In Italy they call it the sassofono, which sounds so
much more sensual; but then that seems entirely appropriate,
as soloist
Mario Marzi hails from there. He has won a number of prestigious
awards, has played with some of the best bands around and teaches
sax at the Conservatorio Giuseppe Verdi in Milan, all of which
augurs well for this new recording. I’ve been lucky enough
to hear some fine sax discs in recent years, among them American
Spectrum (BIS - see review)
featuring Branford Marsalis, and a collection of contemporary
saxophone quartets from the Tetraphonics (Cybele - see review).
Both are highly desirable issues, not least because they demonstrate
the sonic superiority of the SACD format.
The works on this new hybrid SACD - recorded in 2004 but only
released this year - may be more ‘mainstream’ but
they’re no less daunting for that. The Glazunov concerto
has fared quite well on disc - ArkivMusic lists nine versions
- but the Villa-Lobos and Milhaud pieces are even more popular.
For comparison’s sake I dug out a CD of saxophone concertos
played by Eugène Rousseau (DG 453 9912) and, for the
Villa-Lobos, I chose John Harle and the ASMF under Sir Neville
Marriner (EMI
Gemini 3 81529 2). In many ways Harle is the man to beat in
this repertoire, especially when it comes to sheer beauty of
tone
and general boldness or chutzpah.
That said, the Glazunov concerto, dedicated to the German saxophonist
Sigurd Raschèr (1907-2001), is chockfull of lovely melodies.
At the outset it’s clear that Marzi has a formidable technique;
his tone is secure, his phrasing immaculate, and the DSD recording
reproduces the sax’s distinctive timbres with astonishing
fidelity. The orchestra sounds warm and detailed too, Schellenberger’s
tempi well chosen, yet I found Marzi’s performance a
little short on character. By comparison, Rousseau shades the
music
and varies the mood much more effectively. And even though
the latter was recorded nearly 40 years ago the sax sound is
still
very appealing.
I’m pleased to say Debussy’s Rhapsodie, which
the composer transcribed from his earlier piece for saxophone
and piano, is much more persuasive. Marzi plays with remarkable
liquidity, bringing a late-afternoon languor to this lovely
work. The Italian band, always alluring, bring a ray of Mediterranean
sunshine to the proceedings as well. But it’s the soloist
who takes the palm, with superb articulation and purity of tone.
Whether it’s leaps or trills, high or low, Marzi sails
through this music with ease. It’s very impressive, both
as a performance and as a recording. Initially I was rather
dubious about the need for so many microphones - all listed
in the booklet
- but the sheer range and beauty of sound they capture speaks
for itself.
Now the Ibert Concertino - also dedicated to Raschèr
- really does need plenty of chutzpah. The Allegro
con moto is full of wit and sparkle, both qualities that
Marzi underlines in his performance. That said, I did find
myself gravitating towards Rousseau’s more infectious
rhythms and general joie de vivre. The Larghetto is
another matter, though; here Marzi’s resonant, somewhat
melancholic, sax sound is utterly captivating. I may have quibbled
about the
lack of nuance and shading in the Glazunov but there are no
such reservations here. And even though Rousseau and Marzi
are evenly
matched in the Animato molto, the more tactile Arts recording
might well be the deciding factor for some listeners. That goes
for both the CD and SACD layers.
The burbling rhythms of Milhaud’s Scaramouche -
originally scored for two pianos - hold no terrors for Marzi,
whose insouciant style suits the music rather well. But it’s
in the mournful melodies of the second movement, marked Modéré, that
Marzi really shines. Indeed, this is the kind of playing that
induces goose bumps, such is the phenomenal breath control on
display. Schellenberger is a discreet accompanist, the orchestra
naturally balanced and, in the sultry Braziliera, alive
to the work’s exotic rhythms. Some might prefer a more
loose-limbed approach to this music but really Marzi’s Scaramouche is
as good as it gets.
The South American theme continues in the Villa-Lobos Fantasia, scored
for either soprano or tenor sax; it may seem low key after the
Milhaud, but what the opening movement lacks in sheer energy
it makes up for in general sophistication. Harle is wonderfully
assured here, Marzi even more so. Unfortunately the EMI recording
is rather distant, which means you have to crank up the volume
somewhat. The Arts disc needs no such tweaking, the full-bodied
orchestra playing with point and animation throughout. The second
movement, marked Lent, emphasises the sax’s upper
registers, where the sound can so easily sound pinched. As
expected Marzi carries it off with aplomb, as he does with
the trills
and associated pyrotechnics of the closing Très animé.
The real treat in this collection is Milhaud’s La
création
du monde, surely one of the most atmospheric pieces written
for sax and orchestra. I have very fond memories of Bernstein’s
old EMI recording from Paris and shudder at Rattle’s
soupy version on his ill-advised Jazz Album from the
1980s (also on EMI). Schellenberger and his band play a vital
part in bringing
this smoky, rhythmically diverse work to life, every instrumental
detail easily heard. But it’s Marzi’s plangent playing
- and that of the band’s lively percussionists - that
deserves the most praise at this point.
Despite my initial reservations - which seem nit-picky now
- this has turned out to be a very special disc indeed. It’s
made even more desirable by the addition of detailed, well-written
liner notes - with cue points - that concentrate on the music
rather than the performers. Other labels, please take note.
Performance, sound and presentation all speak of high production
values. A
feast for all sax fans.
Dan Morgan