Pierné, Campo, Bozza, Béranger

Pierné, Campo, Bozza, Béranger

Pierné, Campo, Bozza, Béranger

Axone Saxophone Quartet - French music for saxophone quartet

INDE053

15,00 €

Add to cart


Notify me when available

By buying this product you can collect up to 1 loyalty point. Your cart will total 1 point that can be converted into a voucher of 0,50 €.

30 other products in the same category:

More info

Axone interprets today’s music with a never failing communicative enthusiasm, which naturally incites many composers to write numerous pieces of music for them, including Regis Campo, Sebastien Beranger and Sylvain Griotto.

Eugène Bozza

Andante et scherzo

1. Andante 4’33

2. Scherzo 2’56

 

Sébastien Béranger

3. Axiomes (Maqâm II) 8’02

 

Gabriel Pierné

4. Introduction et Variations sur une Ronde populaire8’37

 

Régis Campo

Tintamarre

5. I Vivace 3’42

6. II Presto 3’28

7. III Poco Allegro 4’03

8. IV Allegro Vivace 6’12

 

Sylvain Griotto

9-11. Les Fils du Métal 12’34

 

Comments

  • Track list
  • Booklet
  • Musique Française pour Quatuor de Saxophones

     

    Eugène Bozza

    Andante et scherzo

    1. Andante 4’33

    2. Scherzo 2’56

     

    Sébastien Béranger

    3. Axiomes (Maqâm II) 8’02

     

    Gabriel Pierné

    4. Introduction et Variations sur une Ronde populaire8’37

     

    Régis Campo

    Tintamarre

    5. I Vivace 3’42

    6. II Presto 3’28

    7. III Poco Allegro 4’03

    8. IV Allegro Vivace 6’12

     

    Sylvain Griotto

    9-11. Les Fils du Métal 12’34

     

    AXONE QUARTET

    Sharing a common passion for 20th century music,  the Axone saxophone quartet has been playing together since 1998. They started Axone when they were young musicians in Claude Delangle’s class at the Paris Conservatory (Conservatoire National Supérieur de Musique et de Danse de Paris). , There they could benefit from the advice of chamber music’s music specialists such as David Walter,  Pierre-Laurent Aimard,  Lazlo Hadady and Michel Moraguès., The quartet attracted a lot of attention in several competitions: they won Second prize at the European competition “Musiques d’ Ensemble de la FNAPEC” in 2002,  First prize at the “Forum Musical de Normandie” in 2004 and First prize in Almere Chamber music Competition in Netherlands in 2005. The Axone saxophone quartet has been invited to various music festivals both in France (festival de musique de Dinard-Côte d’ Emeraude, festival Jeunes Talents, festival du Comminges, Nouveaux Talents de Villers-sur-Mer, Les Grandes Heures de Saint-Emilion...) and abroad (Montenegro, Niger and Nigeria). They performed in “Les journées de la composition” in 2001 and 2005. Axone has been broadcast on French and Dutch radio (France Musique, Radio Classique) and also performed at Amsterdam Concertgebouw during Uitmarkt Festival. Axone Quartet won unanimous First prize for chamber music at Paris CNSMD in 2002. In 2003,  their integration into the “Cycle de Perfectionnement” met with unanimous approval., Through their travels round all repertoires from transcriptions to original works for saxophone quartet,  Axone interprets today’s music with a never failing communicative enthusiasm,  which naturally incites many composers to write numerous pieces of music for them: Luis Naon,  Juraj Valcuha,  Fabien Lévy,  Paul Frankhuijzen,  Régis Campo,  Sébastien Béranger,  Julien Dassié,  Antonin Servière etc..., Axone was Prize-winner of Meyer Foundation in 2005 and on that special occasion,  they recorded their first CD in the series “Jeunes Solistes du Conservatoire”. In the CD programme,  there are original works by Florent Schmitt,  Fuminori Tanada,  Juraj Valcuha but also the transcription of “String Quartet n°8 in C minor op.110” by Dmitri Chostakovitch., The Quartet also performed on a monographic recording devoted to Thierry Escaich in which they interpret his sax quartet “Le Bal”,  released under the label “Indésens”., 

