Alison Balsom: Royal Fireworks (CD review)

Music of Handel, Purcell, Bach, and Telemann. Alison Balsom, natural trumpet; Balsom Ensemble. Warner Classics 0190295370060.

For those few people who may not know her by now, British trumpet soloist, producer, arranger, and music educator Alison Balsom has been playing trumpet professionally since 2001. She is now a multiple award winner with over a dozen recordings to her credit; she was the former principal trumpet of the London Chamber Orchestra; she is a Visiting Professor of Trumpet at the Guildhall School of Music and Drama; she was the artistic director of the 2019 Cheltenham Music Festival; and she is an Officer of the Order of the British Empire (OBE). What's more important, though, as I've said before, she is a darn fine trumpet player.

On the present album, "Royal Fireworks," she presents a collection of six virtuosic works from the Baroque age, featuring the music of Handel, Purcell, Bach, and Telemann. The pieces are all done up in new arrangements for solo trumpet (Ms. Balsom, as usual, playing a natural, valveless trumpet) and a small baroque ensemble (natural trumpets, sackbut, theorbo, strings, timpani, organ, harpsichord, and vocals). The results are unique and, as always from Ms. Balsom, delightful.

First up is George Frideric Handel's Music for the Royal Fireworks. Listeners used to hearing the suite played by a modern orchestra or by a big ensemble of period instruments (Handel originally scored it for around sixty players, and some in attendance at the original event reported seeing about a hundred players in the band) may find Ms. Balsom's recording with but a handful of musicians a bit undernourished. However, with a vibrant recording and an enthusiastic performance, one may not notice such quibbles. Ms. Balsom carries the day, to be sure, but her accompaniment is splendid, too. No, I would not recommend her reading as a first choice with so many other fine recordings available, but it makes an interesting alternative interpretation with Ms. Balsom's trumpet in the forefront of the presentation.

Alison Balsom
Next is Henry Purcell's Sonata in D. Here we have another virtuosic vehicle for displaying Ms. Balsom's skills. Still, the accompanying players hold up their end with an accomplished élan, and the piece, brief as it may be, comes off with elegance and refinement.

Following that is Johann Sebastian Bach's "Jesu, Joy of Man's Desiring" in an endearing arrangement that again highlights Ms. Balsom's excellent execution. It moves along at a healthy but never rushed gait and marks a pleasant few minutes.

Then, there is George Philip Telemann's Trumpet Concerto in D. It's in four very short movements and represents a good change of pace from Purcell's sonata. It begins, perhaps unusually, with a stately Adagio and then alternates more vigorous sections bookending a solemn one. So, it's slow, fast, slow, fast. Unusual, as I say, but fascinating in its contrasts.

After the Telemann is another of J.S. Bach's pieces, a suite from the Christmas Oratorio. This and the Handel that opens the show are the longest works on the program and the centerpieces of the album. Ms. Balsom's trumpet stands out strongly in these new arrangements, while the other trumpets add a richness to the proceedings.

The music ends with Purcell's Music for the Funeral of Queen Mary II. Here, we find even more percussion work, plus a vocal quartet, so it adds to the variety of the album. It's appropriately grave, yet evocatively charming and makes a fine conclusion to the program.

Producers Simon Kiln and Alison Balsom and engineer Arne Akselberg recorded the music at St. Jude-on-the-Hill, Hampstead, London in August 2019. Big sonics here: wide and resonant, with a good depth of image. It isn't the most transparent of recordings, but it is realistic in its sense of place--the natural warmth and bloom of the venue--and it captures the Purcell vocals realistically. So, while ultimate clarity may not be its long suit, its hall ambience and strong dynamics help to compensate.


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

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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.

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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