Orchestra News Coverage
May 16, 2007 | NC Wind Orchestra Presents "Time and the Winds" - June 3, 2007 May 13, 2005 | NC Wind Orchestra Concludes Season with Blaze of Glory January 2004 | Belatedly, A Big Berlioz Birthday Bash January 25, 2004 | Votta Has a Midas Touch January 13, 2004 | Leader Marries Brass, Wind Well January 30, 2003 | Votta Evokes UNC Group's Best January 13, 2001 | Regional Music Lovers May 26, 2000 | Copland SaluteVotta Evokes UNC Group's Best
The Herald-Sun
By: Carl J. Halperin
January 30, 2003
In the recent past I've been privileged to hear Michael Votta Jr. leading the UNC Wind Ensemble, and so, when entering Meymandi Hall on a chilly January evening last week-where he would conduct the North Carolina Wind Orchestra-I knew full well that to expect.
Votta's Hill Hall programs-each of which had borne testament to his supreme musicianship-have revealed a student ensemble of tautly drawn sharpness and attention to detail which was evident even given that aged auditorium's less-than-ideal acoustic. To that deficit, one has but to add a conductor with the drive and ability to fully relay artistic thoughts and requests, and the end result has been one of the gratifying personal success for Votta, while serving as an introduction to a fascinating repertoire that is rarely explored.
Meymandi's wooden interiors, which deflect sound in a state-of-the-art manner, made the case for Votta's artistic sensibilities even stronger.
While observing him drawing reserves of full-bodied sound from the Wind Orchestra, it occurred to me that only rarely have I heard such playing anywhere, interpretations of definition, precision, and most importantly of all, unmitigated joy.
There are but a handful of Triangle regulars who are truly savvy in these all-important ways of music expressivity, and Votta-along with Duke's Rodney Wynkoop-leads the pack.
I think it would be fair to say that Votta's mission, which he approaches from a position of gratitude, has been to change people's preconceived, somewhat jaundiced notions about wind music.
This area of the repertoire is not-he says from the podium-merely about such things as the U.S. Naval Academy Band or the Scots Guards in action. Audiences should instead stash away thoughts of West Point's cadets and allow themselves to be drawn into the music for the music's sake alone, and they will be instructed through Votta's brand of flawless musicianship.
The Meymandi program, in Votta's words, comprised a series of "three suites of increasing proportions," and in the first of these-The "Suite in E-flat or Military Band" by Englishman Gustav Holst-the audience was unquestionably moved by the reading, fully and homogeneously blended throughout. It was as if those present were uncovering a lost treasure, the looks on their faces ones of stunned disbelief.
That precision-point playing already alluded to was more that apparent here, the brass strong (though occasionally slightly overpowering), climaxes brilliantly measured, and-as it should be-the flute was always sparklingly audible above the aural fray.
"Molly on the Shore," one of the immortal Australian folk-inspired melodies that infuse Percy Grainger's work, followed, concluding a short set of his miniatures arranged by Votta for this concert.
Grainger, the "down-under" answer to American's Stephen Foster, composed delightfully and in such was that his work can easily be "borrowed" and rearranged for any feasible combination of instruments, as Votta did here.
Again, the various sections of the orchestra responded to their conductor's enthusiastic lead, which hound him enjoying this exercise to the point that he barely paused between selections, instead eager to share the music and pushing always forward to the finish line. Little matter, for it helped to propel his musicians'-as well as the audience's-pulse as the music played by in thrilling fashion.
The body of literature for wind ensemble being a "select" one, Votta's imagination must always be called into play where programming choices are concerned.
The main item of interest in this regard-in Votta's arrangement-was Mussorgsky's "Pictures at an Exhibition." Originally composed for solo piano and later orchestrated by Ravel, this famous work has seen multiple reincarnations along the way since its premiere during the mid-19th century.
Votta's vision-shared with arranger John Boyd-is one of the best yet heard, to the point that I didn't miss the absence of a lush string foundation.
Throughout the concert, Votta drew in other instruments for added effect-percussion, piano, harp, and bass predominantly-and the total effect here (as elsewhere) was one of pure, unadulterated bliss.
These musicians are so attuned to one another that they play as if for posterity. These were CD-quality performances, with nary a straggler or out-of-place note to be heard.
If you haven't yet experienced what Mike Votta can do to inspire a wind ensemble-be it a student or professional-to give of it's best, run, don't walk, to his next concert.
You will be rewarded with music-making of an exceptionally high caliber of professionalism and precision.