Compositor e intérprete, com raizes e influências estendidas entre a cultura alentejana, o Alto Minho e a música de José Afonso - Amílcar Vasques-Dias está Em Foco no MIC.PT em janeiro.
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para os meus colegas do quarteto InvictaSax, com amizade
Revisão (data) 2005
Andamentos / Partes
I-Praeludim
II-Abstracção primeira
III-Intermezzo burlesco
IV-Abstracção segunda
V-Postludium
Instrumentação Detalhada
Categoria Musical Música de câmara (de 2 a 8 instrumentos)
Instrumentação Sintética Quarteto de Saxofones
Notas Sobre a Obra
It is my strongest conviction that also from diversity derives unity. Plurality is in fact, at least in my opinion, a sign of intellectual maturity, maybe even the foremost characteristic of Humankind. By that matter the thought I?ve once heard from one certain famous contemporary Spanish composer that "aesthetic incoherence" as a style, as "aesthetic" itself, does not signifies by no means a minor oeuvre, makes absolute sense to me, especially now at the beginning of the 21st century, where the artistic and aesthetic fundamentalisms seem to be finally overcome, and the variety of stylistic options available to the composer in the moment of creation conception it's wider then ever. Sax-suite is, on other hand, my "blink of an eye" to the kitsch aesthetic. Otherwise how could we explain the mixture of such diverse sound worlds as Bach, dodecaphonism, Ligeti and even a finale alla Hollywood in one and the same piece? All of this within an external arc-form that relates the first to the last movements, the second to the fourth, and where the third functions as a pivot of the all piece, thus conferring to this piece the supposed "unity" derived from "diversity" that I initially claimed. Or at least I hope so?
Such is the variety of influences "cooked" into this suite, and if the final result turns out to be the one I expected it will hopefully give as much pleasure to play as it gave me to create!
