BY ANTONIA ZAPPIA
‘Painting Music’
Petrichor Sax
Glebe Justice Centre, October 31
Let me start this review with a gripe – I have had to condense five-and-a-half pages worth of notes into one because this concert was simply fantastic.
I left the Glebe Justice Centre a little richer in musical experience than when I had entered. The Centre is a boxlike venue and sound baffles were an appropriate idea as sitting to the sidelines meant anything above mezzo forte was a strain on the ears. Petrichor made excellent use of the space with four comfy couches aligning with either side of the rows of chairs. They’re a popular group, too, as I counted only seven empty seats.
For the the first half of the concert, I lounged on a couch to the right hand side. Petrichor’s brilliant saxophonist Lachlan McDonald introduced visual artist Talia Nardo as she assembled her canvas ready to paint inspiration drawn from the music. I watched the outside turn grey and miserable as I was warmed by the golden loveliness of Barber’s ‘Summer Music’. Originally written for wind quintet, this piece was skilfully arranged by Petrichor’s alto saxophonist Alice Vita Morgan. The ensemble’s pinpoint-accurate intonation was a joy to listen to. Following the Barber, Will Yaxley’s ‘Clock Malfunction’ was technically stunning and marvellously inventive – using the clicks and clacks of the soprano saxophone’s keypads to set a warping melody against steady percussion. Mary Osborn released a sigh in the middle of the piece, allowing herself and the awestruck audience to catch our breaths. Sheer athleticism was required in this piece and Osborn truly delivered.
It is noteworthy that six out of the eight pieces played in the program were contemporary and written in the 2010s. Ciaran Frame’s ‘Spin Lattice Relaxation’ was vicious and visceral. It mimicked the phases of an MRI machine with hearty dissonances pitched against electro acoustics that would make even a seasoned horror writer turn green – a Halloween treat. Tenor saxophonist Carlo Antonioli introduced Glazunov’s ‘Saxophone Quartet in B-flat Op.109’ with a disclaimer: ‘There is very little opportunity for us to catch a breath’. The shortness of breath was well worth it, as the ensemble work here was something spectacular. Antonioli and baritone saxophonist Laura Andrew showed off the fullness and richness of their lower registers in the third movement ‘A la Schumann’.
The atmosphere of this concert was so relaxed that intermission was welcomed by the younger patrons with a removal of their shoes and a resettling on the couches. I opted to move to the middle of the room to enjoy listening from a different vantage point. Composers Elizabeth Jigalin, Kezia Yap, Matthew Levy and Harry Burgess were featured in the second half and their works were colourfully versatile. Jigalin’s ‘elastick’ for baritone saxophone, piano accordion and electric guitar juxtaposed warm timbres against textural oddities such as slap tonguing. There was a little joke made about Yap’s detailed program notes but, as a viewer, I must say I found their insight offered a richer understanding of the gorgeous sketches in ‘tangents’.
Levy’s ‘Above’ had a gentle solemness about it with harmonics from the soprano that suspended beautifully. Burgess’ ‘Painting Music’ was accompanied by Nardo’s stunning painting of a cityscape with gold, hyacinth and crimson hues. I wish the concert had finished on this piece, as its groove and witty interplay between melodic lines was such a delight. ‘Ulla in Africa’ was a well deserved encore albeit a little twee.
To the composers, visual artist Talia Nardo and the members of Petrichor Sax, I would like to extend a hearty congratulations on an extraordinary concert full of outstanding playing and inspiring collaboration. This ensemble is worth keeping an eye on!
Images supplied. Photo: Sam Andrew. Painting: Talia Nardo.
