Muliza: Double Concerto for Alto Saxophone, Tenor Saxophone and Chamber Orchestra * [saxophone alto,saxophone ténor , piano et percussion / alto saxophone, tenor saxophone, piano and percussion]
Muliza: Double Concerto for Alto Saxophone, Tenor Saxophone and Chamber Orchestra *
[saxophone alto,saxophone ténor , piano et percussion / alto saxophone, tenor saxophone, piano and percussion]
avec la participation de:
with the participation of:
Riley Elliot, saxophone ténor / tenor saxophone
Karla J. Qualls, piano
* Création / World premiere
|Patrick Meighan is Professor of Saxophone at the Florida State University School of Music. In 1974 he was appointed the first artist-teacher of saxophone at the University.
Mr. Meighan has appeared as soloist and chamber music recitalist in the continental United States, Hawaii, South America, Europe, and Puerto Rico. A recipient of a 1992 Fulbright Senior Scholar Grant to Australia, he performed the Australian premiere of Concerto for Saxophone and Wind Orchestra by Paul Cooper and presented concerts and master classes, Melbourne, Perth, and Sydney as a member of the Trio Bel Canto (an alto saxophone, tenor saxophone, and piano chamber ensemble). The Trio was awarded the bronze medal at the 1993 First International Chamber Music Competition and Festa in Osaka, Japan. In 1998 Mr. Meighan was selected for the fifth edition of Who's Who Among America's Teachers. His own studies include work with Galan Kral, Larry Teal, and Sigurd Rascher.
Mr. Meighan has served as principal saxophonist with the Tallahassee Symphony Orchestra, the Jacksonville Symphony, the Florida West Coast Symphony, the Naples Philharmonic, and the New Sousa Band. He has been a Chamber Music Coordinator at the University of Lexington Saxophone Institute since 1986. In the popular music idiom, Mr. Meighan has performed with Sammy Davis Jr., Vic Damone, The Four Tops, Michael Jackson, Johnny Mathis, Bernadette Peters, and The Temptations.
Mr. Meighan has received international acclaim for his artistry and has earned a reputation as an exceptionally effective clinician through master classes and residencies for audiences of all ages. He has illustrated time and again that the saxophone can possess the tonal quality that Rossini, Berlioz, and Hindemith described as being one of the most beautiful and Iyrical of all the orchestral colors.
Elliot Riley, originally from Columbus, Georgia, is currently pursuing the Bachelor of Music degree in Saxophone Performance at the Florida State University School of Music. He has been a member of Florida State's Jazz Ensemble and is currently principal alto saxophonist in the Wind Orchestra. In 1998, Elliot was a soloist with the Northwest Florida Symphony Orchestra and the winner of the statewide Mt. Dora (FL) Spring Festival Young Artists Competition.
Since 1996 he has been tenor saxophonist with the FSU Sax-Chamber Quartet. Their competition successes include winning the chamber division of the 1998 Music Teachers National Association competition and the 1998 Carmel International Chamber Music Competition. In March of 1999, the quartet was the first saxophone group to appear in the 26th year history of "International Week", an annual chamber music event organized by the University of Music and Dramatic Arts in Graz, Austria. In addition, they were one of eighteen semi-finalists, and five saxophone quartets, selected for the 1999 Coleman National Chamber Ensemble Competition. They finished as the top quartet and were awarded 3rd place (honorable mention) in the final round.
|The Double Concerto is conceived for alto and tenor saxophones as soloists, accompanied by chamber orchestra. A version with piano has been adapted from the original work.
The pairing of alto and tenor saxophones is used extensively in the muliza, a type of dance music found in the Andean Peruvian region of Huancayo. The name and pace of the dance originated from the music that lonely travelers improvised along their journey through the Andes. The only accompaniment for their melodies was provided by the steady rhythmic pattern of the donkey's steps on the road ("mula" means donkey or ass in Spanish, so "Muliza" means "melody sung at the donkey's pace").
The use of thirds and sudden rhythmic interruptions in the concerto relate to the curvy and bumpy Andean roads that present unexpected turns and stony traces. The quasi cadential motion of the music takes us to the deceiving end of a long joumey.