Dispeker Artists, Inc.

New York Brass Arts Trio

New York Brass Arts Trio


Brass Trio

Three world-class virtuoso soloists have come together to revolutionize the brass trio. Joe Burgstaller (trumpet), David Jolley (french horn), and Haim Avitsur (trombone) have forged together unique Classical and Jazz masterworks of all eras and have adapted these pieces for their innovative instrumentation.  Of the New York Brass Arts Trio, Classical Sonoma wrote “Every now and again a performance comes along that takes you by surprise with its brilliance… and makes you realize you’ve witnessed something special.”

The members of the New York Brass Arts Trio each bring great experience to the table. Burgstaller is a former featured trumpeter and arranger with the legendary Canadian Brass, has performed in front of more than 40 orchestras, and has recording credentials that include solo CDs, three Top-10 Billboard hits, and a Top-50 JazzRadio hit. Jolley is a pre-eminent horn soloist of his generation, performing as a soloist with major orchestras, collaborating with major string quartets (Guarnieri, Orion and American), and is a founding member of the Grammy-winning Orpheus Chamber Orchestra. Avitsur is the only trombonist named a 2005 and 2007 Emerging Artist by Symphony Magazine and has premiered over 80 compositions.

In addition to their individual performance accomplishments, the members of the Trio all maintain teaching posts at major American musical institutions (Peabody Institute, Manhattan School, Mannes, North Carolina School for the Arts, Queens College and Westchester University).

JOE BURGSTALLER
American trumpet soloist Joe Burgstaller has thrilled audiences throughout the world with his dazzling virtuosity, musical sensitivity and engaging personality. Formerly with Canadian Brass (8 years as a featured trumpeter/arranger) and the avant-garde Meridian Arts Ensemble (6 years), he toured his solo project, Joe Burgstaller: The Rafael Mendez Project, for many years.

Burgstaller has performed with more than forty orchestras (Philadelphia, Minnesota, Detroit, Houston, Baltimore, New Jersey, Virginia, to name a few), in more than fifty music festivals, and has performed and taught at over eighty universities, conservatories and colleges. His extensive discography includes solo CDs (The Virtuoso Trumpet and Music from 18th Century London) and three Top-10 Billboard hits with Canadian Brass. His last two CDs with his classical/jazz-hybrid crossover group BM4 (Bach’s Secret Files and Mozart’s Blue Dreams) were Top-50 on the JazzRadio charts and the Roots Radio Report (under Paul Simon but right above the Beastie Boys).

Mr. Burgstaller tours worldwide as a soloist, with his crossover group, BM4 (BurgstallerMartignon4), with the New York Brass Arts Trio, and as a clinician and teacher. He is on the faculty at the Peabody Institute, where he teaches trumpet, chamber music and a special masterclass series for all instruments called “Change Your Mind, Change Your Playing”. Every summer he teaches at the Music Academy of the West (Santa Barbara, CA). He is the inaugural recipient of Distinguished Alumnus Awards from both Arizona State University and the Eastern Music Festival. Joe Burgstaller is a Yamaha Performing Artist.

DAVID JOLLEY
David Jolley has been described as “a soloist second to none” by Gramophone Magazine and hailed for his “remarkable virtuosity” (New York Times). He has traveled extensively in North and South America, Europe, East Asia, and Japan. A chamber artist of unusual sensitivity and range, Mr. Jolley has frequently collaborated with such groups as the Kalichstein-Laredo-Robinson Trio, the Guarneri Quartet, the American String Quartet, the Beaux Arts Trio, Musicians from Marlboro, and the Chamber Music Society of Lincoln Center. Mr. Jolley is a member of the virtuoso quintet “Windscape”, and he is also a founding member, now Emeritus, of the Orpheus Chamber Orchestra, with whom he toured widely and made over two dozen recordings for the Deutsche Grammophon label.

