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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This highly individual music opened with brief ascending gestures tossed back and forth, desencols with islands of repose in which questioning figures swam in a pool of quiet tremolos.
Quatuor pour Saxophones, Alfred Desenclos | Repertoire | Amherst Saxophone Quartet
Desenclos was a meticulous composer who was very interested in coherence. In both repertoire and performance, this was one of the Amherst ensemble’s best programs. Perhaps the least-telling piece on the program, it did provide opportunity to hear in solo passages the beautiful tone and technique of alto saxophonist David Yusko. This is Mozart at his “naughty boy” best.
With the scores of young schoolchildren playing saxophone on the Cape, it would seem to be a missed opportunity not to bring the Amherst ensemble back and gather those young tyros together at some place to hear this extraordinary group. And as far as surface tonal sheen is concerned, at many points I sensed a glistening quality, somewhat like the Ravel String Quartet. Toggle navigation Toggle navigation. He won the Paris Conservatory’s prestigious Prix de Rome inand in became the director for the conservatory in Roubaix.
He produced a wealth of piano music, songs, chamber music, a symphony, a requiem and film music. 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. This study illustrates the intricacies of the piece, which will enhance the performance of this movement by providing the performers with a deeper understanding of how the movement is organized.
Quartet in C Major, K. The work had opened with an “Anime” movement a bit more disjunct than earlier pieces, with the theme presented in what seemed interrupted segments.
Paul Pierne’s “Three Conversations for Four Saxophones” established a different character for each of the “conversations.
After the main theme was presented by the baritone to chordal accompaniment, a sort of loose set of variations followed with the theme in shifting guises, each to a different accompaniment pattern. Composer Biography Desenclos, Alfred.
Stephen Rosenthal plays the soprano saxophone, the highest of the four quartdt, and is the leader and spokesman of the group. Tuesday, February 22, The purpose of this research project is to provide performers with a detailed analysis of the desencclos movement of Alfred Desencloss Quatour pour Saxophones.
Music 20th century Analysis. The movement seemed to reach a spiritual crisis or moment of decision with a long held dissonant chord, which was worked out through a series of chordal mutations that provided a quatret satisfying denouement and resolution. Tuesday, November 28, 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. This item appears in the following Collection s.
The inventor of the saxophone, Adolphe Sax, was a Belgian instrument desencos who lived most of his life in Paris. It is difficult to find a detailed analysis of a work for saxophone or saxophone quartet.
Online resource; title from PDF title page viewed June 28, 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.
As the music developed it seemed almost an attempt at impressionist polyphony, if that’s not a contradiction in terms. This made for a busy, choppy longer line, ending with a quirky final upturn.
Theses and Dissertations . 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. 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.
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. An ensemble of soprano, alto, saxopone and baritone saxophonists, the quartet is in its 27th year, has played more than works written specifically for their instrumentation not including transcriptions and has appeared in major venues throughout this country and overseas.
Most of his writing fits into the French tradition, which pays homage to esprit and elegance. Buffalo News Buffalo, NY. 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.
Quatuor pour Saxophones, Alfred Desenclos
Everything was played in a very secure, self possessed manner. The “Choral” movement had a distinctive and arresting sense of elevation. With a transcription of Debussy’s “Golliwog’s Cakewalk,” the cakewalk being a form of ragtime dance. In an extremely clever maneuver, the ensemble continued its tradition of ending programs with ragtime pieces, but without breaking the “French Sax” ambience. By virtue of the French concept of wind playing, which embodies a lighter, brighter and more incisive sound, French composers are particularly suited for writing for wind ensembles.
Whatever, it was very attractive. Desenclos’ Qu a tu or p o u r Saxo ph o n es was commissioned by the French Parliament for the saxophone quartet of Marcel Mule. A detailed description of the composers life, history of the piece, form, melodic organization, pitch organization, and rhythm are presented in this analysis.
Click on this photo to enlarge the review.: He used twentieth century compositional techniques, but he still included some traditional musical elements.
In the Andante, the long, dream-like phrase in the soprano saxophone is broken off in the middle section by a passionate outburst. This piece is not tonal because it does not have a traditional key center; nevertheless, Desenclos used some traditional harmonic progressions, bass motion, and harmonies.
Tenor player Yevgeny Dokschuvsky played an effective and pivotal role in providing a link between the baritone and alto parts throughout the concert.