    French Music, Axone Quartet

    Eugène Bozza : 1905-1991, Born in Nice in 1905,  Eugène Bozza started learning the violin with his father at a very early age before winning first Prizes for violin (1924),  orchestra conducting (1930) and composition (1934) at Paris Conservatoire. In 1934 he also won Rome first Prize. He conducted Paris Comic Opera from 1950 to 1948. Then he was appointed Head of Valenciennes Conservatory in 1950 where he stayed until 1975 and created the major part of his works., He wrote several operas,  symphonies and ballets but he owes his world renown to numerous pieces of chamber music in which he privileged wind instruments such as the saxophone.

    Andante et scherzo : 1938, Andante et Scherzo was dedicated to Marcel Mule Quartet,  just like l’Introduction et variations sur une ronde populaire by Gabriel Pierné. Written in a very French mind,  this piece of music does the lion’s share to the multiple facets of Adolphe Sax’s instrument.

    Sébastien Béranger : 1977, Born in Reims in 1977,  Sébastien Béranger performs his musical studies at Reims and Lille CRR. He then joins the composition class at Paris CNSMD where he meets Emmanuel Nunes,  Michaël Levinas,  Yann Geslin,  Luis Naón and Michelle Reverdy. He will win his analysis and composition Prizes there,  and will also achieve a cursus on new technologies as applied to composition. At the same time,  Sébastien Béranger carries on a research work on “Spectrum and Acoustic Reality Generating Curved Scales in XXth Century Music” and gets a Master’s Degree in Aesthetic and Science of Art at Lille University III. Another research work on “Parametric Spaces in Instrumental Music since 1950” under the supervision of Antoine Bonnet allows him to get a Doctorate in Musicology at Nice University (UNSA)., By means of Mathematics,  he goes on further studies on musical semiotics and on the generation of material by conceptualizing sound through graphic representation. He synthesizes,  confronts and merges the idioms of spectral music,  post-serialism and post-modal tendencies. As a sculptor would do,  he works on space as a metaphoric representation of the various musical scales: height,  length,  sound thickness., Coming up First Prizewinner of the International Lili and Nadia Boulanger’s Foundation,  he distinguishes himself in numerous European competitions and is selected for Ensemble Aleph’s third international forum of young composers., Sébastien Béranger is on privileged terms with the saxophone,  more particularly with Axone Quartet for which he has already composed twice:, - Maqâm (Axiomes pour Axone),  a piece of music for saxophone quartet and electroacoustic tape which was created on March 3rd 2002 at the “Cité de la Musique” in Paris., -Axiomes (Maqâm II) which was created on June 9th 2005 at the Czech Centre in Paris and recorded for the first time on this CD by Axone Quartet., The pieces of music he composes are written either for saxophone solo like “10 000 Miles” for soprano sax,  bass sax and electroacoustic device in 2000,  or for saxophone ensemble like “Livres doubles” written for violin,  soprano sax and piano in 2000,  and also “La part féminine des voi(es/x) épistolaires” for soprano sax,  alto sax,  cello and tape in 2010,  or else with an orchestra like in “Triptyque” for ensemble with electroacoustic device,  tenor sax and trumpet solo in 2003.

    Axiomes (Maqâm II) : 2005, In ”Axioms” the saxophone quartet is conceived like a one and only instrument which builds and develops itself around its four constituent personalities. , What could be a better achievement for a chamber formation than make its singularities sound like one and only voice,  breath and gesture spreading out all along the piece of music?, “This piece of music could be compared to a few bottles of good wine in which all the flavours would merge and take one another’s place until they reached their uniqueness. On the initial attack of the alto saxophone,  the other instruments will gradually take root to help reveal new aromatic lines which will set apart then join again,  multiply and then make one again,  sometimes blurred,  sometimes more clearly defined. A few bitter notes will come in contrast with the natural warmth of the saxophones before they find again their initial softness and their few original punctuations like in a long wine tasting.”, Sébastien Béranger.

