Monteregian Hills Suite, for brass quintet
II. Chanson mélancolique
III. Valse ridicule
IV. Danse villageoise
Morley Calvert (1928 – 1991)
Morley Calvert was a conductor, bandmaster and composer born in Canada. His music education included an LSRM certification in 1946, and A. Mus degree from McGill in 1950, and a B.Mus degree from McGill in 1956. In 1958, Calvert founded the Monteregian Music Camp, a summer music camp for high school students that takes place in Ayers Cliff, Montreal, where, in 1961, he composed Suite from the Monteregian Hills on commission from the Montreal Brass Quintet. Morley Calvert's professional activities included the position of accompanist for Maureen Forrester. Calvert was invited to join the American Bandmasters Association (ABA), and taught the high school band program at Barrie Central Collegiate school. Calvert composed and arranged many works for band (some for the Salvation Army) and a few for brass quintet and for choir.
Berandol Music Ltd
Arnold, M. / Ewald / Bozza / Maurer / Dahl / Calvert Works For Brass Ensemble by Center City Brass Quintet: Chandos, 2002.
Virtuoso Brass by Chicago Brass Quintet: Delos, 1991.
Kiss My Brass by US Coast Guard Brass Quintet: Altissimo! 2009.
Types of Instruments/Mutes
Mutes are only needed for the trumpet.
Suite for the Monteregian Hills was commissioned by the Montreal Brass Quintet and it is based on French-Canadian folk songs, while its title was inspired by the eight mountains which range in an arc from Mount Royal near Montreal south to the American border. In four movements, Suite from the Monteregian Hills consists of standard musical forms and styles. When considering all four highly contrasting movements, it is important to listen for the different styles, time signatures and tempos of each one. The first movement, March, is a cheerful march in 6/8. The second movement, Chanson Melancolique, is the first and only time this lighthearted work takes a moment to become more melancholic. The third movement, Valse Ridicule, translated as ridiculous waltz, will become apparent as you listen to the waltz in 3/4 melodies interrupted by a radically different march-like tune. The fourth movement is a quick dance in mainly a 4/4 time signature with variations of a sixteenth note melody exchanged between all members of the quintet by the end of the piece, for a better performance outcome of this movement more experienced players would be preferable. Calvert’s piece is quite straightforward, with recognizable melodies, traditional harmonies, predictable formal structures, strong rhythmic character and a joy to perform.