As has been the trend in this blog so far, this is yet another album from 1990s, specifically 1992. Craig Kirchhoff leads the Tokyo Kosei Wind Orchestra in a fascinating and diverse programs of major transcriptions and original works. They may not be the best recordings I own for most of the pieces, but I think this album is worth a serious listen. The program is: New England Triptych by William Schuman Prelude in E-flat Minor, Op. 34 No. 14 by Dmitri Shostakovich, arr. H. Robert Reynolds Desi by Michael Daugherty Danzón-Memory by Warren Benson Symphonic Metamorphosis on Themes of Carl Maria von Weber by Paul Hindemith, arr. Keith Wilson If you do not know the background, the Tokyo Kosei Wind Orchestra (TKWO) was created as an ensemble dedicated to making great recordings of band repertoire. It was led by the legendary Frederick Fennell for many years, and he made some of the best recordings of his career with them. They have dozens of albums and are prolific in my CD collection. They have covered everything from marches to showtunes, symphonies to suites. Some albums are dedicated to single composers (Alfred Reed, James Barnes), music from specific countries (Britain, Switzerland), and many with guest conductor, such as the album I am looking at today. I do not have many recordings of the bands of Craig Kirchhoff, and I have only heard him conduct ensembles live a handful of times. But I had always thought he tended to be a bit conservative. Not so on another listening of Symphonic Metamorphosis. Maybe I have mellowed over the years, but the playing in the first movement of New England Triptych - "Be Glad Then, America" - has drive and urgency. The playing can be aggressive almost to the point of crassness, but I think the playing fits the style of the piece. The playing in the second movement - "When Jesus Wept" - is lovely; I only wish it would be more relaxed. There is a tension to it that should be more resignation. The solos are thick with vibrato (especially the euphonium) as well. But it is a fine account. I rather enjoy their reading of "Chester." After the leisurely pacing of the opening in the Air Force Band recording I discussed in Blog #2, this one is refreshingly majestic and never dawdles. The brass hits at the start of the fast section tend to be "fwoppy," a distraction to be sure. As with "Be Glad Then, America" I love the intensity. A version worth hearing. Below are the YouTube links. The next two works are fascinating. The first is Bob Reynolds' arrangement of a Shostakovich piano prelude. The key (E-flat minor) can be tricky for some players, but I have heard it played by groups from middle school through professionals. The precision of the performers serves the piece well. Then there is "Desi" by Michael Daugherty. I have a soft spot in my heart for "Desi." I began my studies at Northern Illinois University in 1992, and "Desi" was of the first pieces I remember hearing in concert. I found it fascinating and humorous and entertaining. It is a joy to hear it on this recording. The Tokyo players play with rambunctious style, sometimes overdoing it to the point of being garish. And yet, it feels right. I do not remember why I purchased this album, but I am confident that "Desi" played a part.
The music of Warren Benson tends to be rather cerebral. With the exception of his fine junior high work "Ginger Marmalade," his music tends to be opaque. His "Danson-Memory" falls strongly into that category. It serves its purpose on the album, to contrast other works that are decidedly more tonal and mainstream. The rather lengthy work (almost 12 minutes) cleanses the aural palette for the largest work: "Symphonic Metamorphosis on Themes of Carl Maria von Weber" by Paul Hindemith. I am not a huge fan on large-scale orchestral transcriptions because they are often pale imitations of the original. The absence of strings leaves too great a deficit for the wind band to overcome. Not so with the Hindemith, who requested and oversaw the transcription of the "Symphonic Metamorphosis." Kirchhoff and Tokyo Kosei does a reputable job with the work, especially considering how many fine interpretations are available. As with the Schuman, there is sometimes less heart and warmth than is inherent in the music. However, it is one of the best recordings of the band version and one worth hearing. Craig Kirchhoff and the Tokyo ensemble created a great CD with an outstanding program. I recommend it highly.
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AuthorBrian Shelton, DOB Archives
July 2022
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