SKU: M7.DOHR-13937

ISBN 9790202029374.

Der erste Satz von Mendelssohns dreisätziger Orgelsonate op. 65, Nr. 6 ist ein Variationensatz über den Choral Vater unser im Himmelreich. Die vorliegende Bearbeitung für Saxophonquartett übernimmt die Originaltonart d-Moll. Die Unterschiede zum Original sind: * Der einleitende thematische Choral wurde unter Beibehaltung der Mendelssohnschen Harmonik statt fünfstimmig jetzt vierstimmig gesetzt. * Die vierte Variation, ein überaus virtuoser Abschnitt im Organo-pleno-Klang, musste entfallen. * Als Abschluss der Quartettbearbeitung wurde der dritten Variation der wirkungsvolle Schluss der vierten Variation des Originals angefügt.

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-ADV7631

UPC: 805095076318. English. Traditional.

Part of Friedemann Graef's Spiritual Suite, Joshua Fit the Battle of Jericho has been arranged for saxophone quartet (SATBar/AATBar).

SKU: AP.1-ADV7689

ISBN 9783892218500. UPC: 805095076899. English.

Subtitled A Little Suite for Four, the first movement features a unison melody written in B minor. In the second movement, a leitmotiv with variations and the use of repeated jazz phrases is presented; all four instruments take turns in assuming primary and supporting roles. The third movement is a ballad-like theme featuring soprano and baritone sax sharing a pleasant conversation. The fourth movement goes on a joyful melodic ride passing through all the saxophones parts, one after the other.