Pan-American Expressions
Pan-American Expressions is Rose City Brass Quintet’s latest full-length album, a celebration of the rich musical tapestry of North and South America. True to the ensemble’s mission of championing diverse and underrepresented composers, this album showcases an expansive range of styles and cultural influences – all unified by the group’s superb musicianship and passion for storytelling through brass. Following the success of their debut album Disquiet (2022), which featured bold new works inspired by contemporary events, Pan-American Expressions broadens the lens to honor musical traditions across the Western Hemisphere, blending familiar classics with fresh, lesser-heard gems. In keeping with their inclusive approach, the quintet is joined by special guests on this recording – percussionist Sergio Carreño on cajón and mezzo-soprano Sarah Beaty – adding extra rhythmic drive and lyrical depth to the ensemble’s sound.
About the Pieces
Suite from María de Buenos Aires (Astor Piazzolla, arr. Steven Verhelst) – Astor Piazzolla’s 1968 María de Buenos Aires is a surreal “tango operita” that helped define nuevo tango, blending classical forms with the soulful passion of Argentine tango. In this spirited brass arrangement, RCBQ revels in Piazzolla’s sultry melodies and pulsating tango rhythms. Guest percussionist Sergio Carreño provides the heartbeat of the music on cajón, infusing the performance with the authentic percussive groove of a Buenos Aires tango hall. The result is both sophisticated and electrifying – a seductive musical portrait of the tango itself, reborn for brass.
Selections from West Side Story (Leonard Bernstein, arr. Jack Gale) – The quintet journeys through Leonard Bernstein’s iconic Broadway score with a brassy energy and drama that match the original’s urban excitement. Gale’s arrangement condenses the musical’s most beloved numbers into an exhilarating suite, from the snapping intensity of the Prologue to the heart-wrenching romance of Somewhere. RCBQ brings each song to life with bold harmonies and theatrical flair, capturing the spirit of the star-crossed love story and New York City hustle. This medley includes eight classic songs: Prologue, Something’s Coming, Maria, Tonight, One Hand, One Heart, America, I Feel Pretty, and Somewhere – a nostalgic and thrilling ride through an American masterpiece.
Bachianas Brasileiras No. 5 (Heitor Villa-Lobos, arr. Lars Campbell) – The haunting beauty of Villa-Lobos’s most famous Bachianas Brasileiras comes to life as the brass quintet and a solo voice unite. Originally written for soprano and cellos, this piece famously fuses Brazilian folk melody with the elegant textures of Bach’s Baroque style. In Lars Campbell’s arrangement, the horn, trumpets, trombone, and tuba emulate the lush string harmonies, while guest mezzo-soprano Sarah Beaty soars over them in the aria “Cantilena” – singing a plaintive, wordless melody that evokes the Brazilian night sky. The combination of rich brass chords and the human voice is mesmerizing, drawing the audience into a hypnotic serenade that blends two musical worlds into one poignant expression.
Suite from the Monteregian Hills (Morley Calvert) – Canadian composer Morley Calvert’s charming suite offers a lighthearted tour through four musical scenes. Each movement has a French title and a distinct character – La Marche, Chanson Mélancolique, Valse Ridicule, and Danse Villageoise – moving from a jaunty march to a wistful song, a tongue-in-cheek waltz, and a rustic village dance. Together, these miniatures evoke the quaint atmosphere of Quebec’s Monteregian Hills region, reflecting both classical brass band tradition and a touch of French-Canadian folk flair. RCBQ’s performance highlights the suite’s warmth and humor, from the stately drive of the march and laughing lilt of the “ridiculous” waltz, making this piece a delightful tribute to community and countryside.
Saóko (Tania León) – Tania León, a Cuban-born composer and Pulitzer Prize-winner, brings contemporary zest to the album with Saóko, an exciting work bursting with Afro-Cuban rhythms. Named after a traditional Cuban cocktail of rum (or aguardiente) mixed with coconut water, Saóko playfully mixes musical ingredients just like a drink being stirred – you can hear grooves appear and disappear in quick flashes, spicy Latin motifs blending with modern dissonances. The music builds in intensity as if swirling faster and faster, until it culminates in a jubilant climax where the players even shout “¡Saóko!” in a celebratory toast. León’s piece is a true showstopper, immersing listeners in Caribbean flavor and contemporary flair, and the quintet delivers it with a fiery precision and joy.
Four Pieces for Brass Quintet (Paquito D’Rivera) – The album concludes with a vibrant suite by Cuban jazz legend Paquito D’Rivera, who takes the listener on a whirlwind tour of musical styles from different corners of the world. Each of the four movements offers a distinct flavor of rhythm and dance. First comes Wapango, an upbeat tribute to the Afro-Mexican huapango dance style, buzzing with energy and syncopation. Next, Danzón glides in with the suave elegance of Cuba’s classic dance form, its melodies lilting over a gentle pulse. El Cura (“The Priest”) follows, bringing a playful, bluesy swagger as a nod to a beloved Cuban guitarist friend of the composer, complete with a catchy, jazz-infused groove. Finally, Sofía rounds out the set with an unexpected twist – a lively piece set in a Bulgarian folk dance rhythm, adding a Balkan beat to the mix. The quintet navigates these contrasting moods effortlessly, showcasing virtuosity in one moment and soulful lyricism the next. It’s a tour de force finale that encapsulates the album’s Pan-American spirit, demonstrating how music bridges cultures with creativity and flair.
Collectively, Pan-American Expressions reflects the Rose City Brass Quintet’s ongoing commitment to musical excellence, inclusivity, and vibrant storytelling through brass music. Each piece on the album contributes its own chapter to a larger narrative, one that spans continents and communities – all harmonized by the bold, golden sound of brass.
About our Guest Artists
Sarah Beaty
Mezzo-soprano Sarah Beaty has been hailed as “the model of bel canto clarity and brilliance” (Cleveland Classical). Her versatile voice showcases a wide range of repertoire, with a specialty in contemporary opera. Sarah is “mesmerizing” and “sings with a purity of sound that filled the room with an array of colors” (Cleveland Classical). Her “warm musicality” and “vitality” (The New Yorker) captivates audiences across the country in her adventurous performances. She blends exemplary classical technique with cutting edge music, and is sought after for her fearlessness in experimental new music performances. She has worked with legendary conductors Gustavo Dudamel, James Conlon, Zubin Mehta, Esa-Pekka Salonen, John Adams, Nicholas McGegan, and Bramwell Tovey on stages including Carnegie Hall, Avery Fisher Hall (now David Geffen Hall), the Hollywood Bowl, Walt Disney Concert Hall, Symphony Space NYC, and The National Opera Center. Sarah is a graduate of the prestigious Manhattan School of Music and teaches at Reed College in Portland, OR, as well as maintains a private voice studio.
Sergio Carreno
Sergio Carreno joined the Oregon Symphony as a member of the percussion section in 2012. Hailing from Miami, FL, Sergio developed an eclectic musical taste which has led to collaboration with symphony orchestras, theater productions, dance companies, chamber music ensembles, and Latin, rock, and jazz bands.
Sergio has performed with The Cleveland Orchestra, Pittsburgh Symphony, St. Paul Chamber Orchestra, and San Francisco Symphony, among others. He toured the U.S. several times with the Dallas Brass, and has appeared as a soloist with the Oregon Symphony and the New World Symphony. Sergio was a New World Symphony fellow for four seasons under the direction of Michael Tilson Thomas, with whom he performed in Europe, South America, New York’s Carnegie Hall, and on PBS Great Performances. He holds Bachelor and Master of Music degrees from Carnegie Mellon University, a student of Timothy Adams Jr.