for soprano, alto, tenor, and baritone saxophones.
difficult. exploits altissimo register for all instruments. changing time signatures. very dissonant.
This was my first truly substantial piece, written soon after I had started studying with Larry Bell. Now I rarely write anything without knowing who is going to be playing it, but then I just felt like writing a saxophone quartet, despite the fact that I didn't know anyone in a saxophone quartet. I finally found people to play it after joining Anti-Social Music in New York. While this work is rather different from much of what I write now — for example, I'm less interested in using traditional forms than I was back when I started doing this whole composing thing — there are still plenty of Andreaisms: dissonance with humor, rock/jazz/funk rhythms, sharp contrasts, and the like.
ca. 12'
1997.
do consider making a donation (of any amount), if you choose to perform this piece, make copies of it, use it for educational purposes, if it has improved your life in any way (otherwise, yes, it's yours for free; it is copywritten, so give credit as necessary):
performance history:
26 March 2003. Elebash Recital Hall, The Graduate Center CUNY. Jeff Hudgins, soprano saxophone; Argeo Ascani, alto saxophone;
Peter Hess, tenor saxophone; Ken Thomson, baritone saxophone.
recording of this performance:
movement i
movement ii
movement iii
22 February 2003. Renee Weiler Concert Hall at the Greenwich Music House, New York. Jeff Hudgins, soprano saxophone; Argeo Ascani, alto saxophone; Peter Hess, tenor saxophone; Ken Thomson, baritone saxophone.