Also, Kinderszenen.
Canadian Brass. Opening Day ODR 7438.
German composer and music critic Robert Schumann
(1810-1856) wrote Carnaval, a set of
short, solo piano works, in 1834-35. Although various folks have orchestrated
them over the years, including a ballet in 1910, I believe this is the first
time anyone has arranged them for brass quintet. And if anyone could pull it
off, it would be Canadian Brass, the world’s premier exponent all things brass.
Trumpeters Chris Coletti and Brandon Ridenour adapted Carnaval and the accompanying Kinderszenen for brass quintet, nicely
maintaining the spirit of both works. Then it’s up to the players to do justice
to the transcriptions, and that they do just that. Joining the aforementioned
Coletti and Ridenour are Eric Reed, horn; Achilles Liarmakopoulos, trombone and
baritone horn; Chuck Daellenbach, tuba; and Caleb Hudson, additional piccolo
trumpet and Bb trumpet.
In Carnaval,
Schumann portrayed masked revelers at Carnaval, a festive season occurring in
mainly Catholic countries just before Lent. Schumann portrays himself, his
friends, and his colleagues in the music, as well as characters from Italian
comedy. It’s all quite showy and rambunctious, with Schumann going so far as to
include in the musical notations an embedded puzzle that he expected people to
decipher.
Whether you fancy the puzzle angle in the masked revelers
is beside the point; the music is vibrant and colorful, expertly presented by
Canadian Brass. I have to admit that there is a certain quality about these
pieces on brass instruments that kept reminding me of Scott Joplin
orchestrations, yet I mean that in the best possible way; undoubtedly Schumann
influenced Joplin’s ragtime creations. The remarkable thing is that these
Schumann pieces should work so well with a brass quintet. They almost sound as
though Schumann intended them that way, with the added nuances the various
brass instruments contribute. Of course, it helps that Carnaval is so vibrant a work itself, with so much energy to
expend. Fun stuff, done up in high good spirits.
Accompanying Carnaval
on the disc is perhaps an even better-known set of Schumann piano pieces, Kinderszenen (“Scenes from Childhood”),
which he wrote in 1838. In the work, Schumann looks back in fond remembrance of
younger days. If Carnaval seemed a
stretch for brass quintet, Kinderszenen
takes things a step even further. Yet, again, Canadian Brass pull it off with
an uncommon aplomb, combining their usual virtuosic playing with the utmost
delicacy.
Like Carnaval, Kinderszenen comprises a set of
descriptive tone poems, but judging their success in adaptation is another
story. The various “Scenes” are more ephemeral than Carnaval, their mood more ethereal and sentimental. It takes all of
Canadian Brass’s expertise to pull them off and not sound like a circus band.
They handle it well enough, although I wouldn’t want these transcriptions to
replace the piano originals. That said, the famous “Traumerei” (“Dreaming”)
comes off more tenderly than I would have thought and exemplifies the
sensitivity with which Canadian Brass approach these scores.
In short, the music on the program is endlessly inventive
and entertaining, and Canadian Brass’s versions of it show just how flexible
the music is and how flexible the group is performing it. If you’re a fan of
Canadian Brass, you’ll no doubt find this album a fascinating listen.
Producers M.B. Daellenbach and Dixon Van Winkle and
engineer Philippe Fages recorded the music for Opening Day Entertainment Group
at Christ Church Deer Park, Toronto, Canada, in August 2012. They captured a
pleasant hall resonance that gives the instruments a rich, mellifluous sound.
With no undue brightness or edginess, we get plenty of detail from the group,
plus a good separation of the players. There is also a realistic depth and air
around the instruments making the whole affair quite lifelike.
To listen to a brief excerpt from this album, click here:
JJP
woo!!
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