AprilCadence2013

flt, cl, bari s; Brian Webb,
Bas cl; Kathleen Pisarro, ob,
Eng hn; Andrew Pask, bass
cl; Steve Adams, pic, as,
ss; Gary Wright, alto cl, cl;
Christine Tavalucci, pic, cl, A
flt; Vinny Golia, woodwinds;
Sara Schoenbeck, bsn; Tara
Speiser, bsn; John Fumo
tpt; Jeff Kaiser, tpt; Daniel
Rosenbloom, tpt; Kris
Tiner, tpt; Aaron Smith, tpt;
George McMullen tbn; Mike
Vlatkovish, tbn; Nate Brown,
tbn; Phil Teele, b tbn; Jennifer
Jester, euph; William Roper,
tba; Wayne Post, p; David
Johnson, mallets; Brad Dutz,
perc;
Harry Scorzo, vln; Eric KM
Clark, vln; Melinda Rice, vln;
Johnny Chang, vln; James
Mark, vln; Honit Kitschman,
vln; Cassia Streb, vla; Cat
Lamb, vla; Ken Filiano, bass;
Joe McNeely, bass; Chess
Smith, d; Guest African Drum
Section: Alfred Lapzeko, Harris
Eisenstadt, Randy Gloss,
Andrew Gruschow, Austin
Wrinkle; Marc Lowenstein,
cond; Vinny Golia, cond Los
Angeles, March 31, April 1
2006
New Issues
149 | CadenCe Magazine | april May June 2013
ously as they were sections of one large piece.There
are two conductors listed: Golia and Marc Lowenstein.
The videos show how this works. Lowenstein is on the
podium and is clearly the main conductor, but Golia,
sitting in the front row as part of the ensemble often
turns to various sections and conducts them. This is
especially the case during a solo section.
One of the things that makes this ensemble so
interesting from a strictly aural standpoint is that so
many of the players double or triple on instruments,
so in one place we hear a big sax section, then we
hear flutes and clarinets. Golia plays a whole array
of winds, from regular flutes to a contrabass flute,
which is taller than he is, from soprano sax to bass
sax, and everything in between. When not playing or
conducting he can be seen snapping fingers or taping
on his legs. He clearly is extremely happy with the
performances. There is a great section with Adams
soloing on Sopranino and Golia on baritone, with
the whole ensemble accompanying. I mention this
particular section as just one example of the kinds of
sound contrasts present in this piece. The CDs were
clearly early works and were not as dissonant as the
later pieces. While I thoroughly enjoyed DVD 1 after
it was over I said that my ears needed a rest. DVD
2 is not as dissonant but it is more complex due to
the extended percussion section made up of African
drummers in addition to the drums and percussion
of the regular ensemble. This music is clearly not
for everyone. But for those listeners who like large
ensembles, who can take dissonance, and who can
follow long, complex pieces, this is for you.
Bernie Koenig