Rolf MARTINSSON (b. 1956)
Golden Harmony. Soprano Saxophone Concerto No. 1 (2012) [25:08]
Sven-David SANDSTRÖM (b. 1942)
Four Pieces for Soprano Saxophone and Symphonic Band (2003)
[12:01]
Anders ELIASSON (b. 1947)
Concerto for Soprano Saxophone and String Orchestra (2002/2008) [31:01]
Anders Paulsson (soprano saxophone)
NorrlandsOperan Symphony Orchestra/Christoph Altstaedt (Martinsson);
Helsingborg Symphony Orchestra/Tobias Ringborg (Sandström);
Norrköping Symphony Orchestra/Johannes Gustavsson (Eliasson)
rec. Helsingborg Concert Hall, Helsingborg 30-31 May 2011; De
Geerhallen, Norrköping 31 May and 1-2 June 2012 (Eliasson);
In Norrlandsoperan, Umeå, 7-8 September 2012 (Martinsson)
PHONO SUECIA PSCD 188 [69:00]
Swedish saxophone player Anders Paulsson (b. 1961) has his roots
in both jazz and classical territories. Having started with
recorder he then took up the clarinet and from there explored
the saxophone family before finally settling with the highest
specimen, the soprano saxophone. For jazz-diggers of my generation
who got to know all the big names through Voice of America’s
shortwave broadcasts in the fifties and early sixties, this
instrument is forever associated with Sidney Bechet. His meaty
tone and wide vibrato - someone even likened it to the neighing
of a horse - made for a memorable signature. Anders Paulsson’s
tone is lean, clean and beautiful. Technically he probably has
few if any peers.
Of the three works on this disc Rolf Martinsson’s Golden
Harmony is the newest, composed during the summer 2012 and
premiered the same September at Norrlandsoperan. The first movement,
Tranquillo, is immensely beautiful, the soprano saxophone
weaving long, melodious cantilenas above or in front of a luminous
orchestral tapestry. The atmosphere is relaxed jazzy. Like the
soloist Martinsson also has one leg in the jazz camp and sometimes
I get the feeling of listening to film music. No offence intended
- for me film music is a positive word, music that expresses
intimate feelings. These many years I have had a soft spot for
Franz Waxman’s A Place in the Sun, and though Martinsson’s
music is something quite different they have the saxophone in
common. Long stretches in Golden Harmony are unaccompanied
solos. Where the orchestra is present the fabric is often very
transparent. In other places Gil Evans could have been an inspiration.
The first movement is by far the longest, covering more than
half the total playing time. The second movement follows attacca
and the general mood is the same as before. The third movement,
Energico, lets loose the adrenalin and, rhythmically
thrilling, brings the composition to a riveting end.
Sven-David Sandström’s contribution to this disc
doesn’t claim to be a concerto. The four short pieces
are organised to function as a symphonic structure with a slow
and sorrowful second movement and a light-hearted and talkative
scherzo third movement. There are two more dramatic outer movements,
both with percussion: the first nervously flickering phrases
punctuated by heavy brass chords, the fourth intensely rhythmic.
This is entertaining music in the best sense of the word.
Anders Eliasson’s concerto is a reworking of his concerto
for alto saxophone from 2002. The work is in one long span but
within that frame one can detect movements of differing character.
The soloist is at work practically incessantly and considering
the length of the composition, more than half an hour, this
requires a player with impressive stamina. Moreover the tessitura
is generally very high. It is a very beautiful work, full of
contrasts. The finale is an accelerando where the soloist gradually
climbs to a penetrating climactic note.
As always with Phono Suecia’s productions the technical
side is impeccable with excellent sound and orchestral playing
of the highest order and Anders Paulsson is phenomenally assured
in his solo playing.
A fascinating and accessible disc with marvellous music. It
should win many new proselytes for contemporary music.
Göran Forsling
A fascinating and accessible disc with marvellous music. It
should win many new proselytes for contemporary music.
see also review by Rob Barnett
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