Shielding myself from the cruel cold weather, I had the fortune to attend the Brandeis Wind Ensemble's fall concert which I can only describe as powerful.As the semester draws to a close, it is important to find as much stress relief as possible on a weekend. For most of us, there is a soothing element of discipline and mindlessness that is required to help unwind from the week's strain. I found this necessary element in the wind ensemble's classical notes and uplifting performance. In all honesty, I often equally disdain amateur and professional wind ensembles due to their repetitive sounds and boring pieces. I don't know if it was the addition of a small percussion group or the astounding talent and musicianship of the forty-five members, but this ensemble turned my cheek.

As I entered the Slosberg Recital Hall a little after the concert began, I was warmed immediately by the second half of a beautiful and immensely powerful overture from conductor Claude T. Smith's "Emperata." I had something of an aversion to the song at first, an ingrained dislike of reeds, but I warmed quickly to the harmonious and sharp sounds of the clarinets, oboes, saxophones and bassoons. The song was impressively provocative and displayed the power of the tenor instruments well, moving and radiating from the stage for the rest of the ensemble's set.

The most moving piece from the first half of the show was the pleasant melody of contemporary composer Michael Colgrass' "Old Churches." The piece utilized a beat created by the percussion string and transported the listener to a 14th century church. So powerful were the brass instruments and the percussion that I felt the stressful week begin to drain away within seconds of the song's beginning. The bassoonists should receive special recognition for their powerful alacrity and moving sounds, bringing together the flat and sharp instruments of the group.

I was surprised that the musicians decided to get up and mingle with the audience during the intermission instead of retreating backstage. Many students from the ensemble greeted the audience graciously and explained several aspects of the show to us as we waited patiently for the conductor to return. I got the notion that unlike many other classical groups on campus, the wind ensemble is a very relaxed and laid-back group, seemingly playing for love of music rather than perfection.

When the conductor returned, the group launched into two more pieces, both of which were astounding in form. "Chorale and Alleluia" was a piece that moved the audience members, drawing on the contrasting sounds of the different instruments well. I could hear the oboes hit every note, while every horn was also beautiful and easily discernable.

The crowning final piece was the descriptive - and literally relaxing - wind rendition of Beowulf. The piece was separated into three movements, each based on several different scenes from the English myth. From the commanding opening movement, I could feel my ninth grade English class come rushing back through my mind. The powerful trumpet solo in the first movement, "Heorot," explained to me in music what I had always imagined Rowland L. Collins was putting into his work. The cordial trumpets and the provocative sounds moved me far away from Brandeis, to a time of nobility and heroes.

The second movement, "Grendel," the antithesis of the hero Beowulf, was equally as distinctive, and gave the audience the haunting yet awesomely auditory experience that won't be forgotten for a long time by those who heard it. Evil emanated from the song - especially with the employment of a gong - and chilled my blood with anticipation for the final resolution in movement three.

The third movement, "Beowulf," stood above the other two in its obsequious harmonies and complete-band compositions, both of which rocked the recital hall with sound. Perfect harmony and beautiful notes helped to make the piece both energetic and oddly alluring, nothing of which compared to the final bit of the movement where the entire band put down their instruments and began to sing. Astonishing at first, then oddly lulling in every sense of the word, the choral addition did much to bring the show to a dramatic and affecting close.

Conductor J. Darren Maule should be immensely proud of his orchestra. They performed wonderfully and are a testament to the power of Brandeis' musical talent.