Agenda

Past

Fontys Conservatorium Tilburg: ‘de Refter’

Feb 5

February 5, 2014 / 19:00
Tilburg, NL

Nederlands Saxofoonfestival

@ Fontys Conservatorium Tilburg: ‘de Refter’

Jan Pieterszoon Sweelinck - Chromatische Fantasie, arr. bas Apswoude

A Dutch organist, harpsichordist, composer, and teacher, Sweelinck spent most of his life in Amsterdam. In 1580 he became the organist of the Oude Kerk (Old Church) succeeding his father, Pieter. Although he never ventured much out of Holland, Sweelinck's influence spread through the Northern German organ schools via his students, who include Scheidt, Scheidemann, Praetorius, and Hasse. Sweelinck was the first to use independent pedal parts, including fugue subjects in the pedal line. He took many important forms from around Europe, including the Italian ricercar and the English virginal style, expanding and developing them in ways unknown before. In fact, many of his pieces contain the embryo of the fugue form, later perfected by J.S. Bach. His compositions bridge the gap from the Renaissance to the Baroque periods. Sweelinck might be considered the last composer of the renaissance fantasies. Like other dutch composers of his time, he was strongly inspired by English music.

Otto Ketting - Close Harmony, written for the Amstel Quartet

Otto Ketting schrijft over zijn jongste creatie: “Mijn saxofoonkwartet ontleent de titel aan de ‘lichte’ muziek uit de jaren 40 en 50. ‘Close Harmony’ stond veelal voor een groep van vier zangers (m/v) die in vierstemmige harmonieën een song vertolkten. De meeste van die groepen waren nogal commercieel getint, maar er waren ook uitzonderingen, zoals ‘Los Hermanos Castro’ (Mexico), ‘The Fair Freshmen’ en vóór alles de ‘Hi-Lo’ (USA) die meer jazz-georiënteerd waren en de meest geavanceerde harmonieën feilloos zongen.

Het saxofoonkwartet ‘Close Harmony’ gebruikt bijna uitsluitend een dergelijke dicht bij elkaar liggende akkoordstructuur. Een incidentele afwisseling komt van een eenvoudige tonale melodie die in verschillende gedaanten terugkeert. Het eendelige stuk, in augustus 2010 voltooid, werd ter nagedachtenis aan Willem Breuker geschreven in opdracht van het Amstel Quartet.”

Sander Germanus: Moonwalk, written for the Amstel Quartet

The music in MOONWALK describes a situation where the laws of physics as we know it on earth no longer apply. It is an imaginary walk on the moon where one can move in an almost hallucinatory manner. Strange things can happen during this stroll as can be heard in the six continuous parts of the composition. Three rhythmic parts and three harmonic parts alternate. At the end of the composition there is a repeating theme that is slowly fading away; the moonwalker is disappearing behind the hills of the moon, without looking back, totally obsessed by the lightness of his body. The disorientating effect of the low gravity on the moon is put to music by using harmonic progressions with quarter-tones. In the score there are black and red notes written – the red ones should be played a quarter-tone lower than the normal black notes, by using alternative keys on the saxophone.

 

MOONWALK was commissioned by the Amstel Quartet with financial support of the Performing Arts Fund Netherlands.