More than ‘Just Brass’ / New Academia members

Many people, music lovers surprisingly among them, are not particularly keen about brass bands. In fact, some have an active dislike for them perhaps because they sound, well, brassy. Yet, when they are at their loudest, brass instruments infuse an incomparable majesty, a magnificently triumphant air into orchestral scores.

To be sure, wind instruments, especially the brasses, have a limited range of tonal colors, relatively speaking. Further, they are much more difficult to manipulate than say, the piano or the violin, for which reason far less music students are inclined to become wind or brass players.

Those who are averse to brass bands might rid themselves of their prejudice by simply getting more used to these ensembles. A select audience had a preview of the Imperial College of London Brass Band the other week at the residence of Ambassador Peter Beckingham and his wife Jill. A few days later, a much larger audience listened to the visiting group in a full-length program titled "Just Brass" at the Isla Room of Shangri-la in Mandaluyong.

The Imperial Brass was just starting to play the opening number "The Earle of Oxford March" by William Byrd (arr. Elgar Howarth) when I arrived, and the volume of sound being produced by five trumpets, five trombones, a French horn was most impressive. Indeed, they seemed double that number.

The widely diverse program – this ranging from classic to jazz – was later to prove both the versatility and remarkable skill of the players, collectively and individually. These qualities were to be admired even more because to the brass band members, music is merely a sideline, mainly pre-occupied as they are with the study of law, medicine, chemistry, nuclear physics, etc. (This I found out at the Beckingham preview.)

The Suite from Abdelazer by Purcell followed, and the "Trumpet Tune" by John Stanley (arr. R. Harvey) emphatically demonstrated the individual skill of trumpet players Daniel Burchette and Felicity Coad, and later, that of horn player Martin Priestley in Franz Joseph Strauss’ poetic Nocturno. David Taylor on the piano showed still another kind of versatility, he being also a trombone player of the group. Apropos, percussionist Matthew Henry doubles likewise as a brass player.

The "Trombone Quartet" by Beethoven was interpreted with assurance, aplomb and polish by Richard Hubbard (who is the group’s performance manager), Douglas Murdoch, Louise Oakes and Alastair Smith – all of whom clearly and eloquently delineated the andante and the two adagios of the composition.

One of the evening’s most compelling highlights was the Suite from Bizet’s Carmen (arr. R. Harvey). The audience listened to the various pieces from the well-loved opera in an entirely different yet fascinating and charming idiom, with each brass instrument conveying its own tonal color. The ensemble’s flair and spirit captured the ambiance of the French-Spanish work.

I was surprised at the "oomph" and razzmatazz of the ensemble in Gershwin’s I Got Rhythm, Summertime, and I Got Plenty O’ Nuttin, predisposed as I was to perceive the vaunted British reserve in the renditions.

Eugene Bozza’s Ballade had Louise Oakes on the trombone matching the precision and agility of pianist David Taylor. Chris Hazell’s "Three Brass Cats" was thoroughly infectious, and the traditional "Battle of Jericho" showcased the considerable talent of our own trumpet player Alaric Saludo who earlier conducted part of the band in Mike Velarde’s Dahil sa Iyo (Because of You) and Planting Rice, both arranged by Rodel Colmenar, himself a brass player and conductor of the Manila Philharmonic Orchestra. Members of the band were garbed in barong tagalog for added ambiance and the lusty applause they had consistently received grew even lustier in the Philippine numbers.

Dave Brubeck’s Take Five (Six and Seven) concluded the program which, having revealed the hitherto undiscovered refreshing and soothing qualities of brass instruments must surely have gained countless admirers for the brilliant "Just Brass". Suzi Entrata-Abrera served as emcee.

The concert was presented by the Aurelio Periquet Jr. Foundation headed by President Anna Marie K. Periquet in association with the Imperial College of London and the British Embassy. Proceeds are earmarked for the completion of a church in Pangasinan.

The printed program carried messages from President Gloria Macapagal-Arroyo, Ambassador Peter Beckingham, NCCA Chairman Ambeth R. Ocampo, among others.

In his own message, Mr. Beckingham said in part: "The Philippines supplies some of the leading musicians and performers for many shows in London’s West End. Their talents are legendary, and are in high demand by some of Britain’s best known impresarios. So it is a particular pleasure that a British musical group should make a visit in return to the Philippines. It is all the more appropriate that Imperial Brass should come here, as one of its founding members is a Filipino, Alaric Saludo."

* * *

On July 13 at the Casino Español, new members will be admitted to the Academia Filipina de la Lengua Española, the local counterpart of the Real Academia Española based in Madrid. The new members are Erwin Thaddeus Bautista, Lourdes Brillantes, Jose Maria Carino, Macario Ofilada, Regino Paular, Rene Angelo Prado, Trinidad Regala, Emmanuel Luis Romanillos and Rene Salvania.

The outgoing director of the Academia Filipina, Jose R. Rodriguez, will give a talk on "The Academia Filipina: Looking Ahead". Welcome remarks will come from Alejandro R. Roces; greetings will be delivered by Humberto Lopez-Morales, secretary general of the Academias de la Lengua Española.

The new members will be presented by Salvador Malig Jr. and Wynstan de la Peña. Guillermo Gomez de Rivera will be the master of ceremonies.