Amherst Saxophone Quartet . HENRY DUCKHAMClarity prevailed, in the transcription of Mozart's String Quartet in C Major, K. This is Mozart at his . A major figure in the symphonic clarinet world once sneeringly pronounced, . An ensemble of soprano, alto, tenor and baritone saxophonists, the quartet is in its 2. It would be inaccurate to dismiss this group as less than a first- rate chamber music ensemble comparable to the best small string ensembles. These recordings are part of the BigO Audio Archive covering albums that. Gary Burton & Chick Corea. Info here http:// DATA FILE ONLY Herbie. Chick Corea Trio featuring Eddie Gomez and Brian Blade THE BIG TOP. SPAIN @ Jamboree 20.00 & 22.00. Sunday, January 15, 2017. University Musical Society., Chick Corea and Gary Burton, the New York City Opera National Company, Los Munequitos de Matanzas. We won't share your email address. JOBS and CAREER - weekly newsletter - Follow @JobsandCareer. This is Mozart at his . All four players are virtuoso masters of their instruments, and baritone player Harry Fackelman was especially polished in his rendition of the original cello line. Stephen Rosenthal plays the soprano saxophone, the highest of the four saxes, and is the leader and spokesman of the group. The soprano instrument is notoriously difficult to play in tune. Not only was Rosenthal's intonation virtually impeccable, but also he brought to the highest notes of his instrument the sweet focus and center of the upper registers of a rarely heard but elegantly played clarinet in its highest tessitura. By virtue of the French concept of wind playing, which embodies a lighter, brighter and more incisive sound, French composers are particularly suited for writing for wind ensembles. The works by Alfred Desenclos (1. Florent Schmitt (1. French school. The quartet was at its best in the snappy, articulated passages, with rapid passing back and forth among the four instruments. Adolphe Sax, a Belgian, invented the saxophone around 1. Belgian composer Jean Absil's . Perhaps the least- telling piece on the program, it did provide opportunity to hear in solo passages the beautiful tone and technique of alto saxophonist David Yusko. Tenor player Yevgeny Dokschuvsky played an effective and pivotal role in providing a link between the baritone and alto parts throughout the concert. With the scores of young schoolchildren playing saxophone on the Cape, it would seem to be a missed opportunity not to bring the Amherst ensemble back and gather those young tyros together at some place to hear this extraordinary group. Wolfgang Amadeus Mozart. Quatuor pour Saxophones, Alfred Desenclos. Quatuor pour Saxophones, Op. Florent Schmitt. Quatuor pour saxophones, op. Jean Absil. Buffalo News, The (Buffalo, NY)Friday, November 2. Quality shows. Jan Jezioro. Earlier this year, the Amherst Saxophone Quartet was knocked out of their position as quartet- in- residence at the University at Buffalo, not for any reason that was based on their level of artistic accomplishment (round up the usual weak- kneed suspects: budgetary shortfall, etc.). Thursday evening, at their Allen Hall concert, broadcast live on WBFO, the ASQ clearly demonstrated by their high performance level that they were by no means ready to throw in the towel. In this concert, the second in their current season, the ASQ played to their strenght, with a program heavily weighted towards recently written, listener- friendly, music. Yes, the program began with three arrangements from . The ASQ played the pieces seamlessly — no surprise, since the pieces have been a part of their repertory for a long time, having appeared on their best- selling CD. The performance really took off, though, with the American premiere of . Based on the spiritual of the same name, Goldstein's highly innovative treatment of the tune, through the course of six variations, never obscures the original song. Each of the members of the quartet got a chance to have their say, as the piece moved from its somber beginning through the blues into a swing jazz mode after a brief, funky stopover. Beginning with long, drawn- out notes, each of the players got to perform solos in the forlorn opening before the piece solidified into a ghostly, off- kilter march that nicely captured a sense of nostalgia for the past. The opening movement of . The andante invoked a lonely feel, but more one of pastoral wandering than urban angst. The humorously written scherzo was played with the appropriate galumphing qualtiy, while the high energy playing of the ASQ pushed the final rollicking rondo movement to an exciting finish. 8 DOWNBEAT February 2014 In the Studio with Producer Joe Ferla 00 Pro Session 1 BY PAUL GRIFFITH 102 Transcription. AghaRTA has hosted Chick Corea. Historia de otros ritmos latinos SALSA La 'salsa' es el resultado de una serie de condicionantes sociales y de la evoluci Over 100.000 newsgroups and 2.000 days retention time. Sign up now for the highest quality Usenet access! Bach. Motherless Child Variations (2. Perry Goldstein. Quartet for Four Saxophones (1. Anita D. Perry. Making the Frozen Serpent Dance (2. Davide Zannoni. Yuppieville Rodeo (1. Mike Mower. Phantom Melos, Rocco Di. Pietro. Buffalo News, The (Buffalo, NY)Monday, March 2. Amherst Saxophone Quartet. Jan Jezioro. The Amherst Saxophone Quartet concluded its Westminster Presbyterian season Friday evening with a flourish, in a program that included both a world premiere and a special