Saxophone Virtuosity: Manifestation and Effect in the Classical Saxophone Repertoire

<p>To ascribe the word ‘virtuosity’ to a single and absolute definition is an impossible task. It is a term that is multifaceted in its meaning and which is understood differently in a variety of contexts. This thesis investigates how the word virtuosity has been used in music discourse, and then considers virtuosity in three aspects of saxophone performance: altissimo, fast finger technique and soloistic roles. The application of these three aspects of virtuosity to the classical saxophone repertoire is then examined. Specifically, I examine the application of altissimo in Jacques Ibert’s Concertino da Camera for Alto Saxophone and Eleven Instruments; fast finger technique in the cadenzas of Pierre Max Dubois’ Concerto for Alto Saxophone and String Orchestra and Alexander Glazunov’s Concerto for Alto Saxophone and String Orchestra; and soloistic roles in classical saxophone orchestral repertoire. I also consider the relevance of the saxophone as a non-standard orchestral instrument to the notion of soloistic virtuosity. With these three aspects of virtuosity established, I explore the relationship between virtuosity and Claude Debussy’s Rapsodie for Orchestra and Alto Saxophone. This exploration first demonstrates how adaptations made to the Rapsodie can be seen to increase the virtuosic nature of the work. Second, it looks at how these adaptations could be contradictory to the composer’s intentions. Last, it considers the motivation and purpose behind these adaptations. The aim of this thesis is to disclose ways in which virtuosity may be understood in the context of the classical saxophone repertoire and how this understanding has affected Debussy’s Rapsodie in particular.</p>

Saxophone Virtuosity: Manifestation and Effect in the Classical Saxophone Repertoire

<p>To ascribe the word ‘virtuosity’ to a single and absolute definition is an impossible task. It is a term that is multifaceted in its meaning and which is understood differently in a variety of contexts. This thesis investigates how the word virtuosity has been used in music discourse, and then considers virtuosity in three aspects of saxophone performance: altissimo, fast finger technique and soloistic roles. The application of these three aspects of virtuosity to the classical saxophone repertoire is then examined. Specifically, I examine the application of altissimo in Jacques Ibert’s Concertino da Camera for Alto Saxophone and Eleven Instruments; fast finger technique in the cadenzas of Pierre Max Dubois’ Concerto for Alto Saxophone and String Orchestra and Alexander Glazunov’s Concerto for Alto Saxophone and String Orchestra; and soloistic roles in classical saxophone orchestral repertoire. I also consider the relevance of the saxophone as a non-standard orchestral instrument to the notion of soloistic virtuosity. With these three aspects of virtuosity established, I explore the relationship between virtuosity and Claude Debussy’s Rapsodie for Orchestra and Alto Saxophone. This exploration first demonstrates how adaptations made to the Rapsodie can be seen to increase the virtuosic nature of the work. Second, it looks at how these adaptations could be contradictory to the composer’s intentions. Last, it considers the motivation and purpose behind these adaptations. The aim of this thesis is to disclose ways in which virtuosity may be understood in the context of the classical saxophone repertoire and how this understanding has affected Debussy’s Rapsodie in particular.</p>

Exploração tímbrica em composição para tímpanos solo

Apesar de ser o instrumento de percussão mais utilizado no repertório orquestral, os tímpanos foram pouco explorados como instrumento solista até a metade do século XX. A evolução na construção e performance dos tímpanos e o surgimento de novas correntes composicionais no século XX tornaram possível explorações sonoras inovadoras nesse instrumento. Nesse artigo apresentamos uma composição para tímpanos solo onde a exploração tímbrica foi utilizada como principal elemento composicional. As possibilidades aqui descritas demonstram o grande potencial sonoro desse instrumento e a importância da pesquisa sonora no processo composicional para instrumentos de percussão. ABSTRACT Despite being the most used percussion instrument in the orchestral repertoire, the timpani were little explored as a solo instrument until the mid-twentieth century. Developments in the construction and performance of the timpani and the emergence of new compositional movements in the twentieth century made possible innovative sound holdings in this instrument. In this paper we present a timpani solo composition where timbral exploration was used as the main compositional element. The possibilities described here demonstrate the great sound potential of this instrument and the importance of sound research in the compositional process for percussion instruments. KEYWORDS Tímpani, timbral exploration, extended technique.

