Kari Brooks, reporter

Every musician has played a piece with multiple movements, many with the classic original titles of “Andante” or “Allegro.” But not the opening piece on the Bala Brass program. These movements were named after beer! Yes beer! If that's not enough to get you interested, each movement will have you listening in a fascinatingly intoxicating way.
The composer, Robert J. Bradshaw, let us in on the story behind this work. The piece is about a group of regulars at a bar, hence the title, Right Then, Same Time Tomorrow. But one day, one of the guys doesn't show, and rumors are its because his new girl doesn't want him hanging at the bar. Each section represents a different story or emotion told by the “regulars.” In the beginning movement, “Fat Tire,” the emotions seem to be normal, but it is quickly apparent that agitation is in the air. The next movement, “Black Tusk,” slows down a bit, with some conversational soloistic passages. The lyricism throughout makes the audience feel as if the “regulars” are calming down temporarily and thinking, “Well, maybe something came up and he couldn't make it?” Each movement is equally as interesting, with the true personalities of the “regulars” coming through in the music. As you've probably already figured out, this piece was original, unique, and well written.

Transitioning gracefully from beer to Boehme, the Bala Brass beautifully performed Brass Sextet in e-flat minor, Op. 30. Guest soloist, James Ackley joined them on stage to play the solo cornet part, and Seelan Manickam and Chris Hawes performed on rotary trumpets. Ackley played wonderfully, with a soloistic sound that fit in very appropriately with the rest of the quintet. Each musician seemed to feed off the other throughout and the overall sound was mature and brilliant. This piece was a hit, all the way from the light and bouncy style of the second movement to the well-blended harmonies and intense crescendos in the third.

The Cavatina, by Ian McDougall charmed the audience with gorgeous trumpet playing and a calm, peaceful melody. The final piece by Jan Bach was Rounds and Dances. In the opening section, “Fanfare,” the trumpet establishes the main theme, and hands it off to the tuba from there thematic material passes on to other instruments. The performers not playing the melody support it with a busy background. The last chord fades out and the “Sarabande” begins with a completely muted quintet. “Carioca” shocks the audience out of its calm mood with an active and difficult movement, with a catchy melody and chaotic background.

The fourth movement, “Idyl” takes a fugue like form with each instrument surfacing with a significant line and then quickly fades into the background. The final movement, “Galop” jumps into full gear with a rhythmic motive that slightly resembles William Tell.

The Bala Brass gave and exciting and delightful concert, full of good music and great energy. The last note of the concert rang throughout the hall, leaving a brilliant sound for everyone to remember.