Eventually, there were many pieces composed for solo saxophone and orchestra. This partial list, however, includes pieces that were composed with saxophone as an integral member of the orchestra. Please note that this by no means a complete listing of orchestral pieces scored with saxophone.
The saxophone made great strides in being accepted in many types of music. Today, it is one of the most popular wind instruments and can be commonly heard in wind bands, jazz bands, and rock bands. Currently, the saxophone is the only wind instrument that is not a permanent member of the orchestra.
Other times, a saxophonist will be hired to perform for specific pieces or concerts. Denise is a music educator and saxophonist, with over 20 years of experience.
She holds degrees from Ithaca College and Syracuse University. In addition to conducting and teaching saxophone, Denise also loves teaching and learning about music history. Early Thoughts on Saxophones in Orchestras Adolphe Sax, the inventor of the saxophone , intended that his invention would be widely used in both band and orchestral settings. Proponents of the Saxophone in the Orchestra Composer Hector Berlioz was a close friend of Adolphe Sax and an ardent supporter of the saxophone.
Curiously, as much as Berlioz promoted the saxophone, he only wrote for it one time. First Use of Saxophone in Orchestra Jean-Georges Kastner, a close friend of Adolphe Sax was the first to use the saxophone in the orchestra of his opera. Orchestral Pieces Scored with Saxophone Eventually, there were many pieces composed for solo saxophone and orchestra. Denise Lacey-Corcoran Denise is a music educator and saxophonist, with over 20 years of experience.
This tradition somewhat continues into the 20th Century with Ravel, and of course the Russians. Though the Germans re-embraced the instrument, including Richard Strauss who included four saxophones in the Sinfonia Domestica , thanks to the First World War, saxophones were put away from orchestras once again:.
It is loud, portable, and virtuosic. And in North America, it became the solo instrument of choice for new and evolving jazz scene. What about the practical issue of money? Is it possible that current arts operation models and cash flow issues could be a reason for bullying-of-saxes?
Skill in budgeting and promotion can make or break an entire organization. Ever-tight budgets including fundraising, grants and self-generated revenue can have an impact upon two important fields for an orchestra: programming and commissioning. In addition, Wallace also mentions the challenges created by the regionality of music — especially for contemporary music. The issue is that North America has no interest in programming these works. It is always exciting to go see a show and take a good look at things.
Are they effective? Do you like it? And see what you think. In pieces like Pictures at an Exhibition , the solo the only time in the piece that the saxophonist plays at all , comes approximately five minutes into the piece, and there are an additional twenty-five minutes of music after the solo.
Some psychological preparation is in order for that sort of situation. Also, of course, the saxophonist should have a plan for insuring that the reed is moist and ready to make a beautiful sound after a wait, and they should be prepared to sit for a considerable amount of time after the solo, looking poised and professional. Another consideration when performing with an orchestra is that the conductor is the final arbiter of the musical product.
Many musical directors will allow the saxophonist to play unhindered. Many others will walk into a rehearsal with a definite idea of how they would like the saxophonist to play. It may behoove the saxophonist to listen to several different recordings of the work in question performed by great orchestras to have several different interpretive possibilities available to them. Keeping with the above thought, the orchestral saxophonist should be flexible in their approach, and should have many different possible interpretations, in the event that the conductor desires something different.
The orchestral saxophonist should perform on a setup that allows for the widest variety of tone colors and timbral possibilities. This author has personally found Optimum mouthpieces to be the best possible tool for orchestral playing: The basic tone color blends well with the other woodwinds, while there is great flexibility to brighten and darken the sound depending on the style called for. Most saxophonists have grown up in wind bands. While there is a wealth of wonderful literature and great tradition attached to these ensembles, it is a rare treat to perform in an orchestra, hearing the combined sounds of strings, winds, and percussion wash over you.
To perform in an orchestra is to feel even more connected to the great history and literature of classical music. For all those who find the opportunity, enjoy it to the fullest! Vandoren Products Reeds. Denis Wick Products Mutes. Vandoren Resources. Denis Wick Resources. Vandoren Artists The Vandoren Artist family is comprised of some of the finest woodwind performers and educators from around the world.
Vandoren Artist-Clinicians The goal for the Vandoren Artist-Clinicians program is to enhance the quality of the music experience through education and the assistance of Vandoren.
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The Dream Many young and not so young saxophonists wonder why their instrument is not a permanent member of the symphony orchestra.
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