Footprints
James Barnes (b. 1949)
Concerto for Euphonium, Op 132
Anthony Zilincik (b. 1967)
Seeing Stones (First Vision)
Peter Meechan (b. 1980)
Fields of Destruction (2008)
Stephen Roberts (b. 1952)
O Waly Waly (2007)
Noah D. Taylor (b. 1982)
Concerto for Euphonium (2005)
Pat Stuckemeyer (euphonium)
Arizona State University Wind Ensemble
rec. 2009, Piper Theatre, Mesa Art Center, Mesa, USA
POTENZA MUSIC PM1008 [60]
The euphonium, son of the ophicleide and grandchild of the serpent, is not too renowned. Its niche in the orchestra is occupied by horns and tubas, and there isn’t much music written for it as a solo instrument. Furthermore, it is known to be more difficult to learn compared to other brass instruments. On the other hand, is it quite popular in brass bands, and has been called “the cello of the band”. As with other conical-bore brass instruments (such as the horn, tuba or cornet), its sound is less hard and sharp than of the cylindrical-bore instruments (like the trumpet or trombone). Actually, its voice is surprisingly mellow and velvety; it is very expressive; its singing is smooth, and in good hands it avoids the snorts and wheezes that sometimes accompany the heavy brass instruments. Pat Stuckemeyer is a prominent American euphonium player and teacher. The present disc encompasses a commissioning project of two years; all works but one were written for this performer.
The Concerto for Euphonium by Stuckemeyer’s former teacher James Barnes is a large and rewarding work. The writing for the wind ensemble is masterful: it sounds like a full orchestra without any impression that something is missing. I feel the spirit of Khachaturian’s concertos here, with this grand, solemn opening movement, the sweet and poignant song of the middle movement, and the merry dance of the virtuosic finale. The music is melodic and accessible, the thematic development is inventive, the orchestration is varied, and the performance is excellent. It is a joy to listen to this cheerful concerto, and I think that it should be popularized irrespectively of the exotic solo instrument.
Seeing Stones by Anthony Zilincik is a tone poem with a captivating plot: the hero finds a potent magic artifact, a “seeing stone” (something like a palantír, maybe?) – but is not resilient enough to handle its power, and is devoured by dark forces. The tone poem is not too long, and the writing is effective. When the hero realizes what he got in his hands and revels in his new powers, the music logically has the hues of Holst’s Uranus. The face of Evil is really scary, as is the dark ending. I even wish the piece was longer and showed us more of those demonic visions.
Peter Meechan’s Fields of Destruction is a set of three “songs”. The program is not apparent, although the liner note speaks about parallels between the poppy-covered Flanders Fields, the place of past battles – and the nowadays poppy-growing fields in Afghanistan, which feed terrorism. The three “songs” are similar in nature: slow, spacious and meditative. Despite the title, the atmosphere is static and peaceful; these vast fields may be the Fields of Destruction, but now they are sunlit and serene. This music would be boring, if not for the static hypnotic quality, which attracts and enthrals, though not constantly.
Among all the original compositions on this disc, Stephen Roberts’s arrangement of O Waly Waly (The Water is Wide) sticks out as somewhat alien. The arrangement is not very adventurous; it is nice, but safe. The music is lyrical and expressive, but the booming percussion base that starts midway and some moments of orchestral tutti bestow on it the syrupy spirit of Paul Mauriat, which is out of sync with the rest of the album. It could be a sweet dessert in a concert-style program, but here it is not placed in the usual position of an encore.
The Euphonium Concerto by Noah Taylor is smaller in scale than the one by Barnes and less memorable, but it is effective, accessible and enjoyable. The buoyant, sanguine Allegro has the feeling of flight over vast plains, and the happiness of the free motion. The Adagio is a tender lullaby, warm and love-soaked. The lively finale returns to the happy, vigorous mood of the beginning; rhythmical and eager to return to the big flight. This is a virtuosic movement, and the soloist dispatches its perilous runs with a sure hand. Overall, the concerto is cheerful and melodic; the music is sweet but without excess of sugar. It is an excellent showcase for the performer, allowing him to display both his expressive and virtuosic qualities. Although its musical structure is standard, the work has a unique face.
The recording is clear throughout the album; the orchestra is placed behind the soloist, so he is never eclipsed by it. Stuckemeyer pronounces every note; his connections are extremely smooth. The musicians of the orchestra play with skill and emotion, and their voices blend very well. Every instrument in a wind orchestra usually has greater visibility than, for example, one violin in a sea of strings; here weak links would be more perceptible – but I hear none. The quality level of American wind orchestras in the last years is really remarkable.
This disc is a great introduction to the euphonium for those who do not know this gentle giant, and I am sure that those who have previously encountered it will enjoy it, too. It has plenty of good music that stands up well to repeated listening, and the performance is top-notch. The first two works on the disc are especially impressive and memorable, and the rest are also quite entertaining. As for the soloist, I feel that the word “singing” suits him better than “playing”. He has such ease with his instrument, just as good opera singers have with their voices. This disc is not just a good introduction to euphonium, but a collection of interesting and accessible music in excellent performances.
Oleg Ledeniov
