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New Century Saxophone Quartet Press New Century Saxophone Quartet Press KALAMAZOO GAZETTE Thursday, July 12, 2007 Saxophone ensemble shows off versatility By C.J. Gianakaris uesday in South Haven and Precise, synchronized playing Wednesday night at Brook Lodge T in Augusta, Fontana Chamber Arts was matched by a balanced presented the New Century blend … A total winner. Saxophone Quartet. Its playing of a wide range of works, by seven different By the last half of the concert, it composers, initiated the audience in the became clear that certain compositions musical possibilities of such ensembles. lend themselves more to saxophone sound The New Century features Michael than others. The first section of Astor Stephenson on soprano saxophone, Chris- Piazzolla’s marvelous “Histoire du topher Hemingway on alto saxophone, Tango,” arranged by Claude Voirpy, was Stephen Pollock on tenor saxophone and a total winner. Infectious tango rhythms Connie Frigo on baritone saxophone. worked well for saxes, as did tapping of After marching in while playing Bob the instrument’s body — a technique Mintzer’s invigorating “Contraption,” the heard often in Piazzolla’s music. ensemble turned to five selections from George Gershwin’s great American J.S. Bach’s “Art of the Fugue,” BMV opera “Porgy and Bess” also sounded 1080. Immediately impressive was the especially fine. Our ears are accustomed velvety aura emanating from different to hearing Gershwin played with soaring saxophones possessing varying ranges. reed instruments, clarinet or sax, Precise, synchronized playing was deliberately scored. So the sounds were matched by a balanced blend, suggesting warm and familiar. saxophones could present Bach’s works as well as other instruments. Robert Besen, Director | 508 First Street, Suite 4W | Hoboken, NJ 07030-7823 T 201-386-8565 | F 201-386-8564 | [email protected] | www.BesenArts.com New Century Saxophone Quartet Press International Record Review June 2004 J.S. Bach with his sight fading fast, had really lost recording but a devotedly virtuoso the plot. Nowadays I can barely listen to traversa1 of some of the most mind- The Art of Fugue, BWV 1080. this breathtaking musical valediction bogglingly ingenious and inspired exam- New Century Saxophone Quartet without tears in my eyes — the moment ples of counterpoint ever committed to (Michael Stephenson, soprano saxo- when the work’s crowning Contrapunctus manuscript. The New Century Saxo- phone; Christopher Hemingway, alto peters out, representing the last creative phone Quartet are technically unimpeach- saxophone; Stephen Pollock, tenor saxo- gasps of the most colossal creative genius able and (unusually for a saxophone phone; Brad Hubbard. baritone saxo- music has ever witnessed, I still find ensemble) play with impeccable intona- phone). unbearably poignant. tion and coordination. As Bach’s Channel Classics CCSSA20204 (full counterpoint magically interweaves, so price, 1 hour 18 minutes). Website This is no ordinary recording, one senses more than usual the work’s www.channelclassics.com. but a devotedly virtuoso linear complexity. Here the music feels Producer/Engineer C. Jared Sacks. Dates less like a tour de force of technical January and August 2003. traversal of some of the most ingenuity founded upon foursquare har- mind-bogglingly ingenious monic principles than a sublime frisson Bach’s contrapuntal genius is virtually and inspired examples of of horizontal inter-reaction that dictates indestructible, so it should come as no the harmonic outcome as it proceeds. surprise to learn that The Art of Fugue counterpoint ever committed Listened to in stereo this skilfully engi- sounds as wonderful as ever when played to manuscript. A revelation. neered performance balances the various on four saxophones, unconventional lines immaculately, ensuring that each though it may seem at first (imagine So to the present recording, which pre- instrument registers with equal weight doing the same to, say, Beethoven!). My sents virtually the entire work, with the and clarity within a gentle ambience. first experience, too many years ago to exception of Contrapunctus 17, whose Activate the SACD 5.0 surround track mention, of The Art of Fugue was via a multi-linear complexities are beyond the and the music takes on a further dimen- dour, furrowed-brow reading from a dis- reach of four voices, and Contrapunctus sion as the four lines open up before your tinguished German organist of the time. 18, which, although recorded, was omit- ears, cocooning the listener in a complex My head was then so full of such choral ted from the final edit due to timing con- web of directional events that illuminates splendours as the B minor Mass and straints. The culmination of eight years Bach’s thought processes as never before Magnificat that Bach’s staggering last of study and fine-timing, helped in the in my experience. A revelation. musical will and testament struck me ini- latter stages by Baroque flute specialist —Julian Haylock tially