Review

Stephen Kemp
Divertimento for Brass Quintet Op.31:

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Publisher: Wehr's Music House
Date of Publication: 2007
URL: http://www.wehrs-music-house.com

Score and parts

Primary Genre: Brass Ensemble - 5 brass

Stephen Kemp is a U.S. board-certified Pediatric Endocrinologist by profession and is Professor of Pediatrics and Medical Humanities at the University of Arkansas for Medical Sciences. He has also studied privately with Dr. Roger Boury, composer-in-residence at the University of Arkansas at Little Rock, and with British composer, Alan Ridout. Kemp has a number of compositions published and recorded and was composer-in-residence for The Queen’s Chamber Band from 1996-1999.

This is a nicely crafted brass quintet composed in 20th century tonal idioms. It is written in three movements, the first entitled “Cats and Dogs.” Dr. Kemp has essentially created a melodic line that runs from the first trumpet through the other instruments and back in this opening movement. It’s a clever though not untried polyphonic-type of construction and provides sufficient challenge to keep player and listener interested. He occasionally scraps the running sixteenth-note construct in favor of a quasi-homophonic texture. 

The second movement, “Fanfare and Chorale” is in ternary form with a slightly expanded A section at the end. The fanfare section opens with a stately unaccompanied trumpet solo.  Imitative entrances follow in the trombone and second trumpet; horn and tuba provide harmonic reinforcement. This section is followed by the chorale, which is homophonic in texture as expected. Kemp returns to a running sixteenth-note melody that is passed back and forth between second trumpet and horn. The final A section bears a strong resemblance to the first and ends with a repeat of the opening trumpet solo.

The final movement, “Big Band,” provides the most interesting musical content for players and listeners. It is composed in a straight-forward, laid-back Basie-style swing. The tuba part naturally resembles a string bass line and should be approached in similar fashion. Kemp again returns to the running melodic line that is passed from instrument to instrument, probably most effectively used here. “Big Band” represents the most idiomatic and enjoyable writing in the Divertimento. Though technically undemanding for the most part, the Divertimento for Brass Quintet is worth a look even if only for the last movement.

-David Johansen
Southeastern Louisiana University