Gingko biloba is a piece of great energy and full of
contrasts, in free form.
The piece opens with an incisive rhythm on the piano
topped by a long note on the sax
that flows into a line of well-accented descending
fifths, and then rises again with decision.
After a strongly rhythmic exposition, full of dynamic
surprises,
we arrive at the central section, meas. 63, where the
piano prepares, with an ostinato of
sextuplets, a melodic carpet for saxophone
multiphonics.
The s...(+)
Gingko biloba is a piece of great energy and full of
contrasts, in free form.
The piece opens with an incisive rhythm on the piano
topped by a long note on the sax
that flows into a line of well-accented descending
fifths, and then rises again with decision.
After a strongly rhythmic exposition, full of dynamic
surprises,
we arrive at the central section, meas. 63, where the
piano prepares, with an ostinato of
sextuplets, a melodic carpet for saxophone
multiphonics.
The sound cloud created by the multiphonics is followed
by the rhythmic call of the piano bass,
at m.77, which brings us back to Tempo I, m. 99, where
the saxophone sings a strong tune on
an accompaniment in G major lydian, a tonality that is
in itself luminous and highly energetic,
like the yellow flowers of the Gingko.
In the section from 117 to 143, the timbre of the two
instruments merges into a soft color
conferred by the ostinato accompaniment of the piano
with its F7 chord.
An energetic recapitulation, after a gliss. on the
piano, measure 154, takes us to the
final section, on the golden aura of a C sprinkling of
energy.
The anacrusic attack of the saxophone, in Fp, at m.162,
creates a dynamic surprise followed
by a cresc. which, on audacious leaps of register, lead
to a brilliant and peremptory ending.
Gingko biloba is a piece full of rhythmic tension and
plays of color where the timbres of
both instruments blend and enrich each other, creating
captivating sound atmospheres.
