ETUDES

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� - 'On legato sound and the charm of sonority'
• 3. Pour les arp�ges - 'On arpeggios'
• 4. Pour la douceur des attaques - 'On soft attacks'
• 5. Pour le charme du son dans un mouvement vif - 'On the charm of sound in a swift tempo'
• 6. Pour le style soutenu et doux, en sons li�s - 'On sustained and soft legato sound'
• 7. Pour les son li�s et le charme de la sonorit� - 'On legato sound and the charm of sonority'
• 8. pour les notes en staccato, et le m�lange de legato et staccato - 'On staccato notes and the combination of legato and staccato'
• 9. Pour la longueur de la respiration et l'�galit� du son - 'On breathing and evenness of sound'
• 10. Pour la qualit� du son dans un style soutenu et pour les nuances - 'On sound quality in sostenuto and nuances'
• 11. pour la solidit� du rythme - 'On the steadiness of rhythm'
• 12. Pour l'�galit� du son et pour les nuances - 'On evenness of sound and nuances'
• 13. pour la l�g�ret� du son - 'On lightness of sound'
• 14. Pour une sonorit� soutenu et expressive, pour la douceur du grave et de l'aigu - 'On expressive and sustained sonority, on the softness of sound in the low and the high registers'
• 15. pour les accents qui doivent donner le rythme de la phrase - 'On accents that give the musical phrase its rhythmical frame'

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