A frequent soloist with orchestra, Mr. Jolley has appeared with symphonies across the US, including Detroit, Rochester, Memphis, San Antonio, Phoenix, Florida West Coast, New Mexico, and Vermont. Internationally, he has appeared with the National Symphony of Brazil in Rio de Janiero, the Kamerata Orchestra of Athens, the Israel Sinfonietta, and the Israel Kamerata in Jerusalem and Tel Aviv. Mr. Jolley’s keen interest in enlarging the solo horn literature has led to the composition of many new works for him, including Ellen Taaffe Zwilich’s Concerto, which Mr. Jolley premiered with Orpheus Chamber Orchestra at Carnegie Hall. He has performed in many summer festivals, including Marlboro, Sarasota, Aspen, Mostly Mozart, Bowdoin, and the Music Academy of the West. Mr. Jolley has six solo recordings on the Arabesque label, including Mozart Concerti and Strauss Concerti with the Israel Sinfonietta. Mr. Jolley is on the faculties of the University of North Carolina School of the Arts, Mannes College of Music, and Queens College-CUNY.

HAIM AVITSUR
Haim Avitsur has premiered over eighty new pieces encompassing a broad range of styles from solo trombone to chamber music and orchestra. Mr. Avitsur is the Trombone Professor at West Chester University School of Music (PA) and at the Aaron Copland School of Music, Queens College, NY. He has also served on the faculty of the University of Virginia and was the Principal Trombonist of the Charlottesville Symphony Orchestra.

In 2005 he founded the Summer Trombone Workshop, which has a US residency at Temple University, and recently enjoyed a second residency in Taiwan. Due to the ongoing success, other trombone workshops have followed. Haim Avitsur premiered a trombone/shofar concerto composed by Meira Warshauer with orchestras including the Dayton Philharmonic, the USC Symphony Orchestra, the Brevard Philharmonic, the Wilmington Symphony Orchestra and the Western Piedmont Symphony Orchestra.

Avitsur was the only trombonist named an Emerging Artist (in 2005 and 2007) by Symphony Magazine. His book, “The Avitsur Method”, is now available through Design for Lightning Publishing. His most recent solo CD, featuring sonatas for trombone and piano by David Loeb, is available on the Vienna Modern Masters Label. Mr. Avitsur is a clinician for the Edwards Instrument Company.

12/2021 – PLEASE DESTROY ALL PREVIOUSLY DATED MATERIALS.
MODIFIED VERSIONS MUST BE APPROVED BY DISPEKER ARTISTS.

Till Eulenspiegel’s Merry Pranks

The NYBAT’s new release of Till Eulenspiegel (April 2021) brings all the virtuosity and musicianship the world has come to expect from these all-star players.

– Alex Austin, Audiophile AuditionRelated Link

Music review: New York Brass Arts Trio

“Fun — infectious, yet serious — pervaded Saturday evening’s concert by the New York Brass Arts Trio, part of the Mary Anne Rennolds Chamber Music Series at Virginia Commonwealth University.

“… three musicians of quality, energy and humor: trumpeter Joe Burgstaller, trombonist Haim Avitsur, and horn player David Jolley. Together, they pirated pieces from the classical canon — few of which they had any business playing, but all of which they rendered deeply enjoyable.”

– Anne Timberlake, Richmond Times-DispatchRelated Link

Brassy Serendipity

Every now and again a performance comes along that takes you by surprise with its brilliance, or its warmth, or its quirkiness, and makes you realize you’ve just witnessed something special. In the case of the New York Brass Arts Trio performance Oct. 15 at the Berger Center in Oakmont, all three of those surprises were in abundant supply.

These three guys – Joe Burgstaller (trumpet), David Jolley (horn), Haim Avitsur (trombone) – have been performing together only since 2009, but they sound like they’ve been collaborating forever. Already as one overheard their warm-ups backstage it was evident that the aforementioned “something special” was in the offing. Such grace, such range, such flexibility. Get ready, I told myself.

The Berger auditorium hosted a near-capacity crowd of 200 and witnessed the opening of the Music at Oakmont series’ 25th season. The Trio performed a rich variety of selections, the pre-intermission half devoted to more classical/romantic works (Bach, Beethoven, R. Strauss), and the second to 20th-century offerings. All the pieces had been arranged by one of the three soloists.

