STRAUSS: Till Eulenspiegel’s Merry Pranks – New York Brass Arts Trio – Arabesque Records AJ222, 9:55 *****:
Till Eulenspiegel’s Merry Pranks is without a doubt some of Richard Strauss’s most evocative and exciting writing. Premiered in 1895, the work is an exquisite representative of late-nineteenth century tone poetry as it wends and winds its way through the orchestra exploring new settings, introducing contrasting characters, and spastically relating the misadventures of its protagonist: Till Eulenspiegel, a cheeky German folk hero. If Strauss’s goal was to entertain his audience with brash, playful melodies and striking swings in mood, the New York Brass Arts Trio have surely succeeded as they bring this work to a new century with an innovative and revolutionary take on brass ensemble playing.
The New York Brass Arts Trio (NYBAT) brings to the table decades of musical experience from three of the finest brass players in a generation. David Jolley (horn) is one of the modern era’s most preeminent soloists, Joe Burgstaller (trumpet) is a former member of the world-renowned Canadian Brass, and Haim Avitsur (trombone) is one of the most versatile performers and teachers living today. Together these musicians have taken brass chamber playing to unthought-of heights.
The NYBAT’s new release of Till Eulenspiegel (April 2021) brings all the virtuosity and musicianship the world has come to expect from these all-star players. Having admired these musicians since I myself was a young brass player, I listened to this track ready to hear the acrobatics and “feats of brass” (a reference to their 2014 album, Arabesque Records Z6874) I had grown accustomed to. I was certainly fulfilled in this regard, but what struck me was this group’s sensitivity to their translation of an orchestral work and their attention to the nuance of the source material. It can be all too easy for virtuosity to overshadow the big picture, for marvelous playing to exist for its own sake instead of the sake of the music.
This trio has overcome this hurdle without a doubt. Right from the “once upon a time” opening I was transported to the world of the music, never failing to be convinced of each and every character the musicians were portraying. If hearing Jolley’s immaculate execution of the famous opening solo wasn’t enough, he skillfully passes this melody to himself in round, each time conveying the suspense I only thought was possible with the full gambit of orchestral colors. All through this opening exchange, I was again delighted by the striking cohesiveness of the ensemble, seamlessly moving from one role to another, chameleon-like, all the while navigating parts that were already considered complex and difficult for the string and woodwind instruments they were originally written for.
Even as the NYBAT defies gravity in their distillation of orchestral performance, they blaze new trails by taking full advantage of their agility as a three-piece ensemble. As Till Eulenspiegel flits and flirts about town chasing girls and pulling pranks on unwitting villagers, he encounters Teutonic clergy and supercilious academics who frown upon his behavior. Burgstaller, Jolley, and Avitsur handle the metamorphosis between these musical characters with astonishing nuance. Each transition sent shivers up my spine as I experienced what seemed to be a melding of minds demonstrated by the complete control the trio had over ensemble tempo, style, and sound concept. The sonic experience of such utter ensemble unity can only be matched, I believe, by the finest examples of string quartet playing.
Aside from their brilliant and faithful interpretation of an orchestral sound, the craftsmanship of each individual player cannot go unacknowledged. Burgstaller’s technical prowess and absolute charisma seems to be unequalled on the trumpet. Jolley continues to push the boundaries of what is possible on the French horn, spinning soaring phrases with the ease and nuance only found in the greatest virtuosi. Avitsur proves himself to be one of the flexible musicians working today, exhibiting mastery over any musical role he takes on. Each member brings verve and glee to their part in the music, leaving no question that Till Eulenspiegel’s Merry Pranks and all its imagery can be successfully captured by just a trio of deft musicians. I will no doubt find myself returning to this recording time and time again.
—Alex Austin
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