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The Kansas City Wind Symphony's split program of profane and sacred-esque selections last week provided for an enjoyable evening featuring many warhorses of the wind band repertoire.  I have a fondness for community bands and would not have pursued music had it not been for the Chester County Concert Band back in West Chester, PA.  I was a member of that group from 9^th grade through my undergraduate days.  So this concert generated all sorts of nostalgic emotions within me as I had played many of these pieces 'back in the day. 

Norman Dello Joio's Scenes from "The Louvre" is a suite derived from the Emmy-winning score.  Dello Joio used Renaissance airs and dances in a highly effective manner creating a programmatic work on the history of the Louvre.  Director Phillip Posey's ensemble demonstrated solid fundamentals; articulations were clear, intonation was general good, and the balance was impressive in the final chords as the pyramid concept was in full effect.  Unfortunately there were some glaring wrong notes and the saxophones overpowered at points.  The horns played with gusto on their entrances especially in the Finale and the tricky transitions of "The Kings of France" were well handled. I wish the tempo of "Children's Gallery" had been a tad brisker - that could have helped the dance 'feel;'  "Nativity Paintings" was very delicate and sensitively played.

Principal clarinetists Bob Dover and Randall Cunningham served as soloists on Jeremy Schwinger's new arrangement of Franz Krommer's Concerto for Two Clarinet in E-flat Major, Op. 91.  Schwinger's arrangement was in capable hands with the soloists.  Their tone quality was very focused and lovely throughout all ranges of the instrument.  Their upper registers were exceptionally tempered and not at all strident, aptly suited to Krommer's Classical era music.  Schwinger paired the orchestra version down to an augmented harmonie ensemble.  It was an effective setting as the soloists more than made up for the warm sound the strings usually provide.  The "Alla polacca" third movement (the group only performed two movements of the three-movement work) had to be restarted because of a tempo miscommunication, but Posey and the ensemble recovered nicely.

George Gershwin's American in Paris was well played with particular kudos going to the E-flat clarinetist.  She played with nimble technique and her tone blended into the overall ensemble sound instead of poking out like a sore thumb, as amateur E-flat clarinetists are wont to do. The tenor saxophone playing was justifiably slinky -  if too loud. Associate Conductor Pat Setser took the podium for John Barnes Chance's Variations on a Korean Folk Song.  The popular set of variations on the Arirang tune (Korean folk song) fell a bit flat as the final moments lacked oompf.  The oboe and trumpets solos of the second variation were expressive and delicately impassioned.

The second half of the program consisted of works based on spirituals and hymn-tunes.  While the source material was strong, the opening work, Dwayne Milburn's American Hymnsong Suite, was weak.  "Prelude on 'Wondrous Love'" found the solo euphonium trading phrases with the ensemble.  It was a struggle for the performers and they sounded nervous.  "Ballade on 'Balm in Gilead'" was the perfect example of 'reed soup,' my term for wishy-washy melting chromatic harmonies in the clarinet and saxes.  Similar in rhythmic structure to "America" from West Side Story, "Scherzo on 'Come Thou Fount of Every Blessing'" had the familiar shifting 3/4 - 6/8 exchanges.  It was dancey, but too stilted to be effective.

Frank Ticheli's Amazing Grace has rightfully earned its place as a standard because of its lush harmonies, unexpected resolutions, and clever echo techniques.  The KC Wind Symphony's rendition was fine.  During this piece was the only time the ensemble achieved a true piano dynamic. The staggered climaxes were also executed effectively as they rightfully dulled the harsh edges of the work. 

James Curnow's Rejouissance, a fantasia on "A Might Fortress is Our God," was the least successful piece of the evening through most of the fault laid with the composition not the ensemble.   Even for a fantasia, the piece was a hodgepodge of mood shifts and ineffective writing.  There was not enough of any particular material for the ear to latch on to.  Maybe because of this, the ensemble lacked focus and the final moments were ineffective. 

The Kansas City Wind Symphony has some fine players especially in the horns and clarinets with technique to spare.  Phillip Posey has crafted a fine ensemble that is capable of making some great music.  Their biggest shortfall is in their narrow dynamic range and the occasional lack of endurance and focus issues.  If you are looking to hear some of staples of band repertory, you would be well served to attend one of their concerts.


REVIEW
Kansas City Wind Symphony
Celebrating Virtuosity
Wednesday, May 12, 2010
Village Presbyterian Church, Prairie Village, KS
www.kcwindsymphony.org 

By Lee Hartman

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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