AbstractRight Through Durch: Insights from a Saxophone Quartet by Fabien Lévy
With Les deux ampoules d’un sablier peu à peu se comprennent (1996) for solo harp, Fabien Lévy (* 1968) set the degré zero for the compositional concepts he would subsequently pursue. These approaches were further developed in Durch, in memoriam Gérard Grisey (1998) for saxophone quartet. As the main focus of the article, this piece serves not only to enrich a perception-based engagement with Lévy’s work, but also to trace certain compositional tendencies he inherited and adapted, which also appear in his later works. Via the tension between »analytical« structure and sensually perceptible form, Durch is permeable to a variety of musical traditions; among other things, these are used to produce virtual voices.