Michel Blavet - 6 Sonatas Op. 2 | Robert Würz - Saxophone ; Noriko Okamoto- Bass

Michel Blavet - 6 Sonatas Op. 2

by Robert Würz - Saxophone ; Noriko Okamoto- Bass

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1.	Sonata 1.1 Adagio 03:00	buy track
2.	Sonata 1.2 Allegro 02:39	buy track
3.	Sonata 1.3 Aria 1a Henrietta 03:31	buy track
4.	Sonata 1.4 Aria 2a 02:50	buy track
5.	Sonata 1.5 Presto 02:50	buy track
6.	2.1 La Vibray Andante 03:12	buy track
7.	2.2 Allemanda Allegro 02:11	buy track
8.	2.3 Gavotta Le Cauquets. Moderato 02:33	buy track
9.	2.4 Sarabanda. Largo 01:46	buy track
10.	2.5 Allegro 03:12	buy track
11.	3.1 Adagio. La cherouville 02:37	buy track
12.	3.2 Allemanda Andante 02:19	buy track
13.	3.3 Rondeau L' Insinuante 05:01	buy track
14.	3.4 Presto Les M. Tambourin 02:40	buy track
15.	3.5 Giga Allegro 02:17	buy track
16.	4.1 La Lumage Adagio 02:11	buy track
17.	4.2 Allegro Allemanda 02:33	buy track
18.	4.3 Siciliana 01:43	buy track
19.	4.4 Presto 02:34	buy track
20.	4.5 Le Lutin Allegro 01:29	buy track
21.	5.1 Largo 02:42	buy track
22.	5.2 Allegro 02:38	buy track
23.	5.3 Rondo Le Marc Antoine 02:51	buy track
24.	5.4 Tendren Les Regrets Minore 02:51	buy track
25.	5.5 Fuga 02:45	buy track
26.	6.1 Adagio 01:53	buy track
27.	6.2 Allemanda Allegro 01:47	buy track
28.	6.3 Allegretto. Les Tendres 02:22	buy track
29.	6.4 L`invicible Majore 02:18	buy track
30.	6.5 Presto 02:33	buy track

about

18th century French court music played on alto saxophone and double bass? At first glance, this instrumentation seems a rather unusual choice, but a closer look reveals something a little less arbitrary. If we compare figured bass music from the 18th century to modern-day jazz music, there can be drawn some surprising and interesting similarities…

In those times, there was an active improvisation scene in which the art of ornamentation was in full bloom; every famous virtuoso played spontaneously improvised cadenzas and preludes, as well as composing his own music. The aesthetic of the music was inspired by the natural cadence of spoken language, leaving space for personal expression and interpretation so that the music could breathe freely and develop organically without detailed and restrictive instructions on dynamics, phrasing and articulation. It was with this approach and intention that we performed the music on this recording in an affort to capture the essence of Blavet .

With the saxophone’s wide variety of expressive sounds and colours in combination with the full deep timbre of the double bass, we felt there was no need for an additional chordal instrument in our interpretations of the music. The stripped-down instrumentation led to a further openness and directness in the music, and for this reason, we decided after some experimentation to play this recording with only alto saxophone and pizzicato bass. The music is played one octave lower than the original composition, creating a dark, warm and mellow sound, both reminiscent of jazz and at the same time well-suited to the character of the Blavet sonatas.

credits

released October 24, 2017

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about

Robert Wuerz Berlin, Germany

Robert Würz hat in Dresden Saxophon – Jazz/Rock/Pop studiert und lebt seit 2006 als freischaffender Musiker in Berlin. Sein Tätigkeitsbereich umfasst Klassik, Jazz und Komposition. Dabei versucht er ein Brücke zu schlagen zwischen der spontanen Ausdruckskraft des Jazz und dem melodischen Reichtum der Klassik. ... more

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