SKU: HL.48024645
ISBN 9781784544034. UPC: 888680949099.
In 1989 when Louis Andriessen was teaching at the State University of New York at Buffalo, Miles Davis Autobiography was published.While reading it, he suddenly knew what the subject of his piece for the Kronos Quartet should be - early be-bop licks and especially the work of Charlie Parker. He wanted to do the impossible - be-bop is not at all idiomatic for string instruments. But be-bop had been an important influence on his musical development when he was young, and he decided to do something with this music from his youth. Basically the essence of Charlie Parkers playing is the extremely fast tempo. This fast tempo is really fast, because the playing is based upon the chord structure of existing melodies which are sometimes played two or three times as fast as normal. Parker needed speed to express what he musically felt: little time was left for him. This is the main explanation of the title of the work.In the beginning of Facing Death, Andriessen literally quotes fragments of Charlie Parker improvisations. He also quotes one original melody: Ornithology (which is based on How High the Moon). The 7th and 8th bars of Ornithology become an important motif inthe piece. The whole composition is one long development in Parker's fast tempo. This work was composed in 1990 for string quartet and later arranged for saxophone quartet.
SKU: HL.48024644
ISBN 9781784544010. UPC: 888680949082. 9.0x12.0x0.273 inches.
In 1989 when Louis Andriessen was teaching at the State University of New York at Buffalo, Miles Davis Autobiography was published.While reading it, he suddenly knew what the subject of his piece for the Kronos Quartet should be - early be-bop licks and especially the work of Charlie Parker. He wanted to do the impossible - be-bop is not at all idiomatic for string instruments. But be-bop had been an important influence on his musical development when he was young, and he decided to do something with this music from his youth. Basically the essence of Charlie Parker's playing is the extremely fast tempo. This fast tempo is really fast, because the playing is based upon the chord structure of existing melodies which are sometimes played two or three times as fast as normal. Parker needed speed to express what he musically felt: little time was left for him. This is the main explanation of the title of the work.In the beginning of Facing Death, Andriessen literally quotes fragments of Charlie Parker improvisations. He also quotes one original melody: Ornithology (which is based on How High the Moon). The 7th and 8th bars of Ornithology become an important motif inthe piece. The whole composition is one long development in Parker's fast tempo. This work was composed in 1990 for string quartet and later arranged for saxophone quartet.
SKU: AP.1-ADV7624
ISBN 9783892216896. UPC: 805095076240. English. Transcribed by; ed. Ramon Ricker.
La Fille aux Cheveux de Lin (The Girl with the Flaxen Hair), one of the most beautiful pieces from French impressionist Claude Debussy has been arranged for saxophone quartet (SATBar/AATBar) by Ramon Ricker.
SKU: AP.1-ADV7443
UPC: 805095074437. English.
Memories Arrested in Space features six compositions for saxophone quartet inspired by Jackson Pollock paintings from 1947. This one, The Beauty of Space, subtitled Reflections of The Big Dipper, is a modern excursion with improvised solos for all, is not technically difficult, but it demands strong interpretation skills in the contemporary idiom. Long pauses throughout serve as pivotal points of reflection for players and listeners alike.
SKU: AP.1-ADV7442
UPC: 805095074420. English.
Subtitled Phosphorescence, this modern excursion with improvised solos for all is not technically difficult, but it demands strong interpretation skills in the contemporary idiom. Long pauses throughout serve as pivotal points of reflection for players and listeners alike.
SKU: AP.1-ADV7440
ISBN 9783892215943. UPC: 805095074406. English.
Subtitled Lucifer, this modern excursion with improvised solos for all is not technically difficult, but it demands strong interpretation skills in the contemporary idiom. Long pauses throughout serve as pivotal points of reflection for players and listeners alike.
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