Today's Articles:
- News in Brief (including Trevor Ford award and Balda = Brilliant)
- Podcast Episode 5: President Bert Aalders
- Varèse, Duchamp and Richardson (session review)
- Eveyln Glennie Masterclass (session review)
- Considerations in Composing for Voice & Winds (session review)
- Music for Chorus and Winds (session review)
- Concierto de la Banda Sinfonica Nacional Juvenil de Inglaterra (Español)
- Concierto de la Banda Sinfonica y del Coro de Camara de Chetam (Español)
WASBE President Bert Aalders (left) presents Trevor Ford with Honorary Life Membership in WASBE News In Brief
Trevor Ford Awarded Honorary Life Membership
Trevor Ford, the first president of WASBE, was awarded WASBE's highest honour on Thursday: Honorary Life Membership. President Bert Aalders bestowed the honour on Trevor at the end of the morning reading session, where one of Trevor's recent compositions was being played. Bert reflected on how Trevor had help bring him in to WASBE service and thanked Trevor for all his hard work for WASBE, particularly in those formative years. Trevor received a standing ovation from the crowd.
Born in Australia, raised in the UK and having spent most of the rest of his life in Norway, Trevor Ford embodies the international spirit of WASBE. Congratulations to Trevor on a well-deserved award.
Balda = Brilliant
As the publisher of this web site, I occasionally interject my own commentary when something warrants it, and Thursday's performance of the reconstructed Shostakovich Opera The Priest and his Servant Balda certainly qualifies. We will have a full review later from another writer, but news of this triumph by Odd Terje Lysebo and the cast of musicians, puppeteers, animators and production staff could not wait. For those who were in attendance, it was unforgettable. It is difficult to describe this multimedia theatrical event, but we have never seen anything like it at a WASBE Conference. It received a well-deserved standing ovation; cheers of "bravi" were clearly heard. Congratulations to the Nanset Wind Orchestra and the whole Balda team. I only have two words for you, Odd: world tour!
Trade Exhibition Closes at 12 noon
Today's the last day to see your favourite vendors in the Trade Exhibition in the Mangerton Suite. Please note the time (corrected from earlier post).
Podcast Episode 5: President Bert Aalders
Current WASBE President and Chair of the Artistic Planning Committee for this Conference, Bert Aalders (The Netherlands), spoke to us about the Conference, the things achieved during his administration, and how he got involved with WASBE. If you listen closely, you may even hear an advance announcement of some news that will be mentioned at the AGM on Saturday, July 14. To listen online or subscribe, visit our Podcast page.
Varèse, Duchamp and Richardson (Research Session 8)
I am fascinated with the connection between music and the other arts, in particular the visual arts. I often have images pass through my head during performances of pieces of music. When I first read about Colleen Richardson’s discussion of the relationship between Varèse and Duchamp, I was excited.
Now, I’m not knowledgeable enough in art history or even in the life of Varèse to be able to critique her research, but her talk was well thought out and provocative. Her comments on the links between the Futurist, Cubist and Dadaist movements with Varèse’s music were stimulating in the way they gave me a new angle on his compositional output.
She discussed the connections between Simultaneity, the use of space and technology with compositional methodology – how Varèse’s use of intervals, rhythm, dynamics and the sometimes coldness of his writing related to the same concepts that Duchamp was using in his work.
The brief discussion that ensued was equally stimulating. One of the more interesting questions asked was regarding the link between Varèse and Ives – more specifically, if there was one. Although geographically and aesthetically they are very dissimilar composers, it was noted by an audience member that they did seem to come to a very similar place in terms of their writing.
Thank you Colleen for one of the more stimulating and better-presented sessions of the week.
Performance Masterclass with Evelyn Glennie (Research Session 9)
The 2007 WASBE Conference in Killarney, Ireland has brought together many fine performers, composers and conductors and affiliates from around the world. This year, we are honored to host renowed musician and performer Evelyn Glennie. The first person to create and sustain a full-time career as a solo percussionist, she gives over 100 performances each year worldwide. In 1993 she was awarded the OBE (Officer of the British Empire), extended this year to 'Dame Commander' for her services to music.
