Listening to
this album now it is reminiscent of an era long since gone, a hail to the past
and yet still a pinnacle album for classical saxophonists.
Although only
being released just over ten years ago the album features recordings done in
the early twentieth century by the ‘father’ of the saxophone Marcel Mule. Today classical saxophone
has developed hugely in the way we approach it and the style we play diverging
from the old romantics such as Mule
and Rascher. However some aspects of
Mules playing are still mirrored today and the impact he had on the saxophone
and its potential was astounding.
The saxophone was
originally designed by Adolphe Sax as
instrument to play in ensembles to bridge the gap between the brass section and
the upper woodwind the fact that it could be a solo instrument was not really
taken seriously until Marcel Mule. Mule’s playing style and ability to
understand the instrument led him to a hugely prosperous career and opened up a
huge amount of possibilities for saxophone players. Whenever classical
saxophonists use Vibrato today, although it is used less frequently than in the
past, it is still a homage to Mr Mule. In the saxophones humble beginnings a
straight tone was used which meant no vibrato, but thanks to Mules exposure to
Jazz music and the players use of vibrato he developed a use of vibrato for the
classical saxophone and one one which we still use today, even if it is not as
excessive as on mules recordings.
The album opens
with an arrangement of Jean Phillipe Rameau’s Gavotte for violin. Mules assured tone at the beginning sets the
theme for the rest of the album. Although the saxophone and the violin are far
from similar Mule’s tone has a certain subtlety and delicacy which is similar
to the violin recordings of this piece. The first note has strength to it and leads
the piece in beautifully. The dynamics are perfect and the ends of phrases are
well directed with the saxophonist and pianist follow each other well with
expert precision.
The album
continues with mules own arrangement of Roelens Pavanne et menuet vif. A beautiful arrangement mule shows off his fluency on the saxophone with his fast runs neatly
executed with a precision only a master could show. One thing that really
strikes me about mules playing on all of these recordings is his impeccable
intonation. Playing in a time when the saxophone was relatively new and the
design was not nearly as advanced as the saxophones we play on today, Mules
tone never waivers nor does his intonation.
The album
features a lot of arrangements either by Marcel Mule or for him, this is due to
the nature of the saxophone in the classical field and as Mule was a turning
point for the saxophone as a solo instrument there wasn’t a huge amount of
‘good’ solo repertoire available to him. Fortunately throughout his life Marcel
Mule had a number of works commissioned by him or dedicated to him from highly
influential composers. One such composer that had a hugely beneficial outcome
for both Mule and the classical saxophone was Eugene Bozza. This album features
two works by Bozza; andante et scherzo (for
saxophone quartet) and concertino (for
saxophone and piano). Andante et scherzo is
still a standard for saxophone quartet today but in the time of Mule marked a
big step towards saxophone chamber music. The piece opens with a well-phrased
tenor saxophone who sings the line and creates a tender opening to the work. As
the piece progresses you hear well controlled entries from all the players each
player giving meaning to every note and never throwing away the end of the
phrase. This all builds up to a incredibly fast second movement which in my opinion
is subjected to some heavy tonguing in the lower section but with this aside is
an exciting and climactic finish. It is interesting to hear the work played by
performers who would have no doubt worked with the composer.
The album not
only featuring solo and small chamber ensembles works also features one of the
earliest recordings of a pinnacle work for the saxophone and orchestra. The
Ibert Concertino de Camera is
regarded as a virtuosic piece for the saxophone and although other concerto’s
for the saxophone, such as the Glazunov, Concertino
de Camera for me is the pinnacle concerto for showing off the saxophones
ability as a classical instrument. Mule’s recording showcases his true
virtuosity although for me the work is not the same without the altissimo
passages. Mule at the time could not play in the altissimo register which is a
true shame as with the altissimo passages this recording for me would be
perfect.
Overall this
album is fantastic and it is great to every now and then revert back to listening
to the ‘original’ classical saxophonists to know how far the classical
saxophone has developed in such a short space of time.
