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New Century Saxophone Quartet Press
New Century Saxophone Quartet Press KALAMAZOO GAZETTE Thursday, July 12, 2007 Saxophone ensemble shows off versatility By C.J. Gianakaris uesday in South Haven and Precise, synchronized playing Wednesday night at Brook Lodge T in Augusta, Fontana Chamber Arts was matched by a balanced presented the New Century blend … A total winner. Saxophone Quartet. Its playing of a wide range of works, by seven different By the last half of the concert, it composers, initiated the audience in the became clear that certain compositions musical possibilities of such ensembles. lend themselves more to saxophone sound The New Century features Michael than others. The first section of Astor Stephenson on soprano saxophone, Chris- Piazzolla’s marvelous “Histoire du topher Hemingway on alto saxophone, Tango,” arranged by Claude Voirpy, was Stephen Pollock on tenor saxophone and a total winner. Infectious tango rhythms Connie Frigo on baritone saxophone. worked well for saxes, as did tapping of After marching in while playing Bob the instrument’s body — a technique Mintzer’s invigorating “Contraption,” the heard often in Piazzolla’s music. ensemble turned to five selections from George Gershwin’s great American J.S. Bach’s “Art of the Fugue,” BMV opera “Porgy and Bess” also sounded 1080. Immediately impressive was the especially fine. Our ears are accustomed velvety aura emanating from different to hearing Gershwin played with soaring saxophones possessing varying ranges. reed instruments, clarinet or sax, Precise, synchronized playing was deliberately scored. So the sounds were matched by a balanced blend, suggesting warm and familiar. saxophones could present Bach’s works as well as other instruments. -
Faculty Recital, Ronald L. Caravan, Clarinet, Soprano Saxophone, Alto Saxophone, Assisted by Sar Shalom Strong, Piano
Syracuse University SURFACE Setnor School of Music - Performance Programs Setnor School of Music 2-24-2008 Faculty Recital, Ronald L. Caravan, Clarinet, soprano Saxophone, Alto Saxophone, Assisted by Sar Shalom Strong, Piano Ronald L. Caravan Syracuse University Sar Shalom Strong Follow this and additional works at: https://surface.syr.edu/setnor_performances Part of the Music Performance Commons Recommended Citation Setnor School of Music, Syracuse University. Faculty Recital, Ronald L. Caravan, Clarinet, soprano Saxophone, Alto Saxophone, Assisted by Sar Shalom Strong, Piano. 2-24-2008 https://surface.syr.edu/ setnor_performances/7 This Performance Program is brought to you for free and open access by the Setnor School of Music at SURFACE. It has been accepted for inclusion in Setnor School of Music - Performance Programs by an authorized administrator of SURFACE. For more information, please contact [email protected]. SYRACUSE UNIVERSITY SETNOR SCHOOL OF MUSIC Faculty Recital Ronald L. Caravan Clarinet, Soprano Saxophone, Alto Saxophone Assisted by Sar Shalom Strong Piano SETNOR AUDITORIUM SUNDAY, FEB. 24, 2008 2:00 P.M. Program Rondo Capriccioso . Anton Stamitz adapted for C clarinet & piano by Ronald Caravan (1750-c.1809) Soliloquy & Scherzo (2000) ........ ................ Walters. Hartley for Eb clarinet & piano Four Episodes (2006) ................................ Fred Cohen for Bb clarinet & piano 1. Flash 2. Breath 3. Arioso 4. Pure -Intermission - Sonata (1969) .............................. ..... Erwin Chandler for alto saxophone & piano 1. Allegro 2. Con moto 3. With drive Sonata (1976) . ... ............................. Brian Bevelander for alto saxophone & piano (in one movement) Soliloquy & Celebration (1996) ................... Ronald L. Caravan A tribute to the classic jazz saxophonist Paul Desmond for soprano saxophone & piano About the Performers .. -
Clifton Callender Professor of Composition Co Editor-In-Chief
CURRICULUM VITAE Clifton Callender Professor of Composition Co Editor-in-Chief, Journal of Mathematics and Music Associate Editor, Perspectives of New Music College of Music, Florida State University Tallahassee, Florida 32306-1180 850.644.7492 [email protected] cliftoncallender.com EMPLOYMENT Florida State University, Professor of Composition, 2016 – present; Associate Professor of Composition, 2008 – 2016; Assistant Professor 2002 – 2008. Responsibilities include composition lessons, orchestration, counterpoint and other theory courses, and serving as Artistic Director of the New Music Ensemble. Northern Illinois University, Assistant Professor of Theory and Composition, 2000 – 2002. Responsibilities included teaching first- and second-year theory and aural skills and composition lessons. EDUCATION The University of Chicago, Illinois, Ph.D. in composition with a minor in theory, December 1999. Composition studies with Shulamit Ran, Andrew Imbrie, and Marta Ptaszynska. The Peabody Institute of the Johns Hopkins University, Baltimore, Maryland, 1993 – 1994. Studies in electronic and computer music composition with Geoff Wright and McGregor Boyle. The Peabody Institute of the Johns Hopkins University, Baltimore, Maryland, Master of Music in Composition, 1993. Composition studies with Jean Eichelberger Ivey. King’s College, London, attended 1989 – 1990. Composition studies with Peter Dickenson. Tulane University, New Orleans, Louisiana, Bachelor of Fine Arts (summa cum laude), 1991. Composition studies with Barbara Jazwinski and piano studies with Faina Lushtak. AWARDS AND FELLOWSHIPS Artist-in-Residence Fellow, I-Park Foundation, Summer, 2015. Committee on Faculty Research Support Summer Award, Florida State University, 2012. David Kraehenbuehl Prize, Journal of Music Theory, “Continuous Harmonic Spaces,” 2011. State of Florida, Individual Artist Grant, 2011. Fellow, Mannes Institute for Advanced Studies in Music Theory, 2009 Institute on Music and the Mind, Mannes College of Music. -
