PopMarket - Augusta Read Thomas - Shakespeare's Jester for SATB saxophone quartet - Multicolor
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About this product
Across Shakespeare's Jesters' 9-minute duration, the composition unfolds a labyrinth of musical interrelationships and connections that showcase the musicians in a virtuosic display of rhythmic agility, counterpoint, skill, energy, dynamic range, timbre, clarity, and majesty. Throughout the kaleidoscopic journey, the work passes through many lively and colorful episodes, never losing it's sense of dance, caprice, and effervescence. Shakespeare's Jesters'falls loosely into three arcs played without a pause. The opening three minutes is an exposition of animated materials with rhythmic vitality featuring contrapuntal hockets that ping-pong between players. Following are three contrapuntal phrases (lasting respectively 60, 120, and 90 seconds) throughout which the musical ingredients are further transformed and elaborated. The final 120 seconds, a mischievous caper. © Augusta Read Thomas
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Augusta Read Thomas Studio/Label/Brand: Nimbus Records
Classical Artists
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- BrandPopMarketModel Number9790708219293Product NameAugusta Read Thomas - Shakespeare's Jester for SATB saxophone quartetColorMulticolorTitleShakespeare's Jester for SATB saxophone quartetUPC9790708219293
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Across Shakespeare's Jesters' 9-minute duration, the composition unfolds a labyrinth of musical interrelationships and connections that showcase the musicians in a virtuosic display of rhythmic agility, counterpoint, skill, energy, dynamic range, timbre, clarity, and majesty. Throughout the kaleidoscopic journey, the work passes through many lively and colorful episodes, never losing it's sense of dance, caprice, and effervescence. Shakespeare's Jesters'falls loosely into three arcs played without a pause. The opening three minutes is an exposition of animated materials with rhythmic vitality featuring contrapuntal hockets that ping-pong between players. Following are three contrapuntal phrases (lasting respectively 60, 120, and 90 seconds) throughout which the musical ingredients are further transformed and elaborated. The final 120 seconds, a mischievous caper. © Augusta Read Thomas
Following a long and rich tradition of composers who wrote for percussion (Edgard Varese, Harry Partch and John Cage, Lou Harrison) over the past 30 years, Augusta has composed extensively for percussion designing works including concerto for percussion quartet and orchestra, percussion playing bells from all around the world, quartets, solos, and two octets for percussion and string quartet. Additionally, many of her 65 orchestral works feature percussion.
Following a long and rich tradition of composers who wrote for percussion (Edgard Varese, Harry Partch and John Cage, Lou Harrison) over the past 30 years, Augusta has composed extensively for percussion designing works including concerto for percussion quartet and orchestra, percussion playing bells from all around the world, quartets, solos, and two octets for percussion and string quartet. Additionally, many of her 65 orchestral works feature percussion.
Following a long and rich tradition of composers who wrote for percussion (Edgard Varese, Harry Partch and John Cage, Lou Harrison) over the past 30 years, Augusta has composed extensively for percussion designing works including concerto for percussion quartet and orchestra, percussion playing bells from all around the world, quartets, solos, and two octets for percussion and string quartet. Additionally, many of her 65 orchestral works feature percussion.
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