Wonderful transcriptions of JS Bach's majestic music; sensitive, tender, vivacious, effortless and fluid playing .
Disadvantages:
Nil .
Recommend to potential buyers:
yes
Full review
Her latest CD from EMI Classics, ‘Bach/Works for Trumpet’, already tops zerbine28's list for Classical CD of the Year. (I know, I know, it's only April as I post this, but that's how strongly I feel about this recording.)
Readers, if you please, do welcome young British trumpet player Alison Balsom, who now joins the ranks of Mssrs Miles Davis and Herb Alpert in my teeny-tiny list of favourite trumpeters. No, I never heard of her, either, before yesterday, when I first sampled her CD at the local Borders book and music shop.
Released just this past January, the CD is an absolute stunner. The title is a little misleading, because Johann Sebastian Bach never wrote pieces specifically for the instrument (discounting the Brandenburg Concerto No. 2, of course). Besides which, the ‘trumpet’ in Bach’s time was nothing like the valved species familiar to us today. The antique version must have been hell to play, since it depended solely on lip control to create any melodic variation, especially in the upper register. All of which is totally irrelevant to Alison Balsom, who uses the modern valved trumpet (piccolo and C types) to play these works of Baroque magnificence. (Do I hear lamentation from the period instrument purists? Oh, pshaw.)
The pieces on this album were arranged and transcribed, or co-arranged and co-transcribed by Ms Balsom herself from works for the keyboard, cello, oboe, flute, voice, etc. Transcription seems to come easily to her: so natural do the works of Bach sound on the trumpet, you’d think they were written especially for it. The trumpet repertoire is rather thin on the classical side of things, and surely, Bach himself would have welcomed these transcriptions. He often adapted his own music for a variety of instruments.
Well, I’m speechless with astonishment (but not wholly so, as you can see) at Ms Balsom’s extraordinary technique. Her unwavering tone is beautifully realised and ranges from mellow to piercing, played thus as the piece requires. It is precise and clean, but far from colourless and sterile. Her runs have a delightful fluidity that evokes a jazz-like sense of ease, as one hears, for instance, on the Gigue from Partita No. 3. She dashes off those thrilling but infernal Baroque embellishments (trills, mordents, grace notes) with assuredness and poise. Needless to say (but I’ll say it anyway), the virtuosic passages become mere child’s play for this fantastic trumpeter. With their intricacy and complexity, Baroque pieces are the devil to muster (and master) on any musical device, but the trumpet makes special demands on the player's breathing that the other plucked, hammered and bowed instruments do not. Being such a wimp at breath-holding and control myself, I listen amazed at Ms Balsom's sustained breaths on parts that run on without pause, such as those on the Allegro from the Vivaldi-inspired Concerto in D.
The music on 'Works for Trumpet' occasionally ascends to such heights of sublimity that leave me on the verge of tears. Such heavenly ecstasy can be experienced with the Largo of the Concerto in C Minor (after Marcello) and the Adagio of the Concerto in D (after Vivaldi), which have Ms Balsom's reflective trumpet seeming all alone in a bittersweet melancholy, the companion organ sounding so hushed and distant.
With the help of other, equally superb musicians, the chamber works become ensemble pieces of Baroque perfection. Ms Balsom’s partners in crime include Colm Carey on the organ, Alistair Ross on the harpsichord and chamber organ, Alina Ibragimova on the violin (herself a member, like Alison Balsom, of the BBC's 'New Generation Artists' - see below), and Mark Caudle on the viola da gamba (forerunner of the modern violoncello). Be it on the open, airy and colourful organ, the raspy violin, or the crystalline, chime-like harpsichord, the music is perfectly counterbalanced by the bold, metallic trumpet providing contrapuntal melody. Truth to tell, I’m usually ready to commit a few small murders if forced to listen to more than a few minutes of purely organ or harpsichord music. The addition of trumpets changes all that – especially when they're played with such vivacity, tenderness and sensitivity as these are – then I turn into a harmless, non-homicidal and blissfully happy Bachmaniac.
For a glimpse of pure trumpet heaven, there’s the lively, minor-key Badinerie, lifted from the Orchestral Suite No. 2 (originally written for solo flute and strings), on which Ms Balsom plays a solo piccolo trumpet (the highest-pitched one). And if you’re seeking some lovely pathos to enjoy, there’s the Agnus Dei from the Mass in B minor. Here the trumpet’s mournfulness is no less affecting than the original version with voice, supplemented as it is with textural harmonic counterpoint from the violin, organ and viola da gamba.
