A MESSAGE FROM ARTISTIC DIRECTOR MIKE MILNARIK... I have played in brass quintets for a very long time! There are generally two types of brass quintets - audience friendly groups and "new" music groups. The audience friendly groups perform music that is familiar to the audience, while the "new" music groups write or commission new works to perform and add to the brass quintet literature. There is a common theme - each are a dime a dozen. The audience friendly groups are important and usually think about their audience, but their repertoire is a different arrangement of the same old stuff that other groups are doing. It ends up that the group sounds similar to others, but with a different name on the marque. The "new" music groups are also important - but much of the music is geared toward what the performers want to play and not necessarily what the audience wants to hear - due to lack of familiarity or the techniques involved in writing. This music tends to be "hit or miss." The idea of commissioning a new work is appealing to many groups - but in most cases you never know exactly what you are getting. Some tunes "pop" and some do not. But there is an obligation to perform the commissioned work - either way. The pieces that turn out to be appealing are played over and over again by any group that can get their hands on this music - because our repertoire is severely limited. Again, this group sounds similar to others, but with a different name on the marque. Of course, in both cases the level and/or showmanship can make a bit of difference. However, an audience or presenter may look at it as - just another brass group presented in a slightly different way. My philosophy has been that of "pop music." Not "pop music" in the sense of stylistic features, which has come in many forms over the years, but in the uniqueness that each artist presents. In other words - those that enjoy the "pop music" of the day don't usually have only one artist that they listen to. They enjoy many groups or individuals based on the unique music that those artists bring to the table. Sure, you may hear another group with the same instrumentation playing these tunes - however - they don't start out that way. When you hear a song that is unique to an artist played by another artist you think of the original artist - if you know that particular work. For example - if you hear a tune by the Beatles played by another group - you still know it is by the Beatles. Brass groups need to take the time to seek out composers that write music which is both appealing to their target audience and challenging to their players. Over time, audiences can develop an affinity for multiple brass groups with the same instrumentation, but by doing things this way it will create a climate that makes what each group presents more relevant. I am proud to present the uniqueness that is INNOVATA! Enjoy the INNOVATA experience! Sincerely, Michael S. Milnarik Founder and Artistic Director BIO Currently based in the Boston area, founder and artistic director Michael S. Milnarik was born in New York City and grew up in the small town of Stillwater, Pennsylvania. He received a Masters of Music degree from Boston University and a Bachelors of Music degree from Mansfield University of Pennsylvania. As a PERFORMER Michael is an extremely versatile musician. He has performed with most of the orchestras in northern New England, the Albany Symphony, the Key West Symphony, as a soloist, as well as with ensembles ranging from new music to jazz - such as the Innovata Brass, Brass Sect, Keys & Brass, Dr. Fidgety Dixieland Jazz Band, Brass Planet, Toobis Groovis and the Cosmopolitan Tuba Quartet. As a TEACHER Michael has a passion for providing direction to young musicians so that they can achieve their own personal goals and dreams. Young tuba and euphonium players that study with Michael learn the techniques involved to improve their performance level and the skills necessary to survive in today's highly competitive performance and educational environments. Michael is the tuba and euphonium instructor at Tufts University, Brandeis University, Salem State College and Anna Maria College. Formerly, he taught tuba and euphonium at the University of Southern Maine (8 years), the University of Massachusetts Lowell (5 years), and the Lexington (MA) Public Schools (11 years). Outside of these institutions Michael has a large private teaching studio and is the founder/director of the Cosmopolitan Tuba Euphonium Workshop (formerly the Northeast Tuba Euphonium Workshop) or C.T.E.W. for short. C.T.E.W. is a non-competitive summer camp for high school, college and adult age participants geared toward enhancing the current level of each individual participant. He is the owner and manager of TubaStudio.com, a web store that carries quality instruments (tubas and euphoniums); sheet music from the ever growing catalog of pianist/composer Sanae Kanda; his own line of educational materials, sheet music, mouthpieces and mouthpiece pouches; compact discs; and accessories. In addition he has arranged numerous works for brass quintet, has served on the board of the New England Philharmonic as both a board member and as president of the orchestra, and has been a consultant for other non-profit organizations. |
