Germany Dresden Music Competition 2023 [11] – 5.6.2023, Kulturpalast, Dresden: Until Brönner and Band (Until Brönner [trumpet, flugelhorn, vocals], Olaf Polziehn [piano], Christian von Kaphengst [double bass, bass guitar, keyboard], Bruno Müller [guitar], David ‘Fingers’ Haynes [drums], Jan Miserre [keyboards] and Mark Wyand [saxophone])

It was at Dresden Music Competition 2016 once I attended my first Until Brönner live performance Jazz Meets Classics on the Semperoper. That Until Brönner live performance had lodged lengthy in my consciousness, and I admit to being excited for this night’s full home at Kulturpalast.

In his profession, this German born and Italian raised trumpeter and singer Until Brönner has gained a big and dependable following. Coming from a musical household Brönner is an award-winning and best-selling jazz musician who has been named the ‘German Chet Baker’. In 2000 he truly launched an album Chattin’ With Chet. Brönner, who alternates between trumpet and flugelhorn, has collaborated with a dizzying checklist of celebrated artists within the jazz world, for instance Tony Bennett, Dave Brubeck, Natalie Cole, Kurt Elling, Sérgio Mendes, Chaka Khan and Herbie Hancock.

Alternatively, Brönner is usually lambasted for his overly sweet-toothed fashion, but it has introduced him actual success in Germany and Europe. Utilizing a mix of kinds resembling jazz fusion, hard-bop, jazz-funk, it wasn’t tough to listen to numerous influences in Brönner’s works noticeably from Freddie Hubbard, Chet Baker, Dizzy Gillespie, Miles Davis, Courtney Pine and Wynton Marsalis for instance.

This was cool jazz in a recent groove that I discovered irresistibly clean. There was nothing too difficult and little in the way in which of sharp edges. Slim and stylishly wearing a black go well with, Brönner seemed as cool because the music he performs. An adept communicator, I sensed the rapport when Brönner talked to the viewers between among the numbers. A mixing-desk and operator had been situated on the aspect of the stage which is what now we have come to anticipate when devices are amplified.

Brönner and his six-piece band kicked off with an instrumental of The Good Life, from the album of the identical identify, the well-known normal now synonymous with Tony Bennett, and it sounded nice on the flugelhorn. His instrumental September Morn from the album On Trip performed on flugelhorn sounded sensational too, sending a shiver of contentment down the backbone. Once more, from On Trip we heard one in every of Brönner’s personal, simple listening songs Lemonade with its bossa nova rhythm and excessive leaps on the flugelhorn it simply sparkled. In an identical mellow vein was Café com pão from Rio. Such a proficient band, all of Brönner instrumentalists got a solo. Standing out was the prolonged solo from American drummer David ‘Fingers’ Haynes that was fairly sensational, and it felt exhausting simply watching.

The hit September from American soul band Earth, Wind & Fireplace was Brönner’s eleventh work of the night. A quantity at all times assured to set the foot-tapping, it was right here that Brönner mustered some participation from the viewers who appeared to benefit from the enjoyable. Amid loud applause Brönner and band returned to the stage for his or her encore. The end result was excellent, an understated model of the George Michael ballad Jesus to a Little one contained on the trumpeter’s Until Christmas album.

You actually should see Until Brönner in live performance to understand the complete vary of his abilities. I can’t consider anybody who would really feel short-changed by this excellent live performance.

Dresden Music Competition 2023 [12] – 6.6.2023, Kulturpalast, Dresden: Martin Grubinger (percussion), Deutsche Kammerphilharmonie Bremen / Tarmo Peltokoski (conductor)

Works by Ishii Maki, Peter Eötvös, Steve Reich, Zoltán Kodály, Iannis Xenakis, Aaron Copland, Fazil Say, Claude Debussy, Daníel Bjarnason, John Corigliano & Kurt Engel

Martin Grubinger is among the world’s best percussionists and if I didn’t imagine that assertion, I actually did so after this Kulturpalast live performance. Percussion concertos are works I solely encounter sometimes in live performance, and I used to be barely doubtful on the prospect of attending just about a complete night of percussion works. This sellout live performance that includes Austrian born Grubinger comprising primarily of highlights from his broad percussion repertoire turned out to be an awe-inspiring occasion, unquestionably thrilling and at instances jaw dropping in its virtuosity.

