scholarly journals Multiple two-step oscillation regimes produced by the alto saxophone

2020 ◽  
Vol 147 (4) ◽  
pp. 2406-2413
Author(s):  
Tom Colinot ◽  
Philippe Guillemain ◽  
Christophe Vergez ◽  
Jean-Baptiste Doc ◽  
Patrick Sanchez
Keyword(s):  
Alto Saxophone

ALTO SAXOPHONE AND PIANO

1976 ◽  
Vol LVII (1) ◽  
pp. 96-a-96
Author(s):  
ROGER HELLYER
Keyword(s):  
Alto Saxophone

Klangforum Wien, Wien Modern, Wiener Konzerthaus, 13 November 2019

Tempo ◽  
2020 ◽  
Vol 74 (292) ◽  
pp. 82-83
Author(s):  
Roger Heaton
Keyword(s):  
Rapid Change ◽  
Alto Saxophone ◽  
Large Ensemble ◽  
Electric Guitar ◽  
Bass Clarinet ◽  
Musical Education ◽  
Sense Of Direction ◽  
Starting Point ◽  
Future Work ◽  
By Products

The thirty-second Wien Modern was an extraordinary month-long festival of concerts and events with almost 90 world and Austrian premieres. The excellent Klangforum Wien programme at the Wiener Konzerthaus, conducted by Bas Wiegers, was well attended by an enthusiastic and mostly young-ish audience, where the focus was two first performances for large ensemble: Klaus Lang's linea mundi and Mirela Ivičević's Sweet Dreams. The evening was, in fact, billed as being ‘in honour’ of Ivičević who had won the Erste Bank Composition Prize 2019 with this piece. Ivičević is a Croatian composer now living in Vienna and her work shows an involvement with big themes: politics, diversity and violence, among others. Apart from concert pieces she works with different media and takes by-products of popular trash culture often as a starting point for her work. In interviews she has talked about the ‘subversive potency of sound’, and said that her work is ‘raw, imperfect, unpolished’, which this piece, and other recent examples you can hear on YouTube, demonstrate, despite her quite rigorous musical education in Zagreb and Vienna. Sweet Dreams is a lively, noisy, busy piece about the rapid change between sleep and waking states. The large ensemble, including harmonium, electric guitar and harp, opens with monumental repeated sections, dramatic but with a sense of direction toward slow, strong, pedal entries. Rough punctuation from alto saxophone, bass clarinet and trumpet adds to the ‘rawness’ but the writing is assured with a particular, individual imagination and sense of colour that bodes well for future work.

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