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Ronald E Grames
Fanfare, September 2016

Keith Brion recorded the first volume of this series in August of 1999. These recordings were made in January of 2013. One simply can hear no lessening of commitment of the part of this remarkable conductor in this 12-year plus voyage. …The Marine Band of the Royal Netherlands Navy is new to the series. It is crisp and musical, and quite possibly the best of all at embracing the Sousa style. © 2016 Fanfare Read complete review

Barry Kilpatrick
American Record Guide, May 2016

A program of little-known Sousa works, brought to life and made endlessly interesting by conductor Keith Brion. When he is on the podium, details often buried by over-enthusiastic bands are given the spotlight and reveal Sousa’s genius. And in doing that, of course, Brion also casts the spotlight on his fine musicians.

Fine playing by this military band from the Netherlands. © 2016 American Record Guide Read complete review on American Record Guide

Ira Novoselsky
BandWorld, January 2016

…Sousa was a gifted arranger, as his fascinating transcription of Chopin’s Eleventh Nocturne (Op. 37 No.1) will illustrate. © 2016 BandWorld, December 2015

…everything on the disc has [a] naïve charm, fine sense of rhythm and excellence of band orchestration for which Sousa is justly famous. © 2015 Read complete review

David Denton
David's Review Corner, November 2015

The fifteenth and penultimate volume of John Philip Sousa’s music for wind band is largely given to his profuse output of marches and a very popular band showpiece. The lights in concert hall would go down at the beginning of the second half of the programme, and bit by bit the orchestra would come on stage playing their own technically difficult lollypop. Only when they were complete did Sousa appear to conduct the final bar. Over the years it was often tweaked to keep listener interest, but a formal version, The Band Came Back, was published, and it gives one of my favourite bands—The Marine Band of the Netherlands Navy—the opportunity to strut their solo and combined brilliance. Next in my recommendations comes the charming short ballet scene from Chris and the Wonderful Lamp, closely followed by the selection from his operetta, Desiree, the bright and  breezy opening march giving way to a seductive waltz that would have delighted the Strauss family. Sousa also had a penchant for arranging the music of others that he personally enjoyed, Chopin’s Eleventh Nocturne sounding so very lovely and yet so very sad in this version for band. Maybe it will be the seductive tango, Gliding Girl, or the stirring Yorktown Centennial March that captures your attention, the thirteen tracks adding up to one of the most desirable Sousa releases in the catalogue. © 2015 David’s Review Corner

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