It was a particular pleasure to receive this recording, since all the composers are known to me personally and the soloist is someone with whom I have had a friendship for nearly 20 years and for whom I have written concertante pieces myself.
The three concerti represented here are all relatively unfamiliar, the Rob Wiffin having been commission by Brett Baker. All adopt the classic three-movement form and all give the soloist an opportunity to demonstrate his skills in a variety of techniques, including multi-phonics.
The Wiffin is the most recent of these pieces, having been written in 2010. It consists of a sturdy first movement with an obvious American influence in its use of quartal harmony. The second movement is lyrical and is dedicated to the memory of Arthur Wilson, Dr. Wiffin’s teacher and former principal trombone of the New Philharmonia and Royal Opera orchestras and someone I also had the pleasure knowing during my years as an orchestral player. This movement has a reference to the great trombone theme from Sibelius’s Seventh Symphony, of which Arthur Wilson was a noted exponent. The final movement is stolid and strong, bringing the work to a convincing conclusion, Brett Baker tackling the whole concerto with conviction.
Despite it’s rather facetious movement and overall titles, Johan de Meij’s T-Bone Concerto (written in 1995) is in fact quite a serious, substantial piece and offers challenges of increasing difficulty to the soloist which Brett Baker meets fearlessly and with aplomb.
Philip Sparke’s concerto dates from 2006 and was written for the eminent Olaf Ott, principal trombone of the Berlin Philharmonic. It displays a variety of moods, from nervousness and aggression to joyous abandon and displays jazz and Latin America influences. In the final movement, soloist and band engage in a kind of contest, in which the trombonist turns out to be the winner. Brett Baker brings out all the nuances in this kaleidoscopic work and is ably supported by Jonathan Crowhurst and Maidstone Wind Symphony.
The final item on the CD is for band alone and is Jan Van der Roost’s impressive Canterbury Chorale, which is given a suitably sonorous reading. The band’s contribution is secure and sensitive throughout, the players and their conductor showing themselves to be excellent accompanists. My one criticism, however, is the quality of the recording. Which constantly favours the soloist at the expense of the band (I would imagine Brett to have employed his usual technique of attaching a small microphone to the bell of his instrument). Every note he plays is faithfully caught, but some of the sections of the band (the saxophones in the first movement of the Wiffin for example) are recessed too much, preventing a real dialogue between soloist and band from taking place. However, that is a relatively minor complaint and one must be grateful to Brett Baker, Jonathan Crowhurst and Maidstone Wind Symphony for bringing these attractive concerti to life in such a confident manner.
Rodney Newton, East Barnet, 15th December 2012
Unsolicited CD Review by Peter Bale of 4barsrest.com
Under the direction of Jonathan Crowhurst, the Maidstone Wind Symphony has grown from a group of a dozen or so players in 1998 into a full sized wind orchestra. To have done that in such a relatively short space of time is quite an achievement – especially as the quality of their musical development is equally as impressive as show by acquitting themselves splendidly on this release in accompanying Brett Baker in three substantial works, as well as their own solo item.
Brett is one of the most widely recorded trombone soloists, with a constantly growing discography, but it is particularly good to hear him tackle some major works as
opposed to lighter fare – especially against the backdrop of a more colourful, textured accompaniment.
New commission
Rob Wiffin, currently working at Kneller Hall following his retirement from the RAF, is a trombonist himself, and Brett commissioned his ‘Concerto for Trombone’ following the success of his earlier composition ‘Shout’.
The three contrasting movements encompass a range of styles; from the
declamatory opening and middle section, dedicated to Rob’s teacher Arthur Wilson and in the style of a Richard Strauss song, to the jazz inflections of the finale. Along the way there is a nod to ‘Eternal Quest’, and an impressive cadenza,
complete with multi-phonics and a sequence of progressively higher falls – executed with customary Baker flair.
Musical feast
Johan de Meij’s ‘T-Bone Concerto’ is equally accessible - the titles of each of the three movements having a witty bovine culinary link – ‘Rare’, ‘Medium’ and ‘Well Done’. The soloist’s articulation is exemplary, whilst also catching the wistful nature of the slower music beautifully. Lyricism is to the fore in the middle movement, including a lilting waltz section, and in the finale the soloist barely has time for a breather. The climax finds Brett in his element, exploring the upper echelons of the instrument’s register in a thrilling finish.
Challenging work
The name Philip Sparke is a sure-fire guarantee of quality, inventiveness and craftsmanship, and his ‘Trombone Concerto’ is no exception. Commissioned for an all-Sparke recording by the Deutsche Blaserphilharmonie, it is dedicated to Olaf Ott of the Berlin Philharmonic Orchestra. The music progresses from agitation to calm and finally optimism, with the hymn-like second movement giving the soloist ample opportunity to display his renowned smooth, sustained playing technique. A lively samba launches the finale, with effective interplay with the ensemble’s well balanced trombone section: It is toe-tapping stuff to really raise the spirits.
Cathedral of sound
The ensemble is in fine form themselves too. Jonathan Crowhurst wanted to include a solo item and the choice of ‘Canterbury Chorale’ fits the bill very well. There is much to admire in the effective organ-like sound, and the control shown in the contrasting dynamic elements. It brings to a close a most enjoyable recording, with the textures of the wind ensemble ensuring that the soloist is not swamped - as can be the case with a brass band accompaniment.
Add
The informative sleeve note includes testimonials from composers Johan de Meij and Nigel Clarke, as well as helpful background to both the music and performers. On this form, it is to be hoped that it will not be long before they are able to add to their discography.