side Story Suite
interpret and present these works.
Charles Mingus, Goodbye Pork Pie Hat and Haitian Fight Song
A whirlwind of virtuosic technique, John Cheetham’s A Brass
Menagerie borrows concepts from many other prominent modern
American composers, including Bernstein, Copland, and Stravinsky,
to create a fusion of musical ideas. Newly composed, but at once
familiar, Enrique Crespo’s Suite Americana begins with a lighthearted
and jovial rag before transitioning to a waltz with Peruvian flair.
Caprice Fox’s Silence of Time, written originally for the vocal jazz
group New York Voices, possesses beautiful and languid harmonies
that allow the group to display idiomatic lyricism, showing how brass
instruments are essentially extensions of the voice. Mirari continues
with another new composition by Georgia composer Louis Romanos, a percussionist from New Orleans (until uprooted by Hurricane
Katrina) best known for writing for film, live dance, and the Louis
Romanos Quartet. Finally, Eric Nathan’s Spires, the title track of
PHOTO BY JASON ALDRIDGE
SPIRITS TO ENFORCE
art to enchant
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Ariel
MIRARI BRASS brass quintet
ARTISTS
additional offerings
MASTER CLASSES
The Mirari Brass Quintet has decades of collective educational
experience, and loves to work with students of all levels, whether
they specialize in brass or simply have a general interest in music
and performance. Mirari can work one-on-one, with small groups,
or with large audiences. In addition to the traditional master class
setting, in which specific pieces are used to bring focus to larger
performance concepts, Mirari can also speak as a group on some
topics on which they are expert. These topics can be geared
towards audiences of all ages and ability levels, and can be mixed
and matched to suit the needs of any event:
B R A S S F U N D A M E N TA L S
C H A M B E R M U S I C F U N D A M E N TA L S
MUSIC BUSINESS AND MARKETING
T H E A RT O F P E R F O R M I N G
SPECIALIZED LECTURE/DEMONSTRATIONS
The Mirari Brass Quintet offers a variety of lecture/demonstrations on
more specialized topics. These can be tailored as necessary to suit the
needs of any given audience, and can be mixed and matched as well.
C R E AT I V E I M P R O V I S AT I O N
Alex (trumpet) will take your students through a variety of games and
exercises that build creativity in style and musical expression. They
will have opportunities to each be leaders, soloists, and ensemble
members and learn how to communicate and collaborate with each
other in an experience like none they have had before! This clinic
is designed for musicians from middle school through college and
can work with any group size (20-40 players is optimal). Students on
any instrument or voice can participate and no prior experience in
improvisation is necessary. This is not explicitly a jazz clinic—the art of
improvisation crosses over all stylistic boundaries and will benefit all
musicians. Band directors and music teachers will also receive Alex’s
handy guide, Group Improvisation Games for the Music Classroom.
PHRASE AND FLOW
Matt (trumpet) takes your students through the essential elements of creating a beautiful sound. This class applies to all, but is
especially pertinent for wind players, as the key for us is efficient
and effective use of air. The students will be engaged in a number
of exercises designed to maximize their lung capacity and to help
develop a firm understanding of how air relates to creating a beautiful phrase on their respective instruments.
FEARLESS PERFORMANCE
ing Jeff Nelsen’s Fearless Performance concepts through master
classes and lectures. Have you ever performed something amazingly in the practice room and then performed that same thing
on stage less than optimally? Whether you are performing on
stage, in the classroom, or in life, your ability to perform is essential to being excellent. Jessie will give you the tools to learn
how to be Fearlessly optimal at every opportunity!
I N S T R U M E N TA L Y O G A
Sarah (trombone) focuses on body alignment for success. Posture, alignment, and overall fitness play an important part in a
student’s musical development. Sometimes we hinder ourselves
physically without even knowing it! In this master class, Sarah
works with students to show them how proper alignment and
basic fitness principles can help them produce beautiful music. Together, we will learn some simple stretches and postural
cues that can get students on the right track. Over time, these
easy stretches can prevent injury and encourage a tension-free
playing style. The class includes a discussion of cardiovascular
fitness and how it can benefit us as musicians.
T H E E N T E R P R I S I N G A RT I S T
Stephanie (tuba) believes that all successful artists are also
entrepreneurs, and students, whether they realize it or not, have
already started down an entrepreneurial path. We will discuss
what it takes to “Make It” in music, creating great promotional
materials, building a positive reputation, and connecting with
audiences. Students will be given resources on how to construct a
resume/CV and write a cover letter. Finally, we will take a look at
the many forms a career in music can take! This class is designed
for musicians from high school through graduate school, but can
be applied to any student aspiring towards a career in the arts.
FORM AND FUNCTION: MUSIC OF AND FOR THE PEOPLE
This demonstration class is an opportunity to share and explore
how people have used and continue to use music as a part of
their everyday lives. This class will demonstrate through performance the many different uses and types of music from all
time periods and geographical locations, as well as sharing the
inherent humanistic, unifying qualities of organized sound. As
well as performance, short explanations and opportunities for
audience participation allow the listener to experience sound,
motion, and a myriad of cultures through a variety of musical
styles, genres, and function. Information can be geared towards
any age and ability demographic as the program is not only
designed for music education, but also as a tool for connection
across all peoples, as music is an essential part of many cultures.
Jessie (horn) has been traveling all around the United Stated shar-
SPIRITS TO ENFORCE
art to enchant
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