Classical Music

A wide cross-section of Maxwell Davies's work is represented on this programme, part of the ongoing Naxos reissues of recordings fist released by Collins Classics. The two concertos are performed by their dedicatees.

Bruce Atwell is the horn professor at the University of Wisconsin Oshkosh and is currently Principal Horn with the Fox Valley Symphony, the Green Bay Symphony, and the Milwaukee Ballet Orchestra. He earned a B.M. at California State University, M.M. at the University of Wisconsin Milwaukee, and D.M.A at the University of Cincinnati.

Classical Music

On his debut Genuin recording, Christoph E+� performs horn concertos by contemporary Noewegian composer Tryve Madsen. Christoph E+� currently holds the position of principal horn of the Bambery Symphony Orchestra. In 2007 Christoph won seven special prizes in the prestigious "Prague Spring" international music competition. The following year he was awarded the soloist prize of "Mecklenburg-Vorpommern" and in 2009 won a scholarship from the German Music Competition at the Geothe Institut. In 2011, he performed in the "Orpheum Foundation for the Advancement of Young Soloists" concert that was recorded in Zurich. He has held a faculty position at the University of Music and Performing Arts in Stuttgart since 2009.

RUSSIAN TRUMPET CONCERTOS • Reinhold Friedrich (tpt); Christoph-Mathias Mueller, cond; Göttinger SO • MDG 901 1770-6 (SACD: 61:26)


SHAKHOV Romantic Concerto for Trumpet and Orchestra. ARUTIUNIAN Concerto for Trumpet and Orchestra. O. BÖHME La Napolitaine. Tarantelle. VASILENKO Concerto for Trumpet “Concert-Poem.” GOEDICKE Concert Etude


The title of this disc is something of a misnomer. Out of the five composers represented here, one is an Armenian (Arutiunian), one a German immigrant to Russia (Böhme), and one a descendant of German immigrants to Russia (Goedicke). As it is, none of the works featured here—all unabashedly tonal and written in a popular vein—sound particularly “Russian” in any way.


Information on most of these composers is hard to come by, especially regarding Ilya Emmanuilovich Shakhov (1925–1986), who has no entry in any of the multiple online and print sources I consulted. According to the booklet notes, he was a pupil in violin at the Moscow Conservatory but had no formal training in composition. His studies were interrupted at age 16 with the Nazi invasion of Russia, at which point he entered military service and endured various hardships before returning to musical activities upon the war’s end. His Concerto, dating from 1955 and cast in the traditional fast-slow-fast three-movement form, is, at 22: 20, the longest work on this disc. It is a pleasantly upbeat and entertaining piece that sounds a bit like a cross of Rimsky-Korsakov with Francis Poulenc or William Walton in one of their cheekier, unbuttoned moods. The slow movement is quite lovely, and the entire piece is colorfully orchestrated in a manner that suggests the composer was intimately familiar with concert band repertoire.


Alexander Arutiunian (1920–2012) is easily the most famous figure represented on this release, with his Trumpet Concerto from 1950 being perhaps his most frequently performed composition. While conforming to the confines of Soviet Socialist Realism folkloric composition, it is of much higher quality of inspiration and compositional craft than most such works. Although traces of the influences of Rimsky-Korsakov, Shostakovich, and Prokofiev are present (though remarkably not of Khatchaturian), the work also draws upon Armenian folk melody influences, particularly that of the ashug , an 18th-century minstrel that is an Armenian counterpart of the medieval troubadour or Meistersinger . A somewhat contrasting slow movement sounds more like French café music from one of the members of Les Six . As with the Shakhov concerto, the whole is brilliantly orchestrated.


In 36:3 I reviewed a CD featuring French trumpeter Thierry Gervais that included the Vasilenko “Concert-Poem,” and so I will refer readers there for notes on the composer and piece. While I slightly prefer Friedrich as a trumpeter due to his more mellow sound, the Gervais performance is better overall due to a superior conductor on the podium knowing how to shape the piece more effectively.


Oskar Böhme (1870–1938?) and Alexander Goedicke (1877–1957) are each represented by a brief and lively encore piece, the latter having its original piano part orchestrated by Gene Mullins. As its title indicates, La Napolitaine , dating from about 1900, is a brief tarantelle that sounds like something Rossini or Donizetti would have tossed off in a spare moment. The Concert Etude from 1936 sounds like a side piece from the desk of Glazunov, although at moments it also brings to mind the Scherzo from Mendelssohn’s Midsummer Night’s Dream.


