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Composer: Jan Przegendza 
Performers: The Whoop Group

Website: www.przegendza.pl
YouTube channel: https://www.youtube.com/channel/UCEy59bZV7uCOZJCGAHXlGSA


In its most superficial form, the structure of the piece consists of foregrounding (in each of the movements of "Limitation") the solo part of a given saxophone against the background of the accompaniment. The finale (the penultimate movement!) is the conclusion of the work as a whole. It contains a 1:1 juxtaposition of all the solo parts from the first three movements and the last one into one whole. These parts have been appropriately constructed (e.g., by choice of tempo) so that in both cases they resound at the same time. 
Apart from the ambiguity of the title, the number 4 is also of significance. It is emphasized both in the cast, the predominant perspective of metric notation, but also in the number of the work's movements, which might not seem obvious until one notices in the course of the music that one of the five movements in total is... the superstructure, the above mentioned conclusion and the key to understanding the others. 
The concept of the piece can be defined more precisely as follows: In the four numbered movements of "Limitation" (Limitation 1, Limitation 2, Limitation 3, Limitation 4), the idea is to attempt to imitate a locally outlined solo part by a group of three saxophones accompanying it. Each time, however, this idea (the function of 'leader' and 'accompanying' voices) is realized differently. Imitation is not understood here in a classical way; it often refers to gestures in texture, to small inspirations, and remains as a type of relationship that positions the local soloist as a guide, not a 'giver' of motifs to be simply imitated. Such an understanding of tradition stems not only from accepted respect for the past but also from treating its heritage as a tool for creating expressive values rather than a technical end in 
itself. The accompaniment, variously conceived, has been limited in each numbered movement by the number of bars and events imposed in advance on the solo part, which in turn is each time strongly determined by the overarching idea, the key to understanding the work, contained in the penultimate movement. This movement (Finale) was written as the first of the cycle, after planning the whole form of the piece - as an effect of a pre- compositional decision: the intention to create a phase where all the members of the quartet would endow with equally soloistic parts. Evidence of the soloistic potential of their voices can be found in the use of the same parts individually - as leading parts - in the movements of Limitation 1-4. However, there this local 'leadership' is ultimately subordinated to the construction of the form of the entire work. Even the presentation of Limitation 1-4 in this, and not any other, order (with the 'summing up' part inside) results from an artistic and aesthetic choice and not from a need to live up to a 'technically' understood initial idea. That should also be a priority for the performers: they do not execute "solo movements with accompaniments and a summing-up fragment" but create the work as a whole. Regardless of the discovery of its evident pre- compositional assumptions, the aim was not "technological- mathematical" correctness but the aesthetic value of the sounding music as such.

LIMITATION for saxophone quartett (2019)

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