Ms. Glennie brought her intensity, excellence in performance and musical sensitivity to the INEC on Thursday, 12 July during a Performance Masterclass session featuring four musicians from the International Youth Wind Orchestra. Prior to the musicians taking the stage, she explained some of her masterclass philosophy to the considerable audience in attendance. According to Ms. Glennie, the point of a masterclass is to "take something that is good and make it very good, or to take something that is very good and make it amazing. She views these events as an opportunity to exchange ideas and sees the student musician as a critical part of the creative performance process. We are, she said: sound creators first, musicians second, and instrument specialists third. To this end, of the four students only two were percussionists.
Throughout the session she used personal examples to great effect, modeled desired results via performance and voice, and was extremely gracious and sensitive to each young musician. Her metaphors were colorful and descriptive; when one student faced an extremely technical passage, she suggested that if you go to McDonald's and eat an entire meal all at once you might feel bloated and queasy, but if you take time to eat bite by bite, it is an extremely satisfying meal. Here in Killarney, I might amend that to any one of the spectacular pubs and restaurants in the town centre.
The first young musician, Tanasit Siripanichwattana from Thailand, performed Variations over "A Little Prayer" composed by Evelyn Glennie and arranged by the well-known composer Ney Rosauro. This is a four-mallet theme and variations for marimba. Ms. Glennie began by asking Tanasit some questions about the work and the composer (or, in this case, the arranger), including a discussion of some of the composer's influences and background. Tanasit described and demonstrated some of his keyboard warm-up techniqes and one topic to come to the foreground was that of projection. Ms. Glennie was adamant that even in the practice room, one should always visualize being in a hall. If you can visualize the audience, even better. She encouraged variety in warm-ups, playing comfortable exercises in new keys and in new ways. Also high on the list was incorporating portions of musical works in preparation as warm-up material; in this way, they stay fresh and ready to perform.
Ms. Glennie made several interesting observations and suggestions, including the concept of solo orchestration: one should perform a solo work with an orchestration in mind. For example, theme 1 might be (imagined to be) played by the oboes, while a boisterious theme 2 could be in the brass. The idea behind this concept is that of tone and that tone is one of the most important considerations for any performing musician. Another idea specific to percussionists: choose stickings for phrasing, not for comfort. She encouraged Tanasit to examine his sticking choices and make sure that they created the sound of the desired musical phrase.
Our next musician was Stephanie Ng from Hong Kong. Stephanie performed from Three Pieces for Solo Clarinet by Igor Stravinsky. The music was high, fast and raucous, and Stephanie really grabbed hold of this difficult work. Ms. Glennie was clear that, while not an expert on clarinet, there were many musical ideas that are common to all instruments. She stressed that one most important question to answer for any musician has to be "what kind of sound are we looking for?"
Following Stephanie was Roberto from Spain, performing on euphonium. Ms. Glennie complemented him on his not being afraid of silence and willingness to take his time during pauses. She also remarked on wind performers' ability to change the quality of a note after its inital attack, something very difficult if not impossible for percussionists. Ms. Glennie and Roberto experimented with different ways of initiating sound, directing sound to different parts of the hall, methods of rehearsing small sections and mixing and matching phrases.
Our final young musician of the day was Alex Petcu from Cork, Ireland. Alex performed a work for multiple percussion titled Side by Side composed by Michio Kitazume. He gave a very accomplished performance of the work from start to finish, echoed by the audience's sustained applause. Ms. Glennie's advice included a short discussion of recital programming and why certain works fit better in some places than others. She also had some suggestions for instrument placement, always a concern in multi-percussion works. Unfortunately, the session was running short on time and we did not get to see more with Alex.
Throughtout the masterclass, the most striking thing was Ms. Glennie's focus on the student. Too often in these large theatre-style sessions, the clinician spends as much time talking to the audience as the musician. Ms. Glennie was exclusively speaking to and with her students; we in the house were able to learn more through observation than a lecture. She was truly teaching and not "teach-performing." Her care and positive comments were appreciated by both students and observers, but while she kept a positive atmosphere it was also one of musical excellence. She was not afraid to offer criticism and critique, but did so in an educational and appropriate manner. I have heard many of Ms. Glennie's performances and recordings, but never until today heard her speak or teach. I hope that today was not my last time, as she is truly a gifted performer and educator. Kudos to Tanasit, Stephanie, Roberto and Alex: it takes courage to participate in a public lesson, moreso at an event such as WASBE. Kudos to the organizing committees for their efforts to bring Ms. Glennie to our conference, and most special kudos to Dame Evelyn Glennie for her outstanding devotion to the art of musical performance.
