National Saxophone Choir at CBSO Centre

Mar 23 2009 By Maggie Cotton

If anything can be said to have a ‘WOW’ factor, then massed saxophones fit the bill, especially when presented with imagination and musicality by The National Saxophone Choir, amassed from far and wide.

A shock tactic first entry for Bach’s Toccata set the scene for a matchless evening. Bach would have surely approved, especially of subterranean depths from the monster contrabass sax.

The first half tantalised with a tautly rhythmical lively Reel, a fun Crazy Rag containing splendid solo spots, contrasting with soft-edged subtly haunting lyricism in Piazzolla’s Oblivion. Clever arrangements, many by the group’s founder Nigel Wood, frequently emulated orchestral grandeur and magnificent organ sonorities.

Metropolitains by Schultheiss was a repetitive journey, with few contrasting dynamics, but fine playing underlying the urgency of continuous rhythms. Conductor Richard Ingham did justice to Elgar’s Nimrod sentimentality, but Bartok’s evocative Rumanian dances were leaden footed. Technically splendid, but lacking in gypsy mystery, lightness and breathing space.

7 Wonders, a new work by seven composers for 24 saxophones and two busy percussionists, is inspired by modern world wonders, each one featuring a different saxophone. Nigel Wood’s tiny and recently created soprillo sax featured in Petra, was truly evocative of the Middle East, contrasting with earlier dramatic statements of the Colloseum’s gladiatorial glories. Catherine Evison’s exquisite alto sax tone and phrasing led to foot-tapping excitement at Brazil’s awesome Christ the Redeemer statue. Altogether this innovative suite is a unique concept for five composers, exciting and accessible.

There was a final tour-de-force – no conductor, just a brilliantly presented memorised Bolero with neat, tasteful ‘choreography’ and superb playing from all quarters. Finally an irresistible foot-tapping Scottish reel sent us into the foyer for even more musical treats.