The Best of Brass & Organ

The King's Brass (Artist, Performer), Richard Strauss (Composer), Claudio Monteverdi (Composer), George Frederick Handel (Composer), Aaron Copland (Composer), Tim Zimmerman: conductor (Conductor, Performer) | Format: Audio CD

Product Details

• Performer: The King's Brass, Tim Zimmerman: conductor
• Conductor: Tim Zimmerman: conductor
• Composer: Richard Strauss, Claudio Monteverdi, George Frederick Handel, Aaron Copland
• Audio CD (September 7, 2004)
• Number of Discs: 1
• Label: Summit (Classical)
• ASIN: B0002T2QDS
• In-Print Editions: MP3 Download
• Average Customer Review: 5.0 out of 5 stars  See all reviews (3 customer reviews)
• Amazon Best Sellers Rank: #51,305 in Music (See Top 100 in Music)
  • #56 in Music > Classical > Historical Periods > Renaissance (c.1450-1600) > Composers

Customer Reviews

Most Helpful Customer Reviews

1 of 1 people found the following review helpful:

5.0 out of 5 stars Gloriously Inspired Church Music for Brass & Organ!, March 20, 2008

By 

James Yelvington "Professor" (USA) - See all my reviews
(VINE VOICE)    (REAL NAME)   

Amazon Verified Purchase

This review is from: The Best of Brass & Organ (Audio CD)

This recording presents Tim Zimmerman and his King's Brass, along with organists Rebecca Kleintop and Dan Miller (plus three others on a track or two), in a program of mostly church-related music (consistent with the group's religious mission). The Brass was formed around 1980 or so by Zimmerman, with the aid of his father, the Reverend Enos L. Zimmerman, and numbers around ten players (including percussionist and keyboardist), with occasional assistance from others. They play about 100 concerts a year, including an annual summer tour, and their mastery of brass ensemble playing is evident in the high levels of performance they achieve.

The organ's contribution here is also of very high caliber: Ms. Kleintop plays the excellent 117-rank (6600+ pipes) Ruffati Brothers (Italy) organ of the Coral Ridge (Florida) Presbyterian church (subsequently expanded with electronic ranks) on the first 8 tracks; Mr. Miller plays the huge, 5-manual, 205-rank (about 11,500 pipes) Calvary Church (Charlotte, N.C.) Grand Moller organ on tracks 9-15 and 19.

Overall, the music here is lively, engaging, and imaginative, and is mostly triumphant and celebratory in character, in keeping with the Brass's mission to bring the "good news of salvation through Jesus Christ" to its listeners. People who like the familiar hymns of Christian churches will probably find this music most attractive, for it consists of excellent instrumental arrangements of a good sample of those hymns, with tasteful and vivifying original touches.

The first track, however, is exceptional in that it is not, strictly speaking, church-related (though it does bear philosophical import), being the ubiquitous introductory ("Sunrise") section of Richard Strauss's symphonic poem "Also Sprach Zarathustra," inspired by Richard Nietsche's book of the same name, and made famous by the Stanley Kubrick film "2001: A Space Odyssey." This impressive music is presented quite intact, though relying upon simply brass, organ, and percussion instead of the original full orchestra. In spite of this reduction of forces, the impact of the portentous fanfare seems to come through undiminished, and the performance leaves little to be desired.

"Fanfare and Flourishes," by contemporary Michigan native James Curnow, is exactly what it says and thus suits this ensemble perfectly. It is a fine piece of music by this quite prolific composer of band music, and features here the unexpected sound of the tambourine to season the quieter passages of this otherwise stentorian music for full brass, full organ, and thundering kettledrums. Very nice, indeed!

"And Can it Be" No. 2 seems to be a fairly straightforward presentation of the hymn's music, "Sagina" by 19th century English composer Thomas Campbell. (Sagina is the Latin name of the pearlwort plant.) The 18th century words by Charles Wesley, cofounder of Methodism (with brother John), marvel at the miraculous mystery of salvation. It is a fine, strong presentation of this hymn tune. (We are not told what the "No. 2" designation means, but we can suppose it's the second of two arrangements by Tim Zimmerman.)

"All Glory, Laud and Honor" is the familiar tune by early 17th century German "one-hit wonder" Melchior Teschner to the medieval Latin text "Gloria, Laus et Honor" by Theodulph of Orleans. The English text is a later translation conveying the essential meaning of this hymn of praise and exaltation, and this presentation is equally faithful to its praiseful character.