Research Session 7 — Considerations in Composing for Voice & Winds
A panel discussion chaired by Michael Ball and including Martin Bussey, Adam Gorb, Michael Haithcock, Keith Kinder, Joseph Phibbs, Timothy Reynish, and Phillip Scott.
Unfortunately Stephen McNeff and Jacob de Haan were unable to attend the session (along with the scheduled chair Sally Groves), although both provided some written thoughts through Michael Ball. McNeff questioned the choice of literary sources and whether words are just a vehicle for notes, while de Haan was concerned about choosing the right repertoire, especially for amateur choirs and bands. de Haan also raised the biggest concern, and often most discussed topic, when discussing writing for voices and winds, overcoming the inherent balance problems.
Adam Gorb began by briefly explaining his most recent piece, Thoughts Scribbled on a Wall composed for solo male (bass), mixed chorus, brass quintet, and organ. He concluded that the choice of text is absolutely vital to the composition; in the case of Gorb’s new piece, John McCarthy’s response to his prison experience as a six-year political prisoner. Gorb also provided a simple answer to the inherent balance problems, simply alternate ensembles, first the winds play alone followed by the choir singing alone. A humorous response, but one also espoused by McNeff during his pre-concert lecture for Image in Stone, performed by the Irish Youth Wind Ensemble on Sunday afternoon. McNeff supported this statement by explaining that if the text is important then it is appropriate to have the vocalist repeat it with minimal accompaniment, and if it is really important then have the winds drop out all together.
Joseph Phibbs, whose Rainland was performed by Chetham’s School of Music Symphonic Wind Orchestra and Chamber Choir Wednesday evening, said that his difficulty is in being given text rather than finding his own. Obviously a text immediately suggests certain music, some slow, some fast, etc., and if a composer if given a text then the concerns include having enough variety within the text and its overall pacing. Phillip Scott had earlier described his first reading of the text for Rainland saying that one of his favorite lines in the original text ultimately was cut, most likely by the librettist Stephen Plaice possibly due to the above reasons.
Michael Haithcock described his experiences with commissioning works for voices and winds. His interest has been in pieces for solo voice and mixed chamber ensembles and used works by Mahler and Wagner as examples for scoring and use of the voice. He talked about his experiences with Susan Botti’s Cosmosis and Matthew Tommasini’s Three Spanish Songs, as well as the CBDNA commission of Daren Hagen’s Bandanna. He praised Hagen’s orchestration and the way in which he handled the inherent balance issues.
Keith Kinder mentioned one of his favorite pieces as a model for writing for chorus and winds, Franz Liszt’s C Minor Mass, and discussed Liszt’s masterful use of motives and themes in the Gloria, Credo, and Dona Nobis Pacem. His discussion was a follow up to his earlier research session on the best music for chorus and winds.
Tim Reynish mentioned six pieces that need to be examined and performed more often: Csaba Deak’s Momento Mare, Bernard van Beurden’s Song of Skyloom and Boulevard des Misères, Daren Hagen’s Bandanna, Anthony Hedges’s A Manchester Mass, and Philip Wilby’s A Passion for Our Time. In addition Reynish provided an addendum of works for chorus and winds that should be included when considering the current repertoire.
Bussey reiterated that composers should not be afraid of the balance issues, especially when writing for chorus and large wind band. He explained that there are many times when it is not vital to hear what the chorus is actually singing. Many times composers have the texture in mind rather than individual words. Reynish also pointed out that contrary to what many might think, it is sometimes easier to obtain soft accompaniments with section playing rather than solo playing. Asking an amateur or young musician to perform the softest dynamics takes extraordinary control and is often extremely difficult.
Although no specific answers were given during the session, both conductors and composers discussed many ideas and their thoughts regarding writing for chorus and winds. From a practical standpoint, Michael Haithcock and Tim Reynish, along with Keith Kinder’s mention of Liszt’s C Minor Mass, provided some additional suggestions regarding repertoire for these combined forces. As an observer with an interest in performing such works, it was clear that the most important aspect of this session was the ongoing conversation regarding the commission, composition, performance, and scholarship regarding works for voices and winds.
Sonare e Cantare: Music for Chorus and Winds (Research Session 2)
Often the full symphony orchestra, with its full complement of string instruments, is called upon to provide the accompaniment for large choral masterworks. Many woodwind, brass, and percussion players do not get the vital experience of performing with voices. Dr. Keith Kinder’s session on music composed for chorus and winds helped to illuminate unfamiliar works for chorus and winds, while also reminding us of the wealth of music available for these combined forces.