    Gabriel Pierné : 1863-1937, Gabriel Pierné,  Claude Debussy’s fellow student,  was César Franck’s and Jules Massenet’s pupil. He won first Prize for organ as well as Grand Prix de Rome in 1883. He succeeded César Franck as a permanent organist at Sainte Clothilde loft from 1890 to 1898. However he made himself known mainly as the conductor of the “Concerts Colonne” from 1910 to 1934. If he remains attached to some kind of classicism as a composer,  he will nonetheless be a passionate defender of the music of his time and he will impose Debussy,  Ravel,  Dukas,  Prokovief or Stravinsky in the programmes of his orchestra. All his life long,  Gabriel Pierné’s brilliant career as a conductor will somehow eclipse his composer’s talents to his contemporaries’ eyes. As he was quite prolific,  he will tackle all musical genres (except for the symphony) with a special liking for chamber music.

    Introduction et variations sur une ronde populaire : 1936, Marcel Mule Quartet created this one only original piece of music written for a saxophone quartet by Gabriel Pierné in March 1937 just a few months before its composer’s death. The introduction,  written in a slow and calm spirit,  is furtively interrupted twice by the rondo theme. Then comes a series of ornamental variants,  of developments like in the fugue for example,  and of ornaments,  which are,  each separated by two divertimenti based on a motif borrowed from the introduction., The ronde populaire,  just like in his Ramuntcho,  ouverture sur des thèmes populaires basques,  illustrates how keen Gabriel Pierné was on regional traditional music,  just like Erik Satie or “The Group of Six”. It expresses some kind of joviality and its writing is so light that from beginning to end it maintains a smiling discretion which never goes beyond good taste.

    Régis Campo : 1968, Régis Campo was a student in writing and composition with Georges Bœuf and Jacques Charpentier at Marseilles Conservatory,  his home town. He also studied philosophy at Aix- en- Provence Arts Faculty. He went on further studies at Paris CNMSD in Alain Bancquart‘s and Gérard Grisey’s class where he won first Prize in composition in 1995. While in Paris,  he met great independent composers such as Henri Dutilleux and Edison Denisov who said he considered him as one of the most gifted of his generation. His style,  intentionally playful and energetic,  and his music full of humour and colours diverge from the great aesthetic twentieth century trends by laying emphasis on melodic invention and very energetic tempi. Stravinsky,  Mozart,  Rameau,  but also Messiaen,  Lutoslawski and Mahler serve him as examples.  In 1996 Régis Campo wins the Dutch Prize of the Gaudeamus Foundation for his work Commedia. In the same year,  his brass quintet Exsultate jubilate wins three prizes in Henri Dutilleux competition.  In 1999 he is awarded Hervé Dugardin Prize by the SACEM and Pierre Cardin Prize by The French Academy of Beaux –Arts. He now teaches composition at Marseilles CRR.

    Tintamarre : 2006, The etymology of the French word “tintamarre” is strange: originally,  a duke learnt that his winegrowers worked up to 16 hours a day,  which he found excessive. So he ordered them to stop working every day when they heard a signal that they would spread along from vine to vine by hitting their ploughing tool with a stone,  which made the metal ring (“tinter” in French)., Tintamarre is here a cycle of pieces of music for saxophone quartet,  commissioned by Axone Quartet,  created on March 17th 2007 in Calais and recorded on this CD for the first time by Axone quartet. After Rondo,  Zapp’art,  Flash,  Plume and my recent Sonneries-fanfares composed for Paris  “Nuit Blanche” (2006),  the saxophone has become one of my favourite instruments thanks to Claude Delangle in particular and his brilliant students at Paris Conservatoire. Tintamarre is the concrete expression of a theatrical dimension around this instrument: I took back the idea of saxophones being multifaceted characters,  an idea which I had already developed these past few years. The four musicians are by turns clowns,  jazzmen,  street or town musicians,  either when festivities begin or when they finish.”, Régis Campo, Tintamarre is built around four movements: the first two ones,  fast and lively,  lead two a rather slower third movement with a work on the technique of the “bisbigliando”- a quick sequence of two different fingerings at the same or almost the same pitch. The fourth and last movement takes back the previous ideas and meets with the jazz universe,  like in the second movement