Simply to take a look at the stage itself was fairly a spectacular sight. The Deutsche Kammerphilharmonie Bremen was within the conventional place on the centre of the stage surrounded by a number of banks of percussion devices. There was at instances a lot frantic exercise by Grubinger and the opposite percussion gamers shifting, generally working, round into place on the jam-packed stage, generally perilously near the sting, that it seemed to be a well being and security hazard. It was unbelievable simply how Grubinger and his colleagues managed to seek out the place all of the devices had been, however they did, and with exceptional experience. There have been events when the viewers seated behind the stage within the choir gallery wouldn’t have been in a position to see the all of the drumming and I may see some individuals within the aspect galleries adjoining to the choir standing or craning their necks to acquire a greater view of the motion.

This was my first live performance performed by the Deutsche Kammerphilharmonie Bremen and was it performed by its principal visitor conductor Tarmo Peltokoski. Of the eleven works programmed solely three had been purely orchestral, with out Grubinger offering percussion. It has been some time since I final heard Kodály’s Dances of Galánta a chunk based mostly on people music from Galánta now a part of Slovakia. In a efficiency as gratifying as this I used to be stunned simply how a lot affect the Dances of Galánta made. Full marks to the Bremen brass and percussionists for his or her rendition of Copland’s Fanfare for the Widespread Man, an imposing outburst of sound that would have hardly been performed higher. Heralding a definite change of temper was Debussy’s a lot cherished masterwork Prelude to the Afternoon of a Faun, with its outstanding flute half. From Greek mythology this heat and vibrant impression of the faun who awakes attempting to recall recollections of forest nymphs was given a beguilingly atmospheric account beneath Peltokoski.

Percussionist Martin Grubinger dominated the stage along with his alternative of eight eminently worthy works, every containing numerous gradations of pleasure, even drama. My highlights embrace the opening work of the live performance Dyu-Ha, fairly substantial at some fourteen minutes, which set a resolute and redoubtable tone. Dyu-Ha written by Japanese composer Maki Ishii had Grubinger one in every of 5 percussionists taking part in, with each stick and hand, massive units of drums that had been positioned at head top, near the rear wall of the stage. Standing out too was Talking Drums for solo percussion and orchestra by up to date Hungarian composer Peter Eötvös. This was one other substantial work, its three actions taking on twenty minutes to carry out, and was conspicuous for the sense of theatre it communicates. Along with taking part in a battalion of percussion devices Grubinger was additionally required to chant, shout and scream complicated however quick Hungarian texts by twentieth-century poet Sándor Weöres and likewise textual content from twelfth-century Sanskrit poet Jayadeva. For this Eötvös work I’m puzzled why texts and translations weren’t supplied within the leaflet handed out, or surtitles used.

One of many best dwelling composers is in my ebook is Turkey born Fazil Say and his Concerto for percussion and orchestra was premiered in 2019 right here at Kulturpalast Dresden. Say’s exceptionally very important percussion concerto was written particularly for Grubinger who selected to play the fourth and closing motion Marimba – Boobams that took him round ten minutes. Right here I relished watching Grubinger taking part in the marimba, boobam, rototom and waterphone all with such mastery. No Turkish devices are employed by Say in his thrilling and exuberant rating stuffed with orchestral outbursts, though distinctive Anatolian options may very well be heard.

Worthy of reward, Tarmo Peltokoski and the Deutsche Kammerphilharmonie Bremen supplied constant first-rate help for Grubinger all night. Performed by soloist Martin Grubinger these works require an enormous percussion battery, exceptional for the virtuosity and strenuous exercise required, made for large theatre.

Michael Cookson

Programme:
Maki Ishii – Dyu-Ha (1981)
Eötvös – Talking Drums (2012/13)
Reich – Drumming (1970/1971)
Kodály – Dances of Galánta (1933)
Xenakis – Peaux from Pléïades (1978)
Copland – Fanfare for the Widespread Man (1942)
Fazil Say – Marimba – Boobams (IV) from Concerto for percussion and orchestra (2018/19)
Debussy – Prélude à L’après-midi d’un faune (Prelude to the Afternoon of a Faun) (1892-94)
Daníel Bjarnason – Satz (I) from Inferno, Concerto for solo percussion and orchestra (2022)
John Corigliano – SKIN (III) from Conjurer, Concerto for percussionist and orchestra (2007)
Encore: Kurt Engel – Look out little Ruth (edited Martin Grubinger)