In the music world, small ensembles tend to have a limited lifespan. Your average quartet or quintet group will not stay in business for more than a few decades, sometimes less, as individual members move on to pursue other interests and other projects. Those individuals may be replaced, but the group as a whole will tend to sound different, enough so that the members may then decide to wrap it up for good. It's rare today, therefore, to find a chamber ensemble taking the stage at the Festival of the Sound which has been around longer than the Festival itself (which is 36 years old this summer).
The more remarkable, therefore, that the group which presented the Gala Opening Concert on Saturday has been in business for 45 years (since 1970). What's even more remarkable is that the current membership of the world-famous Canadian Brass actually includes one of the 1970 charter members: tuba player Chuck Daellenbach, who has been with the group continuously throughout its active performing life. Remarkable -- and ironic, since it seems plain (from appearances) that none of his current colleagues were even born when the Canadian Brass gave its first performances!
I suspect one of the key reasons for the longevity of the Canadian Brass is precisely the air of general irreverence, genial fun, even subversive mockery, which highlights their performances. To go to a concert featuring the Canadian Brass is to be entertained, and to come away laughing.
You're also guaranteed to come away admiring the virtuoso artistry of the group, since every player gets key solo moments and pieces highlighting his instrument.
The group entered through the audience, playing a light-hearted march which was only identified as "our encore -- we play it before the programme proper begins, just in case." They were dressed in classic Canadian Brass attire: black evening suits, white tennis shoes, and wildly checkered socks.
The repertoire was a fine mix of classical, jazz, and pop, all cleverly arranged for the ensemble of 2 trumpets, horn, trombone and tuba. Bach's Fugue in G Minor (a long-time signature item) was crisp and clean. A Gabrieli selection was played appropriately with the players scattered around the house -- and with audience members asked to hold the electronic pads that displayed the music. I've heard of artists pursuing this new trend in performance parts, but this is the first time I have seen an entire ensemble using electronic scores. I don't think my eyes could read them, though!
For me, the arrangements of Schumann and Brahms were less successful. These rather densely-written piano works sounded somewhat chaotic or congested on brass instruments.
The performances of Fats Waller's Handful of Keys and the Beale Street Blues were much better, with a light-hearted and light-toned approach that suited the music to perfection.
An emotional highlight, and one of the most effective arrangements on the programme, was the Adagio for strings by Samuel Barber (arranged by Stephen McNeff). Here the sound was brought right down to the quiet level needed for the opening and closing bars by having the trumpets and trombone turn to face away from the audience, allowing the quiet horn solos to be clearly heard.
My first impression was that the comic shtick had been considerably toned down in the decades since I had last attended a live CB performance. Various members took turns making introductions at the microphone, and those introductions were laced with clever verbal humour. I remarked to a few people at intermission that the wildly physical antics of yore seemed to have been toned down.
Well, I spoke too soon! The programme wrapped up with a Tribute to the Ballet in which all the members indulged in various ridiculous "choreographic" absurdities while playing arrangements of everything from Swan Lake and The Nutcracker to the Dance of the Hours. I won't even begin to describe everything that happened during those insane 10 minutes, but the well-filled house was rocking in a continual uproar of laughter throughout. As demanded by Canadian Brass tradition, the musical values were well-respected throughout this insanity too.
All in all, this was a grand opening event in every sense. With fine playing, entertaining humour, and a nice mix of musical styles and eras, the Canadian Brass did a good job of touching all the keynotes for which the Festival of the Sound is so well-known.
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