Sigma Alpha Iota

PAN PIPES • WINTER 2018 • sai-national.org 26 REVIEWS BUILDING BRIDGES WITH MUSIC: STORIES FROM A COMPOSER'S LIFE Samuel Adler, Jürgen Thym, Editor, Pendragon Press, 2017. T he first thing one notices about this book is its unusual shape, shorter and much wider than the typical volume; in fact, it's about the size of piano four-hand folios. And that shape is right, because reading Dr. Adler's stories is like sitting near to a captivating storyteller relaying tales of a fascinating life. Adler's unquenchable energy makes one need to take a break, the compelling memories bring one right back. This is the story of a child who, in a harrowing incident in Mannheim, Germany, miraculously escapes the Gestapo. A decade later he was back in Germany with the US Army of Occupation, creating the Seventh Army Orchestra from the troops stationed there, to playing classical music for the German citizens to win their hearts and minds. (It worked.) Creativity, not only in composition but also in creating musical opportunities for himself and others, is a hallmark of Adler's musical life. Adler's personality is a combination of all good things: a magnetic personality who makes and continues to cultivate friendships, a mentor who is still in contact with his students. He continues to honor his father, a well-known synagogue cantor and composer in Germany and then the United States. Upon returning to the US from his Army tour in Germany he had an offer to take over Leonard Bernstein's conducting chair at Brandeis University. As a courtesy to a friend of his father, Adler traveled to Dallas to meet with Rabbi Olan and a music committee of Temple Emanu-El. There was a lengthy discussion about the place of music at the heart of a congregation, and Adler outlined his idea for choirs at various levels, and as a result was offered the job. He demurred, saying he would have to consider the offer. By the time he got back to his parents' home the phone had been ringing with congratulations on his new position in Texas. Shocked, he called the rabbi, who added that if Adler came to Dallas, there was also a teaching post at Southern Methodist University's music department for him as well. And so, he moved to Texas, where, in a short while, he was able to assemble a 100-voice choir for weekly services at the synagogue. In a few years, he went to teach at North Texas State Music School, then Eastman, and now is at Juilliard. It is no surprise that Adler has written nearly 500 works, including symphonies, solo, and chamber music, and many choral works, many of which satisfy his teacher, Paul Hindemith's definition of Gebrauchsmusik, utility music, or music written for a purpose. As a schoolboy, he wrote a horn concerto for a girlfriend who played that instrument, and many of his pieces of choral music were written for synagogue use. In the Air Force, he wrote festivals of Christmas carols on demand, and, of course, as easily turns to filling commissions from noted professional soloists. The tsunami of Adler's vigor bursts from the page, sometimes requiring the reader to pause and reflect, but the stories and advice are so compelling one cannot resist opening the cover again. The book is valuable for many audiences, for it discusses the efforts of leaving Nazi Germany, traveling to the United States, BATTLE CREEK TRANSIT AUTHORITY: LIVE IN CONCERT Brass Band of Battle Creek, Michael J. Garasi, conductor. MSR Classics (1634) B rass Band of Battle Creek is a 31-member, British-style, brass band whose roster includes members of American and European orchestras, college instructors, and free-lance musicians from all over the country. Established by Jim and Bill Gray in 1989, this group meets twice a year for rehearsals, local school clinics, and a major performance in Battle Creek, MI. Since their inception, the group has recorded ten CD's, the most recent of which is Battle Creek Transit Authority: Live in Concert, a live concert recording. Any preconceived notions about British- Style Brass bands are quickly dispelled by the group's opening number, Jim Peterik's Vehicle. The vocal is a little stiff but the tight horn lines, augmented by Al Ayoub's strong guitar, bring this '70s classic to life. After this opening, the group demonstrates an easy facility with a broad range of genres. The Waters of Tyne and Funiculi-Funicula Rhapsody both showcase excellent blend, balance, and exquisite command of brass timbres. Both Crescent Moon and Children of Sanchez demonstrate an excellent command of jazz styles while setting off the featured soloists to great effect. A minor disappointment in the first half of the recording is the transcription of Chance's Incantation and Dance. Although well played, the opening section loses some of its mysterious quality in the change from flute to trumpet and balance issues plague the dance section of the piece. As hinted at by the title, the second half of the performance is a set of classic Chicago tunes (Saturday in the Park, 25 or 6 to 4, Make Me Smile, etc.). Throughout the set, the horns and rhythm are on point, and Daniel Alan's great vocals will make you long for the original recordings. The combination of high-quality brass playing and 70s-80s nostalgia makes this an album that is well-worth a listen. Battle Creek Transit Authority: Live in Concert clearly reveals what brass bands are capable of. Robert Bruns is a Bandmaster in the United States Army and an SAI Friend of the Arts. He received his Bachelor and Master in Music Education degrees at Ithaca College.

• Cover