Program Book 1998-1999 page 13
Concert II Program Notes, continued

the fourth movement. The title here is Canon B (backwards), i.e.. essen-
tially the same pitches and rhythms of the second movement played in
reverse but to be "Activity felt but not heard". The shadowy effect
generates an inscrutable energy which slowly graduates into full audibil-
ity. All the while the giocoso-styled lilt of the first Canon is maintained.
Suddenly, quasi-souvenirs from the Introduction and the Chorale are
briefly quoted as cantilevers into the quiescent C Major chord which
closes the piece. — Edward Yadzinski

Joseph Jongen (1873-1953), Belgian composer and organist, entered
the Liege Conservatory at the age of seven. He showed an outstanding
gift for organ improvisation, and began to compose at the age of 13.
Jongen saw himself as an independent composer, though many impor-
tant influences varied throughout his life. Up to Op. 30 (1906-07)
Jongen's music recalls Franck, leaning towards a harmonic, rather than
a contrapuntal basis. In about 1921, the influence of Debussy and Ravel
become apparent. Buffalo News critic Herman Trotter reviewed the
Quatour Op. 122 as follows, "The composer drew from a number of styles:
big and bombastic, simple and folk like, and deftly jazz influenced."

Jongen was one of the best known Belgian composers in the 20th
century, writing some 241 works, but near the end of his life, applying
severe standards of self-criticism, withdrew all but 137 pieces. We feel
fortunate the Op. 122 survived. H.F.

All Right Blues is Russ Carere's 13th original composition for the ASQ.
Opening with an ascending gliss which instantly leads into a baritone
solo, the piece immediately gets into the heart of what blues and
improvising is all about. Following the baritone solo, the piece modu-
lates up a 4th into the main theme, a crisp syncopated melody with
anticipated silences. Next is the improvisation section. Each player gets
his and her creative juices flowing, improvising a solo over standard
blues changes. The length is determined by each player. After the solo
section is finished, Russ's stylistic trademark is shown off by taking a
melody and breaking it down into separate fragments passed around to
each player. This can also be seen along with some interesting visual
effects in the ASQ's new kids, video. The final section is a typical toe-
tapping riff heard in many big bands. This intensifies with the addition of
a wailing tenor solo. The work finishes with a downward fall (opposite the
opening gliss upward), purposely not resolving to any specific pitch, but
left unresolved.

Amherst Saxophone Quartet Program Book Concert II Notes