Kinder provided a historical survey of works composed for chorus (with or without soloists) and winds contained in his 2005 book Best Music for Chorus and Winds published by Manhattan Beach Music. With over 150 works listed, this book has become a much-needed resource. He freely admits that although there are hundreds of pieces by lesser-known composers for chorus and winds, he has chosen to concentrate on works by major composers. During the session, Kinder provided background information along with score and listening examples for approximately twenty works, ranging from Heinrich Schütz to Paul Hindemith. These compositions are listed below with a few words on specific notable pieces brought to our attention by Kinder.
Heinrich Schütz Psalm 150; J. S. Bach Cantata 118; Michael Haydn Missa Sancti Hieronymi; Franz Schubert Deutsch Messe and Hymnus an den Heiligen Geist; Charles Bochsa Requiem; Mendelssohn Ave Maria and An die Künstler; Liszt C Minor Mass; Bruckner Mass in E Minor, Germanenzug, and Das Deutsche Lied; Holst Two Festival Choruses: Turn Back O Man and A Festival Chime; Vaughan Williams O Clap your Hands and O How Amiable; Honneger King David; Stravinsky Mass, Symphonie des Psalms, and Canticum Sacrum; and Hindemith Apparebit Repentina Dies.
Franz Schubert’s Deutsch Messe, D. 872 was composed for mixed chorus and orchestral winds minus flutes and trumpets. The homophonic nature clearly suggests use for congregational singing, and therefore possible use for amateur choirs as well.
Felix Mendelssohn composed six works for chorus and winds (some with low strings), including his Ave Maria, Op. 23, No. 2 (1830). This sacred work is scored for eight solo voices, double mixed choir, two clarinets, two bassoons, low strings, organ, and continuo.
Franz Liszt’s C Minor Mass, one of 18 works for chorus and winds, was composed in 1848 for solo male quartet, male chorus, and organ. Ten years later Johann Herbeck orchestrated it for two oboes, two clarinets, two bassoons, two horns, three trombones, timpani, and organ. Kinder lamented that this is a highly overlooked work having only been performed once (with Kinder himself conducting) since the premiere in 1859. It is clear that this piece is one of his favorites in the literature.
Kinder also tried to clear up some misconceptions concerning Anton Bruckner’s Mass in E Minor regarding Bruckner’s choice of scoring the piece for wind instruments instead of strings or full orchestra. It is often believed that Bruckner chose wind instruments because the first performance was to be outside. Although ultimately it was first performed outside due to the cathedral size, this was not his initial consideration. Kinder believes Bruckner made the aesthetic choice of writing for wind instruments to separate this mass from two other masses composed during the 1860s, the Mass in D Minor and the Mass in F Minor. Bruckner’s Mass in E Minor is most certainly a cornerstone in the repertoire for chorus and winds.
In addition to the many fine sacred works, Kinder also brought to our attention a few secular works. Anton Bruckner wrote 30 secular choral works, many with wind accompaniment. His Germanenzug, for solo male quartet, male chorus, and brass band is in three movements and contains many of the hallmarks of Bruckner’s compositional style, including cyclic forms and an abundance of dotted rhythms.
Both Gustav Holst and Ralph Vaughan Williams composed works for chorus and winds as well. Kinder pointed out two secular festival choruses composed by Holst intended for amateur performance: Turn Back O Man and A Festival Chime. Vaughan Williams composed O Clap your Hands for chorus and brass, and O How Aimiable for chorus and band.
Although Stravinsky’s Mass is often performed, Kinder also wanted to remind us of his Canticum Sacrum. Stravinsky composed this piece for use in St. Mark’s Basilica in Venice, Italy and took advantage of this fact in the piece’s planning. It is in five movements, representing the five domes of the basilica, and utilizes antiphonal writing so prominently heard in the works of Giovanni Gabrieli composed for the same space.
If asked to name works composed for chorus and winds, pieces such as Bruckner’s Mass in E Minor, Brahms’s Begräbnisgesang, and Honneger’s King David often come to mind. But as Kinder has shown, there is a wealth of quality literature waiting to be performed by choruses and wind bands/ensembles. During the session closing, Kinder mentioned the possibility of publishing a second volume of his Best Music for Chorus and Winds; we can only hope. [Editor’s Note: …or write Bob Margolis.]
