tympani. Sonoma Records SAC-001
Anthony Newman, organ
Graham Ashton Brass Ensemble:
Graham Ashton, trumpet
Mark Gould, trumpet
Carl Albach, trumpet
William de Vos, horn
Jim Pugh, trombone
Richard Clark, trombone
Jeff Nelson, bass trombone
Marcus Rojas, tuba
Duncan Patton, tympani
This recording is an effort of the SONY company (through SONOMA records which is a subsidiary which gets its name from the newest SONY DSD platform “Sonoma”) to make SACD audiophiles quality recordings.
I must admit that my initial audition of this SACD was a bit of a disappointment. Perhaps I expected a little too much. My problem (as usual) has to do with the sound recording and the aspect of reproduction of an acoustic space. Did my listening room became a large Church with an immense organ? Unfortunately not, but for every other aspect it is an excellent recording.
To finish with the sound take aspect, after some repeated listening of this recording I said to myself that I would have liked to hear this SACD reproduce on B&W speakers. If I were not the proud owner of QUADs, I would have chosen B&W. They do not have the miraculous transparency of the QUAD but are obviously better for dynamics. And they are very neutral. And this recording was monitored with B&W loudspeakers. So perhaps that in a larger room with a complete whole set of B&W in 5.1 the effect of reproducing of a very broad sound space could be better. On the other hand I do have two DVD-Audio that do reproduce huge acoustic venue convincingly (Teldec 8573-82041-9 Bach Organ Spectacular, Teldec 4509-94545 Mahler # 2).
But for everything else, it is an excellent recording. The surround loudspeakers are well used to restore the echo effects for example in the antiphonic parts of the Gabrieli pieces. All the frequency spectrum is full of energy from organ pedal notes to the technical acrobatics of the high trumpets. It is a recording with a very good dynamic range and which begs to be played at high volume. One really feel surrounded in a sea of glorious sound. Obviously certain section contains low organ notes very good to test a subwoofer response.
The choice of repertoire from different eras is another successful aspect of this album. It goes from renaissance music to Richard Strauss and Rachmaninov. Certain pieces are religious and solemn others are spectacular and full of virtuosity.
I have a small reservation on one aspect of the choice of instruments. There is only one horn player employed only in a few tracks. (I do not know if it is a musical choice, or simply due to the composition of Mr. Ashton brass ensemble). In particular in track 2 and 12 I believe that the presence of 3 horn players instead of one would have reinforced musical texture.
Obviously the brass ensemble has an almost perfect synchronization, and the sounds of the brass players blends perfectly to give the impression of a mega instrument. But the pitch of the brass with the organ is almost always as good. It is extremely difficult to keep in tune with an organ. This must have required a lot of micro adjustment by the brass players to adjust their playing. In the same way the timpanist gives essential rhythmic base in certain pieces like the Handel (track 2, and Mussorgsky track 12) and there is no perception of fuzzy delay between organ and percussion.
The first track is an arrangement of the solemn entry of the knights of St-John by Richard Strauss. It is a youthful composition originally written for 25 brass. It is a good choice for the beginning of this recording. The long chords are a good showcase for the sound quality of the ensemble from the low notes of the Tuba up to the high notes of the trumpets.
The second track is an arrangement of the overture for the royal fireworks of Handel. It is probably (with track 12) the most virtuoso piece of the album. It is a very beautiful arrangement that makes good use of all the musicians. In particular the horn player (which must play like 3!) and the percussionist stands out. One small negative is a lack of pitch between some (very) fast passages of the trumpets and the organ.
The third track is a splendid interpretation of a 12 part canon by Gabrieli. This canon is organized into 3 choirs (of four instruments). The two first choirs are played by 2 trumpets 1 trombone alto and one bass trombone. The third choir is here played by the organist. This arrangement is splendid full of glorious sound. repeated progression that echoes on another collide and progress toward a formidable wall of sound at the end. The last chord finishes and the echo continues has to resonate for several seconds.
The fourth and fifth track are also antiphonic pieces by Grabieli. The rhythms are faster and the melodies are more complex but they lack the sheer power of track 3.
The sixth track is the famous opening of cantata BWV 29 by Bach (itself transcribed from a sonata for solo violin). It is the first track arranged by the organist (all four Bach cantatas excerpt were arranged by Mr Newman) Again this is a very good contrast with the preceding music. Here the organ takes the front stage and can show its power and speed. My only reservation is that I have heard this piece played with more stability. Some fast passages are a little too loose and sounds a bit out of control. This may simply be due to a lack of rehearsal time with the brass ensemble.
Track seven is a similar arrangement of the beginning of cantata BWV 19. The role of the brass is more substantial. It is surprising to think that this massive sound is produced by only 5 musicians (3 trumpets, organ and tympani).
Once again a radical change of pace and style with track eight for an arrangement of religious music by Rachmaninov. The full brass ensemble is used in this reflexive piece called “Téotokos eternal vigilance in prayer”. This music shows the importance of theVirgin Mary in the Russian orthodox Church. It is a music which contains long sustained chords with a very modern texture, but applied has to an older music style.
Tracks nine and ten are again devoted to arrangements of Bach`s cantata extracts (BWV 34 and 214) for 3 trumpets, organ and tympanis. In particular track ten makes it possible for the percussionnist to finally have its “star” moment. Once again a superb viruoso showcase with splendid sound.
Track eleven is the shortest of the album and my favorite. It is an arrangement of a Monteverdi toccata arranged for 3 trumpets, 3 trombones and organ. This music is played in a more baroque manner by the brass (less vibrato, more defined attack, softer sound) which gives the music an increased clarity. Two trumpets soloists answer each other supported by trombones and a dash of organ. I would have liked 2 more tracks like this one (maybe next time?)
The SACD finishes with a spectacular arrangement of the great gates of Kiev from Moussorgsky`s Pictures at an Exhibition. Once again Mr. Ashton has written an excellent arrangement full of good idea on how to use the instruments for best effects. For example the horn which makes bell sounds at 3:15, a scale played by the organ which suddenly goes slower and lower than expected at 3:44, or descending notes played in unison by the organ and the bass trombones to produce a splendid and dense sonority at the end.