Two Pictures Saxophone Alto et Piano - Intermédiaire De Haske Publications
Alto Saxophone and Piano - intermediate SKU: BT.DHP-1115055-401 For Al...(+)
Alto Saxophone and Piano
- intermediate
SKU:
BT.DHP-1115055-401
For Alto Saxophone and
Piano. Composed by
Marco Putz. De Haske
Saxophone Series. Book
Only. Composed 2010. 8
pages. De Haske
Publications #DHP
1115055-401. Published by
De Haske Publications
(BT.DHP-1115055-401).
ISBN 9789043135092.
9x12 inches.
De
twee muzikale beelden
voor hobo of altsaxofoon
en piano waaruit dit werk
bestaat zijn
overeenkomstig de
ondertitels vol contrast:
The Dreamer (de
dromer) en The Little
Rascal (de
deugniet).
Die
zwei musikalischen
Bilder, aus denen sich
diese Komposition fu?r
Oboe und Klavier oder
Altsaxophon und Klavier
zusammensetzt, sind schon
den Titeln nach sehr
kontrastreich: Sie sind
mit The Dreamer
(Der Träumer) und
The Little Rascal
(Der kleine Frechdachs)
u?berschrieben...
Alto Saxophone; Piano Accompaniment (Score and Solo Part) SKU: HL.50601598(+)
Alto Saxophone; Piano
Accompaniment (Score and
Solo Part)
SKU:
HL.50601598
Alto
Saxophone and Piano
Reduction Exempla Nova
680. Composed by
Edison Denisov. Woodwind
Solo. Classical.
Softcover. 121 pages.
Sikorski #SIK8880.
Published by Sikorski
(HL.50601598).
8.0x11.75
inches.
The
catalogue of Edison
Denisov's works includes
16 concertos. It was a
genre to which he
returned time and again
throughout his life, from
the Concerto for Cello
and Orchestra of 1972 to
the Double Concerto for
Flute, Clarinet and
Orchestra of 1996.In
Denisov's music the role
of the soloist, or rather
the protagonist, is
extraordinarily
important, not so much
for its virtuosity as for
its confessional
character. The solo part
is a monologue
distinguished by poetic
diction and a very
personal message from
thecomposer. The
dramaturgical conception
of the Concerto for
Saxophone and Orchestra,
a reworking of the Viola
Concerto of 1986, draws
on traditional sonata
form, thereby reaffirming
the ubiquitous classicism
in Denisov's thought. In
this late work, we find
all the typical features
of his style: sinuous
melodic lines layered
into dense contrapuntal
textures, and an
interplay of orchestral
colours, with pure
sonorities contrasting
with complex mixtures of
sounds. It is a perfect
dramaturgy that governs
the evolution of the
music to the very end.
The first movement
assumes the role of a
sonata-allegro, with the
standard formal sections
of exposition,
development,recapitulatio
n and coda. The second
movement is an Adagio for
strings. The third takes
the form of a little
contrasting intermezzo
that introduces both new
thematic material and a
new range of colours.
Here tunefulness gives
way to pointillism
enriched with
soniceffects. The only
movement with a virtuosic
solo part, its
nervousness and inner
tension set it worlds
apart from the second and
fourth movements that
surround it. The fourth
movement assumes the
traditional form of a
final set of variations.
It is the dramaturgical
and semantic heart of the
concerto. The theme of
the variations is Franz
Schubert's Impromptu in
B-flat major, op. 142,
which in this case is
'born' from the celesta
as the product of a
dodecaphonic string
cluster. This finale
represents Denisov's
homage to his great
mentor, Schubert's music
being for him a symbol of
eternal and universal
beauty. 'The attentive
listener', Denisov
stressed, 'will recognise
that the Impromptu theme
is already suggested very
slowly in the course of
the three preceding
movements, not only
thematically, but also
psychologically. That's
what makes the appearance
of the Schubert theme
sound so natural.' The
variations relate to the
variation genre less in
their form than in their
spiritual and conceptual
metamorphoses. It is, one
might say, 'music round
about Schubert'.
(Ekaterina
Kouprovskaia-Denisova).
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