Entarte Saxophon

Biography

In a desire for innovation , Thibaut Canaval made ​​the crazy idea to found in 2010 a saxophone ensemble involving the whole family of saxophones. The ensemble ” Saxo Voce ” was born!
This pioneering spirit and the will are the result of an observation: Saxophone is recognized and appreciated by the general public but has not yet managed to establish itself as the piano or the violin.
Now this obstacle encourages ” Saxo Voce ” to tackle this challenge : the site of transcription, real spearhead of all ” Saxo Voce “, if yoking with haste and pleasure, anxious to showcase the fantastic and diverse qualities Saxophone.

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Entarte Saxophon

Saxophone, a “degenerate” instrument for the Nazi regime. The Nazi regime was on the cover of the exhibition program on “The Degenerate Art” in 1938.

Due to the political nature of the German totalitarian regime since Hitler’s accession to the Chancellery in January 1933, the non artistic freedom quickly established allowing the Nazi regime ban modern art to better preserve classical art.

The degenerate art, “Entartete Kunst die” in German, was so named for any work that did not meet the aesthetic and ideological criteria of the Nazis. The term degenerate art was pronounced for the first time by Joseph Goebbels, the Minister of Propaganda of the Reich. Was described as degenerate art any work not corresponding to the aesthetic and ideological criteria of the Nazis.

In the early twentieth century, the success of Jazz in Europe quickly problem to the Nazi regime that considers him a degenerate music. He quickly banned listening. However, the attraction of the population for the Jazz threat listen to the official radio, indispensable instrument of propaganda Plan!

During the “Roaring Twenties” Josephine Baker and Duke Ellington occur in major European capitals. Population “swing” to new rhythms. The craze for these modern rhythms is fast. A fascination grows. The ideological controversy with regard to the jazz takes shape in Germany in the early 1930s modernity that characterizes this decade is silenced since the advent of Hitler to power in 1933.

The “Entartete Musik” exhibition opens in May 1938 in Düsseldorf, under the auspices of the Nazi cultural leaders. It follows the exhibition inaugurated by Hitler devoted to degenerate art. And were defamed in Düsseldorf on “musical Bolshevism”, atonal music, jazz and of course the music of Jewish composers. The study works blacklisted on behalf of the required treatment of the German musical life shows that beyond the rejection of modernity, all styles are concerned, racial origin of the authors actually constituting a overdetermining criterion. This exhibition was the culmination of a policy announced by the Nazis before 1933 and implemented since coming to power. Its consequences are still immeasurable because it has silenced the musical elite which had flourished under the Weimar Republic. They disappeared in deportation or in the anonymity of exile, these composers have still not found the place that should be theirs in the musical life of our time. The whole “Saxo Voce” has chosen to interpret excerpts from “Die Dreigroschenoper” Kurt Weill arranged for saxophone ensemble and “Hot-Sonate” Erwin Schulhoff arranged for saxophone ensemble and soloist with the kind participation of Jean-Yves Fourmeau.