as the work of art old man who, Stephen Preston, this is no ordinary Robert Besen, Director | 508 First Street, Suite 4W | Hoboken, NJ 07030-7823 T 201-386-8565 | F 201-386-8564 | [email protected] | www.BesenArts.com New Century Saxophone Quartet Press Christmasreviews.com Fall 2004 A New Century Christmas anting a little sax this Merry Gentle Mensch” are funny, funk- Christmas? The always exciting alicious wonders that immediately catch WNew Century Saxophone Quar- your attention. Pickett, a former Tower of tet (NCSQ) presents a fascinating concept Power member, describes Christmas as album with fresh holiday sounds on “A his “least favorite holiday” and certainly New Century Christmas.” Have a listen brought a twisted talent to the project. (after all, one cannot have too much sax) — this saxophone extravaganza is a first- A first-class sleigh ride. class sleigh ride. When the NCSQ decided to assemble a Do not, however, imagine that “A New holiday album, they commissioned ori- Century Christmas” will sit quietly ginal works by a dozen composer-friends gathering dust on the shelf as a bizarre (Benjamin Boone, Lawrence Dillon, novelty album. The songs are all solid Arthur Frackenpohl, Gordon Goodwin, holiday renderings in their own right. Glenn Haynes, Brad Hubbard, Ben Although the NCSQ and this album are Johnston, David Ott, Lenny Pickett, not for all tastes, the music is top-quality, Ronald Rudkin, Jeff Schiller, Ken Valit- albeit avant-garde. Some tunes are gentle sky). The composers were free to follow interpretations that embrace the season in or ignore the melody lines to their hearts’ a creative fashion, but with largely tradi- content. The result is a relatively tional strains (these include “The First eccentric, but superbly crafted, “collection Noel,” “We Wish You a Merry Christ- of original music that is eclectic, witty, mas,” and the “Christmas Medley”). serious, silly, and different” (as the NCSQ Others provide adventurous departures themselves describe it). Bravo! The from the usual routes, and it’s a fascin- NCSQ achieved their goal, and that is ating trip. good news for those who love holiday For pure fun, the Pickett numbers are a music and are searching for that some- hoot and should not be missed. As for the thing special this Christmas season. In rest, every song has true holiday merit and order to navigate this adventurous ground, deserves serious consideration. The New the extensive liner notes provide an inval- Century Saxophone Quartet certainly has uable resource, laying out the thoughts of my attention this Christmas season. If you each composer for each piece. love stylish sax in innovative styles, “A This instrumental album is an absolute New Century Christmas” should grab delight, and the high points are numerous. your attention, too. Lenny Pickett’s two tunes are genuine showstoppers: “Funkin’ with the Bells” —Carol Swanson (the opening track) and “God Rest Ye Robert Besen, Director | 508 First Street, Suite 4W | Hoboken, NJ 07030-7823 T 201-386-8565 | F 201-386-8564 | [email protected] | www.BesenArts.com New Century Saxophone Quartet Press Raleigh, North Carolina Saturday, September 23, 2000 Tidal Wave of Sound A surge of concerts inundates the calendar this weekend By John W. Lambert he season begins with a vengeance, he tends to be pretty straightforward. bringing in a single week at least (Chances are he won’t appear in T eight appealing programs. These clodhoppers, either - although he might include the Jerusalem Lyric Trio, need them due to construction at the site). appearing Thursday at the Freeman Center for Jewish Life. Friday’s lineups present Doing for saxophones tough choices as the Kiev Symphony Orchestra and Chorus return to the what Casals did for the Triangle for a concert in Page Auditorium; the N.C. Symphony offers cello and Segovia, for the first of two Memorial Auditorium the guitar. programs (the second is on the 23rd) featuring the premiere of a consortium- And despite their mod publicity photos, commissioned Concerto for saxophone those “New Centurians,” who performed quartet by Peter Schickele (the alter-ego at the NCMA last January, are of P.D.Q. Bach), played by the New consummate, serious artists (with strong Century ensemble; and Women’s Voices NCSA ties) who are doing for saxophones presents in University United Methodist what Casals did for the cello and Segovia, Church “A Room of Her Own,” twice for the guitar. postponed due to the great storm of ‘00. The Schickele piece is likely to be unusual but not “funny” per se, for when the composer’s not in his “P.D.Q.” mode, © 2000 Spectator Magazine. Reprinted with permission. Robert Besen, Director | 508 First Street, Suite 4W | Hoboken NJ 07030-7823 T 201-386-8565 | F 201-386-8564 | [email protected] | www.BesenArts.com New Century Saxophone Quartet Press The Washington Post Saturday, April 5, 1997 New Century Saxophone Quartet by JOAN REINTHALER The saxophone is not a reticent instru- second movement a slow and pulsing ment.
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