Husa’s Wind Band Masterpieces: New England Conservatory Wind Ensemble’s Captivating Performance

Composer: Karel Husa
Works: Les Couleurs Fauves (1995), Ceremonial (1992), Olympian Dances (1997), Concerto for Four Solo Percussion and Wind Ensemble (1964, arr. 1995)
Performers: New England Conservatory Wind Ensemble, Scott Vincent (percussion)
Recording: Jordan Hall, Boston, February 1997 (Husa, Kraft), February 1998 (Rands, Harbison)
Label: ALBANY TROY340

Karel Husa, a luminary in the realm of wind band composition, is noted for his ability to translate the richness of orchestral color into the wind ensemble medium. His work, Les Couleurs Fauves, is a vivid homage to the post-impressionist painters known for their bold use of color, such as Matisse and Derain. Husa’s score deftly captures the vibrancy and emotional depth of the Fauvist movement, employing a palette of timbres that reflects the visual art forms that inspired it. The piece is not merely a sonic representation, but an intricate exploration of thematic material that unfolds with the grace of a painter’s brush.

The New England Conservatory Wind Ensemble delivers a performance that is both technically assured and interpretively nuanced. Under the direction of Frank L. Battisti, the ensemble navigates Husa’s complex textures with remarkable clarity. The opening of Les Couleurs Fauves is characterized by a rich tapestry of sounds, where the woodwinds interweave seamlessly with the brass. One particularly striking moment occurs at around the five-minute mark, where the interplay between the flutes and clarinets creates a shimmering effect that is reminiscent of sunlight dancing across a vibrant canvas. The ensemble’s dynamic control allows for both the subtlety and the explosive moments to resonate fully, showcasing Husa’s skillful orchestration.

In terms of technical execution, the percussion, led by Scott Vincent, plays a pivotal role in shaping the rhythmic and sonic landscape. In the Concerto for Four Solo Percussion, the ensemble’s approach highlights the interplay between rhythm and melody. The arrangement for wind band retains the essential character of the original orchestral version while allowing for a fresh interpretation that underscores the versatility of the wind ensemble. The rhythmic drive is particularly effective, with the percussion sections punctuating the texture without overwhelming the melodic lines. This balance is crucial, as it mirrors the delicate interplay found in Husa’s own compositional style, which often juxtaposes contrasting elements.

The recording quality of this release is commendable, with a clear and well-balanced sound that brings out the intricacies of each work. The engineering captures the spatial qualities of Jordan Hall beautifully, allowing the resonance of the wind instruments to bloom while maintaining a focused blend. This clarity is essential, as it enables the listener to appreciate the detailed scoring and the subtle shifts in dynamics throughout the performances.

When comparing this recording to other notable interpretations of Husa’s works, one must acknowledge the depth of understanding that the New England Conservatory Wind Ensemble brings to the music. Many ensembles may approach wind band literature with a certain reticence or a tendency to rely on more traditional repertoire, yet this recording stands out by embracing the contemporary idiom with confidence and expertise. The ensemble’s performance of Harbison’s Olympian Dances, while thematically less vibrant than Husa’s piece, offers a dignified contrast, characterized by a stately elegance that evokes a sense of timelessness.

Each work on this album not only enriches the wind band repertoire but also serves as a testament to the expressive potential of the medium. Husa’s compositions, alongside the works of Rands and Harbison, represent a significant evolution in wind literature, moving away from mere transcriptions towards a more sophisticated and original body of work. The performances captured here reflect both a reverent understanding of the composers’ intentions and a commitment to pushing the boundaries of what the wind ensemble can achieve.

This release embodies a significant contribution to the wind band repertoire, showcasing the remarkable artistry of Husa and his contemporaries. The interpretation is not only faithful to the scores but also imbued with a creative spirit that resonates deeply with the listener. It is a compelling invitation to explore the intricate textures and vibrant colors that wind music can convey, affirming Husa’s place as a master of his craft.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.