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SEEN AND HEARD UK CONCERT REVIEW
Cockcroft, Fitkin, Davies, Scott, Nunn, Piazzolla:
Ephyra Duo & Trio, Cheltenham Contemporary Concerts, St Andrew's Church, Cheltenham 18.1.2010 (RJ)
Anyone who expresses the view that the saxophone is "not a proper instrument", is likely to incur the wrath of saxophonist Charlotte Bradburn. With her two musical colleagues Adam Caird and Vanessa Lucas-Smith she set out to demonstrate the instrument's classical mussic credentials.
The first work, a solo for soprano saxophone, demonstrated the instrument's versatility. Ku Ku, composed by the Australian saxophonist Barry Cockcroft, developed from an improvisation on Berio's Sequenza VIIb. The result was somewhat unexpected: a sucession of long melodic lines followed by a staccato, rhythmic multiphonic passage full of sounds suggestive of a farmyard. Kuku, incidentally, is the Swahili word for chicken.
A winter holiday on the Yorkshire coast was the inspiration for a joint composition by Charlotte and Adam Caird. The Balloon Tree consists of six short pieces and begins with a haunting evocation of the Old Chapel where they stayed. The bubbly nature of Mars Magic obviously reflected the the convivial effects of a local brew they became partial to, and contrasted with the bluesy feel of Thwing and the elegiac finale which was played at the funeral of a close friend.
Graham Fitkin's Gate has a robust and pulsating piano part over which the saxophone line seems to soar lyrically at first, but cannot avoid being caught up in the energy of the work. After such excitement the wonderful lyricism of Karma, by jazz pianist Julian Joseph, offered a complete change of mood.
The duo became a trio after the interval with the appearance of cellist Vanessa Lucas-Smith. There are very few original compositions for this combination of instruments, so most of the works they played together were arrangements, including Andy Scott's Nemesis, originally for soprano saxophone and vibraphone. The musical textures of this version were particularly impressive and the haunting quality of the slow movement was particularly effective. The rhythmically complex final part, which included a saxophone cadenza, quickly brought one back to earth.
The recital featured a piece commissioned by the Ephyra Trio, Wheatfield with Crows by Patrick Nunn, inspired by a painting by Van Gogh. The darkness of the music seemed to echo the artist's despair, and there was an especially poignant passage for cello and piano.
South American rhythms invaded the recital room with a grand finale of music by Piazzolla which the three musicians attacked with zest. I have to confess that by now I was starting to wilt after having heard so much new and fascinating music, and while I normally enjoy Astor Piazzolla's tangos, seven of them at the end of a long recital seemed rather too generous.
However, I must salute the musicians of the Ephyra Duo and Trio for the excellence of their playing and the varied programme of music they put on. I cannot help feeling that music-making of this quality (whether heard live or on their acclaimed CDs) will ensure that the saxophone's qualities are better appreciated from now on.
Roger Jones
The first work, a solo for soprano saxophone, demonstrated the instrument's versatility. Ku Ku, composed by the Australian saxophonist Barry Cockcroft, developed from an improvisation on Berio's Sequenza VIIb. The result was somewhat unexpected: a sucession of long melodic lines followed by a staccato, rhythmic multiphonic passage full of sounds suggestive of a farmyard. Kuku, incidentally, is the Swahili word for chicken.
A winter holiday on the Yorkshire coast was the inspiration for a joint composition by Charlotte and Adam Caird. The Balloon Tree consists of six short pieces and begins with a haunting evocation of the Old Chapel where they stayed. The bubbly nature of Mars Magic obviously reflected the the convivial effects of a local brew they became partial to, and contrasted with the bluesy feel of Thwing and the elegiac finale which was played at the funeral of a close friend.
Graham Fitkin's Gate has a robust and pulsating piano part over which the saxophone line seems to soar lyrically at first, but cannot avoid being caught up in the energy of the work. After such excitement the wonderful lyricism of Karma, by jazz pianist Julian Joseph, offered a complete change of mood.
The duo became a trio after the interval with the appearance of cellist Vanessa Lucas-Smith. There are very few original compositions for this combination of instruments, so most of the works they played together were arrangements, including Andy Scott's Nemesis, originally for soprano saxophone and vibraphone. The musical textures of this version were particularly impressive and the haunting quality of the slow movement was particularly effective. The rhythmically complex final part, which included a saxophone cadenza, quickly brought one back to earth.
The recital featured a piece commissioned by the Ephyra Trio, Wheatfield with Crows by Patrick Nunn, inspired by a painting by Van Gogh. The darkness of the music seemed to echo the artist's despair, and there was an especially poignant passage for cello and piano.
South American rhythms invaded the recital room with a grand finale of music by Piazzolla which the three musicians attacked with zest. I have to confess that by now I was starting to wilt after having heard so much new and fascinating music, and while I normally enjoy Astor Piazzolla's tangos, seven of them at the end of a long recital seemed rather too generous.
However, I must salute the musicians of the Ephyra Duo and Trio for the excellence of their playing and the varied programme of music they put on. I cannot help feeling that music-making of this quality (whether heard live or on their acclaimed CDs) will ensure that the saxophone's qualities are better appreciated from now on.
Roger Jones