There is something powerfully appealing about an ensemble of brass players. Brilliant trumpets and trombones, mellow horns and tubas -- when they are beautifully played, the sound, the strength and the artistry of the playing is quite compelling.

But there's the rub. We often speak of the artistry of string soloists and wood-wind soloists. Brasswind soloists are a good deal more rare though, and the brass section of an orchestra is typically the last section to mature.

When I joined the Montreal Symphony, even before the first rehearsal my new colleagues approached me about forming a quintet of the principal brass players. This was a wish of my own, and there was no need for debate.

There were at that time virtually no permanent groups and very little substantial repertoire. We knew of the existence of a brass quintet in New York and another in Chicago, and of works for that combination composed in Moscow, Paris and London.

It is amazing to realize now that 40 years has passed since then. It is amazing too to realize how much the world of brass has changed.

Today there are so many fine brass quintets touring abroad that city names are no longer sufficient. The Art-of-Brass Quintet, Brassissimo, Canadian Brass, Dallas Rhythm 'n' Brass and Empire Brass Quintet are familiar names to brass players, and the listing is easily continued. Hundreds of new works for brass quintet have been commissioned, and much old music has been arranged.

The most important change, though, lies in the standard of brass playing. It is an understatement to call it mature. It is truly artistic.

The Philadelphia Brass Ensemble

June 8 in Hokutopia Sakura Hall -- Colchester Fantasy (Eric Ewazen); Urban Dances (Richard Danielpour); "Fire Dance" (Anthony di Lorenzo), Suite from "Porgy and Bess" (George Gershwin, 1898-1937); "Black Bottom Stomp" (Ferdinand "Jelly Roll" Morton, 1890-1941); "Solace" (Scott Joplin, 1868-1917); Three by Duke (Edward Kennedy "Duke" Ellington, 1899-1974)

The Philadelphia Brass Ensemble presented 10 concerts during 12 days in Japan recently. The group was originally formed in 1959 of principal players of the Philadelphia Orchestra.

The demanding schedule of that orchestra has taken its toll on the composition of the group though, and today trombonist Nitzan Haroz is the only PO principal involved. Veteran bass trombonist Blair Bollinger, leader of the group, is also a member of the Philadelphia Orchestra.

The remaining members of the Philadelphia Brass Ensemble are Cynthia Jersey and trumpeters David Bilger and Christopher Martin.

The program made a virtue of the proliferation of newly commissioned works in the repertoire for brass quintet. Styled "American Spectacular," it comprised selections by seven American composers, all of whom lived and worked in the 20th century.

Scott Joplin's piano rags have been arranged countless times in innumerable ways. These charming works stood at the beginning of what became American Dixieland, and later the jazz movement. "Solace" was not only new to me, it presented also an aspect of Joplin's genius I had not suspected.

The arrangement by David Bilger was very skillfully done, and the canny staging preserved the nostalgic ambience. Easily the most memorable performance on their program, it was absolutely transporting.

George Gershwin's jazz-influenced symphonic compositions constitute a precious and tragically short-lived part of America's musical heritage, unique in the world's classical music. There is no other opera like "Porgy and Bess," and no other work that so completely and successfully encapsulates the nation's black folk music of the period.

There is so much music in the opera that a suite could take on substantial dimensions, but this arranger settled on briefly setting only a few highlights. The gorgeous trumpet and trombone work was busy, active and tasteful.

Bollinger's presence in the quintet explains the absence of the tuba, and thus the lack of a mellow tone color to partner that of the horn and compliment the bright tone of the straight brass.

Given the extraordinary playing of one of the world's great bass trombonists, it would seem more appropriate to constitute the entire ensemble of trumpets and trombones, to better preserve the uniformity of balance, tone and character.

The music of Jelly Roll Morton and especially Duke Ellington brought the program squarely into the realm of American jazz, whose formal structures are essentially no different from the song forms which comprise the basis of classical composition. The differences lie mainly in the casual richness of the rhythmic and harmonic language and a certain relaxed freedom of expression, American style.

The Philadelphia group sounded a little square in the "Black Bottom Stomp," even if they did enjoy their dignified stomping. The up-tempo Ellington tunes were plainly their thing though, and the bass trombone playing was something else.

What wasn't so good was the diffident manner in which each of the players approached his speaking chores at the mike, and what just didn't work was the attempt at humor. Music can transcend divisions between peoples of different races, nations and cultures. Humor is inherently cultural, and it was a misjudgment to attempt it from the stage.

The PBE opened the program with major works commissioned from three living American composers, Eric Ewazen, Richard Danielpour and Anthony di Lorenzo.

Making reference in its four movements to British subjects, Colchester Fantasy was brassy and jazzy, and decidedly American. Urban Dances was alternately fast and hectic, quiet and jazzy, reflecting the plethora of scenes from New York.

They were distinguished primarily by the composed and controlled playing of the two excellent trumpeters, who incidentally were so nicely matched in style and technique that, without looking, it was difficult to tell which one was actually playing.

The most distinguished and attractive work in my mind was Anthony di Lorenzo's "Fire Dance," a brief but beautiful composition which I would like to hear again one day played by a brass quintet of the normal composition, including a tuba.

The many brass players in the audience were properly amazed by the instrumental acrobatics and musical artistry of the Philadelphia Brass Ensemble's trumpets and trombones, of which there was much evidence.