Quator Avena maak gebruik van 'n sopraan-, alt-, tenoor- en bariton saksofoon. Hulle instrumente het geblink en perfekte klank voortgebring. Dit bly vreemd om van houtblasers te praat, waaronder saksofone resorteer. Houtblaas-instrumente word met een riet gespeel daarom die kategorie, terwyl koperblaasinstrumente twee riete gebruik.
The carefully selected programme started with a piece by Igor Stravinsky - Five easy Pieces - originally composed for the piano but adapted for saxophone. Stravinsky largely abandoned combinations and geared his choice of instruments precisely to the particular colours and effects that he sought. In this piece of music, discernible melodies echo throughout. The group used carefully choreographed movements to complement and clarify the music. It however never took over but added a surprise element to the specific rendition of Stravinsky's composition.
Six Bagatelles by Gyorgy Ligeti was next. Ligeti is an iconoclastic figure whose zany sense of humour comes through in his music. His range of music is wide and some pieces are very rhythmical with precision timing, always with great emotional intensity. The alt and baritone saxophones contributed to an eerie atmosphere in some parts. The same repetitive part throughout the piece binds the different movements together although they portray different sounds and emotions. The fourth movement sounded like a royal kinglike announcement. By this time the audience was aware of the high standard of music presented and were ready for the crowning glory of the concert: Ciudades (cities in Spanish) by Lago.
Die genot van saam musiekmaak was duidelik waarneembaar by die musikante. Elke beweging van hierdie aangrypende stuk musiek, beeld 'n spesifieke emosie of stad uit. Die eerste beweging se emosie van droefheid en lyding het nie net deur die musiek jou aangespreek nie, maar ook deur die musikante se bypassende lyftaal en bewegings. Passie en liefde is verbeeld deur die tweede beweging terwyl Monteverdi daarna "geskilder" is met vinnige lopies en teniese presieshed in die ensemble se spel. 'n Aangrypende melodielyn en treffende spel deur die sopraan saksofoon, het in die daaropvolgende beweging ons van sentimentaliteit en trane vertel. Tokyo was volgende aan die beurt om daarna af te sluit met polsende Afrika ritmes van Adesabbaba met musiek wat klink soos klokke wat beier. Die gehoor se applous was luid en lank en fluite en stampende voete het die musikante se gesigte laat opgehelder met glimlagte van genoegdoening.
Three Preludes by Gershwin came next and the swinging jazz rhythms suited the baritone saxophone to a tee. There is no missing the freewheeling spontaneity of the piece - it is both exhilarating and totally disarming. Gershwin brought American pop music into the concert hall and achieved melodic inventions and memorability.
The musicians, all from different parts of the world, are all studying for their master degrees under P Geiss, who composed the last piece on the programme, Patchwork. It was written with the cathedral in Strasbourg as backdrop to the music. This is quite a modern piece with a surprise oral citation in between. One member of the audience named it the musical Haka of the evening! This piece was written in avant-garde style with amusing and quaint jazz sounds. Humour and harmonies popped up and the baritone's pulsating rhythms (played by Adam Cambell of South Africa) dominated at the end.
'n Wonderlike leersame en verrassende aand is afgesluit met die gehoor wat spontaan saam met die musiek hande geklap het.
We will remember Quator Avena for their passion for the music and pleasure playing together. No wonder they are considered one of Europe's most vibrant and talented saxophone quartets. We would love to hear them again in Stilbaai.
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