Mauro Martins
Pianist: Bernado Pinhal
MDM Recordings:
In the current era of euphonium virtuosity it’s easy to be blinded by the chromium-bling of technical excess.
However, far too often it is nothing more than a Faustian pact – a display of exponential exhibitionism at the expense of musicality.
Thankfully, Mauro Martins has long recognised the dangers of selling the musical soul to the Devil - his debut CD ‘Flow’ in 2021 (which also featured the superb pianist Bernado Pinhal) setting clearly accomplished levels of exploration as well as exploitation.
He builds on that with his release, although he does tempt fate somewhat with the opening track - as he does with the almost unforgiveable modern day sin of using a QR Code link instead of publishing an accompanying booklet.
Demonic display
Yvan Lagger’s composition is a demonic display of restless excess that surrounds a central section of reflection. Beelzebub is repelled thanks to Martins' expertly controlled appreciation of the finest lines of boundary taking.
Beelzebub is repelled thanks to Martins' expertly controlled appreciation of the finest lines of boundary taking.
Confessional imploring
Paganini’s mother allegedly sold her son’s soul to the Devil. His concert appearances were certainly said to be demonic, although with ‘Cantabile’ written at the height of his fame and prowess, he reveals an intimacy of almost confessional imploring for his perceived diabolic sins (and his audiences certainly thought of many) – ones given a sense of forgiving absolution by the soloist.
he reveals an intimacy of almost confessional imploring for his perceived diabolic sins – ones given a sense of forgiving absolution by the soloist.
There is also much to enjoy with Telmo Marques’ ‘Waxed Floor’ with its clever twist of inventiveness and little hints of Joni Mitchell. It’s as if an old visitor reignites memories of youthful pleasures and mishaps in the over-polished reflection of a dance hall floor.
Set against it are the deeper emotive reflections settle with Sigvart Dagsland’s familiar ‘Michelangelo’, played with deceptive simplicity.
Deeper emotive reflections settle with Sigvart Dagsland’s familiar ‘Michelangelo’, played with deceptive simplicity.
The somewhat veneered coverings of ‘Pulse’ by Thomas Doss (another composer well known for exploring Faustian psychology) and Paul Lovatt-Cooper’s ‘With His First Breath’ are perhaps a little less successful although played with panache.
The first, originally written for baritone, the other taken from a test-piece, they lack the crafted subtleties of Joseph Turrin’s ‘Concert Piece No. 1’, and Frank Bridge’s darkly idyllic ‘Meditation’ from his ‘Four Short Pieces for Violin’.
Expressive freedom
Roland Sventpali’s ‘Pearls’ was written in 2000 for Steven Mead as part of a wider collection of pieces for brass instruments – the opening inspired by the composer’s love for the iconic Ducati SPS916 motorcycle (which blended heavenly beauty with hellish speed), the second a love ballad, the finale, admiration for a dancer’s agility.
Martins’ revels in the portraiture, mixing playful danger on the rev counter to open, with touching furtiveness in the central section and a supple expressive freedom to close.
Iwan Fox
To purchase: mauroeuphonium@gmail.com
Play list:
1. The Devil's Virtuosity (Yvan Lagger)
2. Cantabile (Niccolo Paganini)
3. Pulse (Thomas Doss)
4. With His First Breath (Paul Lovatt-Cooper)
5. Waxed Floor (Telmo Marques)
6. Michelangelo (Sigvart Dagsland)
7. Concert Piece No. 1 (Joseph Turrin)
8. Meditation (Frank Bridge)
9 Pearls: (Roland Szentpali)
i. Ducati SPS916
ii. My One and Only Love
iii. Susi
