Rhapsody - a beautifully constructed programme from Huw Wiggin (saxophone) and Noriko Ogawa (piano)

Saxophonist Huw Wiggin is well known both as a soloist and as a member of the Ferio Saxophone Quartet (my reviews of their discs here, here and here). He also released Reflections back in 2018 (my review here), and he has now followed that up, this time joined by the pianist Noriko Ogawa. This new collection, Rhapsody, was another lockdown-conceived project, and Wiggin and Ogawa have come up with a fascinating programme. Commissions from three composers join works by Debussy and Coates, ending with an arrangement of Liszt. Claude Debussy’s (1862-1918) Rhapsodie pour orchestra et saxophone kicks off, in an arrangement by Vincent David (b.1974). In fact, Debussy never orchestrated the work himself, with that task falling to Jean Roger-Ducasse, and the work was not performed until the year after Debussy’s death. It was commissioned by Elise Hall, a wealthy patron and musician who had taken up the saxophone, who was keen to extend the repertoire for the instrument. Accepting the commission, Debussy struggled to complete the project, and as a result it perhaps lacks the coherence of some of his other works. Nevertheless, there is some gloriously mellifluous writing for the saxophone, as well as infectiously throbbing rhythms in the latter part of the piece. Ogawa’s ethereal opening on the piano sets things up for Wiggin’s sensuous rising out of the ether, and the tone of the two instruments is beautifully matched. In the livelier middle section, the music ripples and flows along, and Ogawa in particular drives things along with the throbbing left hand rhythms which linger as relaxed calm returns, before sudden hammering repeated piano notes herald rapid motion for both instruments.

Eric Coates’ (1886-1957) Saxo-Rhapsody was at the time a successful showpiece for the instrument, but is now seldom heard. It has a relaxed warmth that is immediately engaging, and Ogawa exploits this gentle warmth in the lengthy piano introduction, before Wiggin enters with the smooth melody over soft pulsing piano chords. In the slow, swaying rhythm, Wiggin demonstrates his phenomenal breath control, floating long high notes effortlessly. The livelier central section dances along, with surging piano climaxes and rapid virtuosity for the sax. Gently lapping waves conclude the work, with the sax perhaps sailing out to sea, with another beautifully controlled long final note from Wiggin.

 

So now to the new commissions. First up is Joseph Phibbs (b.1974), with Night Paths (Rhapsody for alto saxophone and piano). Rich sax melodies weave around the piano’s chiming and rippling. The questioning sax becomes slightly more insistent, and then the piano becomes more dominant in response, driving the rhythm forward into a faster section. This conversation continues, with the sax becoming more animated in turn. Then comes a more bluesy, introspective section, with the sax hanging in the air above subtle, dark piano chords, and then a brief virtuosic coda brings things to a rapid conclusion. Wiggin and Ogawa’s exchanges are engaging, once again matching tone and mood beautifully.

 

Iain Farrington’s (b.1977) Paganini Patterns draws on the familiar and widely explored theme from the 24^th Caprice, but rather than going down the variation route he uses elements from the theme as more of an inspiration in this three movement piece for the soprano sax and piano. The opening movement is jauntily playful, with swinging exchanges between the instruments, whilst the middle movement moves into a more sensuous, cabaret-style mood, with hints of the theme in the melodic line and bluesy piano accompaniment. The final movement is a jazzy gallop, with the piano driving the rhythm beneath the freer expression from the sax. This is a joyful addition to the extensive Paganini-inspired catalogue, and a great showpiece for both players here.

 

Composer Jennifer Watson (b. 1984) is also a fellow saxophonist (performing with the Kaleidoscope Saxophone Quartet) who studied alongside Wiggin at Chetham’s and the RNCM. In Rhapsody on an Echo Chamber, for soprano saxophone and piano, she explores ideas of isolation across three connected movements with captivatingly introspective intensity. So in the first movement, the lyrical, flighty sax rises and falls like a butterfly above the moto perpetuo piano, although there is a sense of confinement, as if the butterfly can’t quite escape. Wiggin demonstrates his athletic articulation well here, before things slow to a more emphatic statement, leading into the second movement, with the saxophone now following the piano’s lead. As the piano relaxes into more lilting triplet figurations, the sax soars gently above, and once again, Wiggin’s smoothness of line is glorious. The piano’s triplets turn to trilling in an attempt to increase the intensity, but this doesn’t fully take hold, with butterfly effects on the sax returning, before the join into the final movement. Repeated piano notes set up a more rhythmically pulsing mood, and now the intensity does build, with the sax exploring both the higher (but never shrill from Wiggin) and lower registers of the instrument, over lush piano textures. Minimalist rippling figures lead to the conclusion, with a wind down to slow chords and a simple sax line, with Wiggin once again effortlessly controlling a long final note. This is the most successful for me of the three commissions, with coherent and developed use of the saxophone’s capabilities. 

 

To end their disc, there is a fun arrangement from Harrington of Franz Liszt’s (1811-1886) Hungarian Rhapsody No. 2 in C sharp minor. In the stately opening, Wiggin immediately injects a cheeky sensuality, with Ogawa gently responding on the piano. Ogawa gives us bell-like filigree as the swirling dance picks up, and then with the shift into the major, they both take off like a bullet. Wiggin’s comic cartoon flourishes are great fun, and both players enjoy the increasing virtuosic requirements, with some incredibly tight, crazy chromatic scales before the final flourish. 

 

Overall, this is a beautifully constructed programme with delights new and old, from two musicians clearly in tune with each other and their repertoire. Highly recommended. 

Various. 2023. Rhapsody. Huw Wiggin, Noriko Ogawa. Compact Disc. Orchid Classics. ORC100216.