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Torrential rains accompanied the award-winning Fountain City Brass Band's season opening performance "Horizons" at the MidAmerican Nazarene University's Bell Cultural Events Center last Saturday night.  Under the musical direction of Joseph Parisi and artistic direction of Lee Harrelson, they showcased an eclectic offering of pieces from a wide theme concept of light, sky and the heavens with a variety of crowd favorites and fine solos.

Delayed in traffic by a minor accident, I was kicking myself for having missed their opening numbers, an arrangement of Richard Strauss' Also Sprach Zarathustra by Peter Graham and the title piece for the performance, Horizons by Paul Lovatt Cooper.  I snuck in halfway through Atop Pilatus by James Sizemore, a world premier performance.  Welcomed by the richly blended tones of the band, I soon noticed that the interesting pointillist effect was marred, needing more exacting articulations throughout the ensemble.

Awarded "best flugelhorn" in numerous competitions, Matthew Vangjel soloed on Sweet Sunset by Jan de Haan.  His mellifluous tone and golden vibrato delivered an aria melody accompanied by a delicate treatment from the sopranos down to the basses.  Infinity by Robert Redhead closed the first half of the program.  It began with hymn-like solo voices, slightly muddled by the supporting voices. Hints of virtuosity surfaced as the interjections built to take over from the striving melody, yet never maxed out; it displayed the impressive abilities of the players, but there was no clear lead voice as the line passed around.  Mallet percussion was distractingly pronounced and the delicacy of the previous piece not matched, with disjointed and choppy sections.  The piece highlighted many players as it traversed though various styles, and the finale was exciting with Ryan Sharp playing a bright clear note on soprano cornet over top of the ferocious rhythmic lines of the band.

Vitae Lux by Frode Alnaes, which translates to "Light of Life," and arranged by Torstein Aagaard-Nilsen opened the second half beginning with flugelhorn solo.  The melody transferred seamlessly to solo cornet, carrying over the rich dark sound.  After this strong beginning, though, the piece had no forward motion and the drum set was too pronounced and added no drive.  Helios by Jan Van der Roost had a bold beginning with brightly rhythmic fanfare figures, effective contrast in the dynamics throughout, Gabrielian-style rhythms with modern harmonies and light filled ornaments.

With another award winning soloist (this time Bryan Scott on baritone), FCBB performed Neath Dublin Skies by Paul Lovatt Cooper featuring a haunting melody that morphed into a lilting jig. Scott showed incredible facility as the challenge of the variations increased. Though possibly a fault of the composition, the marc tree overshadowed the ensemble. And why do composers insist on writing out drum set parts and then percussionists insist on playing them?  It was far too pronounced and didn’t contribute either a style change or rhythmic drive. With rough transitions in the supporting chords, lag between the drums and soloist, plus the obvious balance issues that drowned out the soloist and his intricate dexterity, this was not a very strong piece.

After extensive program notes, “Largo” from Anton Dvořák’s Symphony No. 9 arranged by Gordon Langford was a mixed bag.  Vangjel played the simple melody with elegant clarity and phrasing.  However, the muted cornets entered too hesitantly and marred the fragile aura.   The solo cornet and euphonium exchange got them back on track briefly, but the intonation in the supporting voices and in the statement of the theme was unfortunate. The final moments were approached too subtly and the entrances suffered.  Contrastingly, Legends by Peter Graham was fantastic.  Inspired by the legendary Chicago Symphony Orchestra brass section, it was awesomely expansive, alluding to orchestral repertoire with Wagnerian opulence, starting with a smashing timpani and lead by the trombone section that powerfully skirted the edge of tastefulness.  It was almost ridiculously brazen, but highlighted what makes playing and listening to brass and percussion music so exciting and engaging with thundering gallantry.  My one criticism would be to let the gong ring at the end as long as it can to sustain the exuberance. 

The final piece of the concert was an arrangement of Maynard Ferguson’s Give It One by Lee Harrelson.   This piece was fun and a nice capper to an evening filled with some serious and challenging material.  Parisi soloed at the chorus with ease and dexterity, but the communication when the lead voice passed to Sharp was awkward. 

Horizons was a good start to Fountain City Brass Band’s season and had many fine moments.  The ability of the players and artistic vision make these concerts a pleasure to attend.  They will need to address their ensemble playing both in the technical passages and subtler moments, and not rely on the ability of the soloists, but I’m excited to see what the Band has in store for the rest of the season as they prepare for their competition and concert performances.

REVIEW:
Fountain City Brass Band
Horizons
Saturday, September 25, 2010
Bell Cultural Events Center at MidAmerica Nazarene University
2030 East College Way, Olathe, KS
For more on the Fountain City Brass Band visit www.fcbb.net

By Libby Hanssen

Traditional and New Classical, Theatre Contributor

Libby Hanssen holds degrees from University of Missouri-Kansas City (M.M.) and Ball State University (B.M.) in trombone performance and also studied music education at Indiana University. She has studied trombone with Carl Lenthe, JoDee Davis, John Seidel, John Huntoon and Denis Wick, and music education with Brent Gault, Estelle Jorgensen and Katherine Strand.

While at IU, she taught classes in general music, focusing on listening skills and music fundamentals through practical music usage and exploring new sound constructions. During the course of her studies at UMKC, she performed with many ensembles, including the Conservatory Orchestra and Musica Nova. She has also performed with the Kansas City Puccini Festival, the People's Liberation Big Band of Greater Kansas City, the New Jazz Order, the Indiana Wind Symphony and the Muncie Symphony Orchestra.

In 2010, she was a fellow (one of 23 journalists selected from across the US) for the seventh annual National Endowment for the Arts (NEA) Arts Journalism Institute in Classical Music and Opera at Columbia University’s Journalism School in New York City.

Most of her free time is spent with her three boys (son, dog and husband) and camera, exploring the many fine aspects of Kansas City living. She enjoys listening to KKFI - Kansas City Community Radio and KCUR - Kansas City's NPR station, visiting Kansas City's fine collection of museums and galleries, and scavenging in thrift and antique stores to add to her collection of toy instruments.

She writes for the joy of words and the process of constructing a story, maintaining the blog Proust Eats a Sandwich (www.prousteatsasandwich.wordpress.com). She is working on her first book: Murray Goes to the Nelson-Atkins Museum of Art.