They launched straight into the music, immediately letting the audience know what wondrous feats were in store. Wondrous feats via three short Bach Sinfonias? Yes indeed. From the first through the last, the three gave abundant evidence of their technical and emotional mastery, whether trading quick triplet-based 3/4 fugal material in the first number, or handing lyrical, melismatic passages back and forth in the transparent, haunting second, or racing around with 16th-note runs in the rambunctious third. The effect was simply stunning, and they were only getting warmed up.

Mr. Burgstaller proceeded to warm up the audience as well with the afternoon’s first verbal remarks, immediately establishing the trio’s good-vibe, insouciant MO. He announced, for example, a new CD contest the group was launching this afternoon: “Pay $15, win a CD.” The trumpeter worked some musically relevant info into his patter as well, informing us that the Bach selections we’d just heard had originally been written for the piano (thus paying homage to Mr. Jolley’s deft trio arrangement), then letting us know that the Beethoven trio to follow, despite its relatively mature Opus number (87) was actually written before Op. 1, but only published 12 years later.

The first of the piece’s four movements, Allegro, sounded pretty much like you’d expect the young Beethoven to sound: a fanfarish short intro, short and simple themes backed by slurred arpeggios, slick articulated runs in the trumpet and horn parts. Mr. Burgstaller, eschewing the conventional silent nod and indulgent half-smile normally engendered by audience exuberance between movements of a multi-movement piece, encouraged the audience to applaud, alleging that’s what people did back in the composer’s day, so “go for it” if the music so warrants! The second movement (marked Adagio, though not that slow) was smooth, consonant, and pensive with its lyrical melody caressed by sensitive trumpet ornaments.

Trombonist Avitsur took the mic before the Allegro molto, Scherzo third movement to chide his trumpet-playing compatriot for how Joe always speeds up the coda (to see if he can trip Haim up with the fast-note-packed trombone part). The movement itself is a delicate, tongue-in-cheek minuet – and sure enough, Mr. Avitsur couldn’t quite fit in all the notes. If the group has a weakness, I’d have to locate it in Mr. Avitsur’s passagework, where he falls prey to the nature of the trombone slide, which makes it devilishly difficult to locate fast, articulated notes precisely. The Beethoven concluded with a Prestomovement featuring brilliant trumpet 16th-sextuplet passagework and celestial high-range melodies in the horn part.

The final number of the first half was Mr. Jolley’s arrangement of Richard Strauss’ tone poem Till Eulenspiegel’s Merry Pranks. The arranger regaled the audience with tales of how hard it was to compress an orchestral work written for some 100 instruments into three brass parts, and held up his sheet music to show how very full of ink it had turned out. Crazy, hard, super-fun to play, but “could it work?” he asked rhetorically, for he knew full well that it could and would. What a delight. It opens with the familiar “Till” theme stated by the horn, augmented by trumpet and T-bone riffs; soon all three are in on the burlesque act. Outrageous double-tongued riffs, arpeggios, strange leaps, dynamic contrasts – can anyone actually double-tongue that fast and that softly? Soon we heard a nice spoof on Strauss’ slow Waldhorn duet, replete with half-valved glisses by trumpet and horn. Then an in-your-face clamorous sequence of rhythmically unison quarter notes in all three parts, an insistent assault on the audience’s sensibilities. Frequent lane swerves linked motif to motif, the main “Till” theme recurring again and again in the horn. The overall effect was very Poulenc-like, prefiguring the wily Frenchman by a few decades, and absolutely virtuosic.

Post-intermission, the group opened with Mr. Burgstaller’s medley arrangement of Piazzolla’s “Adiós Nonino” and “Libertango.” Mr. Burgstaller, who had been playing a C trumpet throughout the first half, switched here to a Bb, its more overtone-rich timbre perhaps better suited to the 20th century’s expansiveness. He and Mr. Avitsur also resorted to wrapping their respective bells with tinfoil (!) in place of any of the standard mutes. Mr. Jolley did not follow suit. It’s hard to imagine how he could have, given the size of his bell.

Thus rigged, the piece opened with a series of flutter-tongued blats and glissandi that sounded predictably tinny. Then the tinfoil was discarded for a cluster of two-plus-octave, half-valved upward riffs, a burlesque effect whose humor contrasted markedly with the hints of foreboding melancholy so characteristic of Piazzolla’s music and of the tango essence that inspires it. Evita-like lyrical passages then alternated with discordant technical brilliance, all undergirded by passagework redolent of the composer’s beloved bandoneon instrument. The familiar Libertango was spiced up by piccolo trumpet derring-do courtesy of the redoubtable Mr. Burgstaller.

