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Artist: Kansax Quartet
Genre: Music for ensemble
Composer: Various Artists
Supported languages: English , Italiano
Words move, music moves / Only in time
- T. S. Eliot: Four Quartet, Burnt Norton, V 137 - 138
- T. S. Eliot: Four Quartet, Burnt Norton, V 137 - 138
The guide-line of this record-production is specular to the image that drove David Selleras Quintana to the composition of the homonymous song this work takes its title from: Rodeando. The young Spanish composer writes down his song was born from the vision of a “Spanish holiday” when a man and a woman live maybe. The epilogue of their love-story strong, whereas, all around them, music resounds anywhere, and wherever it takes life a different dance that can play upon a particular heart-string so that it is difficult to realize if it is music to generate feelings or it is passion to create music. In the same way the Kansax Quartet play a series of pieces of various age and geographical origin trying to play-in the best way their inner meaning: by interpreting these songs, they let themselves be driven always by the emotions generating music, beyond steril formalism; and dance is just a sort of link among almost all songs: moving of body undetachable from moving of soul.
The 1st piece, L’arrivo della Regina di Saba, by George Friedrich Haendel (1685-1759), taken from Salomon represents, on a side, a sort of ouverture inside the work; on the other side it is the most evident demonstration of the versatility of the saxophone, a modern instrument, almost contemporary that, anyway, is capable to embody in a perfect way even the eloquent and subtle expressiveness of 18th century music.
While in this piece the idea of dance is guessed in the dynamism of a harmonious rhythm making itself melody, Introduction et variations sur une ronde populaire, of Gabriel Pierné (1863-1937), is entirely built up on a theme of popular dance. Milestone inside the repertory of the saxophone quartet, this work opens whit a slow, languid introduction where the sweet sing-song of the bariton-saxophone advances the main theme (or a part of it), before than soprano and contralto. The real exposition of the theme, entrusted in succession to all instruments, is followed by a series of variations, and among them the central fugato and final rhythmical transfiguration entrusted to the contralto have a peculiar stress.
The 3th piece Tango virtuoso too is an original work for a saxophone quartet. Written by Thierry Escaich (1965) organist and improviser of international renown who has devoted also other compositions to saxophone (i.e. Le chant des ténèbres), it is a divertissement built up on a tango-time exalted by the composer by a very strong rhythmical scansion, as subtle as vocalizations entrusted to soprano-sax.
The following transcription of the very famous Adagio for string by Samuel Barber (1910-1981), represents a moment of meditative suspension: the sad melody following, apparently, the rhythm of a tired breathing goes from the soprano to the tenor and, at the end, to the baritone, before a “crescendo” driving to the finale resumption of the octave by the soprano and the tenor. This music, more than an expression of sorrow, represents using a terminology dear to eastern religions, the awareness of sorrow and , meanwhile, of its temporariness, as the conclusion hanging on a long chard of dominant shows.
The two following pieces are by the already named Spanish composer David Salleras Quintana: saxophonist and improviser, as fond of popular musics as of modern ones, he finds in their mixture the way to voice feelings. The two pieces Tango pour une princesse désespérée” and Rodeando are the evidence of that. The first one still unpublished, is characterized by a strong rhythmical and harmonic stress, almost exaggerate, and at the same time it represents in itself a motion of restlessness: it is a tango where to dance they are just the emotions of the listener. We have already spoken about Rodeando at the beginning of these notes: now we just want to underline the complexity by which many rhythms of Spanish dance become popular superimposition of 3/4 and 6/8 use the syncopate in irregular times.)
The following part of the record is a homage to Astor Piazzola (1921-1992): of this great Argentinian musician we can listen to two pieces that are surely the least heard in Piazzolla’s great revival of these latest years: Para lucirse and Lo que vendra. The peculiarity of these pieces is their arrangement, characterized by a continuous dialogue, among the instruments of the quartet, where the melodic and rhythmical elements cannot be distinguished. They are followed by Libertango in a peculiar version that entruses to bariton saxophone a long solo that extends until over high-notes of extreme difficulty.
Pequena Czarda by Pedro Iturralde (1929), an other spanish saxophonist and composer, is an incursion in another expressive world and in another kind of dance, the Czardas. Characterized by a strong liberty of interpretation given to the performer, this composition that is also in the version for saxophone and piano, distinguishes itself thanks to its virtuosity, in particular way in the central part entrusted to the soprano.
The last piece, Deguy jazz, by the French saxophonist and composer Eric Lochu is a cheerful sign of swing, that wants to underline also the softer aspect that this quartet can assume, concluding this intense ideal trip in a sort of jeer.
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