Five Fantasies for Brass Choir Op. 70 No. 1: Brass Ensemble

Hovhaness brings a refreshing harmonic language to brass ensemble writing. Rather than the familiar functional harmony of standard repertoire, these fantasies explore static sonorities and modal color, which challenges players to listen differently and rewards sustained, focused tone production. Programming this alongside conventional brass works demonstrates the range of ensemble literature available at this level.

These fantasies unfold like meditations, with rich brass sonorities that shimmer and shift subtly rather than build dramatically. The harmonic language feels suspended, hovering in space, creating an almost hypnotic quality that invites listeners into quiet, introspective moments. There is no march-like momentum here—only the slow evolution of color and the interplay of voices within a single harmonic world.

This work suits brass ensembles (typically 3-4 trumpets, French horns, trombones, and tuba) at the intermediate level and above who are comfortable with non-traditional harmonic language and sustained lyrical playing. It appeals to directors seeking to expand brass ensemble repertoire beyond standard contest and concert fare and to ensembles with the maturity to engage with contemplative, modal writing.

• Treat phrase endings as places to breathe the sound rather than stop it. Hovhaness favors seamless transitions between sections, so overlap attacks and releases to maintain momentum through harmonic shifts.
• Balance the ensemble by adjusting dynamic relationships between inner and outer voices. With modal harmony, vertical sonority matters more than melodic projection, so experiment with how much the middle voices contribute to the overall color.
• Commit fully to fermatas and held tones. The meditative quality of these fantasies depends on ensemble members sustaining with confidence, not questioning the length or purpose of long notes.
• Articulation should be light and consistent across the ensemble. Hovhaness uses sparse tonguing markings intentionally, so when articulation is specified, unify the approach; otherwise, lean toward minimal attack.

Program this as a concert centerpiece in a set focused on American experimental or non-Western-influenced music. It works particularly well sandwiched between more familiar works to give audiences a moment of reflection and to demonstrate the artistic range of your ensemble. Consider pairing it with other Hovhaness pieces or with contemporary works exploring Eastern modal systems to create thematic coherence.

• Sustain and tone control in a modal harmonic context
• Listening to and balancing complex vertical sonorities
• Intonation adjustment in static, non-functional harmony
• Blend and unity across multiple brass voices
• Musical interpretation of sparse dynamic and articulation markings