The first seven recordings have all been those that I consider superior quality, or that had particular versions of works that were notable. In the case of the current recordings, it holds a spot in my heart. Let me tell you a story. When I graduated from Streamwood (IL) High School way back in 1990, I was directionless. I had applied to zero colleges and had no idea what I wanted to do with my life. I really liked writing, so I thought about being an English major. My German teacher persuaded me to get a degree in German and become a foreign correspondent or translator. I really liked band, so I thought, "Why not major in music?", having no idea what I was doing. At that point, I did not even understand transposition, and that the C on the trumpet is not the same as C on the piano. But I pursued it anyway. I applied to Elgin Community College; they offered full-ride scholarships to anyone in the top ten percent of their high school graduating class - that roped me in. I could spend hours telling you about my time at ECC, but I will sum it up quickly by saying thanks to Dan Maki, John Slawson and Mark Bettcher, three of the best teachers I have ever had. Two successful years later, I graduated with my associates degree and headed off to Northern Illinois University. It was there that I blossomed as a musician. I have many faculty and friends to thank for that, but the one who may have been most influential was Steve Squires, the conductor of the Wind Ensemble. I went from playing a three valve baritone as the last chair player in the department to being chosen for the top ensemble the very next semester. Watching Steve work was a revelation, and to this day I marvel at his conducting technique and style of rehearsal. I played in his ensemble for two years and learned so much. In 1994, Steve and an NIU alumnus, Brian Wis, started a recording project. They wanted to record works for younger band. Many of the recordings I have featured so far are from the 1990s, and they mostly contain advanced band music. What about middle school and high school music? This series would address those levels. Nine discs later, Squires and Wis made an indelible mark in the wind band world. It seems that they chose more sophisticated music as the series progressed, so the early volumes represent their vision best, at least their initial vision. And why am I so enamored of volume 1, the disc with the most issues? I played euphonium on this recording and was in the room when Steve Squires listened to the first track for the first time. The program is diverse and interesting, alternating more challenging works with less rigorous ones. On balance, the ensemble (myself included) sounds better on the easier works. And there is a problem with the recording volume: the levels are low throughout, so you have to turn up the volume quite loud to hear it. Steve noticed that when he first listened to the printed disc, so there was not much to do at that point. I will discuss the music by difficulty, as opposed to disc order. There are six pieces I consider more challenging, and six that are on the easier side. The challenging works are: "Dancing Day" from Symphony for Winds and Percussion by Joseph Downing March from "Symphonic Metamorphoses" by Paul Hindemith, arranged by Keith Wilson Chorale and Shaker Dance by John Zdechlik Chester by William Schuman Variations on a Korean Folk Song by John Barnes Chance "Danza Final" from Estancia by Alberto Ginastera, arranged by David John The Downing symphony is an interesting choice. I absolutely adore the whole symphony and was able to conduct it way back in 2010. But it has never properly caught on in the wind band repertoire. Downing composed it as part of his doctoral project. An organist himself, Downing includes overtones and sounds that brilliantly imitate the organ while being firmly rooted in wind band tradition. "Dancing Day" is the first movement, and it is a reputable interpretation. The middle section is messy at times, as the woodwinds present a Baroque organ work against modern interjections by the brass and percussion. It was clear that the music pushed some of the players beyond their abilities, and some of the percussion parts are almost inaudible, noticeable only if you know the work. The overall balances are wonderful at the end, though, and I was particularly proud of this recording. The Hindemith March is another story. It may be the biggest misstep on this volume. Tempos fluctuate throughout, and individuals stick out at times, failing to blend into the textures. The biggest problem may be familiarity. This is a titan in the wind band and orchestral world, and there are just too many excellent recordings for this one to stand out as anything but mediocre. Chorale and Shaker Dance, on the other hand, has its merits. The sound is warm and generous, the balances once again outstanding. The dynamics and tempos could be slightly more spirited. I must confess, though, that the biggest error is, in part my fault. After the introduction, the piece settles into D major. The euphonium part has a misprint, giving them an F natural. Neither I, my fellow euphonium Paul, Steve, Brian or any of the engineers noticed a brutal F natural sticking out against a D major chord. It haunts me to this day. (If you want to hear it, the infamous note starts at 2:30.) Chester suffers somewhat in the same way the Hindemith does, through familiarity. Any slip in intonation, articulation or rhythm is readily apparent in a piece as famous as this, and the opening chorale exposes issues. The unison woodwinds at the opening of the fast section also struggle to match pitch. While these and other little problems plague this interpretation, it is a decent rendition of this piece. There could, once again, be a more generous dynamic range, and the middle tempo could stand to be a little quicker, but the ensemble acquits itself well. I am especially fond of this Variations on a Korean Folk Song. It is a magnificent work played very well. It is the one interpretation that I consider among the best in my collection. The relaxed tempos that may hinder other works enhance the music in this case. The Chance is beautifully paced and performed. The last difficult work is "Danza Final" by Ginastera. This piece is pretty one-note, so it needs to be played with extraordinary intensity. The ensemble does well (the running eighth notes are especially effective), even if some of the rhythms do not pop the way they are meant to. As a closer to the album, it works. The balance is great, with the piano adding just enough and the piccolo trumpet nailing the challenging muted parts. The accelerando at the end could use more energy, but this is another track of which I am proud. As good as some of these moments are, the ensemble shines in the simpler works. You can hear from the first notes of the simpler works that the ensemble sounds more mature, warmer and more robust. Perhaps not having to worry about technique freed us to be the more expressive. The easier works are: