David Thornton, review from British Bandsman, 26 November 2006

Review of new CD Brassin'Mozart 2006 BOCC105

Steven Mead's second collaboration with Sound-Inn-Brass is a disc based on the music of Mozart and celebrating the 250th anniversary of his birth. Included in the programme are two works by Peter Meechan and soprano vocal contributions from Charlotte Pistor.

From the outset, the ensemble grasps the Mozartian style with ease. Sound-Inn-Brass's playing throughout the Overture and subsequent offerings is never 'full-bore' and always retains a classical and measured style.

Steven Mead's contributions are presented with the clarity and ease that the music demands. The Theme and Variations is the final movement of a Sinfonia Concertante for Oboe, Clarinet, French Horn and Bassoon and has been realised by Maurice Bale. Along with the outer movements from the Bassoon Concerto, Mead uses subtle vibrato along with a 'punchy' attack.

The slower music, the Bassoon Andante and the Adagio from the Clarinet Concerto are dealt with completely differently. The attacks are clean, but seem to have little or no tongue at the front, giving a wonderful woodwind effect . Again the vibrato is sparse making way for other expressive tools - direction of phrase and subtle rubato, which reach the listener with immense calmness and a sense of faithfulness to the originals.

The highlights of the disc are the two Peter Meechan works. Requiem Paraphrases uses the opening bars from Mozart's Requiem as its material for the whole piece. As in his previous pieces for euphonium, Meechan manages to create original and exiting lines for the soloist, whilst never letting the ensemble be overbearing. The performance is as virtuosic and clean as you ever likely to hear and Mead's usual depth of tone and power of sound sweep though the work with great command.

Moz! Is a completely different animal and its described by Meechan as 'a composer's response to the lack of serious brass music in the 21st century.' Whilst that is obviously tongue-in-cheek the piece works perfectly as a two-minute encore, glancing through various famous Mozart moments.

Charlotte Pistor appears on three tracks, sounding truly wonderful. Many brass players will have a phobia of warbling female vocalists, but there's no need in this case. Her voice has impeccable control and her dynamic range and musical colour may remind people of Maria Callas.

This is not a recording full of fireworks and technical wizardry of the obvious variety, but the style and control of both soloists and the ensemble shows great virtuosity of a much more subtle kind.
- David Thornton