Tambourin for Bb Soprano Saxophone & Piano

By: François-Joseph Gossec Ed. Keith Terrett
For: Solo Soprano Saxophone + piano
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Composer
François-Joseph Gossec Ed. Keith Terrett
Difficulty
Difficult (Grades 7+)
Duration
1 minute
Genre
Classical music
License details
For anything not permitted by the above licence then you should contact the publisher first to obtain permission.

Tambourin arranged for Bb Soprano Saxophone & Piano.

The son of a small farmer, Gossec was born at the village of Vergnies [fr], then a French exclave in the Austrian Netherlands, now in Belgium. Showing an early taste for music, he became a choir-boy in Antwerp. He went to Paris in 1751 and was taken on by the composer Jean-Philippe Rameau. He followed Rameau as the conductor of a private orchestra kept by the fermier général Le Riche de La Poupelinière, a wealthy amateur and patron of music. Gradually he became determined to do something to revive the study of instrumental music in France.

Gossec's own first symphony was performed in 1754, and as conductor to the Prince de Condé's orchestra he produced several operas and other compositions of his own. He imposed his influence on French music with remarkable success. His Requiem premiered in 1760, a ninety-minute piece which made him famous overnight. Years later, in 1778, Mozart visited Gossec during a trip to Paris, and described him in a letter to his father as "a very good friend and a very dry man".

Gossec founded the Concert des Amateurs in 1769 and in 1773 he reorganised the Concert Spirituel together with Simon Leduc and Pierre Gaviniès. In this concert series he conducted his own symphonies as well as those by his contemporaries, particularly works by Joseph Haydn, whose music had become increasingly popular in Paris, finally even superseding Gossec's symphonic work.

In the 1780s Gossec's symphonic output decreased as he began concentrating on operas. He organized the École de Chant in 1784, together with Etienne Méhul, was conductor of the band of the Garde Nationale of the French Revolution, and was appointed (with Méhul and Luigi Cherubini) inspector of the Conservatoire de Musique at its creation in 1795. He was an original member of the Institut and a chevalier of the Legion of Honour.[1] In 1815, after the defeat of Napoleon at Waterloo, the Conservatoire was closed for some time by Louis XVIII, and the eighty-one-year-old Gossec had to retire. Until 1817 he worked on his last compositions, including a third Te Deum, and was supported by a pension granted by the Conservatoire.

He died in the Parisian suburb of Passy. The funeral service was attended by former colleagues, including Cherubini, at Père Lachaise Cemetery in Paris. His grave is near those of Méhul and Grétry.

Some of his techniques anticipated the innovations of the Romantic era: he scored his Te Deum for 1200 singers and 300 wind instruments, and several oratorios require the physical separation of multiple choirs, including invisible ones behind the stage. He wrote several works in honor of the French revolution, including Le Triomphe de la République, and L'Offrande à la Liberté.

Gossec's Gavotte remains familiar in popular culture because Carl Stalling and Charles M. Jones used arrangements of it in several Warner Brothers cartoons. Arguably the most notable of these is Porky Pig’s dance to an uncredited version of Gossec’s Gavotte in Jones’ ‘’Porky’s Cafe’’ (1942).

Gossec was little known outside France, and his own numerous compositions, sacred and secular, were overshadowed by those of more famous composers; but he was an inspiration to many, and powerfully stimulated the revival of instrumental music.

Even the best-known composer in his/her lifetime may fall into obscurity after death. French composer François-Joseph Gossec was acknowledged to be the greatest instrumental composer at the close of the ancien régime in France (Marie Antoinette loved his music) and, in an amazing volte face, he was acknowledged to be the greatest composer of the Revolutionary and Napoleonic periods (Robespierre loved his music). While his operas and ballets for the ancien régime could not compare with Gluck from the same period, his orchestral symphonies were immensely successful. He was also, beyond all doubt, the composer of Revolutionary France, composing not only gargantuan works for public celebrations and ceremonies but even composing the Hymn to the Supreme Being which was, for a time, the hymn of the Revolution.

But all that has faded from memory and Gossec is instead remembered – if he is remembered at all – for having composed the Tambourin for Flute and Orchestra. Taken from his "divertissement-lyrique" Le triomphe de la République, it is nearly mandatory among flutists: James Galway and, of course, Jean-Pierre Rampal, have performed and recorded it numerous times. It also exists in a seemingly infinite number of arrangements for flute and every possible combination of instruments plus arrangements for nearly every possible solo instrument except, perhaps, sousaphone. But while the Tambourin is a charming little piece with an unforgettably delightful melody and sprightly rhythm, it is hardly representative of Gossec's greater achievement, and one can only imagine the old man whirling in his grave with the knowledge that it is his Tambourin that has gained a measure of immortality for him.Even the best-known composer in his/her lifetime may fall into obscurity after death. French composer François-Joseph Gossec was acknowledged to be the greatest instrumental composer at the close of the ancien régime in France (Marie Antoinette loved his music) and, in an amazing volte face, he was acknowledged to be the greatest composer of the Revolutionary and Napoleonic periods (Robespierre loved his music). While his operas and ballets for the ancien régime could not compare with Gluck from the same period, his orchestral symphonies were immensely successful. He was also, beyond all doubt, the composer of Revolutionary France, composing not only gargantuan works for public celebrations and ceremonies but even composing the Hymn to the Supreme Being which was, for a time, the hymn of the Revolution.