"All Hail the Power" No. 1 is the very familiar tune "Coronation" written by 18th-19th century American Oliver Holden to words by 18th century Englishman Edward Perronet, a Methodist and sometime friend of the Wesley brothers. It is another hymn of praise. In this arrangement by Dan Marvin the hymn tune is preceded by an energetic brass flourish and similar passages are interjected between the phrases before things calm down to a lovely singing of the tune by a solo trumpet over a meandering figure played by the organ. Then it's back to the high-energy motives again to lead onward toward a triumphant close.

"Abide with Me" is likely the best-known hymn here. The tune was written in 1861 by William H. Monk for the 1847 words by Henry F. Lyte. (Both were essentially English.) This track breaks the mood of celebration, for it is a beatific view of approaching death in the comfort and resignation brought by Christian faith (somewhat reminiscent in character to Stölzel's "Bist Du Bei Mir," If Thou Art Near). Indeed, Lyte was dying when he wrote the words, and Monk penned the music during great personal sorrow. (Lyte's words, incidentally, refer to Luke 24:29 when the two apostles on the way to Emmaus with Christ say to him, "Abide with us: for it is toward evening and the day is far spent.") Appropriately, the music opens with a sweet, smooth organ passage soon joined by the brass in an unmistakable reference to Pachelbel's famous Canon. Hats off to Dan Marvin for this marvelous and simply gorgeous arrangement! This alone is worth the price of the CD.

The Monteverdi "Deus in adiutorium" section from his 1610 Vespers for the Blessed Virgin is presented musically quite intact, except for the performing "voices." The brief chants are delivered by trombone, rather than human voice, and the brass alone convey the rest of this glorious music possibly written for the vast reaches of the Basilica di San Marco in Venice. (I don't hear the organ distinctly here, though pedal points may be used to fortify the bass.) This performance is very convincing and enjoyable.

"Thine Is the Glory" was written for Händel's Hebrew oratorio "Joshua" and later back-grafted into the likewise Hebrew oratorio "Judas Maccabeus." French Christian words, "À toi la gloire," were supplied by the Swiss E. L. Budry in 1885 and translated in 1923 into English by R. B. Hoyle. Händel's text was "Hail the Conquering Hero" in honor of Judah "the Hammer," the Hebrew warrior-hero who won several great victories to restore religious rights of his people under the Seleucid rulers, who were attempting to assimilate them and suppress their religion. This very popular music brings us back to the triumphant spirit of the CD, and is excellent music, excellently played.

"For Unto Us a Child Is Born," being from Händel's oratorio "The Messiah," needs no introduction. This transcription by Doug Warner for brass, organ, and percussion is surprisingly satisfying, even without the choral words, and is a faithful rendering.

"Simple Gifts" was not written by Aaron Copland, to whom it is attributed here, but used by him famously in his "Appalachian Spring" ballet. The music is an old Shaker hymn which has rightfully enjoyed a huge success (unlike its religious group, which has nearly died out). The piece begins with a simple trumpet solo statement of the theme, which is then taken up and treated in interesting ways by the rest of the brass with percussion embellishments until a final powerful restatement with the added forces of piano and organ bring it to a resounding finish.

Although several of the remaining 9 tracks really deserve detailed comment (especially in light of the skimpy program notes), I don't want to drag this review out to even greater lengths, so I'll just mention titles and authors: "Come Thou Font" (John Wyeth), "America the Beautiful" (Samuel Ward), "Joyful, Joyful We Adore Thee" (Beethoven's 9th Finale), "Canzon Septimi Toni" (Giovanni Gabrieli), "All Hail the Power" No. 2 (Oliver Holden), "Crown Him With Many Crowns" (George Elvey), "A Mighty Fortress Is Our God" (Martin Luther), "Holy, Holy, Holy" (Reginald Heber), and "God of Our Fathers" (George Warren).

With 19 tracks (57+ minutes) of music, excellent arrangements, and flawless performances you get your money's worth many times over when you invest in this CD. I recommend it highly to lovers of brass and organ music and to lovers of these wonderful old hymns.

1 of 1 people found the following review helpful:

5.0 out of 5 stars Superb, September 22, 2004

By 

Paul L. Herlein (Michigan) - See all my reviews
(REAL NAME)   

This review is from: The Best of Brass & Organ (Audio CD)

Outstanding!! This recording features original arrangements of well known music. The arrangements, performance, and recording are all excellent.

5.0 out of 5 stars Best of Brass & Organj, February 2, 2009

By 

Jon Cverna (Warren, OH) - See all my reviews
(REAL NAME)   

Amazon Verified Purchase

This review is from: The Best of Brass & Organ (MP3 Download)

I found this collection of classical music very pleasing. The mix of brass and pipe organ provide the sounds of instruments I enjoy listening to for something relaxing.