Concerto Alto.Sax Pft

As the Saxophone is commonly associated with the jazz style classical music for the instrument had always been lacking and so when Paul Bonneau published his Concerto for Alto Saxophone in 1944 it was well-received by performers of the genre. Bonneau's composition was highly versatile ranging from over fifty film scores operettas songs and other pieces for Saxophone including this Concerto. Comprising three movements a typical performance lasts about fifteen minutes. Bonneau's Concerto for Alto Saxophone contains typically French characteristics includingchromaticism and difficult technical passages. All these elements combined make for an enjoyable and challenging piece for saxophonists.

This final volume of advanced alto sax solos is a master class from virtuoso Vincent Abato of the Metropolitan Opera Orchestra. Mr. Abato gives you direction and demonstrates each piece then you step in and take your place at the head of the class! Includes a high-quality printed music score containing the solo part annotated with performance suggestions and a compact disc with complete versions (with soloist) followed by piano accompaniments to each piece minus the soloist. Performed by Vincent Abato alto saxophone Accompaniment: Harriet Wingreen piano

Le Pilgrim Concerto pour Saxophone Alto et Orchestre d?Harmonie fut commandé par le Concours International de Musique de Kerkrade en 2012. Cette pièce de concert exige une certaine virtuosité de la part du soliste ainsi que de l?orchestre.Cette ?uvre est tour à tour minimaliste romantique parfois expressive mais elle emploie aussi un langage musical contemporain. La naïveté qui en résulte dans la musique a été délibérément créée pour exprimer la simplicité d?un pèlerin. Celui-ciest parfois calme et méditatif parfois empli d?une impatience angoissée d?arriver à son but. Il suit son propre chemin mais il dialogue continuellement avec lui-même et les merveilles du monde qui l?entoure.

for Alto Saxophone and Electroacoustics-Thierry Alla’s Birds for Alto Saxophone and Electroacoustics. Born in March 1955 in Algiers Thierry Alla did the greater part of his studies at the University of Tours and the Conservatoire of Bordeaux where he was marked by Michel Fusté-Lambezat’s teaching of musical composition and the discovery of Electroacoustics with Christian Eloy. His double career as musicologist (with a thesis on Tristan Murail) and composer allows him to explore spectral music such as in Sanctuaires a 2009 concerto for Saxophone and orchestra that delves into micro-intervals. Composed two years later Birds for AltoSaxophone and Electroacoustics explores a lush sound universe that holds its own in a rich tradition that goes from Josquin Desprez to Rameau to Messiaen. The Saxophone’s evocative sounds obtained using diverse techniques (flatterzunge breath techniques keys sounds) mingle with those of the Electroacoustic recording and weave a dense polyphony. Far from servile imitation this evocation of birdsong reveals a sound imagination that is breathtakingly sensual: this abundance is life itself.

Reduction for Saxophone and Piano. Orchestral or Band parts may be obtained on rental.

Piano Reduction including solo part. Par DENISOV EDISON. The catalogue of Edison Denisov's works includes 16 concertos. It was a genre to which he returned time and again throughout his life, from the Concerto for Cello and Orchestra of 1972 to the Double Concerto for Flute, Clarinet and Orchestra of 1996. In Denisov's music the role of the soloist, or rather the protagonist, is extraordinarily important, not so much for its virtuosity as for its confessional character. The solo part is a monologue distinguished by poetic diction and a very personal message from the composer. The dramaturgical conception of the Concerto for Saxophone and Orchestra, a reworking of the Viola Concerto of 1986, draws on traditional sonata form, thereby reaffirming the ubiquitous classicism in Denisov's thought. In this late work, we find all the typical features of his style: sinuous melodic lines layered into dense contrapuntal textures, and an interplay of orchestral colours, with pure sonorities contrasting with complex mixtures of sounds. It is a perfect dramaturgy that governs the evolution of the music to the very end. The first movement assumes the role of a sonata-allegro, with the standard formal sections of exposition, development, recapitulation and coda. The second movement is an Adagio for strings. The third takes the form of a little contrasting intermezzo that introduces both new thematic material and a new range of colours. Here tunefulness gives way to pointillism enriched with sonic effects. The only movement with a virtuosic solo part, its nervousness and inner tension set it worlds apart from the second and fourth movements that surround it. The fourth movement assumes the traditional form of a final set of variations. It is the dramaturgical and semantic heart of the concerto. The theme of the variations is Franz Schubert's Impromptu in B-flat major, op. 142, which in this case is 'born' from the celesta as the product of a dodecaphonic string cluster. This finale represents Denisov's homage to his great mentor, Schubert's music being for him a symbol of eternal and universal beauty. 'The attentive listener', Denisov stressed, 'will recognise that the Impromptu theme is already suggested very slowly in the course of the three preceding movements, not only thematically, but also psychologically. That's what makes the appearance of the Schubert theme sound so natural.' The variations relate to the variation genre less in their form than in their spiritual and conceptual metamorphoses. It is, one might say, 'music round about Schubert'. (Ekaterina Kouprovskaia-Denisova)/ Répertoire / Saxophone Alto et Piano