"Bolder Baroque": Boulder Brass
Jean-Joseph MOURET (1682 -
1738)
Rondeau from Suites de Symphonies [2.07]
J.S. BACH (1685 -1750)
Fantasia in C Major BWV 570 [2.37]
Contrapunctus IX from The Art of Fugue [3.27]
William BYRD (1543 - 1623)
The Earle of Oxford's March [3.14]
Wolsey's Wilde [1.14]
Callino casturame [1.12]
The Bells [5.00]
Girolamo FRESCOBALDI (1583 -1643)
Toccata [4.49]
J.S. BACH (1685 - 1750)
Air from Orchestral Suite No 3, BWV 1068 [4.45]
Fugue in G Minor, BWV 578 [3.28]
Johann PACHEBEL (1653 - 1706)
Ciaccona in F Minor [8.21]
J.S.BACH (1685 - 1750)
Jesu, meiner Seelen Wonne from Cantata 147 [3.01]
Kom, süsser Tod. BWV 478 [2.50]
Passacaglia & Fugue in C Minor. BWV 582 [12.30]
Boulder Brass
All arrangements by Michael Allen
Conductor Thomas Blomster
Recorded July 23 -28 &29 1999
Montview Presbyterian Church, Denver, Colorado.
DORIAN RECORDINGS
DOR-93204 DDD
[58.59]
Crotchet
A modern brass ensemble playing arrangements of Baroque is not an original
concept - the American author of the sleeve notes refers to the Philip Jones
recordings made some years back and remembered with affection by many of
us - but there is always room in the market for a well-produced article such
as this CD. The instrumentalists - sixteen in all who are used in an assortment
of groupings - are based in the city of Boulder, Colorado - hence the disc's
title. It is tempting to continue the play on words with references to Rock
Music or the Rolling Stones but, with some regret, the temptation will be
firmly resisted. The players, unknown probably to collectors in the UK, include
section principals from U.S. regional orchestras and hold various Professorial
chairs so the standard of performance should not come as a surprise.
Fourteen works have been arranged - all by tuba player Michael Allen. There
are solo passages but no soloist dominates any particular piece and the appeal
of the writing comes from the unity of the ensemble playing. With a good
acoustic and well-defined recording the main appeal comes in the clarity
of the writing defining the lines in the contrapuntal works - for instance
Track 3, with its section from the Art of Fugue an absorbing piece
to follow through its aural cat's-cradle.
Inevitably in a baroque selection Bach is heavily featured with seven of
the fourteen tracks. The selection has well-known works such as the Air
on a G String, Jesu, Joy of Man's desiring and the Passacaglia
and Fugue in C minor. Four arrangements of William Byrd - taken
from the Fitzwilliam Collection - made an attractive central group.
This is a thoroughly enjoyable disc and can be warmly recommended. In whatever
combination the players are in at any time the balance is good and technically
excellent and with a warm blend that points to ample rehearsal time.
Harry Downey
