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Dernier Roi

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Berlioz's enthusiasm for the sound of the new instrument was expressed in a paper he published in 1842 in the Journal des Debats and says, "is of such nature that I know of no instrument currently in use to compare with, in this regard. It is full, soft, vibrant, capable of great strength and sweeten "He concluded in these terms:" The composers will be a lot like Mr. Sax, when its instruments to achieve general use. To persevere, no lack of encouragement from the friends of art. "(3) But Berlioz was not only words of praise for the saxophone. Rossini, after hearing it in 1844, said:" I've never heard anything so beautiful "(4) Mayerbeer, For its part, said: "This is for me the ideal of sound." (5) The saxophone began to appear in symphonic and operatic compositions of the time, just to name a few we can mention: Le Dernier Roi de Juda, Georges Kastner (1810-1867), released in 1844, Hamlet by Ambroise Thomas (1811-1896), created in 1868, The King of Lahore and The Lady, Jules Massenet (1842-1912) in 1877 and especially the Arlesiana of Georges Bizet (1838-1875), in 1872, where he achieved great success. the interest in the new instrument inventor brought many troubles to face the reaction of other instrument manufacturers and even interpreters, who saw the appearance of Saxophone danger. Despite this military band welcomed enthusiastically the saxophone since 1845 and after brief years of exclusion caused by changes of regime in France, resurgent again in these formations in 1853, to the point that Adolph Sax was appointed in 1854, "manufacturer musical instruments of the Military House of the Emperor.


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