Toot Suite (3 pieces)
Composed: 2004 Duration: 6 mins.
Instrumentation: Clarinet Duets
ISMN: 979-0-720119-86-1 Catalogue: RM529
Level: B, C Country: Australia
The story behind Bach’s Pianola.
J.S Bach is working on a fugue late one night when suddenly a pianola from the 20th Century drops into his room. Bach puts aside the piece he is working on and wanders over to the pianola and sits down. As he begins to pedal he hears music that he’d never imagined-ragtime, waltzes and swing! The more music he hears, the faster he pedals.
He plays the pianola for a few hours and then after nearly destroying the pianola with his energy and untamed enthusiasm, he goes back to writing his fugue. But as he begins to write again, he is unable to block this new and wonderful music he has just heard from his mind and as such begins to incorporate it into his fugue.
Dedicated to Philippe Geiss and the Strasbourg Saxophone Ensemble.
Commissioned by Sax & Co for the XVI World Sax Congress in St Andrews Scotland - 2012.
Includes Score and Parts: sopranino, soprano 1, soprano 2, alto 1, alto 2, alto 3, tenor 1, tenor 2, tenor 3, baritone 1, baritone 2, bass sax
Program Notes
This work was commissioned by saxophone and piano duo HD Duo, Michael Duke - saxophone and David Howie - piano, with the assistance of Sydney Conservatorium of Music CD/DVD Grant.
Although the program of the piece could be likened to the unseen undercurrent of a creek or river, it is in reality, reminiscent of the movement and shift of human emotion and the old adage ‘still waters run deep’.
A thank you to Finnegan Abbott for his musical ideas and inspiration in the second section of the work.
Performance Notes
There is a section in the work for an improvisation/cadenza. The material used can be based on the pre-existing musical ideas already played in the piece and/or material further developed later in the piece that is not yet heard. The soloist is also welcome to play what is written in the score as an alternate to the improvisation. The duration of the cadenza may be extended if desired.
Piano pedalling should be as necessary where marked.
The opening of the work should be very still, in order to contrast with musical ideas to follow.
Contents: Rag, Blues, Latin Bop, Funk
Performed by Continuum Sax