RSS 2.0 FeedFebruary 17, 2010, Classical
High notes at "Hymn of the Highlands"
The music played by the Fountain City Brass Band is pleasing and approachable for any audience. And as evident in the accolades being showered upon them by an international community, this is an ensemble in top form.
After becoming the first American band to win a competition on Scottish soil, it was fitting that the Fountain City Brass Band's first concert after the victory was titled Hymn of the Highlands. Lead by Joseph Parisi, the band showcased its dazzling technique and fantastic soloists who led them to their overseas victory (along with six U.S. titles). This ensemble is a sonic treasure.
Prominent brass band composer Philip Sparke's monumental, seven-movement suite, Hymn of the Highlands, accounted for the first half of the program. It played to the band's strengths and allowed for many fine solos from the ensemble's talented musicians. Ardross Castle opened with an evocative duet between TJ Menges (tenor horn) and Helen Tyler (baritone) that was then echoed off-stage by Matthew Vangjel (flugelhorn). Lee Harrelson, founder of the FCBB and solo euphonium, showcased the instrument's expressive qualities in Summer Isles and soprano cornetist Ryan Sharp's feature, Flowerdale, had a melody seemingly ripped from the Broadway stage.
Sharp's playing made the stratospheric notes sound effortless. The crowning piece of the otherwise innocuous set was the centerpiece Stratchcarron. Based on the popular Sword Dance, Stratchcarron was a brilliant display of technique and power. After the Commando March-esque opening, the ensemble was in a flurry of sixteenth notes. I was impressed with the rapid fluidity of Chris Larios' (solo cornet) scalar runs. Then I was wowed when the entire ensemble echoed the exact same exact passage moments later. Bravo. The low brass, throughout the night but in this movement in particular, possessed an extremely focused and precise fundamental sound.
Larios soloed over a shimmering watery palette of muted trumpets and cornets evocative of the aptly titled Lairg Muir. Vangjel, Menges, and Tyler were the featured players in Alladale, but the accompaniment's capricious textures and timbres created by the various mutes were more interesting. The final movement, Dundonnell, was somewhat of a let down after the previous material. It was a bit too twee and predictable; it lacked the oomph required for a finale. I was pleased that the suite was cohesive and enough of the Scottish highland tunes were represented as opposed to yet another James Horner Braveheart knock-off.
The too-short Malcolm Arnold Four Scottish Dances opened the second half. Bass trombonist Andy Schwartz played the drunken Falstaff in his delightfully off-kilter solos. Menges again soloed in the traditional Piper O'Dundee. This set of variations had shades of Arban's Carnival of Venice and Menges tossed off the florid ornamentation with panache. Unfortunately, John Blanken's ponderous, by-the-numbers arrangement of Charles Hutcheson's Stracathro did the band no favors and it was played as if on autopilot. The triplet countermelody was pedantic and sounded like a bad Jesu, Joy of Man's Desiring. I understand from a performing standpoint that it is necessary to have those catalogue pieces at one's disposal, though. Peter Graham's Gaelforce was a rip-roaring, rhythmic, brassy closer, in spite of the superfluous drum set that trivialized the piece.
Overall, the music played by the Fountain City Brass Band is pleasing and approachable for any audience. The verbal program notes and Joseph Parisi's sensitive conducting added warmth and familiarity to the entire proceedings. As evident in the accolades being showered upon them by an international community, this is an ensemble in top form.
REVIEW
Fountain City Brass Band
Hymn of the Highlands
Saturday, February 13, 2010
Bell Cultural Events Center
MidAmerica Nazarene University
2030 E. College Way, Olathe, KS
www.fcbb.net
Editor-in-Chief; Traditional and New Classical Contributor
Lee Hartman holds degrees from the University of Missouri-Kansas City (D.M.A., M.M.) and the University of Delaware (B.M.). At the University of Delaware, he received a Dean's Scholar position enabling him to pursue an individually designed academic program combining music education and composition. At the University of Missouri-Kansas City he served for three years as the Assistant Director to Musica Nova, the conservatory's new music ensemble, while teaching a variety of composition classes.
In 2007 he was invited to both the Iceland Academy of the Arts in Reykjavík, Iceland and the Sichuan Conservatory in Chengdu, China to give lectures and master classes in composition. In the summer of 2009, Hartman served as an orchestra manager for the Aspen Contemporary Ensemble and Aspen Opera Theater Center for various performances. He serves on the National Executive Committee of the Society of Composers, Inc. as Submissions Coordinator. His primary composition instructors include James Mobberley, Chen Yi, Zhou Long, Paul Rudy, John Beall, and Jennifer Margaret Barker. He currently teaches music theory at the University of Central Missouri and general music classes at Park University having previously taught at UD (2007–08) and UMKC (2006–07).
His compositions can be found at http://www.leehartmanmusic.com
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