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Brass Band World, October 2016

This album is the third in the series of ten projected recordings by Septura exploring music that, although not originally composed for brass, has been masterfully arranged for the medium by members of the ensemble.

Another first rate release from this enterprising ensemble. Highly recommended © 2016 Brass Band World Read complete review



Phil Muse
Audio Video Club of Atlanta, February 2016

…the flavorful brass timbres in these imaginative transcriptions, plus splendid performances by Septura, help to define the character of all these pieces. © 2016 Audio Video Club of Atlanta Read complete review



Roger Blackburn
MusicWeb International, January 2016

…this set of transcriptions is Septura’s most successful to date, a tribute to the skills of the players and the arranger. © 2016 MusicWeb International Read complete review




Fiona Maddocks
The Guardian, January 2016

The march from Prokofiev’s The Love for Three Oranges is deliciously witty, the Scriabin preludes full of contrast, Rachmaninov’s lovely Vocalise Op 34 No 14 poetic and cup-muted, with two trumpets and two trombones “singing” the vocal line winningly. © 2016 The Guardian Read complete review



Lisa Flynn
WFMT (Chicago), December 2015

…Brass instruments feature prominently in these composers’ symphonic output, and Septura is a natural fit for their chamber music. © 2015 WFMT (Chicago) Read complete review



David Denton
David's Review Corner, December 2015

Following their two highly acclaimed discs of arrangements of music by a wide diversity of composers, the British brass ensemble move to the 20th century. It is a brave choice, as their arrangements present many and very differing challenges. Opening with Shostakovich’s best known string quartet, it is, in its original guise, a score of fiendish difficulties, particularly in its need for dexterity. Change that to brass instruments, and it is verging on the improbable. Turn to the second movement and be totally blown-away with the ensemble’s remarkable brilliance. Move to the final two movements when despair and desolation take over and, in brass terms, this is freezing cold. The result is a work that could well be add to the composer’s canon. The two pieces by Prokofiev are, by comparison, far less problematic, Septura capturing the brittle nature of the four movements from his Ten Pieces for Piano, as if they had been written for that group of instruments. As an encore they add the naughty but nice March from the opera, The Love for Three Oranges. Six Preludes taken from Scriabin’s prolific output for the piano leaves me less persuaded, the timbre of brass instruments alien to the original concept, and those words I would equally use for Rachmaninov’s Vocalise. It is in contrast to the ideal setting of four of the composer’s Six Morceaux originally written as four-hand piano pieces. All arrangements come from the members of this quite amazing group of principal players in west Europe’s most famous symphony orchestras. © 2015 David’s Review Corner





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