“The most dangerous part of the program comes at the end, namely the premiere of the "Concerto for Orchestra" by Brian Nabors. With this title, the composer reaches for the top drawer, after all, there are such iconic works of this name by Bartók and Lutosławski. Nabors does justice to the idea that the orchestra itself is the soloist in his own thoroughly contemporary and audible way, with plenty of rhythm, sophisticated timbres, and unafraid of the film-score-worthy melting pot. And somewhere, there's always another turn toward the bright side.”
-Verena Fischer-Zernin, Hamburger Adendblatt

“Listening to this event in the concert hall is incredibly enjoyable—the pieces are simply so good. The Concerto for Orchestra by 33-year-old US composer Brian Raphael Nabors from Alabama also exhibits a rhythmically rich design compared to European avant-garde music..." "Surprises pop up in each of the five movements—a whistle, for example, rousing big band elements, or unusual performances by Chineke! musicians.”
–Berliner Morgenpost. Matthias Nöther

The conception of my Concerto for Orchestra began with a long reflection on what a concerto for orchestra could mean in the vast sonic landscape of 21st century Contemporary Music. Following the playbook of masterworks set forth by Béla Bartók and Witold Lutosławski, I wanted my contribution to this subgenre to pay homage to the cultural roots that have shaped my compositional voice as well as provide an exciting ride for performers and listeners alike. My journey with the work began while working with composer Carl Vine in 2020 on a Fulbright Fellowship to study at the Sydney Conservatorium. I had begun to design a culturally immersive work that I hoped would not only challenge the orchestra in purely virtuosic ways, but further in terms of the techniques of rhythmic sensitivity that would be needed to perform the styles throughout authentically. My time was cut short in Australia by a global pandemic, prompting me to return to the U.S., though my ambition remained unwavering. Much of my work is about taking sound worlds that have shaped me artistically and reimagining them symphonically. For listeners, my hope is that there is a sense of familiarity & representation, yet something new to be discovered.

The work is cast in four movements:

I. VIBE CHECK
The term “vibe check” is often used to “check the temperature” of a social situation (gathering, party, etc.) or others to ensure a good time is had by all. This is done to essentially eliminate negative energy from a particular space or to set the energetic precedent for the time shared together. I sought to “set the precedent” for the piece, so to speak, by combining a virtuosic conglomerate of styles that would lay the sonic foundation of all else to be explored. It all begins with a whimsical theme in the trumpets that transports the listener on a journey of groove and mystery.

II. CRUNK
Growing up in the southern U.S., I was deeply immersed in the music of Black marching bands. It started at the age of 5 while watching my sister march in the high school band playing clarinet in the the mid-1990s. What would follow would be several years of appreciating this unique American artform, whether at the Southeastern Regional “Battle of the Bands” watching our local HBCU’s do what they do best, or any of the other many football “bowl” events that would happen in my hometown of Birmingham, AL or elsewhere. This movement is meant to capture the undeniable musicality and the swagger of all that this cultural experience has to offer. “Crunk” is a term in the Black American community which means to take the party to the “next level.” It’s all about the energy.

III. HAVOC and HYMN
This movement is one of duality; of chaos and reflection. Its heavy metal inspired opening gives way to an ominous sonic landscape shrouded in mystery. Then, a tranquil hymn emerges out of the glassy texture. Emotionally & philosophically, one may view this duality as a reminder of what great healing can surface after enduring the adversities of life. After the chaos,
I wanted to create a sonic contemplation of what unconditional love might sound like.

IV. FUSION
The final movement is all about pulse. I’ve combined my love of electronic dance idioms and southern Hip-Hop, more specifically “Crunk” music. It is a colorful, chaotic fusion of worlds with hard-hitting groove as well as delicate timbral sensitivity. It drives the piece home turning the orchestra into an acoustic beat machine.