guest, soprano Dora Ohrenstein. An arrangement of the Prelude and Fugue V, from Book II of Bach's . The well- blended sound was evident in the celebratory opening Prelude, while their stately measured playing of the Fugue dissolved the sense of the present. This substantial, episodic work is based on the composer's impressions and associations of the churches that he visited in the Easter season of his father's death. Lee kneeling down to pray with a former slave provided the happy inspiration for . Soprano Ohrenstein displayed dramatic flair while declaiming the tongue- in- cheek text that worried back, from Stravinsky, to Debussy, to Wagner, to Chopin, to Beethoven, before reversing the loop, with musical fragments from each serving as underpinning. Ohrenstein answered her final high note in the questioning phrase, . The composer makes good use of some counterintuitive effects in the following Andante movement, where Ohrenstein's singing helped illuminate this poem. Her pointed treatment of the text, both a capella and accompanied, always stood out against the instrumental background. D major from Book II, Johann Sebastian Bach. The Seven Churches of Easter, Richmond 1. Tayloe Harding. Lament on the Death of Music, Leila Lustig. Labyrinth, Calvin Hampton. Buffalo News, The (Buffalo, NY)Saturday, February 9, 2. Saxophone quartet wails despite losing UB gig. Jan Jezioro. Leaving the Amherst Saxophone Quartet's concert at Westminster Presbyterian Church on Friday evening, a patron was overheard to remark, . The idea of the blues took on a particular poignancy, however, when the frontman, tenor Stephen Rosenthal, told the audience that the group had just learned that its residency at the University at Buffalo, now in its eighth year, is being terminated. Rosenthal dropped this bad news on the audience just before the last scheduled piece on the program, . The group then proceeded to play the pants off this jazz tour de force. Carere treats his partners right in this piece, letting the tenor, and baritone Harry Fackelman, lead off with an up- tempo duet before his hard- blowing solo. Rosenthal returned for an extended riff over the baritone, with soprano Susan Fancher getting in her own licks before the tenor's final honk. A well- deserved standing ovation earned the audience a couple of encores: a novelty number, played impossibly fast, and the ragtime . This tightly constructed quartet was convincingly played, from the solemn opening lento, succeeded by the anticipatory nervousness of the presto, through the sleepwalking andante, with its held notes over a baritone drone. The final movement had all the players soloing before the creamy- sounding unison finish. Buffalo composer Stephen Parisi's . Extended solo riffs for each of the instruments highlighted this infectious number, which wanted to make you get up and dance. Composer Frank Ticheli describes his recent composition . The opening detached figures develop into a motor- driven perpetual motion, becoming spikier before reaching a pause. Slow down- phrasing by the tenor and baritone briefly interrupt the propulsive pace, which soon increases intensity, rushing headlong to the ending, giving the listener one heck of a ride. Miles Davis' standard . Gianakaris. If variety is the spice of life, Friday night's program by the Kalamazoo Symphony Orchestra provided the audience at Miller Auditorium a highly seasoned musical experience. The program proved bracing and thoroughly enjoyable. Russian composer Rodion Shchedrin was.. Two selections featured the Amherst Saxophone Quartet as guest artists. Currently in residency at the University of Buffalo, the ensemble has made many friends for the saxophone, an instrument even now rarely found in symphonic orchestras. The quartet includes Susan Fancher, Russ Carere, Stephen Rosenthal and Harry Fackelman. At first, the previously unheard amalgam of sound was unusual yet not at all unpleasant. And when the group's second selection was heard, Pierre Dubois's Concertino for Saxophone Quartet and Orchestra, the sonorities seemed more familiar, even enticing. Dubois's piece in fact can be said to intrigue, thanks to fresh sounds and tonal harmonies distantly reminiscent of Gershwin when jaunty and Mahler when grandiose. Closing Friday's program was a splendid rendering.. Here, The News critics give us their top picks. Simply irresistible Here are some suggestions for classical CDs that will have an irresistible appeal to the various appetites of the music aficionados on your gift list. When the Amherst Saxophone Quartet's Susan Fancher heard the original four- voice version of Josquin Desprez's . The combination of the ASQ's creamy satin sonority and impeccable balance with Desprez's unerringly engrossing voice leading, ear- riveting counterpoint and blissful harmonies make this CD an absolutely mesmerizing listening experience. For sheer sonic beauty, it's pretty close to nirvana. The answer is, most emphatically, . The ASQ offered a concert Friday evening in Westminster Presbyterian Church celebrating the release of its new CD . The ASQ nicely captured the tempered sadness of the melancholy lament on baritone Harry Fackelman's version of the motet . The two sections of the . Poulenc composed his . The group seems to be at home with more- adventurous material, but it plays arrangements of George Gershwin and Eubie Blake tunes with equal aplomb.
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