Allerseelen by Richard Strauss, arranged by A.O. Davis Three Chorale Preludes by William Latham Overture for Winds by Charles Carter Flourish for Wind Band by Ralph Vaughan Williams Colonel Bogey by Kenneth Alford Salvation is Created by Pavel Tchesnekoff, arranged by Bruce Houseknecht I will keep this part brief, having written a lot already. The Strauss and Latham are the highlights of the album. They are dynamite versions from beginning to end (with the exception of some trumpet peckiness in the third movement of the Latham). Almost all elements are improved from the harder pieces, especially intonation and blend. The low reeds that start Allerseelen are chill-inducing for their depth. Steve always did like low reeds, and it is apparent here. The Carter Overtire - in my opinion, one of the great band works of all time - is given a fine performance, as is that evergreen, Salvation is Created. It appears that when Steve Squires was given the opportunity to be espressivo, it benefited the ensemble. The only misstep is the Flourish by Vaughan Williams. It is a deceptively challenging work, and short. The trombones and horns never settle their intonation, and the E-flat clarinet sticks out of the texture in rather unpleasing ways. But at less than two minutes, it is a minor problem in a pretty great album. I am proud to have performed on this album. This series may have gotten lost a bit in all of the great band recordings being produced at that time, but it deserves a second look. And a great place to start is where it all started, in volume 1.
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That CD image is not the same cover as the CD I have. Lowell Graham and the ACC Heritage of America Band released the Emblems disc in 1995, and Klavier acquired it and a number of other recordings, repackaging them to look much fancier than the original military releases. But I would not trade my disc for a new one. There is a measure of pride having the originals, and the quality of the recordings is outstanding. This disc in particular is one of the best in my collection in terms of performance and program. As with almost any recording, I have a few squabbles, so I will get those out of the way up front. William Schuman's An American Hymn lacks the warmth in its chorale passages that provide contrast to the more angular and aggressive middle. And Graham made the unusual choice of ending the disc with Stravinsky's Symphonies of Wind Instruments. It is not an indictment of the classic work, though it is unusual to see it on a military band disc; however, it is anticlimactic, especially considering all of the thrilling works the precede it.
Other than that, I have no issues with this immaculate recording. The program is an exciting mix of newer and older works, some of which became favorites of mine. As a young teacher (I graduated with my music education degree from Northern Illinois University in 1995), the disc opened my mind to works I had never heard before. I began to consume as much wind band music as I could, leading me to purchase over 500 discs from 1992 to present, with the majority of them purchased in the 1990s. A big thank you to West Coast Music for providing many of them. I would purchase $1500 of discs each year as I sought to learn as much repertoire as I could. All because of recordings like Emblems. But I digress. The dynamic program is: Cheers! by Jack Stamp Dedication Overture by Vittorio Giannini Laude by Howard Hanson An American Hymn by William Schuman Prelude and Dance by Paul Creston Emblems by Aaron Copland New Dance by Wallingford Riegger Symphonies of Wind Instruments by Igor Stravinsky The Stamp, Giannini and Schuman are all serviceable interpretations. I would describe them as lesser works by each of the composers. They wrote other things for which they are better known, and are better works, in my opinion. The Stamp fanfares have a - shall we say, limited - scope, so recordings tend not to vary too much. Cheers! is an exciting version of a nice fanfare t and a great way to open the album. The Giannini is no Symphony No. 3, but it is a workman-like piece in Giannini's neo-romantic style. And the Schuman is an interesting, meandering work, similar to Chester in that it is a sort of theme and variations but lacking the latter's tightness of form and focus. Then there is the Hanson, Creston and Riegger, the undoubted highlights of the disc. I absolutely love Laude. Another theme and variations, it takes a majestic melody and takes it through seven transformations, many of which are unexpected. It is unpredictable in the best of ways. I was fortunate to be able to conduct Laude when I was Director of Bands at Texas A&M University-Kingsville. Creston's Prelude and Dance and Riegger's New Dance are thrilling. I had never heard of Wallingford Riegger before I acquired this disc, and I was amazed that he composed New Dance in 1935. It sounds fresh and, indeed, "new." Its rhythms are infectious, and his Dance Rhythms is equally delightful (and probably more popular with bands). Prelude and Dance is in vintage Creston style, which I first heard when I performed his Celebration Overture in high school. The unusual harmonic motion and exotic melodies are present. Graham and his players execute it near flawlessly, evoking a strong sense of rubato at the beginning and driving to the invigorating finale. The last two works are by the most famous composers represented here: Copland and Stravinsky. Copland's Emblems is somewhat controversial in the band world. A number of conductors I have spoken to are not fans of the work, preferring that Copland would have written a more "Copland-esque" work. And I counted myself among that crowd for many years. Listening to it again here, I have to say that I appreciate what the ACC Heritage of America band does with the piece. Like the Schuman, it lacks direction at times as not every section seems to be going somewhere. I can better appreciate, though, the style of writing, as though Copland was channeling Schuman's George Washington Bridge with its tall, bold polytonal chords. I find myself involved in the piece more than I remember, going so far as to consider programming it in the future. (At the time of this writing, the COVID-19 virus is wreaking havoc on the country. The band world is not immune. I am still deciding how I will run my ensemble in the fall, from sectional rehearsals to chamber music. Hello Noble Numbers and Old Wine in New Bottles.) As I mentioned earlier, the Stravinksy is a good interpretation, but it lacks the polish of the orchestral recordings I own. The challenge of work appears to make it difficult for the players to get beyond the very difficult time and tempo shifts. I would have preferred this work midway through the disc as a palette cleanser between two of the larger works. Despite any complaints, this is an essential disc for wind band collectors. I am sure it is available physically and digitally, so take a listen to one of Lowell Graham's great contributions to the canon.