More thrills were in store, in the form of selections from Gershwin’s Porgy and Bess, a rendition of saxophonist Lee Konitz’ Duets, and Three Children’s Songs by the jazz pianist Chick Corea. Sadly, a schedule conflict made this reviewer miss these last three numbers. But Music at Oakmont stalwart John Lounsbery assisted in this review with the following remarks: “The Corea pieces were terrific. A flugelhorn was employed. Porgy was semi-improvised, also nice…. I can’t add much except they kept up the high level of artistry.”

No surprise there! This group is artistry incarnate. If you missed the concert, I suggest a visit to Joe Burgstaller’s website (https://www.joeburgstaller.com/audio.shtml) where you can listen in on several of the numbers reviewed above. Here’s betting you’ll share my sense of serendipity. Whenever these three return to the Bay Area, I’ll certainly be there to hear them again.

– Philip Beard, Classical SonomaRelated Link

 

Till Eulenspiegel – Arabesque Records | Released 04/14/2021


Audio

Bach: Air pour les Trompettes

Bartok: Romanian Folk Dances – Sash Dance

Beethoven: String Trio – Allegro Moderato

Piazzolla: Libertango

Video

Documents

Short Biography

Joe Burgstaller, trumpet
David Jolley, french horn
Haim Avitsur, trombone

Three world-class virtuoso soloists have come together to revolutionize the brass trio, and are being hailed as the first brass group ever to play with the sensitivity and musicality of a string quartet. Trumpeter Joe Burgstaller, french hornist David Jolley and trombonist Haim Avitsur have forged together classical, light classical and classical/jazz masterworks of all eras and adapted them in unique and innovative instrumentation. Of the New York Brass Arts Trio, Classical Sonoma wrote: “Every now and again a performance comes along that takes you by surprise with its brilliance… and makes you realize you’ve just witnessed something special.” In the 2017-18 season the trio performs with Camerata Musica.

Full Biography

Three world-class virtuoso soloists have come together to revolutionize the brass trio. Joe Burgstaller (trumpet), David Jolley (french horn), and Haim Avitsur (trombone) have forged together unique Classical and Jazz masterworks of all eras and have adapted these pieces for their innovative instrumentation.  Of the New York Brass Arts Trio, Classical Sonoma wrote “Every now and again a performance comes along that takes you by surprise with its brilliance… and makes you realize you’ve witnessed something special.”

The members of the New York Brass Arts Trio each bring great experience to the table. Burgstaller is a former featured trumpeter and arranger with the legendary Canadian Brass, has performed in front of more than 40 orchestras, and has recording credentials that include solo CDs, three Top-10 Billboard hits, and a Top-50 JazzRadio hit. Jolley is a pre-eminent horn soloist of his generation, performing as a soloist with major orchestras, collaborating with major string quartets (Guarnieri, Orion and American), and is a founding member of the Grammy-winning Orpheus Chamber Orchestra. Avitsur is the only trombonist named a 2005 and 2007 Emerging Artist by Symphony Magazine and has premiered over 80 compositions.

In addition to their individual performance accomplishments, the members of the Trio all maintain teaching posts at major American musical institutions (Peabody Institute, Manhattan School, Mannes, North Carolina School for the Arts, Queens College and Westchester University).

JOE BURGSTALLER
American trumpet soloist Joe Burgstaller has thrilled audiences throughout the world with his dazzling virtuosity, musical sensitivity and engaging personality. Formerly with Canadian Brass (8 years as a featured trumpeter/arranger) and the avant-garde Meridian Arts Ensemble (6 years), he toured his solo project, Joe Burgstaller: The Rafael Mendez Project, for many years.

Burgstaller has performed with more than forty orchestras (Philadelphia, Minnesota, Detroit, Houston, Baltimore, New Jersey, Virginia, to name a few), in more than fifty music festivals, and has performed and taught at over eighty universities, conservatories and colleges. His extensive discography includes solo CDs (The Virtuoso Trumpet and Music from 18th Century London) and three Top-10 Billboard hits with Canadian Brass. His last two CDs with his classical/jazz-hybrid crossover group BM4 (Bach’s Secret Files and Mozart’s Blue Dreams) were Top-50 on the JazzRadio charts and the Roots Radio Report (under Paul Simon but right above the Beastie Boys).

