Well, ladies and gentlemen, if you've seen Episode 49, you'll know what this is all about. Today, Colin came to "the lair" and we did a drawing for the upcoming "Viewer's Choice Recital". It was one of the most suspenseful and stressful moments of my life:-)
Wait until you see how it all played out..............enjoy!
I talk about a review of Colin playing the Creston a few years ago with the Atlanta Symphony. Here's the review:
"Review: ASO plays Creston on trombone
By Pierre Ruhe | Friday, October 1, 2004
The Atlanta Journal-Constitution
CONCERT REVIEW Atlanta Symphony Orchestra
.....This week, the ASO helped revive a worthy composer from irrelevancy. Paul Creston (1906-1985) didn’t live to see a concert-hall revival of his music, but nowadays you can hear all his important works on CD and, increasingly, experience them live.
Creston’s music is “an embodiment of the affirmative, lyrical, melodic strain that dominated American music in the 1930s and for a time afterward,” wrote critic-conductor Will Crutchfield in an obituary. Creston rightly joins the company of Copland, Piston and Barber.
Creston's 1947 Fantasy for Trombone, one of his best-known works, served to introduce the ASO's principal trombonist, Colin Williams, who joined the orchestra three years ago and is now making his official solo debut.
In the jazzy Fantasy, Williams was heard, finally, to his advantage. In the treacherous Symphony Hall acoustic, the orchestral trombones' warm bass notes get absorbed by the stage walls and the bright high notes get polarized to a blinding glare, like sunlight off a swimming pool.
At stage front, we heard Williams au natural: his clean, “white” tone, with very little vibrato and exceptionally pure and lovely soft notes.
And for the ASO, with their committed playing this week and last, they showed that it's likely the romantic vs. modernist argument will seem quaint in another generation. This would follow the Wagner (progressive) vs. Brahms (retro) debates, which eventually subsided, leaving both men on the winning side. What survives isn't ideology, it's good art.
As an encore, Williams and the orchestra played "The Blue Bells of Scotland,” an amusing and sentimental work by Arthur Pryor, the trombonist in John Philip Sousa’s band a century ago. Where the Creston was unfailingly polite, Pryor asks the soloist to scale heights, blow elephant calls and raspberries, all accompanied by oom-pah-pahs from the orchestra. Williams breezed through the moto perpetuo variations with mostly machine-drilled aplomb."