Armonia Ensemble Excels with Strauss Sonatinas

Richard Strauss: Wind Sonatinas
Armonia Ensemble
Berlin Classics

Wind music from one of the greatest orchestrators of all time played by the wind players of one of the greatest orchestras of all time. How could the results be anything less than satisfying?

Towards the end of his life, Richard Strauss ceded his role as an innovator and began writing works that unabashedly embraced the past -- which turned out to be just as innovative in their way. The 1943 Sonatina for 16 wind instruments was written during Strauss' recovery from influenza, hence the subtitle "From an Invalid's Workshop."

Strauss embraces a Mozartian ideal in this work, creating a composition of clarity and balance. He revisited the form the following year. The second wind sonatina "Happy workshop" is full of energy and good spirits.

Although  written only for winds, Strauss' orchestration genius dazzles the ear with imaginative instrumental combinations throughout these two sonatinas.

The Armonia Ensemble is basically the Gewandaus Orchestra of Leipzig's wind players. And that's a plus. Because they make these works sound orchestral. Wind ensembles can sometimes sound a little wanting, but not with the Armonia. This ensemble doesn't need strings to give it a rich, full sound. Attacks are clean, the blend is seamless, and the playing is inspired. A perfect match of music and musicians.

University of Kansas Wind Ensemble excels with Glass/Fairouz release

Philip Glass: Concerto Fantasy for Two Timpanists and Orchestra
Mohammed Fairouz: Symphony No. 4, 'In the Shadow of No Towers'
University of Kansas Wind Ensemble
Paul W. Popiel, conductor
Naxos

The University of Kansas Wind Ensemble turns in an excellent recording of some challenging and memorable compositions. this university ensemble is first-rate, especially the soloists. The ensemble blend is seamless, and the playing rock-solid.

Philip Glass' concerto, Fantasy for Two Timpanists and Orchestra, works quite well in this transcription for wind ensemble. Glass' sparse ensemble writing sounds even more so without strings. The result is a work with a razor-sharp edge to it.

Mohammed Fairouz's Symphony No. 4 was based on the Art Spiegelman graphic novel "In the Shadow of the Towers." Fortunately, one doesn't have to be familiar with the source to make sense of the music. Fairoz's composition uses the more traditional voicings found in wind ensemble literature. But that doesn't make this work any less original. His take on Spiegelman's take on 9/11 juxtaposes the known and familiar with the strange and unknown.

Although the work deals with an emotionally heavy topic, it does so in an authentic fashion. No maudlin tune to mourn the fall of the towers, nor uplifting Coplandesque hymn at the end to signify hope. Fairouz uses a sophisticated musical language to convey the complex and sometimes conflicting emotions 9/11 sparked. And I think he succeeds.