Seraph immediately grabbed attention with their signature opener, the Prelude from Grieg’s Holberg Suite, flawlessly tossed off from memory at a brisk tempo, then turned to Verdi’s “Sempre Libera” from La traviata, with Bowden taking the role of Violetta in expressive, diva-worthy melismas.
The quintet effortlessly navigated through harmonic structures together, as one homogenous sound, never sounding like five musicians, but one group.
The audience was floored by their impeccable talent, and their presence on stage was inviting, truly worth returning to… It was a performance eyes and ears simply couldn’t get enough of.
As an ensemble, Seraph Brass delivers music both bright and warm, consistently playing with satisfying tone qualities that, when delivered at their skill levels, make brass music endearing.
The musical resumes of the members of Seraph Brass were highly impressive and their performing skills reflected as much. As someone who appreciates diversity of musical styles, an evening with Seraph Brass left me feeling richer, both intellectually and emotionally.
Seraph Brass is the next Boston or Canadian Brass.
This is a very fine brass quintet that makes beautiful sounds.
The high caliber of the playing is often staggering (see the high-energy roller-coaster of a ride that is Dilorenzo's three-and-a-half-minute Go), and the recording also benefits from democratic representation. The trumpeters naturally form a front-line, but Asteria is a recording where trombone, horn, and tuba are as prominently featured; certainly no small amount of credit for that must go to those responsible for the seven pieces' arrangements. One comes away from the release marveling at the performances and the rich, soaring sound generated by the five musicians.
High notes, low notes, fast notes, slow notes: Seraph Brass can play them all and with remarkable skill.