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4 saxofoons
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3 Chansons
Saxophone Quartet (SATB). The Three Songs (Trois Chansons) dating from 1914/15 were arranged for four a cappella voices by Ravel immediately after he had written the music of these pieces. The lyrics were penned by the composer himself. The songs represent Ravel’s sole contribution to choral literature. The first song consists of three sections and tells the story of Nicolette, who sets out to pick flowers in the fields. Just like Little Red Ridinghood, she meets a wolf who asks her if she is on her way to her grandmother’s house (M.1-13). Fleeing from him, she meets a page who wonderswhether she would like to have him as her “lover true”. She dismisses his proposition though she finds it hard to do so (M. 14-39). In the third section, she encounters a plump, unhandsome man (lento!). He speaks to her:”Stay, stay, my Nicolette, all this gold I give to thee”, and - “VIVO” - Nicolette takes refuge in his arms. (M.40 to end). The Three Lovely Birds from Paradise are sky-blue, white as fallen snow and bright red - just like the colors of the Tricolore, the national flag of France - which has been interpreted in many reviews as a sign of an increasingly nationalistic attitude becoming apparent in the war year of 1914. This song mourns the loss of the beloved one who went to war. The Ronde is also made up of three sections. The old women are the first to sing (M.1-28). They warn the young maidens against entering the forest since it is inhabited by all kinds of dangerous (male) beasts. Then (M. 29 – 56) the old men warn the young lads against going into the woods because of the numerous (female) demons living there. The irony of the story is to be found in the final answer of the young people (as of M. 57), who conclude: “We will not go into the woods since the old folks have frightened off all the beasts, anyway.”
3 Picasso Portraits
Three Picasso Portraits was commissioned by the Saxology saxophone quartet and it was first performed at St Martin's in the Fields, London, in June 1992. The pieces are loosely inspired, both in terms of mood and technique, by three Picasso paintings from the inter-war years. The clear-cut jazz rhythms of Harlequin give way to the intense inner tragedy of Weeping Woman, which is followed by The Three Dancers, superficially light-hearted but with a hidden desperation beneath.
Bagatellen
Diese sechs Charakterstücke stammen aus Ligetis berühmtem Klavierzyklus "Musica ricercata". Mal wild, mal heiter, mal grüblerisch, mal aufgeregt - jede dieser Miniaturen ist ein unverwechselbares Juwel. Es gibt die minimalistischen Bagatellen bereits in beliebten Arrangements für Bläserquintett, Bläserensemble und für Akkordeon. Ihre Neubearbeitung für Saxophon-Quartett (SATB) durch Fabio Oehrli klingt so überzeugend, als wäre die Komposition schon immer auf diese Besetzung zugeschnitten gewesen.
Birdcall
Charlie Parker the fabulous jazz saxophonist was know as 'Bird'. He composed a piece called "Now's the time". Laurie Holloway has taken the first phrase and developed it.
Black Bottom Stomp
Quick 2-Beat. Ferdinand LaMenthe "Jelly Roll" Morton and his Red Hot Peppers recorded "Black Bottom Stomp" in 1926 with an instrumentation of trumpet, clarinet, trombone, piano, banjo, bass, and drums. Revered by many jazz historians as one of Morton’s finest works, the composition is abundant with rapid orchestrational shifts, heavy technical demands, structural logic, and Jelly Roll’s inimitable sense of humor. This arrangement for saxohone quartet was commissioned by the Tower Saxophone Quartet in 1995. No improvisation required. Medium. (SATB)
Fantasie und Fuge in c-moll BWV 537
Saxophone Quartet (SATB) or Saxophone Ensemble (SATBBs.). According to a report by Friedrich Konrad Griepenkerl, the manuscript of the Fantasia and Fugue in c-minor would have almost been used as wrapping paper at a grocer’s. The only existing source is a copy written by Johann Tobias Krebs and his son Johann Ludwig, one of Bach’s favorite students, in early 1751. Unlike most of Bach’s other organ works, the date of its composition is controversial. The Fantasia opens with a long pedal point over which the upper parts unfold a solemn, declamatory theme. The second theme employs expressive sighing gestures. The fact that there are virtually no passages or even cadences in major certainly contributes to its noble, elegiac character (Spitta). The half cadence at the end is unique in Bach’s organ works and combines the two movements to a larger entity. The energetic first theme of the Fugue develops an incomparable drive, especially in combination with its diverse, imaginative countersubject in eighth notes. A second theme (ascending chromatic line) appears in the middle section. It is accompanied by a sequence of eighth notes developed from bars 24 – 27 and 50/51. The two themes are not combined in the last section.
Fuga VII
De muziek van Bach leent zich voor verschillende combinaties van instrumenten. Wouter Lenaerts goot deze "Fuga VII" uit "das Wohltemporierte Klavier" in een ander jasje voor saxofoonkwartet. Bezetting: S - A - T - B
