JOSÉ LUIS CAMPANA (Buenos Aires, Argentina, 1949) is a renamed composer based in Paris (France) since 1979, where he finished his studies in composition with the best European masters. His production has a copious amount of music genres and many of his works have been premiered and performed in the most important contemporary music festivals in the world. At the same time, he also was analyse and contemporary music professor at CNSMD Paris.
Read more about the composer, here
Details of TROIS RÊVES EN MUSIQUE
Babel Scores, Paris (F). 16 pages. Purchase it here. Duration: ca. 10:30. Contemporary music.
Level: VERY DIFFICULT. Range (written): A2 – B6
Technical elements: Wide palette of dynamics and timbres. Glissandi and portamenti. Diversity of articulations. Very fast and intense vibratos. Microtones (1/4 of tones). Smorzatti. Flatterzunge. Extreme altissimo register.
Performance: To play with lots of expressive energy. To create very intense, perturbing and even violent frames of mind. Scenic attitude. Very contrasted changes of character.
Meaning and structure of TROIS RÊVES EN MUSIQUE
This work was commissioned by the “Association Bar&Co” and dedicated to the great master of the classical music baritone saxophone player, Eric Devallon. Eric Devallon and José Luis Campana gave a workshop of this piece and the premiere of the first movement (then, the work was still in progress) at the 4th International Baritone Saxophone Summit, held in Ambazac (France) in October 2011.
Due to the illness of Eric Devallon (R.I.P.), the composition process was interrupted several times and the complete premiere of that work in three movements was done at Andorra Sax-Fest (Andorra la Vella, Andorra) in May 2014. Some time later, that work was completely reviewed and definitely presented with another title (its current name) at the 17th World Saxophone Congress, SaxOpen, in Strasbourg (France) in July 2015. The final version of this work was recorded in my album Believer.
The three musical dreams represented in this work are very different but have a common element: intensity. I briefly describe them:
- The first one, “Cauchemar” (nightmare), is a short movement with lot of agitation (with very fast trills and vibratos and very marked accellerandi and diminuendi) that progressively disappear at the very end of the movement.
- In the second one, “Sulla strada” (on the street), the composer imagines a jazz saxophone player or an Afro-American musician improvising freely on the street. Its strong rhythmic character scales throughout the dream creating instability.
- The third one, “A Bacon (1909-1992)”, shows the complex personality of the Anglo-Irish painter Francis Bacon. This movement creates a disturbing atmosphere built on three sections with successive accellerandi and crescendo more and more longer, which explodes in a madness attack and a long cry of anguish in the extreme of the altissimo register of the baritone saxophone. Next, the dream progressively dilutes into the calm in the low register of the instrument.
TROIS RÊVES EN MUSIQUE must be also played with a tam (gong), but the tam part is not difficult at all. Tam is used to produce resonances and give a special colour, especially in the first and third movements. So, it would be great to have a biggest as possible tam and to play with the bell of the baritone as close as possible to the tam.
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