Since both composers wrote trumpet concertos, I wish that one of those had been included instead—particularly in the case of Böhme, whose life ended horribly. Born in Dresden, he first established a reputation as a trumpet virtuoso there with tours beginning in 1885. In 1897 he migrated to Russia, where he played in the Mariinsky Theatre Orchestra in St. Petersburg until 1921 and also taught at a music school. After the Bolshevik Revolution, he was assigned by the government to teach at a music school on Vasilievsky Island in the harbor of Petrograd (as St. Petersburg was then named) from 1921 to 1930, and then played in the Leningrad Drama Theater Orchestra from 1930 to 1934. At that point, being suspected as a foreign national of German extraction, he was arrested by the KGB in one of Stalin’s waves of mass purges and banished to a music school in Chkalovsk, a provincial administrative center on the Volga River in an area where the so-called Volga Germans lived. After teaching there from 1936 to 1938, he was re-arrested and vanished; there is one unconfirmed report of him being seen in 1941, at age 71, working as a slave laborer on construction of the Turkmen Channel Canal in Turkmenistan.


For his part, Alexander Goedicke (a first cousin to Nikolai Medtner) was far more fortunate. The son of a piano teacher at the Moscow Conservatory, he received his initial musical training there as a piano and organ virtuoso, where he was awarded the gold medal in 1898, followed in 1900 by first prize in the Anton Rubinstein Competition in Vienna. Despite having no formal training in composition, he also won the conservatory’s Rubinstein Prize for Composition at age 23. He was appointed a professor of piano there in 1909 and also of organ in 1923; his performing repertoire included the complete organ works of Bach.


Reinhold Friedrich, a pupil of Edward Tarr, has been professor of trumpet at the Staatliche Hochschule für Musik (State Music Conservatory) in Karlsruhe since 1989. He is a widely traveled soloist, and has been principal trumpet of the Lucerne Festival Orchestral under Claudio Abbado since its founding in 2002. His discography includes over 50 LPs and CDs, several of which have been reviewed to approval in these pages. His is a tone that is more sweet than piercing, which happens to be how I like trumpets to sound, and in any case it is most appropriate for the present program. The Göttinger Symphony does justice to its part of the proceedings; conductor Christoph-Mathias Mueller is sound but not exceptional, as he could do more with bringing out inner voices and shaping phrases than he does. The SACD recorded sounded matches Friedrich perfectly, having an exceptionally pleasant mellowness. In sum, while there is nothing profound here, it is one of the most delightfully entertaining anthologies of trumpet music ever to come my way, and thus receives my hearty endorsement.


FANFARE: James A. Altena

If you are a lover of Christmas music—carols, popular songs, and all manner of medleys and clever arrangements of such—and you miss this extraordinary recording by the first-rate Dallas Wind Symphony, then your holiday listening stands to be just a bit more dull, less festive, and more ordinary than it could have been. This is a terrific program, in exemplary sound, that not only celebrates the Christmas music tradition but exemplifies the best of the wind ensemble genre, with its unique sonorities and long tradition of both originality and sense of playfulness and humor on the part of composers and arrangers.

The program opens with the obligatory fanfare—suitably titled Festival Fanfare—a nifty arrangement by John Wasson commissioned by the Dallas Wind Symphony, not surprisingly a showpiece for horns, full of familiar Christmas tunes. A decent but kinda square Sleigh Ride follows, along with a straightforward arrangement of Jesu, Joy of Man’s Desiring that beautifully exhibits the colors and rich textures of a first-rate wind band.

Among the highlights: my favorite, a celebration of the much-maligned minor mode—DWS saxophonist David Lovrien’s Minor Alterations: Christmas Through the Looking Glass, a “recasting” of favorite Christmas songs and carols (and even snippets of Tchaikovsky’s Nutcracker combined with Deck the Hall!) into a wonderful medley of minor-key madness (along with some melodic and rhythmic twists) that definitely calls for repeated listening. Another standout is The Christmas Song, with its fine alto sax solo by Donald Fabian, swingingly accompanied by the ensemble.

