Ah, a very nice idea. I like what you've done here, though I'm not typically a sax fan (sorry) this is a very pleasant listen. I was actually thinking about doing a percussion ensemble on one of the movements, maybe Tuilleres (not sure on spelling) or the Ballet of the Hatching Chicks.
I see what you mean as far as it not being the same as the full orchestra, but you will always lose something when you change to a different ensemble, but though you may lose in one aspect of the piece, you can really gain on some other parts, like I feel the stacatto sections really benefit from the sax's touch. Nice work!
Thanks for listening sos.
This was from a Kalmus piano part. No mention otherwise.
Thanks for your comments, sanyarem.
The sax quartet can handle many different types of music.
One year at a band festival at SANDY LAKE in Texas, I heard a 20(?) piece sax ensemble play three different band pieces which had been transcribed-a great job, also.
Thanks for listening, Phil.
You know, with Finale-and other computer programs-you can change the piece for almost any instrumentation.
That would be interesting, i.e. FLUTE QUARTET; CLARINET,2 OBOE & 2 BASSOON; you get the idea. If note ranges are extremly high or low that would limit change.
It seems like I'm making a lot of typo's because I have to use modified "hunt & peck" with 2 fingers.
Hi David, thanks for listening.
A trip to San Antonio seems a bit extreme.
If you have a sax quartet in your area, I can send you parts for this piece.
Anything to get my music performed via Mussorgsky, of course.
I just received word that my flute quintet, CALLIOPE FLAUTA will be performed in a Region Conference, so that's exciting.
I'm finally catching up with your newest transcription, and like the others on your thread, find it such an entertaining experience hearing this well-known piece in such a totally different setting.
It's like the Sax section of one of the great old Big Bands are on a break and wanting to jam on the music they learned and love before playing with Benny Goodman or Les Brown. And we get to be "flies on the wall" during that magical rehearsal break.
A little technical note - Not very often, but a few times in this recording, I felt ppp was too far below the average dynamic level. It felt more like the volume knob had suddenly been turned down during playback rather than the players being true to the score's dynamics.