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Оригиналан
Perroquets d'Azur. Saxophone sheet music.
Превод
Перрокуетс обала. Саксофон партитион.
Оригиналан
Perroquets d'Azur. for Soprano. or Alto. Saxophone solo. Composed by Thierry Pecou. For saxophone. This edition. saddle-stitch. Brass. Wind Instruments. ED 21681. Composed 1993. 2007. 8 pages. Duration 6'. Published by Schott Music. SD.49019804. ISBN 9790001194549. The composition Perroquets dâazur owes its existence to the oboist FranÃois Leleux who issued the commission in 1993 and gave the first performance of the work. The composition was quasi reborn when the saxophonist Nicolas Prost persuaded me to produce an arrangement for saxophone which was premiered in 2008. In adherence to a compositional tradition which attempts to transfer a polyphonic structure to a monodic instrument and simultaneously inspired by the folkloristic music I heard on my first journeys to Cuba and Mexico, it was my intention to communicate an impression of the multifaceted complex rhythmic polyphony characterising Afro-Cuban music. The piece exploits all registers of the oboe and additionally incorporates the brief incipit of a Yoruban chant in praise of the god Chango. The music develops in an atmosphere of increasing effervescence, culminating in an intensification of the rhythmic nucleus of Afro-Cuban music. the clave.
Превод
Перрокуетс обала. за Сопрано. или Алто. Saxophone solo. Састављен од Тхиерри Пецоу. За саксофон. Ово издање. седло-бод. Месинг. Дувачки инструменти. ED 21681. Састоји 1993. 2007. 8 пагес. Трајање 6 '. Издаје Сцхотт Мусиц. SD.49019804. ISBN 9790001194549. The composition Perroquets dâazur owes its existence to the oboist FranÃois Leleux who issued the commission in 1993 and gave the first performance of the work. The composition was quasi reborn when the saxophonist Nicolas Prost persuaded me to produce an arrangement for saxophone which was premiered in 2008. In adherence to a compositional tradition which attempts to transfer a polyphonic structure to a monodic instrument and simultaneously inspired by the folkloristic music I heard on my first journeys to Cuba and Mexico, it was my intention to communicate an impression of the multifaceted complex rhythmic polyphony characterising Afro-Cuban music. The piece exploits all registers of the oboe and additionally incorporates the brief incipit of a Yoruban chant in praise of the god Chango. The music develops in an atmosphere of increasing effervescence, culminating in an intensification of the rhythmic nucleus of Afro-Cuban music. the clave.