The big “classical” work is an arrangement simply called Russian Christmas Music, which apparently draws its sources from “Russian folk and Eastern Orthodox church music”. At almost 14 minutes, it’s by far the program’s most substantial entry, and it does show a wider range of technical virtuosity and different aspect of interpretive awareness than required in most of the other works, even if Alfred Reed’s arrangement begins to seem a bit long for the material after about 10 minutes. Never mind; any drift of attention is quickly recalled front and center with the concluding Christmas And Sousa Forever—the title giving away the concept. Wait until you hear how arranger Julie Giroux juxtaposes excerpts from such Christmas favorites as Leroy Anderson’s Sleigh Ride and Tchaikovsky’s Nutcracker with The Stars and Stripes Forever (and a couple of other marches)—not to mention the way she accompanies Rudolph the Red-Nosed Reindeer with that famous piccolo solo! It’s tempting to use that well-worn line, “if you buy only one Christmas CD this season, this one should be it”—but I won’t; I’ll just say that if by chance it is the only one, you won’t be disappointed.

-- David Vernier, ClassicsToday.com

Classical Music

On Paper Clips, trombonist Malloy proves the instrument's capabilities of being a driving force and, along with pianist Rojahn, it's collaborative appeal. An unabashed champion for the trombone, Malloy commissioned each work on this album specifically to expand the often overlooked instrument's repertoire. These works cast the trombone in a new light, presenting it as a tool fit for expressing emotional, lyrical, and melodic passages.

Each of these six orchestral works bears the imprint of Penderecki’s greatness as a composer. Fonogrammi alternates piquant sonorities, pulsating vehemence and moments of great intimacy. Intensity accompanied by neo-Romantic elements can be heard in The Awakening of Jacob whilst Anaklasis is a stunning example of juxtaposed, multiple sound patterns. De natura sonoris I explores more improvisational, jazz-influenced areas, as does the richly orchestrated Partita. The Horn Concerto, composed in 2008, offers an evocative landscape, glacial, powerful, yet wistful.

Nothing heralds the majesty of Christmastime quite like the brilliance and radiant beauty of music for brass instruments. On this remastered reissue of a classic holiday favorite, the Gabriel V Brass Ensemble presents a special collection of music for Christmas written by a variety of masters of the genre including Rolf Smedvig, Anthony DiLorenzo, Morten Lauridsen and William Berry. From the overflow of joy in J.S. Bach's Wie will ich mich freuen to the cinematic soundscape of DiLorenzo's Baltazar (A King's Journey) to the rosy-cheeked romp of Leroy Andersen's Sleigh Ride, each piece adds new luster to your celebration of this glorious season.

Classical Music

Craig Morris has transcribed four major works for trumpet and piano in this voyage of sonic discovery, reclothing them in new textures and colors.

UNITED STATES ARMY BRASS BAND: Firestorm

CHICAGO SYMPHONY ORCHESTRA BRASS LIVE • Chicago SO Brass & Percussion • CSO RESOUND CSOR 901 1101 (64:46)


WALTON Crown Imperial. G. GABRIELI Sonata pian e forte. Canzon duodecima toni à 10. Canzon No. 2 septemi toni à 8. J. S. BACH Passacaglia and Fugue, BWV 582. GRAINGER Lincolnshire Posy. REVUELTAS Sensemayà. PROKOFIEV Romeo and Juliet: The Montagues and Capulets; Dance; Death of Tybalt


Many orchestral cognoscenti have long considered the Chicago Symphony Orchestra to have the finest orchestral brass section in the world; certainly, it ranks among the top three or four. All hail, then, to a disc that features the CSO brass players in all their refulgent splendor. Various arrangers are responsible for the versions performed here: Joseph Kreines for the Walton and Prokofiev, Eric Crees for the Bach, Timothy Higgins for the Grainger, and Bruce Roberts for the Revueltas. All but the Gabrieli are also credited with conductors, drawn from the ranks of the performers: trombonist Jay Friedman for the Walton, trumpeter Mark Ridenour for the Bach and Grainger, trombonist Michael Mulcahy for the Revueltas, and hornist Dale Clevenger for the Prokofiev. The members of the CSO brass section are also supplemented (in which selections is not specified; I hear them playing only in the Revueltas) by two more CSO members—clarinetist John Bruce Yeh and bassist Roger Cline—plus an additional three trumpeters, three trombonists, a tubist, and a percussionist as ringers. All of the arrangements are deft and colorful; the playing, needless to say, is exquisite. The recorded sound is suitably brilliant; the booklet provides a list of the participating instrumentalists, color head shots of the CSO members, and brief essays on the CSO brass section and the conductors. All fanciers of brass ensembles will want to snap this item up forthwith; others may find it an entertaining treat as well.


FANFARE: James A. Altena