Writing for Saxophones
WRITING MUSIC FOR SAXOPHONES This is a short information sheet for musicians who wish to create clear, easy to read music for the saxophone. It is based upon my experiences as a jazz saxophone player and the common mistakes that people make when setting out their parts. It covers the basics such as range, transposition, blending, use of altissimo etc. TRANSPOSITION This section is a brief introduction to the concept of transposition. If you already understand how transposing instruments work in principal then please skip to the section entitled 'range' where you can see how to put this information in to practice for particular saxophones. Most saxophones are transposing instruments. This means that the note 'C' on the saxophone does not sound at the same pitch as 'C' on the piano. The common keys which saxophones are made in are B flat (which includes tenor and soprano as well as less common bass and soprillo saxophones) and E flat (alto and baritone, as well as contra bass and sopranino). There are also 'C melody' saxophones, which are made at concert pitch and do not require transposition, however these are less common. When a saxophonist plays a C on a B flat saxophone such as the tenor, the note that comes out sounds at the same pitch as concert B flat (B flat on the piano). Similarly, on an E flat saxophone such as the alto, a C comes out at the same pitch as concert E flat. On a B flat saxophone all the note letter names are one tone higher than they would be on the piano (i.e. -
LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the City with Song!
LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the city with song! Festival Programme 2009 The Grammar School at Leeds inspiring individuals is pleased to support the Leeds Lieder+ Festival Our pupils aren’t just pupils. singers, They’re also actors, musicians, stagehands, light & sound technicians, comedians, , impressionists, producers, graphic artists, playwrightsbox office managers… ...sometimes they even sit exams! www.gsal.org.uk For admissions please call 0113 228 5121 Come along and see for yourself... or email [email protected] OPENING MORNING Saturday 17 October 9am - 12noon LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Biennial Festival of Art Song Artistic Director Julius Drake 3 Lord Harewood Elly Ameling If you, like me, have collected old gramophone records from Dear Friends of Leeds Lieder+ the time you were at school, you will undoubtedly have a large I am sure that you will have a great experience listening to this number of Lieder performances amongst them. Each one year’s rich choice of concerts and classes. It has become a is subtly different from its neighbour and that is part of the certainty! attraction. I know what I miss: alas, circumstances at home prevent me The same will be apparent in the performances which you this time from being with you and from nourishing my soul with will hear under the banner of Leeds Lieder+ and I hope this the music in Leeds. variety continues to give you the same sort of pleasure as Lieder singing always has in the past. I feel pretty sure that it To the musicians and to the audience as well I would like to will and that if you have any luck the memorable will become repeat the words that the old Josef Krips said to me right indistinguishable from the category of ‘great’. -
The Missing Saxophone Recovered(Updated)
THE MISSING SAXOPHONE: Why the Saxophone Is Not a Permanent Member of the Orchestra by Mathew C. Ferraro Submitted to The Dana School of Music in Partial Fulfillment of the Requirements for the Degree of Master of Music in History and Literature YOUNGSTOWN STATE UNIVERSITY May 2012 The Missing Saxophone Mathew C. Ferraro I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: ____________________________________________________________ Mathew C. Ferraro, Student Date Approvals: ____________________________________________________________ Ewelina Boczkowska, Thesis Advisor Date ____________________________________________________________ Kent Engelhardt, Committee Member Date ____________________________________________________________ Stephen L. Gage, Committee Member Date ____________________________________________________________ Randall Goldberg, Committee Member Date ____________________________________________________________ James C. Umble, Committee Member Date ____________________________________________________________ Peter J. Kasvinsky, Dean of School of Graduate Studies Date Abstract From the time Adolphe Sax took out his first patent in 1846, the saxophone has found its way into nearly every style of music with one notable exception: the orchestra. Composers of serious orchestral music have not only disregarded the saxophone but have actually developed an aversion to the instrument, despite the fact that it was created at a time when the orchestra was expanding at its most rapid pace. This thesis is intended to identify historical reasons why the saxophone never became a permanent member of the orchestra or acquired a reputation as a serious classical instrument in the twentieth century. iii Dedicated to Isabella, Olivia & Sophia And to my father Michael C. -
