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4 Videos  
page 1 / 1
       
  divertimento de roger boutry
interpretado por carlos monteagudo interpretado por carlos monteagudo interpretado por carlos monteagudo
  interferences #1 (roger boutry) - thomas...
i think charlene and i both got a bit excited with this piece, and took it a warp speed. fast, but fun! this is a bassoon piece, which i arranged for alto saxophone. composed in 1972, it was originally written for maurice allard, professor of bassoon at the paris conservatory. this piece explores harmonies and dissonances, the brilliance of which is rarely seen. it is an extraordinary example of contemporary composition and had always fascinated me, so i arranged it for myself. i see it as a story of a man who has been framed to appear as a lunatic. the piece starts out very aggressive and uncontrolled. it continues to build to a cadenza that is near the beginning of the piece as this man is carted off to the asylum. this cadenza has the same aggression and agitation. the rhythms and individual pitches move forward in almost a random format. this chaos builds up to the highest note in the piece. the piano then breaks off to restate the first theme, a memory of his betrayal. he has almost a peaceful resignation to his circumstances when suddenly the piano takes off again to wreak a subtle havoc in his mind. the chaos is quiet, but still continuous, as the tempo slow down, the phrasing and lines become more intelligible, and the mood becomes more pensive allowing the audience time to catch its breath as he plans his escape and his revenge, a brief slow section is entered, then a break that is filled with a quiet peaceful longing melody. suddenly, as the man escapes from the asylum, a chase scene begins. the main theme of the second movement is introduced here, agitated like the first movement, but more decisive. the rhythms are still chaotic, but continuous and in time. suddenly the bottom falls out as if the lunatic has been tackled by one of his assailants. you can hear him fall and stumble, but also fight his way free. as he fights his way to freedom, the music goes to half time, and feels much more relaxed. the saxophone reenters on a high note as if the madman sings to himself in the dark. suddenly he is found and the chase begins again. you can hear the punches. as he starts to run again, he finds more determination and remembers his plan to find the person who framed him. this is the beginning of the end. as he fights his way through to get to the man he sees in front of him, the rhythms intensify their disorder. the piece continues to crescendo until the very end when the man finds his enemy and shoves the blade into his back with the last note. i think charlene and i both got a bit excited with this piece, and took it a warp speed. fast, but fun! this is a bassoon piece, which i arranged for alto saxophone. composed in 1972, it was originally written for maurice allard, professor of bassoon at the paris conservatory. this piece explores harmonies and dissonances, the brilliance of which is rarely seen. it is an extraordinary example of contemporary composition and had always fascinated me, so i arranged it for myself. i see it as a story of a man who has been framed to appear as a lunatic. the piece starts out very aggressive and uncontrolled. it continues to build to a cadenza that is near the beginning of the piece as this man is carted off to the asylum. this cadenza has the same aggression and agitation. the rhythms and individual pitches move forward in almost a random format. this chaos builds up to the highest note in the piece. the piano then breaks off to restate the first theme, a memory of his betrayal. he has almost a peaceful resignation to his circumstances when suddenly the piano takes off again to wreak a subtle havoc in his mind. the chaos is quiet, but still continuous, as the tempo slow down, the phrasing and lines become more intelligible, and the mood becomes more pensive allowing the audience time to catch its breath as he plans his escape and his revenge, a brief slow section is entered, then a break that is filled with a quiet peaceful longing melody. suddenly, as the man escapes from the asylum, a chase scene begins. the main theme of the second movement is introduced here, agitated like the first movement, but more decisive. the rhythms are still chaotic, but continuous and in time. suddenly the bottom falls out as if the lunatic has been tackled by one of his assailants. you can hear him fall and stumble, but also fight his way free. as he fights his way to freedom, the music goes to half time, and feels much more relaxed. the saxophone reenters on a high note as if the madman sings to himself in the dark. suddenly he is found and the chase begins again. you can hear the punches. as he starts to run again, he finds more determination and remembers his plan to find the person who framed him. this is the beginning of the end. as he fights his way through to get to the man he sees in front of him, the rhythms intensify their disorder. the piece continues to crescendo until the very end when the man finds his enemy and shoves the blade into his back with the last note. i think charlene and i both got a bit excited with this piece, and took it a warp speed. fast, but fun! this is a bassoon piece, which i arranged for alto saxophone. composed in 1972, it was originally written for maurice allard, professor of bassoon at the paris conservatory. this piece explores harmonies and dissonances, the brilliance of which is rarely seen. it is an extraordinary example of contemporary composition and had always fascinated me, so i arranged it for myself. i see it as a story of a man who has been framed to appear as a lunatic. the piece starts out very aggressive and uncontrolled. it continues to build to a cadenza that is near the beginning of the piece as this man is carted off to the asylum. this cadenza has the same aggression and agitation. the rhythms and individual pitches move forward in almost a random format. this chaos builds up to the highest note in the piece. the piano then breaks off to restate the first theme, a memory of his betrayal. he has almost a peaceful resignation to his circumstances when suddenly the piano takes off again to wreak a subtle havoc in his mind. the chaos is quiet, but still continuous, as the tempo slow down, the phrasing and lines become more intelligible, and the mood becomes more pensive allowing the audience time to catch its breath as he plans his escape and his revenge, a brief slow section is entered, then a break that is filled with a quiet peaceful longing melody. suddenly, as the man escapes from the asylum, a chase scene begins. the main theme of the second movement is introduced here, agitated like the first movement, but more decisive. the rhythms are still chaotic, but continuous and in time. suddenly the bottom falls out as if the lunatic has been tackled by one of his assailants. you can hear him fall and stumble, but also fight his way free. as he fights his way to freedom, the music goes to half time, and feels much more relaxed. the saxophone reenters on a high note as if the madman sings to himself in the dark. suddenly he is found and the chase begins again. you can hear the punches. as he starts to run again, he finds more determination and remembers his plan to find the person who framed him. this is the beginning of the end. as he fights his way through to get to the man he sees in front of him, the rhythms intensify their disorder. the piece continues to crescendo until the very end when the man finds his enemy and shoves the blade into his back with the last note.
  divertimento pour saxophone alto, i
divertimento pour saxophone alto et piano, by roger boutry. divertimento pour saxophone alto et piano, by roger boutry. divertimento pour saxophone alto et piano, by roger boutry.
  roger boutry: divertimento for alto saxo...
http://www.davidmatthies.com michigan state university symphony orchestra eric lau, saxophone david matthies, conducting http://www.davidmatthies.com michigan state university symphony orchestra eric lau, saxophone david matthies, conducting http://www.davidmatthies.com michigan state university symphony orchestra eric lau, saxophone david matthies, conducting
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