A large portion of the standard repertoire for saxophone and piano has already been recorded and performed many times and has received significant scholarly study. For a performer, remaining relevant requires learning and performing new compositions. Jorge Sosa and Andrés Alén are both accomplished composers, yet outside of the Latin-American community they remain virtually unknown to most saxophonists. This project serves as an introduction to both composers. Combined, Sosa and Alén have nine compositions for saxophone. Their works include saxophone quartets, saxophone and piano, and saxophone quartet with choir. This study focuses on three compositions: La Zacapaneca by Sosa, Tema con Variaciones and Sonata para Clarinete ó Saxofón Soprano y Piano, both by Alén. Compositional background information is given about each composition to include date of composition, premiers, important recordings, length of performance and Cuban ethnic and traditional elements used as the basis for rhythmic and thematic ideas. The Cuban and Afro-Cuban influences are explained in further detail pertaining to how they were used in the construction of the works and in their being performed stylistically correctly. Dynamics, articulations, and performance considerations are studied at length.
This thesis (i) presents a critical analysis of the political allegory and dramatic elements employed by Antón Arrufat in Los siete contra Tebas in order to comment upon the conflict in Cuban society during and immediately after the Cuban revolution; and (ii) further analyzes that conflict using an anthropological approach in order to establish partial reintegration as an additional final phase in the rites of passage journey.
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