{"id":5389,"date":"2013-10-09T14:30:38","date_gmt":"2013-10-09T13:30:38","guid":{"rendered":"http:\/\/blogs.kent.ac.uk\/music-matters\/?p=5389"},"modified":"2013-10-09T14:30:38","modified_gmt":"2013-10-09T13:30:38","slug":"blistering-appearance-by-marici-saxes-launches-lunchtime-concert-series","status":"publish","type":"post","link":"https:\/\/blogs.kent.ac.uk\/music-matters\/2013\/10\/09\/blistering-appearance-by-marici-saxes-launches-lunchtime-concert-series\/","title":{"rendered":"Blistering appearance by Marici Saxes launches lunchtime concert series"},"content":{"rendered":"

This year’s lunchtime concert series burst into ecstatic life with a visit from the ebullient Marici Saxes<\/strong><\/a>, launching the year-long monthly series at the Colyer-Fergusson Hall.<\/p>\n

\"In
In rehearsal: Marici Saxes<\/figcaption><\/figure>\n

The set opened with Michael Nymans’s Chasing Sheep Is Best Left To Shepherds, <\/em>with the group in rhythmic, robust form. The tour of Britain continued with music by the late Richard Rodney Bennett, three sections from Travel Notes<\/em>; the lyrical, arcing melody in ‘Helicopter’ effortlessly played by Sally McTaggart on soprano saxophone (a late stand-in for the indisposed Sarah Field, whom we wish well). There was a lively, jocular air to the final ‘Car Chase’ that showed to the full the wonderfully liquid grace of the group’s ensemble-playing, and demonstrated they have a real affinity for this repertoire.<\/p>\n

Michael Torke’s July<\/em> is a tour de force<\/em> for a sax ensemble, and was here delivered with assurance and a firm grasp of its rhythmic drive, coupled with contrasting, elegaic melodies. There was a punchy, vibrant swagger to the piece which was bursting with vigour, as the group ducked and dived in terrific unison through Torke’s no-holds-barred minimalism.<\/p>\n

A change of mood next in Piazzolla’s ‘Cafe 1930’ from his Histoire de Tango<\/em>, originally written for flute and guitar but here rendered for ensemble that had gently weaving lines spiralling up through the group.<\/p>\n

Baritone saxophonist Josie Simmons turned composer for First Moon<\/em> which followed, and showed a keen ear for dissonance in the opening chords, turning into a rhapsodic melody before springing to life in some mischievious post-minimalist textural writing, including some fiercly-skirling arabesques for the soprano sax.<\/p>\n

The group ended its recital with the show-stopping Hoe Down<\/em> by Will Gregory, in a performance that was truly hair-raisingly exciting, with some blistering agility displayed by Josie on baritone, who demonstrated that the instrument can be just as mobile as its smaller counterparts.<\/p>\n

The piece, and the concert itself, was greeted with a roof-raising ovation from an enthralled audience, including a group of schoolchildren who were clearly held spellbound throughout the gig. A top-notch performance, delivered by an ensemble in fighting form. Catch them when you can…<\/p>\n

\"Furley
Sponsors of the Lunchtime Concert series<\/figcaption><\/figure>\n