To play these pieces Dickson has developed a revolutionary tactic of circular breathing. This enables her to deliver the long, repeated phrases that Glass writes without taking a pause.
What’s the music like?
Busy! There is plenty of energy throughout Glass’s writing, especially in the first movement of the arranged Violin Sonata, as well as the faster passages of the Concerto. In the Sonata Dickson and pianist Catherine Milledge dovetail their phrases with really impressive clarity, and largely take away the more mechanical aspects of the music. The agile finger work and incredible breath control from the saxophonist enables her to meet Glass’s challenge of long, arcing phrases.
This music can be heard in two ways – the ear can focus in on the busy movement of the inside parts, or can just as easily pan out to the slower moving harmonies, the phrases operating in bigger blocks.
The most affecting music is actually heard in the shorter pieces arranged from The Hours, and the more restrained passages of the Sonata, whose central movement has a relatively forlorn mood.
Does it all work?
Yes, particularly in the concerto where the extra colours of the orchestra add a greater range of colours and shades to Glass’s music. At times the textures of saxophone and piano can render some of the faster music in the Sonata a little dry, but Dickson’s warm and mellow sound ensures these are short lived.
Dickson plays with passion and feeling, which brings the more calculated music to life. Pianist Catherine Milledge deserves immense credit for her dexterity with some crowded piano parts!
Is it recommended?
Yes, in the main. The music of the Sonata can get a bit too busy for some tastes, but essentially it makes a nice contrast to the already well loved concerto. (Ben Hogwood)