It has been a long while since I posted a review. I figured, with the pandemic in full swing, it was time to restart. When it comes to University of Illinois recordings, the series conducted by Harry Begian is probably the gold standard. I find Begian's recordings a bit indulgent (i.e., slow) at times, but the playing is generally excellent. Even so, I decided to feature one of the many recordings by James Keene as the first on this list. The reason is more nostalgic than anything. This disc featured many pieces I was hearing for the first time: Liturgical Dances by Holsinger, "Profanation" by Bernstein, and a very charming version of Napoli as played by a euphonium quartet. (Incidentally, euphonium is my principal instrument.) As with others of Keene's recordings, the performances are inconsistent. But there is a spirit that I appreciate, and it is a fine collection of classic works that has an esteemed place in my collection.
The album opens with the Keith Wilson transcription of Hindemith's mouthful of a work, Symphonic Metamorphoses on Themes of Carl Maria von Weber. The orchestral original is one of his more approachable works, and the band transcription is outstanding. As I mentioned in an earlier post, I am not a huge fan of large orchestral transcriptions, but it works marvelously here. That is largely due to the orchestration of the original. The strings are important, but many of the featured solos and melodies belong to the winds and, in the case of the second movement, percussion. The Illinois Band is solid overall. The biggest issue is the rushed feeling at times. The pacing of the second movement Turandot opening does not allow the music rest, giving it the space it needs. The third movement feels pushed, robbing the music of much of its melancholy. Thefourth movement starts quite brisk before settling into Hindemith's tempo. In the end, the ensemble tackles a challenging work well. The most disappointing selection is Mendelssohn's Overture for Band. The light, frothy work of a precocious young man is too lumbering in the hands of a large band, at the music suffers for it. The finale is exciting, but the piece begs for a group half the size performing it. The next three pieces are the reason to seek out the recording. "Profanation" from the Jeremiah Symphony by Leonard Bernstein is able to evoke the lithe quality required. The players clearly know how navigate the constantly shifting meter, and the transition from orchestra to band is smooth once again. The centerpiece of the album is also the most obscure work, and it is one I would love to conduct. Overture on Russian and Kirghiz Folk Songs by Dmitri Shostakovich is patently Russian in its melodies and orchestration. The low reeds dominate the opening, and the richness of their sound is wonderful to hear. The fast section is well-controlled, and I appreciated the pacing of the final accelerando. There are not many recordings of this piece in my collection. The third work is David Holsinger's classic Liturgical Dances. This version, released in 1994, remains my favorite. It is hardly perfect. There is a tragic mute drop at one of the few quiet moments, and the ending is too slow for my taste. But the intonation is better than any other version I own, and the drive of the fast section is thrilling. The ending works at the slower tempo, but it lacks that little extra "oomph." But it is the benchmark for this piece. The CD eases to its finish with three light works. The first is Roger Nixon's Centennial-Fanfare March. To be frank, this march is not among my favorites. I find it repetitive and uninspiring. Other than its unmistakable energy and a really nice trio melody, there is not much else to recommend. What I would recommend is the Sousa march, The Federal. The chromaticism in the dogfight is delightfully unexpected, and the clarinets handle the obbligato line with aplomb. In a world where so many marches sound the same, this one is a gem. The album closes with a euphonium quartet version of Napoli. It is a little bit ridiculous but redeemed by the virtuoso playing of the quartet. It is a bang up way to end. As a side note, when I first joined the Wheaton Municipal Band in the early 1990's, one of my section mates was Mark Jirousek, one of the players in the quartet. That makes this recording a little more special. There are other, better Illinois recordings, and I will discuss some of them later. But for a great program performed well, you can't go wrong with In Concert Recording #125. |
AuthorBrian Shelton, DOB Archives
July 2022
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