The heraldic voices of brass, bells and organ announce the majesty of Christ -- his human birth as an infant in the stable at Bethlehem, his glorification on the mount of Transfiguration, the descent of his Holy Spirit in tongues of fire. Burnished Bright is a sophisticated and dynamic blend of these sacred instruments. Perfect for this season of Advent and Christmas are Michael Hale's Veni, based on the beloved hymns "O Come, O Come, Emmanuel" and "Come Thou Long Expected Jesus," and J.S. Bach's My Spirit Be Joyful. In Burnished Bright, Gabriel V, brass quintet, collaborates with David Chalmers, organist, and Extol handbell choir, to present contemporary works as well as a delightful group of Baroque transcriptions by Purcell, Pachelbel, Bach, and others. Opening and closing the recording are two fanfares written for the Church of the Transfiguration and based on Gregorian chants. Made in the splendid acoustics of the stone Church of the Transfiguration in Orleans, Massachusetts, the recording features the large E.M. Skinner organ with is grand and colorful sound.

I have to admit to being a skeptic on this one. Handbells are an acquired taste. Expereience has taught me to look hesitatingly, albeit with charity, upon our white-gloved friends. And while the organ has general appeal, those who normally receive musical compilations of brass ensembles most enthsiastically are also those who have a dusty trumpet or trombone secretly stored in their basement or closet. I am not he. That said, imagine my delight in discovering something as reverent, tasteful, and beautiful as Burnished Bright: Sacred Sounds of Brass, Organ and Bells. This is a superior recording in every way. The most vibrant qualities of all three -- brass, organ, and bells -- stand out both in their individual roles and through their blend as an ensemble. A negative thing cannot be said about the quality of the performance or the recording. With a few exceptions, the musical selections, as one might expect, are 20th century in origin. The modern contributions are lush and lyrical -- almost romantic. Particularly sublime is the Fantasia on "Victimae paschali laudes" by Michael Bedford and the third movement ("Hymn") by David Ashley White in a work titled Triptych.

Scott Allen Seefeldt

The Living Church

April 1, 2007

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The title of this release aptly defines its music. Everything is traditionally tonal and religiously celebratory. The results are impressive on a number of levels. All the participants are given fine support in terms of sound. . . . All challenges are handily overcome, owing both to the sensitivity of the musicians and the perspicacity of the recording team. . . . The musicians are all similarly world-class, but most important, they play the music from a sense of deep religious conviction. They are moved, and so, therefore, can we be.

William Zagorski

Fanfare

January 19, 2007

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