Schubert's "Arpeggione" Sonata played on a tenor sax? I confess to approaching this disc with some trepidation! The 5-stringed Arpeggione which Schubert wrote for is long extinct, and this tricky but wonderful piece is usually played on the cello, with piano accompaniment.

I needn't have worried, however; we are in the hands of some fine musicians here. The indefatigable Niels Bijl adopted the sax at the age of 12 years, and currently plays the instrument for many European orchestras, including the Royal Concertgebouw and Anima Eterna, as well as working with chamber ensembles and jazz groups. Pianist Hans-Erik Dijkstra is Bijl's partner on this disc. He is also responsible for most of the transcriptions of the music of this "Mosaic" programme .

Bijl's premise for his choice of items is that the oldest and most compelling element of music is a good tune. Invented by Sax in 1841 to fill out the tone between orchestral winds and brass, the tenor sax in particular has become a fine melodic instrument in many genres.

The disc begins with a languid and sensuous account of "Song of the Birds", a Catalonian folk tune frequently used by the great cellist Pablo Casals as an encore. Bijl and Dijkstra move on to the Schubert Sonata D 821, which is most expressively done, both in sensitive transcription and committed performance. The unusually happy-sounding first movement belies its minor key, and Bijl copes admirably with its lyrical cantabiles and tricky rapid passage work. The duo take around 2 mins longer over the first movement compared with the timings of Britten and Rostropovich's classic version, but are a little swifter and more flowing in the heavenly slow movement and also in the spirited and humorous finale. My attention was held throughout, and it occurred to me that Schubert, rather than spinning like a top in his grave, might well have called "bravo" for the sonorous liquid tones of the tenor sax, not to mention the superb support from pianist Dyjkstra.

Even more unlikely choices of music for the saxophone are the 5 Scriabin Preludes for piano, Op. 16. However, the melodic lines of the often very simple piano part are easily taken over by the sax. No. 1 is given an appropriately perfumed impressionist flavour, with the wide leaps in its melodies taken flawlessly. No.2 is a little gem of wistful elegance, rising to a passionate affirmation, and No. 3 is gently flowing and whimsical, Bijl managing very soft tones, not an easy task on a large wind instrument. The tiny No. 4 is indeed sotto voce, and here I noted some alterations of note values in the melody to give it more of a lilt. The 5th piece is an utterly charming Allegretto; pert, refined and delicious.

Faure's Nocturne Op. 43 no. 2 is not one of his famous piano nocturnes, but a French Mélodie which was a favourite of the late baritone Gerard Souzay (the text of the poem is reproduced in the booklet). Another of Bijls' lovely tunes, played without excess sentiment and made even more hauntingly lovely by the ethereally sensitive harp-playing of Maaike Bosscher.

Moving forward into C20th, the disc ends with three jazz-influenced works. "The Devil and The Deep Blue Sea" by Folkert Buis (1973) is described as a "Capriccio for Tenor Saxophone and Piano". It begins with a serene melody which is soon interrupted by dissonant jazzy and Stravinskian episodes and stormy passages. There some extraordinary and innovative sound effects from the Bijl's saxophone, cavorting amidst heroic pianism from Dijkstra. It is certainly a capricious piece, but engaging and intriguing. Track 12, Dienda by Kenny Kirkland, is a pseudo-improvisatory homage to Brandford Marsali's CD recording of the titular song, where the virtuosic piano part (played here by Rob Horsting) interacts passionately with smoky melodic strains from the sax.

After the drama of these two pieces, we are treated to a Contradanza by Paquito D'Rivers (1948), in rapid and fluent Latin style - humorous and technically dazzling.

Jos Boerland's exemplary DSD recording presents an intimate listening environment from within the Music School, Doetinchem. A gentle ambience is present, particularly in surround mode, allowing the piano and sax to develop their full timbres, yet there are no distracting clacking keys from the sax, and only gentle breaths heard from Bijl.

The Aliud label is notable for its exploration of musical by-ways, and this programme is certainly eclectic, but ultimately very attractive. My initial reservations were quickly dispelled by the sheer musicianship on offer from the players. Saxophonists will be inspired by some unusual repertoire, and If you have a spare hour or so, give this disc a spin too!

Copyright © 2011 John Miller and HRAudio.net

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