Customer Reviews

Frederick Fennell & the Eastman Wind Ensemble: Grainger; Persichetti...

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4 star:		(2)
3 star:		(1)
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'Lincolnshire Posy' is one of the greatest compositions written for wind band, and this is likely the definitive recording of the work. Frederick Fennell's (the conductor's) full score has become the definitive edition, since Grainger never published anything but a condensed score. The Eastman Wind Ensemble provides a tremendous performance of the piece, and of all the works on the album.

I must admit that I usually only listen to 'Lincolnshire' and 'Hill Song' because I'm a bit of a Grainger fan, but all the music if great, especially Persichetti's 'Symphony for Band' and Rogers' 'Three Japanese Dances'.

If you're not familiar with Grainger, get this album and get familiar with him. He is one of the most important and best composers of the twentieth century, despite how little attention is paid to him outside the world of wind bands.

Of all of the excellent re-releases of the Fennell/Eastman Wind Ensemble recordings, this album is de rigueur for any connoisseur of music for band and wind ensemble. The famous Fennell sound is superbly exhibited in masterful interpretations of two of the most exquisite compositions written directly for winds: Lincolnshire Posy and Persichetti's Symphony for Band. For decades these recordings set the standard by which other performances were judged. The rest of the album is outstanding as well. A fundamental for any serious classical music discography.

If you liked the original recording on 33 1/3 RPM, you'll love the sound of the Eastman Wind Ensemble on CD. The sound is amazing (especially without the scratches), the textures even more alive in the re-mastered recording. This amazing ensemble is the not-so-subtle reminder of how a "band" should sound. Sit back, set the volume control to give your speakers a work-out, and enjoy the experience.

Listening to this recording brings back memories of my own college band experience with some of these pieces. This performance is fun to listen to largely because of the good brass sound from the trumpets and bones. For instance, track 6 (last mvt of Lincolnshire Posy) rocks. Brass and chimes come accross very forcefully, leaving you, the listener, with no doubt that this group could easily give you 30% more without over blowing. In the words of Spinal Tap's Nigel Tuffnel, "This one goes to eleven"!

I have heard nearly all of Vincent Persichetti's available symphonies (the composer withdrew his early # 1 & 2) and have reviewed 3, 4 & 7 (Persichetti: Symphonies 3, 4 & 7) and 5 & 8 (Vincent Persichetti: Serenade No. 5, Op. 43; Symphony for Strings, Op. 61: Symphony No. 8). The original, RCA recording of # 9 (Sinfonia Janiculum) has been reissued in Japan in an Ormandy series and I have ordered it, but it seems unavailable already. But # 6, his most popular and oft-recorded Symphony (among other reasons, no doubt, because it is scored for the popular College Wind Band), was missing in my survey. This classic recording by Frederick Fennell and the Eastman Winds, made in 1959, is recommended by the esteemed Fanfare critic and recognized specialist of the American traditionalists, Walter Simmons, and these Mercury reissues are also bargains (hope they stay in print!) so here I am. I've been not entirely impressed with Persichetti's symphonies, finding them pleasurable and dynamic, but giving me no impression that I was hearing anything that Schuman, Mennin, Piston or Harris hadn't said before, and I am not bowled over with the 6th either, though I understand its popularity: it is easy-listening, jaunty, optimistic in the fast movements, wistful and meditative in the slow one, even dance-like and folksy in the 3rd movement Allegretto, and always very American-sounding. The somber and brooding Adagio introduction to the first movement and the vivacious and brash finale are my preferred moments. Something of the more demanding and, ultimately, rewarding Persichetti can be heard therein. Still I will not rush to buy competing versions, this one will go in my shelves under Persichetti and just gather dust.

Notwithstanding, the disc afforded (me) nice, if not entirely shattering discoveries. Not Grainger's Lincolnshire Posy though - apparently one of Grainger's most popular compositions for the medium, a 1937 elaboration of English folk songs he collated in 1905-6. Again, I see where its popularity comes from: its very folksiness makes it an easy appeal. The third movement, "Rufford Park Poachers", goes even beyond that, and its sweep and subtlety of colors give a hint of what Grainger might have produced had he always transcended, as here, his basic material. I happen to have another recording in my collection, by the UCLA Wind Ensemble under James Westbrook, a Phoenix reissue of made in digital sound in 1980 (Music of Grainger, Britten and Warlock). Westbrook's digital sound is significantly more spacious and comfortable, but, though both readings come within seconds of each other in each movement, Fennell has an extra bite which makes a difference. Khachaturian's Armenian Dances are also quickly heard and forgotten. Among the Three Japanese Dances of Bernard Rogers (1893-1968), the first is also folksy in its own way - Japanese exoticism: Puccini should have heard it. But the second, a mourning song with a mezzo singing unaccompanied in the middle, is original and subtle and the finale is a powerful and brutal dance that is not inferior to many pieces of the kind, and its ends in a strikingly brutal and dissonant crash let to resonate for a long time - a nice touch. The Dances are the 1953 re-scoring for wind band of music composed for orchestra twenty years before.

It is Walter Hartley's Concerto for 23 Winds that I found the most valuable piece, if strongly derivative at times of Hindemith (try the beginning of the finale) and of the "school" of Schuman-Mennin-Piston. But it has that kind of brash dynamism, and his slow movement, with delicate solo dialoguing, commendably avoids the kind of sentimental pastoralism so typical of so many American symphonies of those years. The liner notes (derived from the original LP ones) call Hartley (born in 1927) "one of America's most gifted composers, old or new", and this was apparently the first recording of one of his compositions. A prolific composer (his superb website gives thorough information), he was represented in the Schwann-catalog in the sixties to eighties through odd-recordings of compositions usually involving winds and brass and his works are featured on numerous CDs, including 6 recordings for the present Concerto, but apparently he never made a real breakthrough, maybe because, as it seems, he specialized in writing for wind bands.

The recordings from 1958 (Grainger's Posy and Rogers) and 1959 (the rest) come in vivid stereo sound, with slightly more tape hiss in the earlier ones.

This album is a reference work for anyone interested in wind band music. This was Fennell at his finest. A true pleasure to listen to. No one should perform Lincolnshire Posy without hearing this.

Having heard this recording on it's original vinyl release, I have found it to be ok, but I have heard performance mistakes in Lincolnshire Posy(Euphonium 4th mvt) if I remember correctly, and I heard too many tempo variations too my liking. North Texas under Corcoran and Eastman under Hunsburger have done far better interpretations of these works.