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increpatio
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« on: 16:00:13, 16-09-2008 » |
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So. I posted somewhere else about this. And figured "why not go the whole hog and make it a sax concerto thread instead of a sax thread, eh?"
In terms of saxophone concerti that I've heard, I can think of Pettersson's (which I'm on very good terms with, though I'm always baffled by the fact that he wrote the piece without knowing much about the instrument, not even it's range), Yoshimatsu's (which is delicious), and some film-music concert I went to featured a rather famous sax/orchestra piece (whose title I can't currently recall). I haven't heard debussy's efforts in this area, and must track it/them down some point soon.
Any big things I'm missing out on or have forgotten to mention?
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martle
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« Reply #1 on: 16:06:57, 16-09-2008 » |
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Well, I'm just starting composing one - a sax concerto, that is.  Actually, it's for soprano sax (only) and strings. But I'll be following any postings on this thread with interest and the merest cuckoo*-like glint in my eye.  * I mean magpie. Don't I? |
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« Last Edit: 16:10:58, 16-09-2008 by martle »
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Green. Always green.
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time_is_now
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« Reply #2 on: 16:09:45, 16-09-2008 » |
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There's also Stefan Niculescu's astonishing Symphony No 3 'Concertante', which exists in parallel versions for saxophone and orchestra, clarinet and orchestra, and (if I've understood Harry Halbreich's sleeve note correctly) oboe, English horn, 3 clarinets and orchestra (  ). I've only heard the saxophone version, but I think that's the original. It was written for the virtuosic Romanian saxophonist and developer of new techniques, Daniel Kientzy. |
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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Ron Dough
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« Reply #3 on: 21:47:04, 16-09-2008 » |
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One movement of the Stanley Myers turned up on an Argo sampler I have, and always impressed me: the original disc, which also includes concertos by Richard Rodney Bennett and Michael Torke is long out of print, but still available if you know where to look..... |
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Il Grande Inquisitor
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« Reply #4 on: 22:10:59, 16-09-2008 » |
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Going back to 1936, Glazunov and Ibert both wrote saxophone concertos (both for alto) which are available on the DG label.. Whilst a jazz-inspired sax concerto might not be unexpected from Ibert, one from the pen of Glazunov certainly is. |
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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martle
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« Reply #5 on: 22:19:51, 16-09-2008 » |
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Whilst a jazz-inspired sax concerto might not be unexpected from Ibert, one from the pen of Glazunov certainly is.
Ooh, ooh... |
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Green. Always green.
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harmonyharmony
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« Reply #7 on: 23:06:01, 16-09-2008 » |
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Berio wrote one didn't he?
Ah yes, Récit (Chemins VII) for alto saxophone and orchestra.
I think I heard that one live at the RFH but I can't really remember it.
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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rauschwerk
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« Reply #8 on: 07:34:24, 17-09-2008 » |
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I strongly recommend the one by Dominic Muldowney, recorded by John Harle for EMI. That often goes in my CD player.
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Sydney Grew
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« Reply #9 on: 08:02:50, 17-09-2008 » |
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Regrettably it is the case that there is and always will be an ineradicable air of vulgarity about the saxophone, an instrument for which as far as we know no first-rate works have ever been written. We find the astringency of the oboe family very much more invigorating.
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thompson1780
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« Reply #10 on: 08:20:07, 17-09-2008 » |
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I have an LP of GLasounov's alto sax concerto, and Alexei Fried's Guernica (for soprano sax) - along with his 2nd Clarinet Concerto.
I haven't listened to it for years, which may just go to suggest that it isn't worth listening too......
I'll check whether that is the case later.
Tommo
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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oliver sudden
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« Reply #11 on: 09:42:21, 17-09-2008 » |
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No one's mentioned Panic yet? (Birtwistle: alto sax, solo drummer, winds, brass and percussion.)
The soprano sax version of Berio's Chemins IV (in turn the concerto version of Sequenza VII for oboe... I hope you can follow that) is very fine.
Scelsi's Kya for clarinet and ensemble also exists in a saxophone version.
I do have a soft spot for the Ibert, especially in Marcel Mule's recording. We do understand the referred to by Member Grew air of vulgarity around the saxophone (not merely a product of the player's deodorant) but would maintain that it was not always so and need not be so now and Mule's playing would seem to bear this out. The older small-bore instruments were not so, well, loud, and were rather tangier we feel.
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martle
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« Reply #12 on: 09:46:32, 17-09-2008 » |
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and were rather tangier we feel.
Ooh, we like the idea of North African sax sound (not a million miles from the way we are thinking about our own modest effort to come).  |
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Green. Always green.
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Baz
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« Reply #13 on: 10:19:44, 17-09-2008 » |
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Regrettably it is the case that there is and always will be an ineradicable air of vulgarity about the saxophone...
This is not necessarily the case, surely? ClickBaz |
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