Documents Similar To Alfred Desenclos – Quatuor [Sax Quartet SATB]. Tango Virtuoso. Uploaded by. Albright, William- Sonata. Uploaded by. antosax. Quartet for Saxophones is a piece for four Saxophones composed by Alfred Desenclos in , which lasts around 15 minutes and 30 seconds. (AL ). View credits, reviews, tracks and shop for the CD release of Mobilis Saxophone Quartet on Discogs.
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The quartet was at its best in the snappy, articulated passages, with rapid passing back and forth among the four instruments. French get their due in new program by Amherst Saxophone Quartet. The soprano instrument is notoriously difficult to play in tune.
Quatuor pour Saxophones, Alfred Desenclos
With a transcription of Debussy’s “Golliwog’s Cakewalk,” the cakewalk being a form of ragtime dance. This highly desebclos music opened with brief ascending gestures tossed back and forth, alternating with islands of repose in which questioning figures swam in a pool of quiet tremolos. By virtue of the French concept of wind playing, which embodies a lighter, brighter and quarte incisive sound, French composers are particularly suited for desenclps for wind ensembles.
Not only was Rosenthal’s intonation virtually impeccable, but also he brought to the highest notes of his instrument the sweet focus and center of the upper registers of a rarely heard eesenclos elegantly played clarinet in its highest tessitura. And as far as saxoohone tonal sheen is concerned, at many points I sensed a glistening quality, somewhat like the Ravel String Quartet.
They kept the program integrity intact even in the encore, “Petite Negre,” another cakewalk which Debussy wrote in for a book on Piano Method for Children.
In the Andante, the long, dream-like phrase in the soprano saxophone is broken off in the middle section by a passionate outburst. Three disarmingly short pieces by Robert Clerisse were lumped together as the fourth major work.
He was an accomplished composer who held a prominent teaching positions in France. It would be inaccurate to dismiss this group as less than a first-rate chamber music ensemble comparable to the best small string ensembles. Desenclos was a meticulous composer who was very interested in coherence.
This inventive and wholly delightful program by the Buffalo-based, world-touring Amherst Saxophone Quartet takes note of the French pride of place in the saxophone world, offering four major 20th century works. Tuesday, Saxopohne 22, Show full item record Request Copy of Item.
Files in this item. Online resource; title from PDF title page viewed June 28, Tenor player Yevgeny Dokschuvsky played an effective and pivotal role in providing a link between the baritone and alto parts throughout the concert. This made for a busy, choppy longer line, ending with a quaetet final upturn. Adolphe Sax, a Belgian, invented the saxophone aroundso it was particularly fitting that Belgian composer Jean Absil’s “Quatour pour Saxophones, Op.
As the music developed it seemed almost an attempt at impressionist polyphony, if that’s not a contradiction in terms. This project is needed to help performers, and to promote the music of Desenclos.
The works by Alfred Desenclos and Florent Schmitt incorporated that elusive quality of transparency and the ebullience of the French school. He is organizing the musical material through the repetition of intervallic content, themes, motives, and rhythms. This was brought home with the first notes of the opening work, the Quartet by Alfred Desenclossmooth and suave, with faint jazzy overtones.
First-rate show by Amherst sax group. This is surprising because his saxophone pieces are frequently performed and recorded. A mock serious Introduction was over almost before we could get a fix on it, followed by a fast flowing Scherzo and what spokesman Stephen Rosenthal described as a musical game of hide and seek. He won the Paris Conservatory’s prestigious Prix de Rome inand in became the director for the conservatory in Roubaix. A hint of blues was added to the slow movement, whose ruminative central section was played with such exquisite balance that every reed voice could be followed m detail, and yet the integrity of the ensemble was never broken.
Concluding the work were a slicked-up waltz, still with that feeling of French suavity, and a final perky, almost pointillist romp whose ear-grabbing coda was built on a sequence of dissonant chords and an exclamatory downward run.
Theses and Dissertations . The final movement was assertive and jabby, with capricious bursts of energy and changes of mood. After an introduction, the finale begins with an Allegro energico filled with jazz-inspired syncopation.
Paul Pierne’s “Three Conversations for Four Saxophones” established a different character for each of the “conversations.
An analysis of Alfred Desencloss Quatuor pour saxophones, I /
Tuesday, November 28, A major figure in the symphonic clarinet world once sneeringly pronounced, “No gentleman ever plays the saxophone. Composer Biography Desenclos, Alfred. Buffalo News Buffalo, NY. Some features of this site may not work without it.
Most of his writing fits into the French tradition, which pays homage to esprit and elegance. The three-movement quartet for saxophones was composed in in a style that combines masterful control of form with a lyricism that is expressive and rich in variation.
Click on this photo to enlarge the review.: Music 20th century Analysis.
Pierne’s concluding conversation was “animated,” as described, proceeding in brief statements deftly passed from one instrument to another in a curt, often staccato-like manner.
He used twentieth century compositional techniques, but he still included some traditional musical elements. Desenclos’ Qu a tu or p o u r Saxo ph o n es was commissioned by ddsenclos French Parliament for the saxophone quartet of Marcel Mule. Consequently, the saxophone has always been presumed to have had French origins, and it was French composers who first championed the instrument, both in solo context and ensembles.
While each of these works had distinctive qualities, to my ear they seemed united by a well honed French sense of reed-instrument assurance that lies somewhere between elegance and insouciance.
The first movement is built on two contrasting themes, one agitated and the other pastoral. Quartet in C Major, K.
Most analyses of pieces for the saxophone only examine a few musical elements, they are generally not a comprehensive examination of the work.