Writing for Saxophones: a Guide to the Tonal Palette of the Saxophone Family for Composers, Arrangers and Performers by Jay C
Excerpt from Writing for Saxophones: A Guide to the Tonal Palette of the Saxophone Family for Composers, Arrangers and Performers by Jay C. Easton, D.M.A. (for further excerpts and ordering information, please visit http://baxtermusicpublishing.com) TABLE OF CONTENTS Page List of Figures............................................................................................................... iv List of Printed Musical Examples and CD Track List.................................................. vi Explanation of Notational Conventions and Abbreviations ......................................... xi Part I: The Saxophone Family – Past and Present ....................................................1 An Introduction to the Life and Work of Adolphe Sax (1814-1894) .........................1 Physical Development of the Saxophone Family .....................................................13 A Comparison of Original Saxophones with Modern Saxophones..........................20 Changes in Saxophone Design and Production ........................................................26 Historical Overview of the Spread of the Saxophone Family ..................................32 Part II: Writing for the Saxophone as a Solo Voice ................................................57 The “Sound-of-Sax”..................................................................................................57 General Information on Writing for Saxophone.......................................................61 Saxophone Vibrato....................................................................................................63 -
Establishment of the Classical Saxophone: the Evolution of Instrumental Design and Performance Into the 20Th Century
DU Undergraduate Research Journal Archive Volume 1 Issue 2 Article 10 4-20-2020 Establishment of the Classical Saxophone: The Evolution of Instrumental Design and Performance into the 20th Century Emily Nicol University of Denver Art Bouton University of Denver - Advisor Follow this and additional works at: https://digitalcommons.du.edu/duurj Part of the Music Performance Commons, Other History Commons, and the Other Music Commons Recommended Citation Nicol, Emily and Bouton, Art (2020) "Establishment of the Classical Saxophone: The Evolution of Instrumental Design and Performance into the 20th Century," DU Undergraduate Research Journal Archive: Vol. 1 : Iss. 2 , Article 10. Available at: https://digitalcommons.du.edu/duurj/vol1/iss2/10 This Article is brought to you for free and open access by Digital Commons @ DU. It has been accepted for inclusion in DU Undergraduate Research Journal Archive by an authorized editor of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. Establishment of the Classical Saxophone: The Evolution of Instrumental Design and Performance into the 20th Century Abstract The instrumental design of the saxophone has evolved dramatically from its original patent in 1846. Referencing instruments from the St. Cecilia’s Hall Music Museum at the University of Edinburgh, this article explores the historical origins of the saxophone and traces the evolution of its design into the 20th century. Original research was completed through analysis of unique antique saxophones at St. Cecilia’s Hall and historical source materials in order to determine how, despite its intention to be used as a classical instrument, many factors such as politics, instrument structure, finances, and musician attitude at the time of the saxophone’s invention resulted in limited classical saxophone performance in the modern day. -
Snakebite by Stephen Montague Born March 10, 1943, in Syracuse, New
Snakebite By Stephen Montague Born March 10, 1943, in Syracuse, New York After growing up in Idaho, West Virginia, and Florida, Stephen Montague studied composition, conducting, and piano at Florida State University (1963-67). He received his doctorate in composition from The Ohio State University in 1972. Additional studies include conducting at the Mozarteum in Salzburg, Austria (1966), computer music at IRCAM, Paris (1981), and at Stanford University, California(1984). After he was awarded a Fulbright Fellowship/Polish Cultural Grant to work at the Experimental Music Studio of Polish Radio in Warsaw, Poland (1972 -74), he moved to London where he was a musician with Strider Dance Company, and has since remained a UK resident while composing and touring worldwide. Though he has been described as a “Romantic minimalist” in the past, his compositions have spanned a considerably wider range of genres and settings than that description might suggest. He has worked with many of the world’s leading modern-era composers such as John Cage, Mauricio Kagel, Steve Reich, Conlon Nancarrow, and Astor Piazzolla. As the prominent classical music writer and broadcaster Stephen Johnson has observed, “In an age when most American composers seem happy to play safe, Stephen Montague’s extrovert, quirkily individual, energetic music recalls older, more adventurous times. …Montague experiments, takes risks, but he still has the common touch.” In a BBC Radio interview, Montague commented: "I have lived in Britain since 1974 but my musical heroes remain American. I admire Charles Ives's unapologetic juxtaposition of vernacular music and the avant-garde, Henry Cowell's irreverent use of fist and arm clusters, the propulsive energy of minimalism, and John Cage's radical dictum that 'all sound is music'. -
