Concert Classics

Fodens Richardson Band
Conductor: Various
Soloists: Mark Wilkinson, Richard Poole, Anna Hughes, Glyn Williams, Helen Fox
Egon Recordings: SFZ127
Total Playing Time: 69.41

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Some mysteries can be enjoyable mysteries it seems. This latest release from the Fodens Richardson Band is an eclectic collection of concert repertoire performed to a very high standard; but it is still a recording that leaves you with more questions than answers.

For instance: There is no mention on the release who actually conducts the band on any of the items (although the cover photo shows Garry Cutt and the insert picture Simon Stonehouse), whilst a couple of the pieces have been recycled from a previous recording the band undertook in 2003. Added to that, there is no mention of when the CD itself was recorded either, so you are at times left wondering exactly to what or whom we are listening to. To top it all with a mystery that Agatha Christie could have written, the reviewers sleeve notes include details of a piece that isn't even performed.

This is not really a problem in itself, as the playing is very good throughout (as is the production from Brian Hillson) and the soloists  in particular showcase their talents to the full. Lots of top bands can take their time over a recording project (sometimes, anything up to, or over, a year), but by listing the details of who, where and when it was recorded, the listener (and fan) can have some idea to who may be playing on it.  This does add greatly to the enjoyment of any release. The lack of these details here does give it a feel of a project that seems to have been stuck together with good intentions rather than fully planned out. 

Why for instance are there three euphonium solos by Glyn Williams? A fabulous player indeed, but wasn't there anything else that could have been put on a release of nearly 1 hour and 10 minutes in duration?  Also, why the need to recycle a couple of items from a previous release? A mystery indeed.

That said, Fodens are on very good form, right from a very deliberate rendition of ‘The President' march which the band uses with such success on Whit Friday, to a cracking run through ‘Carnival Overture' (especially when it goes all complicated in the 5/6 flat key signature) and right at the end, a sparkling fizzer of Widor's splendid ‘Toccata'. These items are band playing of a very high class indeed.

In between Mark Wilkinson displays a lovely sense of style and security of purpose on the old Edward Sutton favourite, ‘The Paragon' and is followed by a very sympathetic ‘Flower Duet' by Delibes that features the complimentary tones of Richard Poole and Anna Hughes.

Glyn Williams meanwhile rolls back the years with ‘Rule Britannia' and Peter Graham's nice but rather unfulfilling ‘The Holy Well', before there is another cracking bit of playing on the ‘Grand March from Aida'.  Helen Fox then produces a neat account of the slightly obtuse Mark Freeh arrangement of ‘I've Got You Under My Skin', which for some strange reason never quite feels if it is written in the right style, even though it is delivered with such aplomb by the soloist.

Two fillers follow from Glyn and Mark again, with ‘Myfanwy' and ‘Born on the Fourth of July', both of which are well played, but seemingly not needed at this point of the release, before a finely measured and understated performance of Vinter's ‘Elegy' from his ‘Entertainments' Suite.

This has the stamp of class all over it and once again shows that it was a piece that was badly misjudged with its use for the Third Section Regional Championships this year.  Fodens restore it to its proper position. It is unfortunate however, that the excellent sleeve notes produced by Peter Bale mistakenly attribute this ‘Elegy' to John Ireland and his ‘Downland Suite', whilst the back cover playlist gives it it's proper title.

'Concert Classics' is still an enjoyable release despite all these little mysteries, although the feeling that perhaps here was the basis for two different unfulfilled CD releases, which have been very nearly successfully fused together to form one, remains right to the end.

Iwan Fox.

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