But really, mere words still fail me in this attempt to capture the all-around excellence of this disc. Go and listen to the music for yourself. Following are a few of the relevant web pages that have links for audio samples (need RealPlayer or Windows Media Player to run):
Well, you can't say you weren't warned: keep your eye (and ear) on Alison Balsom, trumpeter extraordinaire. She has yet to make a splash on this side of the pond, but audiences in the UK and the rest of Europe, South America, the Middle East and Japan have been more fortunately acquainted with Ms Balsom for some years now. I can only hope to catch a live performance in this country - that is, if she ever plans to return to the USA. Ms Balsom has already had her US debut, performing just this January 2006 with the Milwaukee Symphony Orchestra (Milwaukee? Not New York City and Carnegie Hall? How did they get to be so lucky in Wisconsin! Methinks Ms Balsom needs a better agent/promoter, no?!).
FINAL VERDICT: I give this disc an unqualified, insanely enthusiastic recommendation with all thumbs and great toes up, for all lovers of Bach and/or the trumpet. Total, absolute must-have recording.
[For more complete background info on Alison Balsom, please scroll down the page to the BBC Radio 3 article.]
CD DETAILS:
BACH: WORKS FOR TRUMPET
Alison Balsom
EMI Classics
5 58047 2 (CD) / 5 58047 5
Concerto in D Major (after Vivaldi) BWV 972: 1 Allegro 2 Adagio 3 Allegro Assai 4 Sarabande (from Cello Suite No.2 BWV 1008) 5 Gigue (from Cello Suite No.2 BWV 1008) 6 Aria Variata in A Minor (Italian Variations) BWV 989 7 Gigue from Violin Partita no 3. BWV1006 Trio Sonata in C Major BWV 529 8 Allegro 9 Largo 10 Allegro Concerto in C minor (after Marcello) BWV 974: 11 Allegro 12 Largo 13 Presto 14 Bist du bei mir (from Anna Magdalena Notebook BWV 508) Concerto in A major (transposed to C Major) BWV 1055: 15 Allegro 16 Larghetto 17 Allegro ma non tanto 18 Badinerie from Orchestral Suite no.2 BWV 1067 19 Agnus Dei from Mass in B minor BWV 232
Performers: Alison Balsom (trumpets), Colm Carey (organ), Alina Ibragimova (violin), Alistair Ross (harpsichord & chamber organ), Mark Caudle (viola da gamba)
Total running time: 71' 31"
List Price: $16.98 GBP13.99 (Of course, it can easily be had for less on many online stores. Just Google the disc name and artist.)
~~~~~~~~~~~
The following information was taken from the BBC Radio 3’s webpages on the ‘New Generation Artists’ series: http://www.bbc.co.uk/radio3/classical/newgenerations/balsom.shtml
Alison Balsom (trumpet)
Nationality: British
Places of study and teachers: Guildhall School of Music and Drama and the Paris Conservatoire, graduating in 2001 with First Class Honours. Recent studies with Håkan Hardenberger.
Prizes/Accolades: 1998 - concerto finalist in the BBC Young Musicians Competition and in 2000 won the prize for the 'Most Beautiful Sound' at the Maurice André International Trumpet Competition in Paris. Alison was the first ever brass player to be represented by the Young Concert Artists Trust London, 2001-4.
Recent performances include: The premiere of a special commission by BBC Radio 3 and the Royal Philharmonic Society from Django Bates.
Performances with the Stuttgart Radio Symphony with Sir Roger Norrington, Bamberg Symphony with Mikko Franck, Munich Chamber Orchestra with Christoph Poppen, the BBC Proms, and the Barbican's Mostly Mozart Festival. Alison performs regularly with the London Chamber Orchestra.
Whilst represented by the Young Artists Concert Trust, Alison caught the ear of EMI Classics, who released her debut CD in 2002 and have recently renewed their commitment with an exclusive three disc contract. Her next CD is an all-Bach programme (released September 2005 [actually in January 2006 - this is the self-same CD reviewed above]).
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How does it rate alongside the competition
Outstanding
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Good
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