Mr. Burgstaller tours worldwide as a soloist, with his crossover group, BM4 (BurgstallerMartignon4), with the New York Brass Arts Trio, and as a clinician and teacher. He is on the faculty at the Peabody Institute, where he teaches trumpet, chamber music and a special masterclass series for all instruments called “Change Your Mind, Change Your Playing”. Every summer he teaches at the Music Academy of the West (Santa Barbara, CA). He is the inaugural recipient of Distinguished Alumnus Awards from both Arizona State University and the Eastern Music Festival. Joe Burgstaller is a Yamaha Performing Artist.

DAVID JOLLEY
David Jolley has been described as “a soloist second to none” by Gramophone Magazine and hailed for his “remarkable virtuosity” (New York Times). He has traveled extensively in North and South America, Europe, East Asia, and Japan. A chamber artist of unusual sensitivity and range, Mr. Jolley has frequently collaborated with such groups as the Kalichstein-Laredo-Robinson Trio, the Guarneri Quartet, the American String Quartet, the Beaux Arts Trio, Musicians from Marlboro, and the Chamber Music Society of Lincoln Center. Mr. Jolley is a member of the virtuoso quintet “Windscape”, and he is also a founding member, now Emeritus, of the Orpheus Chamber Orchestra, with whom he toured widely and made over two dozen recordings for the Deutsche Grammophon label.

A frequent soloist with orchestra, Mr. Jolley has appeared with symphonies across the US, including Detroit, Rochester, Memphis, San Antonio, Phoenix, Florida West Coast, New Mexico, and Vermont. Internationally, he has appeared with the National Symphony of Brazil in Rio de Janiero, the Kamerata Orchestra of Athens, the Israel Sinfonietta, and the Israel Kamerata in Jerusalem and Tel Aviv. Mr. Jolley’s keen interest in enlarging the solo horn literature has led to the composition of many new works for him, including Ellen Taaffe Zwilich’s Concerto, which Mr. Jolley premiered with Orpheus Chamber Orchestra at Carnegie Hall. He has performed in many summer festivals, including Marlboro, Sarasota, Aspen, Mostly Mozart, Bowdoin, and the Music Academy of the West. Mr. Jolley has six solo recordings on the Arabesque label, including Mozart Concerti and Strauss Concerti with the Israel Sinfonietta. Mr. Jolley is on the faculties of the University of North Carolina School of the Arts, Mannes College of Music, and Queens College-CUNY.

HAIM AVITSUR
Haim Avitsur has premiered over eighty new pieces encompassing a broad range of styles from solo trombone to chamber music and orchestra. Mr. Avitsur is the Trombone Professor at West Chester University School of Music (PA) and at the Aaron Copland School of Music, Queens College, NY. He has also served on the faculty of the University of Virginia and was the Principal Trombonist of the Charlottesville Symphony Orchestra.

In 2005 he founded the Summer Trombone Workshop, which has a US residency at Temple University, and recently enjoyed a second residency in Taiwan. Due to the ongoing success, other trombone workshops have followed. Haim Avitsur premiered a trombone/shofar concerto composed by Meira Warshauer with orchestras including the Dayton Philharmonic, the USC Symphony Orchestra, the Brevard Philharmonic, the Wilmington Symphony Orchestra and the Western Piedmont Symphony Orchestra.

Avitsur was the only trombonist named an Emerging Artist (in 2005 and 2007) by Symphony Magazine. His book, “The Avitsur Method”, is now available through Design for Lightning Publishing. His most recent solo CD, featuring sonatas for trombone and piano by David Loeb, is available on the Vienna Modern Masters Label. Mr. Avitsur is a clinician for the Edwards Instrument Company.

12/2021 – PLEASE DESTROY ALL PREVIOUSLY DATED MATERIALS.
MODIFIED VERSIONS MUST BE APPROVED BY DISPEKER ARTISTS.