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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AuthorBrian Shelton, DOB Archives
July 2022
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