I’ve noticed quite
a few new saxophone discs filtering
into the classical market place recently
which, given the previous dearth of
decent repertoire for this instrument
in the past, has got to be a cause
for celebration. The Japanese virtuoso
Nobuya Sugawa has been responsible
for a lot of it, and his seemingly
unquenchable thirst for exploration
of his chosen instrumental family
continues unabated.
The present release
is very nicely programmed, starting
with two premiere recordings of works
written for him by fellow countrymen,
and concluding with two repertoire
pieces with strong links.
The two familiar
works were written within a year of
each other and both come from that
heady 1930s period of Stravinskian
neo-classicism. Both were commissioned
by Sigurd Rascher and both featured
in the repertory of the influential
French teacher and pioneer Marcel
Mule. There are textural and rhythmic
similarities but both have their own
stamp of individuality. The Ibert
is actually for soprano sax and 11
instruments, giving it a transparent,
occasionally jazz-like feel. It’s
a short, engagingly colourful work
typical of its composer, and it’s
no surprise that it crops up many
times in competitions and student
practical exams. The dreamy central
larghetto is memorable, especially
given Sugawa’s honeyed tone and supple
phrasing.
The Larsson Concerto
has a bit more backbone and sinew,
though still only accompanied by string
orchestra. The spirit of France hovers
again here, with a Poulenc-like first
subject and a motoric allegro scherzando
finale that is thrillingly played
by all here. It’s a slightly more
serious work, but still full of life,
vigour and contrast.
The two other concertos
maybe of more interest to the curious
and both explore the familiar traits
of the instrument as well as taking
it to further boundaries. In the booklet
note written by the respective composers,
fellow-saxophonist Honda writes that
he was ‘entrusted with the task of
writing a concerto that would represent
a tribute to jazz…’vent’ is the French
word for wind, so please think of
the Concerto du vent as a Concerto
of the wind’. It does have a pleasingly
‘open air’ quality to the melodic
line, with Sugawa given plenty of
opportunity to play ‘around’ the phrase
– not strictly improvising but using
portamento and blue note phrases
to embellish the chords in a jazzy
fashion. It works quite well, linking
nicely with the older pieces, and
is again given stunning advocacy,
but I’m not quite sure Honda knows
what sort of piece this is, so maybe
we don’t. It’s certainly undemanding
listening and doesn’t particularly
outstay its welcome.
Sugawa has collaborated
with Yoshimatsu before on the 1994
Cyber Bird Concerto, and Chandos
continue their championing of this
composer with this latest premiere.
Using once again soprano sax, this
strikes me as an eclectic work, having
a moody, post-Takemitsu Impressionistic
first movement - which clearly suits
this instrument’s timbral character
- some wilder, Berio-like improvisatory
shrieks around 3:45 and 7:50 into
track 2 before going off into some
fairly predictable blues/ jazz doodlings
around 6:05 –a homage to Brubeck’s
‘Take Five’? – before dissolving into
Garbarek territory towards the end.
Again, it cleverly explores the instrument’s
unique and versatile sonorities without
being especially memorable or groundbreaking;
in fact, at times we seem to be in
a world of background mood music,
but it is superbly performed and recorded.
Altogether, an interesting
survey that will be welcomed by those
with a liking for this sort of repertoire.
Tony Haywood
Nobuya Sugawa (saxophone) 
