Here is a disc that should be compulsory listening
for anyone who is of the opinion that contemporary music cannot possibly
be entertaining, exhilarating or sheer fun. Don’t be put off by the
names of John Cage or Iannis Xenakis for I defy anyone not to be amazed,
fascinated or at the very least simply interested in the tremendous
diversity that these six works for percussion ensemble offer.
Himself one of the world’s leading percussionists,
Peter Sadlo has assembled a multi-cultural and hugely talented group
of musicians from as far afield as Chile (Claudio Estay), the West African
state of Guinea (Famadi Sako), China, Australia and, closer to home,
Hungary and Germany. It is this cross-fertilization of cultures that
is exploited in the music, from the indigenous Australian sounds of
Dean Wilmington’s Heat, to the wild, South American rhythms of
Improvisation Latino by Nandor Weisz.
Dean Wilmington’s work commences with the extraordinary
sound of the Bull-Roarer, a kind of bass didgeridoo that the Aboriginals
use to call up spirits. There is a truly elemental atmosphere to this
piece; one can almost feel the blazing heat of the outback and the scorched
earth underfoot as Wilmington fuses native Australian sounds with those
of modern jazz to create an unlikely yet highly effective work. John
Cage’s complex but never less than exhilarating Third Construction
accumulates its "heat" in a contrasting manner, latent rhythmic
energy that builds to a final climax of almost manic intensity. Highly
imaginative in its use of a bewildering variety of instruments this
work is by a true pioneer of the genre. Matthias Schmitt’s Ghanaia
started out as a piece for solo marimba and still features a very prominent
part for the instrument although having been expanded by the group into
an ensemble piece. The deceptively atmospheric opening, an appeal to
the villagers to a dance festival, soon gives way to an exciting Ghanaian
dance rhythm, featuring the talents of African master drummer Famadi
Sako and led by the bass drum or "doun doun". Xenakis’s Psappha
is the only work on the disc for solo performer and as such sits slightly
at odds with its more heavily scored counterparts. Here Xenakis prescribes
the dynamics, tempo and rhythm whilst allowing the performer the freedom
to select the instruments. Although brilliantly played by Peter Sadlo,
the work comes across as a little dated when listened to alongside the
still newly minted sounding Cage work. The African connection already
explored we move to Japan for Minoru Miki’s Marimba Spiritual,
with traditional Japanese melodies and Kodo drummers the principal influences.
As the title implies, the marimba carries the main melodic impetus,
Miki initially exploring metallic instruments and switching to wooden
instruments for a second recitative part way through the work. It is
not difficult to see why Improvisation Latino by Nandor Weisz
was chosen to bring the disc to a conclusion. A thrilling adrenaline
rush of South American rhythms, much of the music is improvised using
a bizarre variety of everyday items including dustbin lids, household
brooms and car springs. The result is hugely effective and must also,
as with most of this music, have a tremendous visual impact when performed
in concert. Fantastic stuff.
Aided by recorded sound of the highest order Peter
Sadlo and Friends offer virtuosity and variety in abundance. This is
a disc that has taken me somewhat by surprise but is possibly the best
recording of works for percussion ensemble I have ever heard and definitely
not just for percussion junkies. I would recommend anyone to give it
a go.
Christopher Thomas.
Peter Sadlo and Friends