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FÁBIO BRUM

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Like alchemists of old, attempting to recombine the four elements, here Fábio Brum presents four distinct musical languages in a programme forged during lockdown. Gabriele Roberto’s Tokyo Suite charts the astonishment of a traveller dazzled by the vast megapolis, whereas Dimitri Cervo’s The Brazilian Four Seasons offers a colourful, energetic panorama of the natural and human worlds. Fábio Brum’s very personal musical journey is highlighted by the contrast between the Talmudic contemplation of Menachem Zur’s De Profundis and the abstract ruminations of Nicola Tescari’s Trumpet Concerto ‘Nine Moods’.

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Fabio Brum is one of the leading trumpet soloists of the younger generation. A stupendous virtuosity, rich feeling for sounds and good taste for all styles is his trademark. His South American origins carried him in his youth to North American University in Louisville and later finally to Europe to the Musikhochschule Karlsruhe, Germany .

On his brand new release he shows all his talent, creativity with an entertaining mixed Programme of Spanish, Italian and Brazilian influences. Also the only original solo piece for cornet à pistons from the outstanding Virtuoso Theodor Charlier (1868-1944) you can hear in the world premiere version with orchestra. On all the pieces Fabio Brum is using different sizes of cornets à pistons, bigger and smaller one’s. This instrument had his great moments in the music of Hector Berlioz, Claude Debussy and Igor Strawinsky and on this CD as well. Fabio Brum shows the different color, mostly more dark and round in perfect master ship, so we wait impatient for CD Nr.2.  BRAVO and COMPLIMENTS for Nr.1 © 2020 Reinhold Friedrich

Fábio is a musician of several qualities, with technical skill combined with a musical sensitivity that the repertoire chosen for this album reveals in a striking way. The proposal is to show the diversity of the instruments of the trumpet family, which he handles with ease, in pieces specially arranged for the project. © 2020 Concerto Magazine

I am delighted to know and be friends with this wonderful musician Fábio Brum! I believe he is one of the greatest trumpeters of our day.  His phrasing and musicality lead us to believe in a divine gift. © 2020 Roberto Tibiriçá

Brazilian trumpet virtuoso, Fabio Brum, takes us through a whole family of brass instruments...the Cornets in G and D are elegantly smooth in Brum’s relaxed performances ... That final section will be the first time the instrument has been heard, the cornet specially made for this recording session. © 2020 David's Review Corner

…This is a collection of transcriptions for trumpet solo, and one of its high points is that soloist Fabio Brum plays eight different instruments.

I am especially interested in, and impressed by, Theo Charlier’s ‘Solo de concours’, a standard work for cornet and piano but presented here in an orchestration by composer Oscher. Blum’s performance on cornet is excellent, as are all of his readings on this enjoyable album. © 2020 American Record Guide

The aria from Vivaldi’s opera Griselda, arranged for Brum by Ángel Mendoza (b. 1987), makes an excellent program opener. The original is far more instrumental than vocal in style, replete as it is with rapid-fire repeated notes, rollercoaster scales, arpeggiated figures, frequent bounces from one extreme of register to the other, and a two-octave-plus range—perfect material for appropriation by a wind instrument. Listening to Brum’s splendid performance makes one wonder if it’s even possible to sing such music. © 2021 Fanfare 

The immediately striking things about the programme on this CD are, first, the number of different instruments Fábio Brum plays and, secondly, how much of the music is newly arranged from very disparate sources. An operatic aria by Vivaldi, piano music by Isaac Albeniz and the best known of the Bachianas Brasileiras by Villa-Lobos. There is, of course, no intrinsic problem with either of these things, and my initial listening confirmed the security of Fábio Brum’s technique across the instruments he plays…

 © 2020 MusicWeb International 

Following on the release in July 2020 of music demonstrating the family of brass instruments, the Brazilian virtuoso, Fabio Brum, displays nine differing trumpets.

That involves eight Twentieth century composers from around the Western world exploring the potential of a trumpet and piano duo, and I guess many people who buy this disc will be unaware that there are so many variants on a well-known instrument. Opening in South America with last year’s offering from the Argentinian composer Daniel Freiberg, Preludio played on a B flat trumpet is both glittering and jolly. In the shape of a two-movement Sonata, Serendipia, from the Spanish composer, Santiago Baez, is the disc’s most extended work, its style being a 2020 view friendly tonality with some interesting harmonic twists and turns. Here played on two trumpets—an orchestral B flat and a piccolo trumpet—corno, flugelhorn and horn in F, Brum readily moves from a creamy-smooth quality, for the slow ‘movement’, to a finale with its virtuoso presto conclusion. Brazil is represented by Gilson Santos’s jazzy Canzua, a trial of dexterity for both performers; Douglas Braga’s four movements of Cor, mostly for cornets; and Dimitri Cervo is represented by a part of the violin concerto reduced to a version for trumpet and piano. Concluding this international tour we have pure jazz from England with Misha Mullov-Abbado’s Cancon de Sobriedade. A disc for ‘trumpet’ connoisseurs who will I readily recognize the difference between instruments and the quality of performance from, the much travelled and critically acclaimed Brazilian, Fabio Brum. In a close-up recording, the Spanish pianist, Santiago Baez, gives an ideal and detailed accompaniment. © 2022 David’s Review Corner

The first solo album by Brazilian trumpeter Fábio Brum, entitled Egregore + and signed by the Naxos label, is a commitment to a new way of doing ... This album, added to his successful career, positions him as one of the most outstanding trumpet players in his generation and as the first performer to mark the future of the coloratura of brass instruments... © 2020 Irene Littfack

 
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