Cakewalk (414.01.2Perc) (Neuheit Ensemble)

Cakewalk (414.01.2Perc) (Neuheit Ensemble) Debussy had already heard (and favourably reviewed) ragtime when John Philip Sousa brought his outstanding ensemble to Paris in 1903. However, his first genuine experience of a real minstrel band came later in 1905 on the streets of Eastbourne, whilst on a summer holiday. Golliwoggs Cakewalk, was composed ten years later as the finale to his Childrens Corner. These six humorous and enchanting movements are dedicated to his daughter Chouchou, with her fathers tender apologies for what is about to follow. After a cheerful syncopated unison Debussy then follows with a vamp till ready ostinato and a happy-go-lucky tune. He then abruptly slows the speed to an almost flippant um-cha section, before gently ridiculing what he must have thought of as the over inflated romantic opening theme from Wagners Tristan und Isolde (marked with great emotion). This is done, unflinchingly, not one, but four times! The opening music returns, ending with an irreverent final downward slide. Brass Wind Publications recognises that the original title of the publications contains an outdated racial term that may cause offence. The piece of music was written in the early 1900s and its historical context is important and acknowledged through mention of the title. However, attitudes and terminology have rightly changed through the centuries, and we apologise to those who may be adversely affected by the title. This arrangement was specially made for the album Preludes, Rags and Cakewalks (MPR 005), performed by The Symphonic Brass of London conducted by Eric Crees. All of the transcriptions are new and original, making this a world premiere recording. ‘Super playing from living legends of the London orchestral brass scene. In these fantastic arrangements it’s sometimes hard to believe these pieces weren’t originally scored for brass. The musicianship throughout is second to none and the sound is an absolute treat. Eric Crees pays his affectionate respects in performances subtly styled, coloured and paced - from the touchingly restrained to the joyfully raucous. Musical authenticity permeates through, understated yet valued in placement and precision. It is a fabulous exploration that deserves the richest of accolades on both sides of the Atlantic Ocean.’ Iwan Fox - 4 Bars Rest - Verdict *****