Everything You Wanted to Know About Sax but Were Afraid to Ask
Everything You Wanted To Know About Sax But Were Afraid To Ask Number 25 June 18, 1979 Drum on your drums, batter on your The saxophone is a very important in- banjoes, /sob on the long cool winding strument in recent musical hktory. It saxophones. /Go to it, O ja.zzmerr. “1 was invented by Antoine Joseph (also known as Adolphe) Sax in 1838, al- Some people collect stamps or coins. though a patent was not granted until The more affluent collect paintings or 1846.3 (p. 10) Sax was a prominent antique cars. Me, I collect saxophon- Belgian-born instrument maker who ists. lived in Paris. His father had also been a I’m not particularly compulsive about famous instrument maker. The saxo- it. I would not travel a thousand miles phone he created was a single-reed for just another record by John Coltrane instrument made of metal with a conical or Gerry Mulligan. I’m really a sampler. bore or intenor tube. It combined the But if I hear about a sax player who is softness of woodwind with the strength not in my record collection, I will go out of brass.J (p. 11) of my way to add him. I can say “him” The four most common types of sax- with certainty because I have never en- ophone are the soprano, alto, tenor, countered a recording by a woman sax and baritone, However, both higher player. It is well known, however, that a (smaller) and lower (larger) pitched ver- woman saxophonist, Mrs. Elise Hall, sions also exist. -
John Mackey's Concerto for Soprano Sax and Wind Ensemble
JOHN MACKEY’S CONCERTO FOR SOPRANO SAX AND WIND ENSEMBLE (2007): AN ANALYSIS AND CONDUCTOR’S GUIDE TO PERFORMANCE by JACOB EDWARD WALLACE (Under the Direction of John P. Lynch) ABSTRACT John Mackey is an important young American composer. A student of Pulitzer Prize– winning American composer John Corigliano, Mackey has written works for groups ranging from small chamber ensembles to symphony orchestra. He has become, recently, an important figure in composing new works for wind band. Of these, one of his most significant works is his 2007 composition Concerto for Soprano Sax and Wind Ensemble. This document serves as a comprehensive guide to the conductor for this work. It contains a historical background about John Mackey and the piece itself, an original and comprehensive musical analysis, and pedagogical advice for performing the work from the perspective of a conductor. Its intent is to provide conductors with the necessary tools to perform the work. These include an understanding of its genesis and commissioning and perception of difficulties presented to the ensemble in performance of the work. A comprehensive analysis of the work allows the reader to see the importance of shared motives and quotations from Corigliano’s Clarinet Concerto as well as understand the modern tonal language used regularly by Mackey. Appendices detail conversations between the author of the document and Mackey, extended techniques for the soloist, the composer’s notes on the piece, and a catalogue of the composer’s works for wind band. INDEX WORDS: John -
Klapparat Text English 03.2020
Contact: Ivo Prato +41 (0) 79 431 05 81 [email protected] www.ivoprato.ch 1 k l a p p a r a t The Band Daniel Zumofen soprano-, alto saxophone / www.zumofen.ch Charlotte Lang alto-, soprano saxophone Ivo Prato tenor saxophone / www.ivoprato.ch Erwin Brünisholz baritone saxophone Matthias Wenger tubax / www.matwenger.com Philipp Leibundgut drums / www.philippleibundgut.ch 5 sax & drums = 10m pipe + drum With the members Daniel Zumofen, Charlotte Lang, Ivo Prato, Erwin Brünisholz, Matthias Wenger und Philipp Leibundgut the band klapparat was newly formed at the end of 2019. The band is based in Berne, the capitol of Switzerland. Some of the musicians are rooted in Jazz while others are based in classical music. In this special formation they overcome common patterns and create their own identity. From the soprano saxophone to the tubax nearly all saxophone related instruments are included. Together they add up to a pipe length of approximately 10m. Let alone the tubax - a newly constructed contrabass saxophone - measures more than 4m. The Saxophonists Daniel Zumofen, Matthias Wenger, Ivo Prato, Erwin Brünisholz and Michel Duc met each other for a first rehearsal in June 2011. Immediately, a constructive, creative cooperation was called into life. Soon after drummer Philippe Ducommun joined the band. For nine years the band was playing in this setup. In nearly ten years the band can present 100 concerts, CDs, Videos, press releases and radio shows. Schedule Soon, the band Klapparat celebrates its tenth anniversary. In 2020 the band plans its third CD production, a movie and tours in Switzerland and Russia.