PDF typeset by S.T.
||Bird pour saxophone
||Btrd pour saxophone
|Year/Date of CompositionY/D of Comp.
|Average DurationAvg. Duration
|Composer Time PeriodComp. Period
Bird for alto sax & tape
“Beauty will be convulsive otherwise it won’t be”
…I had the intention of using all the means and methods that were available at that moment (1987) in the electro-acoustic studio of Boulogne, France, where I worked composing a work for instrument and tape.
To achieve homogeneity, the sound in the tape would have a tight relation with the instrument, hence the sounds in the tape were taken almost completely from the saxophone. The unity came from this fact; the variety would come from the multiple sound that the studio offered at the time (1987). The punctuation would come from elements coming not from the sax, but available, from an old analogic synthesizer, to concrete sounds of multiple sources diversely filtered, transformed, “saxophoned”…’
The piece establishes the interplay between two extremes and their different intermediate degrees: the affinity on one side and the antagonism on the other, between the instrumentalist and the tape; sometimes a dialogue with itself, like a mirror of the same saxophone; sometimes a fight between both.
Bird? You can’t escape the great Charlie Parker and his high saxophone, who revolutionized the way of playing this instrument. Also, in the last section, there’s a reference to Olivier Messiaen and his ornithology, just that in here, the bird represents the electronic “heavy bird”, a sort of malefic being who challenges the other bird: the saxophonist himself. Both form a metaphor of the duel between the “caged” bird, and the lively, free bird, who is the instrumentalist, keeper of spontaneity in his execution.