Paul Sarcich - composer - arranger - conductor

reviews

reviews

Duets for One Marimba
'... Sarcich's own Duets for One Marimba produced some intriguing complexities, although Sarcich's transcription of Astrurias stole the virtuosic limelight.'
The Age

Percussion Mass
'Sarcich's compositional language diverts one from the altar, chiefly for the activity among the four percussionists; this is not by any means avant-garde, but it is vehement and assertive.'
The Age

'... an array of percussion instruments ... used to splendid effect in Paul Sarcich's incredible Percussion Mass.'
Sing Out

Festival Music for Brass and Percussion
'... achieving the kinds of textures that derive from symphonic brass rather than from the brass band ... fills a gap in the orchestral repertoire in an area that has been sadly neglected by composers.'
The West Australian

A Short Requiem for Brass Band
'... the changing moods of the work gave interesting contrast and combined well to give unity ...'
The Christchurch Star

Multicultural Variations on Waltzing Matilda
'... a triumph in clever rhythmic colour ...'
The Australian

Concerto for Bass Trombone
'... contains just the right balance of music from the head and music from the heart ... the best bass trombone concerto I have ever heard!'
Australian Trombone Education Magazine

Matters Arising
'... an original, exciting, tonally and rhythmically challenging musical argument, a novel sound world created by an unusual combination of instruments which also provides a vehicle for a virtuoso soloist with a clever blend of notation and improvisation ...'
Judges comments, Sounds Australian Awards

Uncover the Harp!
'... joyous stuff that caught the celebratory mood to perfection.'
The Dublin Post

The London Trumpet Sound CDs
'... the real stars of the collection are the arrangers. Paul Sarcich’s version of the Superman music is a riot ... The same arranger’s glorious take on The Carnival of Venice plays the same game.'
www.musicwebinternational.com

'Paul Sarcich’s kitschy arrangement of Carnival of Venice proves the concert’s high spot ...'
Audiophile Edition

'...brings something with a touch of quirky class to the recording.'
www.4barsrest.com

 Three English Folk Songs
'... the essentially darker vocal colour contrasted well with the lightness of Paul Sarcich’s inventive orchestration.'
Evening Herald

Sonata Circolare
'At over 13 minutes, Sonata Circolare is a substantive recital piece. The most difficulty I had with this review is presenting some sort of style reference for this piece - sometimes I hear wisps of Alec Wilder, other times Trygve Madsen, but Sarcich has a unique voice and this work is an intriguing addition to our recital repertoire. I look forward to playing it.'
Jeffrey Snedeker, The Horn Call

The London Harp Sound CD
'The wide range of dynamics and color of the harps is exploited well in the arrangements by Paul Sarcich and others.  Debussy’s complete Afternoon of a Faun sounds just beautiful with the 16 harps - one doesn’t miss the other instruments at all - it's as though he should have written it for that combination to begin with.'

Audiophile Edition
 

'Sarcich apparently asked himself several questions, along the lines of ‘can sixteen harps swing, or do Latin?’ He also had to evoke glistening sonorities, or expand on chromatic harmonies fruitfully – and both of these challenges, I have to say, have been well met. More even than these, he has had to construct an enjoyable programme. It’s this that makes this disc distinctive. He has the courage to lead with his take on Prélude à l'après-midi d'un faune which survives the transformation to plucked strings really very nicely; the languor is unbroken.'
Music Web International

 

Music for Tubes and Sticks
"Paul Sarcich's Music for Tubes and Sticks is a 1988 ITA commission for the Trombone Symposium in Brisbane: it is for tenor and bass trombones and a collection of Western and Aboriginal tubular and wooden instruments, including didgeridoo. The sound produced with such an assemblage (which also includes beer bottle and a 44-gallon drum) is, in a word, terrific."
International Trombone Association Journal

All at Sevens and Eights
"His wittily titled All at Sevens and Eights starts gruffly but opens out warmly and sympathetically, for the piano as well as the saxophone – a democratic meeting of instruments here before some rolling vibrancy is injected."

"It's a driving piece yet with indulged inclinations to muse mournfully"
MusicWeb International

 


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