Joan Martí-Frasquier invites us to a tour through some pieces that, for him, define the present and the future of music. Focused on the baritone sax, this value of statement leads him in two different directions: solo sax and its combination with the synthetic music. In the first way, Martí-Frasquier heads to an exhaustive exploration of the timbre of the instrument, which this resource becomes a goal, an objective achieved by variations of intensity, response, articulation and rhythm, as well as using other sonorities: different sorts of air sounds, voicing and key sounds. The major part of the proposed pieces is based in these elements and their different contrasts, worked on the opposition among them and the resolution by the union of opposed ideas. The most interesting of this kind of pieces is Trois rêves en musique by [José] Luis Campana (2015), a work structured in three movements with a simple idea for each one that Martí-Frasquier develops with great technical skills and timbre variety which leads us from the most absolute calm to the most unbearable irritation. The second way launch us to a not very well effective experience by the blend of the sax with some released by the computer in Jackdaw by Wayne Siegel (1953), which final part is interesting because of the delays which Martí-Frasquier splits his sax; and in Believer by Jacob Ter Veldhuis (2007), a piece betwixt and between a music composition and a sound masterpiece, interesting because of its concept. This little sample of the present and the future is already here.
Miquel Gené. RMC, nº 354, December 2016/January 2017, p. 60