15 ETUDES Op.188

For one who composed over two hundred works spread across such a wide range of genres, it is surprising that so little of Koechlin's music is published. He followed no system or school of composition but drew from a huge range of sources and inspirations, both musical and non-musical - Kipling's "Jungle Book" for his choral and symphonic poems, for instance and the personalities of such Hollywood celebrities as Douglas Fairbanks and Greta Garbo for his "Seven Stars" symphony. He wrote in any idiom he felt to be appropriate and, if musical influence is to be found in his compositions, Faure's is the most likely. Koechlin's work has been described as 'youthful and fresh' in contrast to the cynicism and pessimism of so much of twentieth century music. Why then is it so neglected?

The importance of a sustained melodic line was a cornerstone of Koechlin's teaching and this is exemplified in his various collections of accompanied pieces for wind instruments including the Etudes for alto saxophone and piano (Op.188) of 1943. Professor Robert Orledge, who is a leading scholar of early twentieth century French music says "with their rhythmic interest, direct approach, formal simplicity and balanced lengths, the saxophone studies form the most attractive group amongst Koechlin's later wind pieces."

• 2. Pour les sons li�s et le charme de la sonorit� - 'Slurred notes and smoothness of tone'
• 3. Pour le style soutenu et doux en sons li�s - 'Sostenuto and soft in slurred passages'
• 4. Pour les arp�ges - 'Arpeggios'
• 5. Pour les sons li�s et le charme de la sonorit� - 'Slurred notes and smoothness of tone'
• 6. Pour les notes en staccato, et le m�lange de legato et staccato - 'Staccato notes and staccato-legato combination'
• 7. Pour la longueur de la respiration et l'�galit� du son - 'long breaths and evenness of sound'
• 8. Pour la qualit� du son dans un style soutenu et pour les nuances - 'Controlling tone quality and nuances'
• 9. Pour la douceur des attaques - 'soft attacks'
• 10. Pour la solidit� du rythme - 'Rythmically steady'
• 11. Pour l'�galit� du son et pour les nuances - 'Evenness of sound and nuances'
• 12. Pour la l�g�ret� du son - 'Lightness of sound'
• 13. Pour une sonorit� soutenue et expressive; pour la douceur du grave et de l'aigu - 'Sustained and expressive tone; mellow in the low and high registers'
• 14. Pour les accents qui doivent donner le rythme de la phrase - 'Accents give rhythm and phrasing'
• 15. Pour le charme du son dans un mouvement assez vif - 'Beauty of tone in a rather swift movement'

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