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Faustus: A SaxOpera for alto saxophone and large wind ensemble
RSN:
72871
|
Composition Date:
2016
|
Revision Date:
N/A
|
Duration:
00:33:00
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Library Record
Programme Notes
Cataloguing Information
Call Number
MI 1925 P713fau
Genre
Concert Band / Large Wind Ensembles With Saxophone Soloist
Material Type
Print-music
Acquisition Date
2017-08-16
Library Collection Publisher / Label
Unpublished, printed by CMC / Inédit, imprimé par le CMC
Preview
Additional Information
Commissioned by World Wide Concurrent Premieres Text by Gertrude Stein I. Faustus and Mephisto II. Marguerite and the Viper in the Forest III. Faustus cures Marguerite IV. The Man from Over the Seas V. Faustus Goes to Hell
Master Location
Toronto
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Physical Description
Found 3 record(s)
Available Actions
Extent of Item
Score
Solo Part
Parts
Instrumentation
Daniels Instrumentation
Soloist: Saxophone - Wind Ensemble
Found 2 record(s)
Available Actions
Set No.
Category
Instrument
Number
53054
Larger ensemble
Concert Band/Wind Ensemble
1
53054
Woodwinds
Saxophone
1
Divided
No
Solo
No
Divided
No
Solo
Yes
Premiere
Boston, Massachusetts, USA Boston University Concert Hall 6 Oct 2016 Jennifer Bill, alto saxophone Boston University Wind Ensemble David Martins, conductor
See Also
72928, Faustus: A SaxOpera for alto saxophone and large wind ensemble, AR3331, John Plant, 00:32:56
77143, Faustus Suite, MI 8314 P713fsu 2018, John Plant, 00:14:20
77144, Faustus: A SaxOpera, MI 8314 P713fau 2016, John Plant, 00:22:00
This work is inspired by Gertrude Stein's magnificent libretto on the Faust myth, 'Doctor Faustus Lights the Lights". The saxophone personifies and brings life to the principal characters, delineating the individuality of each by stylistic means, while the wind ensemble establishes the atmosphere -both emotional and physical- and participates in the action of the 'plot' - even sometimes taking on the function of chorus. At certain passages, the music articulates the precise rhythm of Stein’s prose.? It is not necessary to know the narrative of the SaxOpera to follow and enjoy the music, any more than it is for Schoenberg's Transfigured Night, or Strauss's Till Eulenspiegel . But in each case the story adds an extra imaginative dimension. Though of course there is a precedent for concertos with narrative content (e.g. Berlioz' Harold in Italy, Strauss's Don Quixote), my intention is to imbue the work with an authentically operatic idiom, together with the theatrical intensity inherent in the form: hence the designation: SaxOpera.The short passage which concludes the opera was inspired not only by Stein's ending, in which a boy and a girl appeal to the Man from Over the Seas, (Please Mister Viper, do not forget to be), but also by the moving penultimate chapter of Thomas Mann's Doctor Faustus, in which the narrator describes the final moments of the fictional Faustus cantata: 'The work admits of no consolation, no reconciliation.. but if the entire work produces lamentation, perhaps there is a paradox: so that from hopelessness and irremediable despair, hope (in the form of a whispered question) might germinate...’? ?I've been obsessed with Stein’s text for many years; I used it as the basis for a dance piece in 1980, and a chamber opera with piano in 1988. The music (apart from a few motivic germs) is quite new; I see Gertrude Stein's masterpiece with new eyes (and ears) after many decades of marinating!!
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