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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 The Saxophone Music of Tristan Keuris and an Analysis of Music for Saxophones Cole Devan Belt Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE SAXOPHONE MUSIC OF TRISTAN KEURIS AND AN ANALYSIS OF MUSIC FOR SAXOPHONES By COLE DEVAN BELT A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2017 Cole D. Belt defended this treatise on April 14, 2017. The members of the supervisory committee were: Deborah Bish Professor Directing Treatise Richard Clary University Representative Alexander Jiménez Committee Member Anne Hodges Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGEMENTS This document could not have been written without these scholars and primary sources: Marion Keuris, Carina Raschèr, Leo Samama, and the writing of Dr. Emile Wennekes. Thank you for lending your resources, time, and expertise throughout my research and writing process. I also would like to extend my gratitude to Deborah Bish for agreeing to stand in as my major professor/committee head, as well as my other committee members: Alex Jimenez, Anne Hodges, and Richard Clary. iii TABLE OF CONTENTS List of Musical Examples ....................................................................................................v Abstract ............................................................................................................................ vii 1. BIOGRAPHICAL INFORMATION ...................................................................1 Tristan Keuris ..............................................................................................1 John-Edward Kelly .....................................................................................4 2. THE COMPOSITONAL LANGUAGE OF TRISTAN KEURIS .......................6 Compositional Language and Influence .....................................................6 Process – An Interview with Roland de Beer and Tristan Keuris .............10 3. THE SAXOPHONE MUSIC .............................................................................14 The 1970’s Saxophone Music ....................................................................14 John & Tristan ...........................................................................................17 The Raschèr Saxophone Quartet & Concerto for Quartet and Orchestra 19 The Inadvertent Creation of a Genre .............................................21 The Three Sonnets and The Canzone .........................................................22 List of Known Errata – 1980s Saxophone Works .....................................26 4. ANALYSIS OF MUSIC FOR SAXOPHONES ..................................................28 Introduction (Rehearsal 0 – 10) ................................................................29 Region One (Subsections A – C / Rehearsal 10 – 26) ...............................33 Region Two (Subsections D – F / Rehearsal 26 – 46) ...............................38 Cadenza (Rehearsal 46 – 51) .....................................................................42 Region Three (Subsection G / Rehearsal 51 – 59) .....................................44 Region Four (Subsections H – J / Rehearsal 59 – 70) ...............................47 Coda (Rehearsal 70 – Double Bar) ............................................................50 5. CONCLUSION .................................................................................................53 BIBLIOGRAPHY ..............................................................................................................55 BIOGRAPHICAL SKETCH ............................................................................................57 iv LIST OF MUSICAL EXAMPLES Example 1 – Music for Saxophones: measure 1 – 3 ..........................................................30 Example 2 – Music for Saxophones: measure 5 ................................................................30 Example 3 – Music for Saxophones: measure 11 ..............................................................31 Example 4 – Music for Saxophones: measure 24 – 25 ......................................................31 Example 5 – Music for Saxophones: measure 28-29 .........................................................32 Example 6 – Music for Saxophones: measure 34 – 35 ......................................................32 Example 7 – Music for Saxophones: measure 40 – 41 ......................................................33 Example 8 – Music for Saxophones: measure 57 – 60 ......................................................34 Example 9 – Music for Saxophones: measure 66 – 69 ......................................................34 Example 10 – Music for Saxophones: measure 85 – 87 ....................................................35 Example 11 – Music for Saxophones: measure 108 – 111 ................................................36 Example 12 – Music for Saxophones: measure 114 – 117 ................................................36 Example 13 – Music for Saxophones: measure 139 – 140 ................................................37 Example 14 – Music for Saxophones: measure 147 – 150 ................................................37 Example 15 – Music for Saxophones: measure 160 – 162 ................................................38 Example 16 – Music for Saxophones: measure 163 – 164 ................................................38 Example 17 – Music for Saxophones: measure 188 – 191 ................................................39 Example 18 – Music for Saxophones: measure 228 – 230 ...............................................40 Example 19 – Music for Saxophones: measure 284 – 293 ................................................41 Example 20 – Music for Saxophones: measure 302 – 303 (Alto to Soprano) ...................42 Example 21 – Music for Saxophones: measure 306 – 307 (Soprano to Alto) ...................42 Example 22 – Music for Saxophones: measure 310 – 311 (Alto to Baritone to Tenor) ....43 v Example 23 – Music for Saxophones: measure 320 – 323 ................................................43 Example 24 – Music for Saxophones: measure 366 – 368 ................................................44 Example 25 – Music for Saxophones: measure 374 – 375 ................................................44 Example 26 – Music for Saxophones: measure 382 – 385 ................................................45 Example 27 – Music for Saxophones: measure 382 – 384 ................................................46 Example 28 – Music for Saxophones: measure 419 – 421 ................................................47 Example 29 – Music for Saxophones: measure 444 – 447 ................................................48 Example 30 – Music for Saxophones: measure 468 – 470 ................................................49 Example 31 – Music for Saxophones: measure 485 – 488 ................................................49 Example 32 – Music for Saxophones: measure 505 – 508 ................................................50 Example 33 – Music for Saxophones: measure 520 – 526 ................................................51 Example 34 – Music for Saxophones: measure 552 – 553 ................................................51 Example 35 – Music for Saxophones: measure 554 – 557 ................................................52 vi ABSTRACT The role of the saxophone has been in a profoundly confusing state of limbo regarding identity, sound, and repertoire since its patent in 1846. Originally intended for the orchestra, it has struggled to see that intent realized and instead, in its tenacious struggle for survival, it has found a way into other legitimate yet misaligned mediums. Throughout history, collaborations between great composers and performers have helped to establish the identity and sound of deserving instruments through compositions that showcase the most musically compelling aspects of the instrument. Saxophone virtuoso John-Edward Kelly spent his 35-year career convincing dozens of exceptional composers to commit their masterworks to an instrument sorely in need of them. Tristan Keuris stands out among them. This treatise serves to introduce, analyze, and substantiate the saxophone works of Tristan Keuris, whom I believe to be a composer worthy of the highest praise and international attention. It will discuss the progression of the composer’s relationship with the saxophone in coordination with his exposure to John-Edward Kelly and the Raschèr Saxophone Quartet and their influence on the repertoire overall. Combining primary sources, historical research, and analysis it is my hope that this document will become a reliable resource for future saxophonists and researchers. vii CHAPTER 1 BIOGRAPHICAL INFORMATION Tristan Keuris Tristan Keuris (October 3, 1946 – December 15, 1996) was born in Amersfoort, the second largest city of the province of Utrecht in central Netherlands. His father was a cartoonist and painter, his mother a housewife. Keuris was the oldest of three, having two younger sisters. He was brought up primarily by his grandmother on his father’s side. He lived with his parents between the ages of five and 10 and moved