Concierto de la Banda Sinfonica Nacional Juvenil de Inglaterra
La Banda Sinfonica Nacional Juvenil de Inglaterra presento un programa de alto vuelo artistico y de gran dificultad. La direccion estuvo a cargo del maestro de origen estadounidense Phillip Scott. Esta banda es una de las varias organizaciones para jovenes a nivel nacional en Inglaterra. Sus integrantes ingresan a sus filas mediante un concurso abierto y poseen entre 13 y 19 años de edad. El promedio de edad del grupo presente en Killarney, para lo que fue el 8vo concierto de la 13 Conferencia Mundial de WASBE es de 17 años. Este grupo es la continuacion natural de la Banda Nacional de Niños de Inglaterra, que el año proximo cumplira su 25 aniversario. Ambas bandas han aparecido en los famosos Proms, en el Royal Albert Hall de Londres, cuyos conciertos han sido transmitidos en directo para todo el pais a traves de la cadena BBC.
El objetivo de estas bandas no solo esta basado en la formacion musical de sus jovenes musicos, sino en la colaboracion con los mejores compositores contemporaneos de Inglaterra. La mayoria de las obras de su repetorio son fruto del trabajo con estos compositores. Entre los mas importantes podemos citar a : Phillip Wilby, Adam Gorb, Kenneth Hesketh y Michael Torke.
El programa ideado por Phillip Scott es el reflejo fiel de esta filosofia.
La primera obra del concierto es una deliciosa evocacion de Kenneth Hesketh (1968) a los ballets rusos de principios de siglo, para los cuales el visionario empresario Serge Diaghilev comisionaria obras a figuras como Stravinsky, Ravel, Debussy o Prokofiev. « Diaghilev Dances », es un encargo de un consorcio de Universidades del Reino Unido del año 2003. La obra tiene una duracion de 15 minutos, dividida en 6 partes y encadenadas sin interupcion.
A continuacion su escucho el « Concierto para Clarinete Sheng Sheng Bu Shi » de Phillip Grange (1956). La solista invitada fue Sarah Williamson, joven virtuosa, ganadora de numerosos premios entre los que se destacan el premio BBC Young Musician Award en 2002.
La obra de Grange, alumno de Peter Maxwell Davies, se resiste al principio y es un poco impenetrable. Posee una elevada demanda intelectual y tecnica, para la banda y para el solista. Su duracion es de 22 minutos y es el resultado de un encargo de la Royal Northern College of Music de Manchester. El estreno se realizo en el año 2000 bajo la direccion de Tim Reynish.
Luego de la pausa, se escucho el estreno mundial de « The spiralling night » del joven y talentoso Joseph Phibbs (1974).
Ya habiamos tenido oportunidad de escuchar « Rainland » del mismo compositor en el concierto de la Escuela de Musica de Chetam del miercoles 11 de julio. El estreno de « The spiralling night » es una confirmacion de que Phibbs tendra un lugar privilegiado dentro del repertorio bandistico en un futuro cercano. La obra, encargada especialmente para esta conferencia por la Banda Sinfonica Nacional Juvenil de Inglaterra y dedicada a Phillip Scott, posee una duracion de 13 minutos y esta articulada en tres movimientos. La idea central de la composicion es, en las propias palabras de Phibbs, « la perspectiva a traves del sonido », como cuando una camara en el cine, se mueve lentamente pasando de un objeto a otro, aproximandose a un detalle en particular para luego cambiar abruptamente de foco hacia otra direccion. Los aspectos nocturnos de la obra, tambien tienen que ver con la perspectiva y la transicion entre el dia y la noche.
La obra final, y central del programa fue « Omaggio » (Homenaje) de Michael Ball (1946) que cumple este año el 20 aniversario de su estreno. Encargo de la Royal Northern College of Music y dedicada a Tim Reynish, « Omaggio » es un agradecimiento musical de Ball a las vivencias de sus numerosos viajes a Italia. Estructurada en tres movimientos, y con una duracion de 20 minutos, la obra es una de los grandes aportes al repertorio de los ultimos 20 años. La version de los musicos de Scott fue brillante.
Cabe destacar que los cuatro compositores de la noche, estuvieron presentes en la sala, y que el concierto cerro con una ovacion para todos los participantes.
