Sunday, 4 August 2019, 7.30pm – 9.30pm
Lee Foundation Theatre<\/p>\n\n\n\n
<\/p>\n\n\n\n
Georg Philipp Telemann: Sonata for Flute\/Violin in G major, TWV 40:101 <\/p>\n\n\n\n John Mackey: Strange Humors<\/em> <\/p>\n\n\n\n Zechariah Goh: Souvenir from Singapore <\/p>\n\n\n\n Waris Sukonpatipark: Incandescence<\/em> <\/p>\n\n\n\n Intermission<\/p>\n\n\n\n <\/p>\n\n\n\n Jun Nagao: Paganini Lost<\/em> <\/p>\n\n\n\n \u00c1stor Piazzolla: Histoire du Tango pour saxophone et piano<\/em> <\/p>\n\n\n\n Philippe Geiss: Sir Patrick<\/em> <\/p>\n\n\n\n Jay Ong: Pelog and Play<\/em> (World premiere) <\/p>\n\n\n\n ChihChun-Chisun Lee: Concerto for Saxophone Quartet with Saxophone Choir<\/em> (World premiere) This concerto grosso is written for the Keuris Quartet and the MIT Saxophone Ensemble, and comprises of three movements:<\/p>\n\n\n\n I. \u201cRhyme\u201d II. \u201cColour\u201d<\/em> III. \u201cRhythm movements” Singapore Saxophone Symposium 2019 Gala Concert Sunday, 4 August 2019, 7.30pm – 9.30pmLee Foundation Theatre Georg Philipp Telemann: Sonata for Flute\/Violin in G major, TWV 40:101I. SoaveII. AndanteIII. AllegroAlexis Seah and Samuel Phua, saxophones John Mackey: Strange HumorsRamu Thiruyanam, djembeh2 quartet Marc Mellits: Groove Machineh2 quartet Zechariah Goh: Souvenir from SingaporePsaiko Quartet and Rodrigo Vila […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":27,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/singaporesaxophonesymposium.com\/2019\/wp-json\/wp\/v2\/pages\/217"}],"collection":[{"href":"https:\/\/singaporesaxophonesymposium.com\/2019\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/singaporesaxophonesymposium.com\/2019\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/singaporesaxophonesymposium.com\/2019\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/singaporesaxophonesymposium.com\/2019\/wp-json\/wp\/v2\/comments?post=217"}],"version-history":[{"count":15,"href":"https:\/\/singaporesaxophonesymposium.com\/2019\/wp-json\/wp\/v2\/pages\/217\/revisions"}],"predecessor-version":[{"id":590,"href":"https:\/\/singaporesaxophonesymposium.com\/2019\/wp-json\/wp\/v2\/pages\/217\/revisions\/590"}],"up":[{"embeddable":true,"href":"https:\/\/singaporesaxophonesymposium.com\/2019\/wp-json\/wp\/v2\/pages\/27"}],"wp:attachment":[{"href":"https:\/\/singaporesaxophonesymposium.com\/2019\/wp-json\/wp\/v2\/media?parent=217"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
I. Soave
II. Andante
III. Allegro<\/em>
Alexis Seah and Samuel Phua, saxophones<\/strong><\/p>\n\n\n\n
Ramu Thiruyanam, djembe<\/strong>
h2 quartet<\/strong>
Marc Mellits: Groove Machine<\/em>
h2 quartet<\/strong><\/p>\n\n\n\n
Psaiko Quartet and Rodrigo Vila<\/strong><\/p>\n\n\n\n
Salaya Saxophone Ensemble<\/strong><\/p>\n\n\n\n
Joseph Lallo and Chien-Kwan Lin, saxophones
I-An Chen, piano<\/strong><\/p>\n\n\n\n
II. Caf\u00e9, 1930
III. Night Club, 1960<\/em>
Rodrigo Vila, saxophone
I-An Chen, piano<\/strong><\/p>\n\n\n\n
Jerry Bergonzi \/ Philippe Geiss: New In The City<\/em>
Philippe Geiss and MIT Saxophone Ensemble<\/strong><\/p>\n\n\n\n
Manuel de Falla, arr. Fukio Ensemble: La Vida Breve; Danse Espagnole<\/em>
Xin Saxophone Quartet<\/strong><\/p>\n\n\n\n
The piece was made possible by a grant from the Fromm Music Foundation.
Keuris Quartet & MIT Saxophone Ensemble<\/strong><\/p>\n\n\n\n
<\/em>The prime concept of this movement is the flow between each instrument, as well as the variety of sceneries that creates different textures and dialogues within soloist group and the ensemble. Sentences are divided and continued in multiple directions to completion through\u00a0connections, call and response, and building various layers of music.<\/p>\n\n\n\n
This features the soloist group while the saxophone choir answers and mirrors the colors of multiphonics and the particular patterns involving combinations of microtones.\u00a0<\/p>\n\n\n\n
<\/em>The saxophone choir represents a passacaglia; each time of passacaglia is emphasized via different techniques and sonorities. By using key clicks, blowing and tonguing without mouthpiece, subtones and then ordinary tones, the same pattern results quite differently each time.\u00a0\u00a0Over this,\u00a0the saxophone quartet travels through the breakdown of different dance rhythms and patterns from Taiwan, Germany, Argentina, Russia and Poland, the nationalities of each member from Keuris Quartet and MIT Saxophone Ensemble.<\/p>\n","protected":false},"excerpt":{"rendered":"