The Sound of Alison Balsom (CD review)

Alison Balsom, trumpet; various conductors and ensembles. Warner Classics 50999 0 19162 2 5.

Now that Warner Classics have acquired the EMI catalogue, it appears one of the first things they’ve done is reissue some of EMI recording star Alison Balsom’s biggest hits in the elegantly packaged new release The Sound of Alison Balsom. It’s a retrospective of Ms. Balsom’s Baroque trumpet work from 2002 to 2012, accompanied by various individuals and ensembles, period and modern. Fans of Ms. Balsom will no doubt already have most of these recordings, but folks new to her playing may want to use the disc to catch up on what they’ve been missing.

For those few of you who may not know her, British trumpet soloist Alison Balsom has been playing trumpet professionally since 2001. She is now a multiple award winner with eight albums to her credit; she was the former principal trumpet of the London Chamber Orchestra; and she’s a Visiting Professor of Trumpet at the Guildhall School of Music and Drama. What’s more important, she is a darn fine trumpet player. On the present record’s liner notes she credits legendary jazz great Dizzy Gillespie as her inspiration, so if you hear any signs of casual, easy, improvisational, modern-jazz inflections in her playing, well, you know where it probably came from.

The program here consists of short Baroque pieces from English composer Henry Purcell (1658-95), German organist and composer Johann Sebastian Bach (1685-1750), Italian violinist and composer Giuseppe Torelli (1650-1708), German composer George Frideric Handel (1685–1759), Italian composer Tomaso Albinoni (1671-1750), and Italian composer Benedetto Marcello (1686–1739). Her accompanists include Quentin Thomas, organ; Colm Carey, organ; Alastair Ross, harpsichord; Lestyn Davies, countertenor; Edward Gardner and the Goteborg Symfoniker; Thomas Klug and Die Deutsche Kammerphilharmonie Bremen; Jonathan Morton and the Scottish Ensemble; and, most recently, Trevor Pinnock and The English Concert. Throughout the selections, Ms. Balsom demonstrates the smooth, fluent, mellifluous style that has made her famous.

Things begin with five tunes from Purcell's King Arthur, which come across with considerable pomp, vigor, and enthusiasm, Ms. Balsom's trumpet effortlessly pouring forth her usual golden notes in abundance. If that sounds like hyperbole, just give it a listen.

Next come several numbers from Bach: a Sarabande, an Aria, a Badinerie, and Andantes from various suites, plus the Concerto in D (after Vivaldi). The Sarabande and Badinerie are particularly interesting as they are unaccompanied solos yet sound like small ensembles unto themselves.

After the Bach comes Torelli's Trumpet Concerto in D, its three movements lively and enlivening yet most refined. Following that is a selection apiece from Handel's Giulio Cesare, Albinoni's Sonata da chiesa, transcribed by Ms. Balsom, and Marcello's Oboe Concerto in C minor. The program concludes with three more numbers from Handel: the overture from Atalanta, the Birthday Ode for Queen Anne, and the Amadigi di Gaula, arranged by Ms. Balsom. This is exquisite, well-chosen music, exquisitely well played.

The album provides a healthy seventy-seven minutes of playing time, nearly the limit for a compact disc, so you get more than your money's worth right there.

The folks at Warner Classics have done up the packaging most lavishly, enclosing the disc in its own sleeve within a hardcover book with a thirty-two page bound insert. The only minor snag was trying to get the disc out of its sleeve without leaving fingerprints on the playing surface. In any case, I wonder if the company is planning to do up all of its new releases so elaborately.

The sound, originally recorded by EMI in a number of different locations from 2002-2012, is uniformly good, if not always as absolutely transparent as some audiophiles might prefer. Still, it is nicely dynamic in all the selections, with in each case a pleasant, natural hall resonance to provide a realistic ambience. While the sound is a little one-dimensional much of the time, it also sounds well extended, which helps to make up for any slight deficiencies.

To listen to a brief excerpt from this album, click here:


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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simpleminded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Arcam CDS50 CSD/SACD CD player, Goldpoint SA4 Passive Preamp, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my cell phone. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

William (Bill) Heck, Contributing Reviewer

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to that classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Recently I’ve rebuilt--I prefer to say reinvigorated--my audio system, with a Sangean FM HD tuner and (for the moment) an ancient Toshiba multi-format disk player serving as a transport, both feeding a NAD C 658 streaming preamp/DAC, which in turn connects to a Legacy Powerbloc2 amplifier driving my trusty Waveform Mach Solo speakers, supplemented by a Hsu Research ULS 15 Mk II subwoofer.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa