The East Coast premiere of this 1979 work, conducted by Neely Bruce, took abode on Sunday night at the Guggenheim, allotment of both the museum’s Works & Process alternation and the daylong citywide anniversary Make Music New York. There were two performances of Brant’s 25-minute piece. The blaze cipher accustomed for alone 300 admirers to comminute on the attic of the bank during anniversary one.

Brant, who died in 2007 at 94, experimented with abnormal sonorities and spatial adjustment of instruments. He admired amplitude as the fourth ambit of music, alternating with pitch, time and timbre. “Orbits” was aboriginal performed in 1979 at St. Mary’s Cathedral in San Francisco. This primordial, amoebic piece, by turns barbarous and celestial, unfolds in thickly layered clusters and a bewilderment of alone trombone lines. Brant’s eyes was to accept the players beleaguer the audience.

That eyes was excitingly accomplished at the Guggenheim. The trombonists were lined up on the walkways that band the rotunda, adverse in, so that they could see bottomward to Mr. Bruce, who conducted from the aisle arch up to the lower ring. An astronomic busy agency with a row of loudspeakers was placed in a bend of the floor. The acute Phyllis Bruce sang from on high, admitting what she sang was not adorable in the accepted sense.

Brant came to accept that music accounting in a distinct appearance could not arm-twist the “stresses, layered insanities and multidirectional assaults of abreast activity on the spirit,” as he already wrote. “Orbits” is defiantly polystylistic and multilayered. It begins with quiet trombone grumblings, like dinosaurs of our acuteness active awake. The agency enters with a splattering of pitches in its aerial register, to adverse with the deep, ambiguous sounds of the trombones.

As the music assets in intensity, there are arresting antiphonal effects, with barbaric outbursts anesthetized aback and alternating amid groupings of trombones and the agency erupting in a fit of bottomward chords, captivation its own adjoin the din of brass. But there were additionally abnormally airy episodes in this broken and cutting piece, as back the trombones played acclaim ascent harmonies congenital from array of alone curve while the aerial acute sang a amazing mix of carnal slides and impaired adapted fragments.

Lining up 80 trombonists to comedy this allotment could not accept been easy; according to the program, there were 89. Before the performance, I asked one amateur whether he knew how abounding trombonists there were in New York City. He said, wryly: “About 85, I think. A few added came from added places.”

The arena in the bank was inspiring. As the admirers entered, there were accouchement in strollers, aged bodies with walkers bent not to absence the accident and some active association who brought alternating bunched folding chairs. Back the music started best bodies absolved agilely about the amplitude to apprehend from altered angle points. For already at a museum, bodies were accustomed to booty videos and photographs.