[The Fish]

As in the piece of music.. by Christian Lauba....... very strange

I heard it at a recital the other night, anyone have any experience with it? (I'd especially like to know what the music looks like )

heres a link

 

[cleger]

That sounds like a transcription of an Ellery Eskelin solo, seriously. If that's the direction classical sax is going I may have to start adding some to my collection. Just need a crazy drummer and an accordian player and we're there!!

 

[SaxyAcoustician]

heres a link

Whoever that guy is, damn good playing.

 

[Canadiain]

I don't doubt his talent and technical ability, but it did nothing for me...the bit I listened too anyway (and I lost patience pretty quickly).

It just wasn't "musical" to me. I'm a sucker for a melody and traditional **** like that.

I can see why you would be curious about how you would go about getting it on paper though.

 

[rs1sensen]

It is very very modern...I heard something similar played by Prof. James Umble of Youngstown University, I forget what it was, although it was slightly more lyrical than this, had that same modern feel with lots of harmonics and effects. At the time I wasn't quite sure how to take it, but I can assure you that sitting in the recital hall where he was playing, my spine gained a bit of a tingle and it inspired a certain emotion in my (sort of a mysterious, scary, sort of feeling). Although it wasn't what I'd listen to or care to play, it certainly is powerful.

 

[BlueLight]

Arno Bornkamp has a good recording of it on his "Reed My Mind" Album.

 

[Pitagoras]

It is very very modern...

Not so modern, I think. This kind of piece has been written since the 50's for various instruments (sax included). Beautiful music though, and played with superb technique. :notworth:

 

[macdaddysax26]

Boston?


Were you at Saxtravanganza at Boston Conservatory? If so, you saw Tsuyoshi Honjo perform it - and then you saw me perform Axe à 4 with him later on!

 

[saxamaholly]

I played it on one of my masters recitals. It's probably the toughest piece I've ever tackled. It is very very specifically notated, and incredibly technical. It's kind of crazy, once you get through all the frustrating beginning stages of figuring out the fingerings and rhythms, etc, you almost go into a kind of trance when you're playing it. It's a crazy feeling!

For any of you who hate this kind of music, I'd strongly suggest studying a piece like this (the kind of piece a few years ago I hated!) as it gives you a really different view of things and opens your mind a bit!

 

[Canadiain]

I dont like it, I might come to respect it, but Id rather spend my time working on something I do like, Lord knows there is enough other music out there to choose from.

I'm not bashing the performer or the writer, if thats what they want to do thats fine, technically its amazing, but its just not my thing. I like a melody to hum along to. To me its sort of... musical self-gratification....its fun for the performer, but its basically self indulgent and not really the real thing But that only my opinion.

 

[drakesaxprof]

Not so modern, I think. This kind of piece has been written since the 50's for various instruments (sax included). Beautiful music though, and played with superb technique. :notworth:

I think that's a bit of a stretch, since multiphonics weren't really integrated into (concert) saxophone music until the Denisov Sonata in 1970. Funk groove with multiphonics, slap-tongue, screaming altissimo--can't think of many direct precedents to Lauba.

 

[The Fish]

Were you at Saxtravanganza at Boston Conservatory? If so, you saw Tsuyoshi Honjo perform it - and then you saw me perform Axe à 4 with him later on!

Yes I was, personally I thought that Tsuyoshi put a lot more energy into it, he seems like a real dynamic person....

Personally, I agree with some of you in that I find contemporary music somewhat hard to understand, much of it just seems to lack melodic movement and sense of rhythm, which are what I enjoy most about music. On the other hand, I like that people are exploring new boundaries and pushing limits, not dwelling in the same stuff. Give it some time to mature and settle in, and I think it will begin to take on a more pleasing appearance.

 

[Pitagoras]

I think that's a bit of a stretch, since multiphonics weren't really integrated into (concert) saxophone music until the Denisov Sonata in 1970. Funk groove with multiphonics, slap-tongue, screaming altissimo--can't think of many direct precedents to Lauba.

I was not talking about saxophones only, but about the use of this kind of effect in compositions in general. Berio's Sequenza for flute (first use of multiphonics in a concert piece, I think) is from 1958. This kind of instrument's use is typical from the post WWII concert music. The idea is not new.

I didn't know that Denisov was the first to use multiphonics in concert saxophone. Maybe it just arrived at saxophones later.

 

[DWoz5000]

Personally, I agree with some of you in that I find contemporary music somewhat hard to understand, much of it just seems to lack melodic movement and sense of rhythm, which are what I enjoy most about music.

Most contemporary music is nothing by rhythm tricks, and if you can't find a "melody" idea you're not looking "Hard" enough. For the record, I enjoy most contemporary music.

As an aside, I sometimes think the Denisov gets too much credit as the first modern saxophone piece. It was the first major modern FRENCH work, yes, but if you look at some of the works in the Rascher literature you'll find some contemporary techniques (flutters, 12 tone, slaps, quarter tones - no multiphonic works come to mind though). Anyways, just some ideas. I like "Hard" and consider it one of Lauba's good pieces. I would like to learn it one day.

 

[drakesaxprof]

As an aside, I sometimes think the Denisov gets too much credit as the first modern saxophone piece. It was the first major modern FRENCH work, yes, but if you look at some of the works in the Rascher literature you'll find some contemporary techniques (flutters, 12 tone, slaps, quarter tones - no multiphonic works come to mind though). Anyways, just some ideas. I like "Hard" and consider it one of Lauba's good pieces. I would like to learn it one day.

Denisov was thoroughly Russian, moving to Paris only very late in life, well after the Sonata. In any event, you're right that there are many other extended techniques used previously. I was commenting narrowly on the multiphonics aspect only.

 

[macdaddysax26]

Yes I was, personally I thought that Tsuyoshi put a lot more energy into it, he seems like a real dynamic person.....

Interestingly enough, he is oftentimes a very quiet and unassuming guy. Very good saxophonist, for sure.

 

[DWoz5000]

Denisov was thoroughly Russian, QUOTE]

True, but I was refering to his sonata being closely associated with the French school repertoire.

 

[A.Smith]

Just because Londeix championed the work? I still think it's Russian, doesn't matter what nationality performs it.