An easier place to start than Balafon is Lauba's Deux Pieces. Also I wouldn't call Balafon tame. Lauba is really interested in the softer side of the saxophone (particularly the tone colours produced) as well as the raw power we see in works like Hard. Some of his duets, and the etudes Savane and Sanza are filled with what I rather call intensely interesting, refined soft playing.
In terms of playing completely 20th century French music I don't think that's a problem. Unless you play only early century (which could get dreary). If you combine the more contemporary works with the stock standards that would make for a really interesting program.
Just in the contemporary you have Hurel, Jolas, Rosse, Lauba, Rolin e.t.c These composers write very different music. With Lauba as our case study if you hadn't been told, you wouldn't know that some of his works are by the same composer.
I also second the Matitia suggestion. Devil's Rag is always a great way to end a program.
Having Desenclos, Decruck, Lauba, Rosse and Matitia I would say is an interesting varied program. Alslo the Jean Harlow as mentioned by Henshaw would be nice to mix things up a bit.
In terms of playing completely 20th century French music I don't think that's a problem. Unless you play only early century (which could get dreary). If you combine the more contemporary works with the stock standards that would make for a really interesting program.
Just in the contemporary you have Hurel, Jolas, Rosse, Lauba, Rolin e.t.c These composers write very different music. With Lauba as our case study if you hadn't been told, you wouldn't know that some of his works are by the same composer.
I also second the Matitia suggestion. Devil's Rag is always a great way to end a program.
Having Desenclos, Decruck, Lauba, Rosse and Matitia I would say is an interesting varied program. Alslo the Jean Harlow as mentioned by Henshaw would be nice to mix things up a bit.