Concierto de la Banda Sinfonica y del Coro de Camara de Chetam
La escuela de musica de Chetam, situada en el corazon de Manchester, posee alrededor de 290 estudiantes de entre 8 y 18 años de edad, y es la escuela de musica mas grande de todo el Reino Unido. La mayoria de los estudiantes reciben ayuda financiera del estado, a traves el departamento de Musica y Danza, por lo que el unico criterio de admision a la escuela es el talento individual.
El programa educativo es intenso, y hace hincapie sobre todo en la practica colectiva, basada en clases de orquesta, banda, y practica coral para todos los alumnos. Las falanges mas importantes de la region, como asi tambien jovenes compositores, colaboran a menudo en la formacion de los estudiantes.
Esta breve introduccion sobre la Escuela de Musica de Chetam, nos servira para comprender mejor el programa presentado el miercoles 11 de julio, en la oportunidad del 7mo.concierto de esta 13 Conferencia Mundial de WASBE.
Mucho se ha discutido en estos dias a cerca del futuro o de la evolucion de la musica para vientos, y de si realmente mantener un organico fijo y estandar en el mundo de las bandas es realmente conveniente. La idea original de programa de Chetam puede darnos muchas pistas.
El concierto comenzo con la obra de Paul Hindemith « Apparebit repentina dies » (De repente, el gran dia del Señor vendra), para coro mixto y metales, bajo la direccion de Martin Bussey.
La obra de Hindemith data de 1947, posee una trama compleja en el tratamiento de las voces, lo que impidio por momentos comprender claramente el texto (provisto en el programa de mano), la funcion de los metales no se limita a apoyar a las voces sino a interactuar con ellas, un poco a la manera utilizada por los Gabrieli en la escuela de Venecia, lo que crea algunos problemas de equilibrio no siempre bien resueltos por el grupo. No obstante, la version de Chetam fue calurosa y plena de energia.
El concierto continuo con « Dark Rain », de Andy Scott (1966), para dos saxofones solistas y banda. Los solistas fueron Rob Buckland y el mismo Scott, todos bajo la direccion de David Chatterton.
« Dark Rain » no solo fue un enorme contrate estilistico con respecto a Hindemith, sino que es en si misma un collage de estilos pop, donde la musica contemporanea, el jazz y el rock conviven tumultuosamente en una apoteotica torre sonora. La obra fue un encargo de un consorcio de BASBWE, seccion inglesa de WASBE, y fue estrenada en la Royal Northern College of Music de Manchester en noviembre de 2005. Las sonoridades quasi brutales en el registro agudo del saxofon, a modo de cadenza, abren el dialogo con la orquesta, para mantenerlo durante los 18 minutos que dura la pieza, siempre cambiando de atmosfera repentinamente, de la balada jazzi al grito repentino y dramatico del rock, volviendo siempre a la fanfarria inicial con los dos saxofones, como formula de articulacion de toda la composicion.
La obra fue gratamente recibida por el publico, pero sobre todo fue ejecutada con mucho entusiasmo por los jovenes de Chetam, que parecian completamente transportados por la propuesta iconoclasta de « Dark Rain ».
Luego de la pausa, se escucho el bonito « Concertino para Fliscorno Baritono y Banda » del joven y prolifico compositor luxemburgues Marco Pütz (1964). David Thornton fue el brillante solista invitado. Ex alumno de Chetam, Thornton sorprendio por su musicalidad y destreza tecnica, tipicas de las Brass Bands inglesas actuales, que poseen un nivel artistico y tecnico remarcables.
El concertino resulto tambien un contraste interesante en el programa, sobre todo por su lenguaje ligero y amable, de sonoridades brillantes y de gran actividad ritmica.
El cierre del programa fue para la interesante « Rainland », del joven inglés Joseph Phibbs (1974), para tres voces femeninas, coro y banda, bajo la direccion de Martin Bussey.
La frase final del texto de Rainland « every time you cry, you borrow tears from Rainland… » nos sirve para ilustrar la atmosfera meditativa de toda la obra, un inmenso fresco sonoro, donde las tres solistas coro y banda se subliman para brindarnos momentos de gran intensidad, sin sentimentalismo o sensibleria innecesaria.
Chetam mostro en un concierto heterogeneo e iconoclasta, que su pueden romper barreras para alcanzar a un publico mas vasto, sobre todo joven, interesado en propuestas sonoras que no forzosamente pertenecen al mundo, un poco tradicionalista todavia, de las bandas, al menos en esta parte del globo.
©2007 WASBE