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Lark Reviews, January 2018

This is a joy to listen to throughout. The longest section is a selection from the operetta The Charlatan alongside which are ten other pieces, all equally endearing. How Sousa was constantly able to turn out so much wonderful music is a mystery, and the longer this series continues the more pleased I shall be. © 2017 Lark Reviews

Ronald E. Grames
Fanfare, May 2017

…the Marine Band of the Royal Netherlands Navy proves to be an outstanding exponent of the Sousa style: precise, transparent, and buoyant at a moderate tempo. It is rather different than the collegiate marching band style more prevalent today… © 2017 Fanfare Read complete review

Ira Novoselsky
BandWorld, April 2017

Volume 16 in this stellar series continues to provide the best in familiar and unfamiliar Sousa. The centerpiece is a twenty two minute operetta selection from The Charlatan. The last operetta from Sousa was the incomplete Irish Dragoon; the Circus Galop and Overture are featured. March enthusiasts will appreciate performances of Pushing On, The Triumph of Time, On the Tramp and two rarities: Homeward Bound and Wedding March. Also included are Tyrolienne; an early solo & variation work based on a French folk melody and I’ve Made My Plans for the Summer for voice or solo cornet and band (Sergeant Major John Curfs is the cornet soloist). © 2017 BandWorld, February 2017

…led by Keith Brion with his usual spirit and attentiveness to detail and balance… © 2017 Read complete review

David Denton
David's Review Corner, January 2017

We have reached the sixteenth volume of the first complete recording of John Philip Sousa’s ‘Music for Wind Band’, the disc containing four world premiere recordings. The series started sixteen years ago, when I welcomed the venture adding that with around two hundred works catalogued, there was a long way to go. From the outset it has been in the safe hands of the conductor, and Sousa expert, Keith Brion, my only quibble being the fact that he has chosen not to record them in the chronological order of composition. I suppose Brion was more interested in making each disc as varied and attractive to the listener, and he may well be right. So here we have eleven tracks from 1879 through to 1918, and in terms of tempo cover a wide range from a gallop to marches and also includes operetta excerpts. Sousa’s life had been colourful and hugely industrious, and he craved success in the theatre that would make him the American equivalent of Offenbach. He achieved his objective with some Broadway hits, and here we have arrangements for band of excerpts from The Charlatan, its present day neglect seemingly unjustified. Known as the ‘March King’, the disc ends with five marches, including a Wedding March so that American brides in the First World War would not have to walk down the aisle to German music of Wagner or Mendelssohn. Hieratic that I may well be, as in Sousa’s day the regulated United States pace of army marching is slower than today, but I sometimes wanted more vivacity and impact from Brion, though the Netherland’s band do their best to capture the Sousa idiom. © 2017 David’s Review Corner

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