Matthew K. Brown proves, in playing works written by composer Barbara York, that the tuba is a solo star. The first work on the album, the Concerto for tuba and orchestra, is played by just tuba and piano, but the piano certainly does the work of an entire orchestra. The sprightly beginning draws the listener in, and the tuba's lines are played smoothly as the piece evolves. Sometimes the piano part is a bit too soft in terms of balance with the tuba, though the recording quality is very clear. The second movement of the concerto showcases the tuba rather like a French horn, and the third movement shows off Brown's great agility on the instrument. The piano and tuba are in a good dialogue together, in a rather jazz-like atmosphere. York's Arioso Gloria is a more melancholy piece. It is here that one can hear a couple of the drawbacks of the tuba, which is that it has a more limited register then some other instruments, and that there is a limit to how legato the lines can be played. This is in no way a reflection on the artist; rather, it is simply an assessment of the large brass instrument, and this is perhaps why there are not so many concertos for the tuba. The Sonata for tuba and piano, "Shamanic Journey," is a very interesting work, with its careful dissonances and unusual melodies. This is a good example of what modern music should be: challenging, yet not inaccessible to the listener. This piece covers moods from tumultuous to hymn-like at the end, and one cannot help but admire York's understated gifts as a composer. It is also to Brown's credit that he can make the tuba sound rather like a low French horn at times and create a somber, tender mood in How Beautiful. The last set of pieces, the Suite for euphonium, tuba and piano, take on an entirely different dimension with the addition of the euphonium. Here, the whole is certainly greater than the sum of its parts. The various dances are exciting, especially the tango, were the piano gives the percussive rhythm underneath the intertwining lines of the two brass instruments. True, they could have opted for crisper articulation in keeping with the style of the music, but York's music is so engaging that it is easy to overlook this stylistic choice. One hopes to hear more from both the tuba soloist and the composer in the future.
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