    Sylvain Griotto : 1974, Sylvain Griotto was born in Alès (Gard/ France) in 1974. He studied the piano and composition in Christophe de Coudenhove’s class at Montpellier CRR. He went on further studies in Paris with Claude Ballif then joined Marco Stroppa’s class at Paris CNSMD where he won First Prize for composition in 2003., At the same time he worked as a piano accompanist for various singers and in numerous classical and contemporary dancing classes,  more particularly at CNSMDP where he taught choregraphic accompaniment from 2008 to 2011. He composes instrumental pieces of music (from duet to orchestra),  electroacoustic pieces of music and songs and collaborates as a pianist and keyboard player with artists such as Benoit Guivarch (Carp) and Babet (Dyonisos). Since his fellowship with Gurvan Péron at Montpellier Conservatory then at Paris CNSMD,  Sylvain Griotto has developed a strong link with the saxophone,  which is very present in several of his works:, - Virus D the composer’s second piece of music written in 1996 for 7 instruments (among which an alto saxophone) and electronic device. , - Vous n’allez pas l’appeler Blaise ?! written in 2002 for Tenor saxophone and soprano voice., - Je ne suis pas venu(e) seul(e) written in 2004 for soprano saxophone and accordion, - 35 a piece of music for orchestra., One of the major characteristic signs of Sylvain Griotto’s music is unquestionably the way he diverts the instruments from their original tone,  world and usual language by borrowing popular cultural elements. In 35 (an allusion to the 35 working hours reform),  he transforms the orchestra into a mob of street demonstrators chanting protest slogans,  whereas in Vous n’allez pas l’appeler Blaise ?!,  the tenor saxophone copies the intonations of Louis de Funès’s lines in the film Oscar. This way of working on the musical material is a true way of living music beyond its mere writing,  as the composer himself sums it up: “I like improbable worlds and superpositions and those bizarre musical effects around us which generate so much poetry and humour.” , Sylvain Griotto

    Les fils du métal : 2005, Les fils du métal was created on June 9th 2005 at the Czech Centre (Paris) and recorded on this CD for the first time by Axone Quartet. This piece of music transforms the “acoustic” musicians in an electric and electrifying “Garage Band”,  thus giving to the quartet the various tones of saturated guitar but also the behaviours and musical reflexes attached to that instrument. The piece of music begins with the unusual 2 sopranos-2 barytons formation: very short sentences raging around from half a second to half a minute,  followed by more or less lasting silent lapses. The harmony between low-pitched fingerless fifths “polluted” by the multiphonic sounds of the two sopranos creates both an obsessional and demonstrative impression which can be found in Heavy Metal. , The second part will rather sound like blues,  a source of inspiration for Heavy Metal musicians. In the stage version,  before his solo,  the tenor saxophone player must entirely set up his instrument shut in its case beforehand. He will do so on stage,  taking all his time like a diva and without caring a hoot about the two poor barytons who patiently have to play the accompaniment rhythm until he is ready. A breathless series of fifths will lead us to the beginning of the third part,  with a flashback to traditional quartet. Starting from silence,  a rock ballad builds itself up step by step: after a long hesitation between two untempered tonalities,  it gradually settles on a more traditional progression which more and more intensifies until the final screaming climax., 

    No customer comments for the moment.

    Write your review

    Pierné, Campo, Bozza, Béranger

    Pierné, Campo, Bozza, Béranger

    Axone Saxophone Quartet - French music for saxophone quartet

    Write your review