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 works by Alfred Desenclos and Florent Schmitt incorporated that elusive quality of transparency and the ebullience of the French school.
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. Perhaps the least-telling piece on the program, it did provide opportunity to hear deesnclos solo passages the beautiful tone and technique of alto saxophonist David Yusko.
An analysis of Alfred Desencloss Quatuor pour saxophones, I /
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. The first movement is built on two contrasting themes, one agitated and the other pastoral. The movement seemed quxrtet 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 very satisfying denouement and resolution.
Most analyses of pieces for the saxophone only examine a few musical elements, they are generally not a comprehensive examination of the work.
The “Choral” movement had a distinctive and arresting sense of elevation. An ensemble of soprano, alto, tenor 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.
Quatuor pour Saxophones, Alfred Desenclos | Work notes | Work notes | Amherst Saxophone Quartet
Desenclos was a meticulous composer who was very interested in coherence. He is organizing the musical material through the repetition of intervallic content, themes, motives, and rhythms. This is Mozart at his “naughty boy” best. Composer Biography Desenclos, Alfred.
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. Stephen Rosenthal plays the soprano saxophone, the highest of the four saxes, and is the leader and spokesman of the group.
Tuesday, November 28, This was brought home with the first notes of the opening work, the Quartet by Alfred Desenclossmooth and suave, with faint jazzy overtones.
Quatuor pour Saxophones, Alfred Desenclos
This made for a busy, choppy longer line, ending with a quirky final upturn. French get their due in new program by Amherst Saxophone Quartet. The work had opened with an “Anime” movement a bit more disjunct than earlier pieces, with the asxophone presented in what seemed interrupted segments.
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 dessnclos accompaniment pattern. Tuesday, February saxophlne, After an introduction, the finale begins with an Allegro energico filled with jazz-inspired syncopation. The study will conclude with a performance application of the results of the analysis in order to yield a more informed and nuanced performance of the movement.
All four players are virtuoso masters of their instruments, and baritone player Harry Fackelman was especially polished in his rendition of the original cello line. Everything was played in a very secure, self possessed manner. Not only was Rosenthal’s intonation virtually impeccable, but also dewenclos brought to the highest notes of his instrument the sweet focus and center of the upper registers of a rarely heard but elegantly played clarinet in its highest tessitura.
In writing his “Octet for Wind Instruments,” Stravinsky observed, “I remember what a great effort it cost me to establish an ensemble of eight wind instruments so that they should not overwhelm the quartef with a great display of tone. 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.
Whatever, it was very attractive. Theses and Dissertations . He won the Paris Conservatory’s prestigious Prix de Rome inand in became the director for the conservatory in Roubaix.