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M’Appari Tutt’ Amor for Eb Alto Saxophone & Piano, Badinerie from Suite No.2 for Eb Baritone Saxophone & Piano, Badinerie from Suite No.2 for Eb Alto Saxophone & Piano, Arioso (Sinfonia to Cantata Ich steh mit einem Fuß im Grabe) for Bb Soprano Saxophone & Keyboard, Eternal Father Strong, to Save (Naval hymn) for Saxophone Quartet-Quintet, M’Appari Tutt’ Amor for Bb Tenor Saxophone & Piano, Jasmine Flower (The) for Eb Alto Saxophone & Piano, Jazz it up:When the Saint’s Go Marching In for Bb Soprano Saxophone & Piano, Badinerie from Suite No.2 for Bb Tenor Saxophone & Piano, Badinerie from Suite No.2 for Bb Soprano Saxophone & Piano, Keep the Fire Alive for Solo French Horn & Concert/Wind Band, Jasmine Flower (The) for Bb Tenor Saxophone & Piano, Arioso (Sinfonia to Cantata Ich steh mit einem Fuß im Grabe) for Eb Alto Saxophone & Harpsichord, Theme & Variations for Pianoforte, Jazz it up: When the Saint’s Go Marching In for Eb Baritone Saxophone & Piano, A Soprano Saxophonist Goes Ballroom Dancing, Western Film Themes for Symphony Orchestra (Film cue), Von fremden Landern und Menschen for Saxophone Quintet, Nessun Dorma for Eb Alto Saxophone & Piano, Mattinata for Bb Tenor Saxophone & Piano, Bollywood Tango for Bb Soprano/Soprillo & Eb Baritone Saxophone with Piano, Trumpet Tune from the Island Princess for Saxophone Quintet, Gollidoll’s Cake-Walk for Saxophone Quintet, March from ’Judas Maccabaeus’ for Saxophone Quartet, Overture from the Suite in D from the ’Water Music’ for two Bb Soprano Saxophones & Keyboard, O Sole Mio for Eb Alto Saxophone & Piano, Solveigs sang for Bb Tenor Saxophone & Keyboard, Pachelbel's Kanon for Saxophone Octet, Pachelbel’s Canon for 7 Bb Soprano Saxophones & 1 Bass Saxophone, Für Elise Boogie Woogie for Saxophone Quintet (Jazz for 5 Saxophones Series), Für Elise Boogie Woogie for Eb Alto Saxophone & Piano (Keith Terrett Jazz for Wind Series), Frankie & Johnny for Eb Alto Saxophone & Piano, Frankie & Johnny for Bb Soprano Saxophone & Piano, Frankie & Johnny for Bb Tenor Saxophone, Battle Hymn of the Republic ’’Mine Eyes Have Seen the Glory’’ for Saxophone Quintet, Keep the Fire Alive for Bb Clarinet & Concert/Wind Band, More Palatino (Four Variations) for Saxophone Sextet, Indian National Anthem ''Jana Gana Mana'' for Young Symphonic Band, Highland Snap for Concert/Wind Band, Forgotten Moments for Symphony Orchestra (Hollywood Film Cue Series), Shakuntala & Dushyant's Love Waltz for Soprano, Tenor, Chorus & Orchestra, Hans Zimmer(in the style of) for Symphony Orchestra (Hollywood Film Cue Series), Beyond the End of Time for Two Bb Trumpets & Orchestra (Hollywood Film cue series), Journey to the End of Time for Symphony Orchestra (Hollywood Film Cue Series), O Sole Mio for Bb Soprano Saxophone & Piano, O Sole Mio for Bb Tenor Saxophone & Piano, Berceuse (Opus 16) for Bb Tenor Saxophone & Harp (Piano), Catalonian Territorial Anthem for Concert/Wind Band, When the Saint's Go Marching In for Flexible Band (Grade 2/3 ish), Frankie & Johnny for Flexible Band (Grade 4 ish), Little Brown Jug for Flexible Band Grade 4/5 ish, Battle Hymn of the Republic for Flexible Band Grade 5/6 ish, German National Anthem for Symphony Orchestra (KT Olympic Anthem Series), Canadian National Anthem ''O Canada'' for Symphony Orchestra (KT Olympic Anthem Series), French National Anthem ''La Marsellaise'' for Symphony Orchestra (KT Olympic Anthem Series), Indian National Anthem for Symphony Orchestra (KT Olympic Anthem Series), Ave Maria for Eb Alto Saxophone & Piano, Moonlight Serenade for Eb Alto Saxophone & Piano, Moonlight Serenade for Bb Tenor Saxophone & Piano, Tambourin for Eb Alto Saxophone & Piano and Little Fughetta in G minor for Saxophone Quartet

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