Amy Dickson
   
Glass, Tavener, & Nyman
   
   

Release Date: October 06, 2009
Produced by: Andrew Walton
Format: CD

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11/09/2009
Matt Rowe


 

To reach fearlessly into the revered works of Philip Glass, John Taverner, and Michael Nyman - and record them side by side - is a work of assured confidence, and not an easy feat.  Yet, Australian soprano saxophone virtuoso, Amy Dickson does so with nary a flinch.

She performs a delicate 3-part interpretation of Glass' Violin Concerto, arranging the work to incorporate her saxophone within the depths of this repetitious but excitingly adventurous orchestral creation.  Dickson's insertions merges seamlessly with the soft moments and the moments of repetitively ascending and descending sound swirls, a Glass signature.  Her arrangement is satisfyingly beautiful.

John Taverner is more a composer of majesty.  His compositions of religious import explore the grandeur of Orthodox events.  Few can approach his musical brilliance.  As a result, Tavener stands alone in his works.  Dickson's handling of his 1989 commissioned, The Protecting Veil, is spellbinding.  Her saxophone playing here is measured, a work of precision.  As it weaves hypnotically throughout the work, your senses are arrested as you follow her beautifully played sax parts.

Michael Nyman is a composer that brought us such memorable important works like his opera work, The Man Who Mistook His Wife For a Hat.  Nyman also works in minimalism, which brings his compositions within the same borders as Glass (and others of their adopted style).  Here, Amy Dickson interprets the single movement composition of Where the Bee Dances, a gorgeous piece that uses the flight and work of a bee as it's musical inspiration.  Her saxophone achieves a grand result as she effortlessly syncs with the music and it's intended directions.  While Dickson shines brightly throughout this wonderful album, it is here where she shines brightest.  She matches the beauty of the piece with the beauty of her skilled sax playing and she and the work become one.

Amy Dickson's apt handling of these pieces underscores her abilities to perform works from the masters with a respectful approach.  I, for one, anxiously await any new recordings bearing Amy Dickson's name.

 

 
 
 
 
 
 
 
 
 
 
 
 

 



 
     
     
     

 

 

   
 
     

 

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