Goldmark’s wild Amazons drama and exoticism in the Penthesilea overture

Goldmark was the first of several composers to write a work based on Heinrich von Kleist’s controversial play, Penthesilea. Early critical opinion about the overture was divided. Hanslick found it distasteful, whereas others were thrilled by Goldmark’s powerful treatment of the subject. Composed in 1879, during the 1880s Penthesilea became established in orchestral repertoire throughout Europe and America. The overture represents the conflict of violence and sexual attraction between the Queen of the Amazons and Achilles. Exoticism in the play is achieved by contrasting brutal violence, irrational behaviour and extreme sensual passion. This is recreated musically by drawing on topics established in opera. Of particular note is the use of dissonance and unexpected modulations, together with extreme rhythmic and dynamic contrast. A key feature of the music is the interplay between military rhythms representing violence and conflict, and a legato, rocking theme which suggests desire and sensuality.

Neglected Canadian Orchestral Music

This article examines neglected orchestral works by six Canadian composers: Rodolphe Mathieu, Colin McPhee, John Weinzweig, Harry Somers, Istvan Anhalt, and R. Murray Schafer. Despite the considerable professional accomplishments and career achievements of these composers, each has at least one orchestral work in his catalogue that failed to make a good impression with the musical public or has never been heard in live performance. The article attempts to find why these compositions did not win a place in the repertoire and also considers how these works illustrate broader issues relating to the Canadian orchestral repertoire.

The Genesis of the Victorian Organ Sonata

In the English mid-nineteenth century, organist-composers sought an idealistic course that created an alliance between the unimpeachable musical language of the Classical era and the much celebrated ‘Victorian’ organ. As a result, we witness the birth of a new musical genre with the ‘English organ sonata’ that was to provide a model for organ composition into the twentieth century. However, the works in question were not merely pastiche compositions, despite some bold illusions, but rather pieces based on revered models, restyled for an age that was familiar with transcriptions of orchestral repertoire on the organ. Further, the English organist-composers adhered to both an old model in a continuance of the ‘lesson-sonata’ tradition as well as developing a new one, here styled the ‘portfolio sonata’ whereby the purpose of the sonata would serve multiple ends. In an age of prestige and betterment, the sonatas that emerged were a testament to a profession that was determined to be seen anew.

BBC Proms 2014: Dove, Mason and Ranjbaran

Its nature as a festival that is fundamentally about standard orchestral repertoire means that the Proms continues to exhibit a slippery relationship with new music. Challenging works still appear to be sidelined while showy, more conservative pieces end up in prime slots with big audiences. Whether or not this is the right way round remains open to debate and, indeed, the bustle of social media has provided an interesting platform this year for discussion around the issue.

John McCabe's Psalm-Cantata St John's, Smith Square

John McCabe is most closely associated with large-scale orchestral statements, notably in concertante and symphonic forms and in ballet scores, yet chamber and instrumental music has recently played an increasingly significant role within his oeuvre. Of his vocal music, unaccompanied choral works such as the carols have attracted most attention, whilst his major contributions to the choral-orchestral repertoire, such as the large-scale cantata, Voyage (1972) and the extended song cycle for soloists, choir and large orchestra, Songs of the Garden (both Three Choirs Festival commissions, for 1972 and 2009, respectively), are considerably less widely known. It was with keen anticipation and no little curiosity, then, that I attended the first performance of McCabe's latest work for chorus and orchestra on 16 March 2013 at St John's, Smith Square.