SKU: BT.AMP-444-400
ISBN 9789043151375. English-German-French-Dut ch.
Sounds Classical is a collection of graded solos selected specifically for the developing saxophone player.Designed to correlate with grades 1-4 of the exam syllabus of the Associated Board of the royal Schools of Music, the pieces aredrawn from four centuries of classical repertoire ranging from Susato to Sullivan, and will provide ideal material for practice or recital.Sounds Classical is een verzameling van solos die speciaal voor saxofoonleerlingen zijn geselecteerd - in oplopend niveau.De stukken komen qua moeilijkheidsgraad overeen met niveau 1-4 van de examenbundel van de Britse Associated Board ofthe Royal Schools of Music. Ze bestrijken een periode van vier eeuwen klassiek repertoire - van Susato tot Sullivan - en ze vormen ideaal materiaal voor zowel lessen als optredens.Soun ds Classical ist eine Sammlung von im Schwierigkeitsgrad fortschreitenden Soli, die speziell für den Instrumentalunterricht von Saxophonisten ausgewählt wurden. Philip Sparke wählte für dieses Buch Stücke aus dem klassischen Repertoireaus vier Jahrhunderten aus - von Susato über Telemann, Händel, Grieg, Purcell, Mozart bis Sullivan - das ideale Material zum Üben oder Vorspielen!Sou nds Classical est une collection de solos de difficulté croissante, sélectionnés spécifiquement pour les saxophonistes débutants. Ces pièces couvrent quatre siècles du répertoire classique, de Susato Sullivan, et se prêtentparfaitement l’étude comme une interprétation en concert.
SKU: HL.48186344
UPC: 888680840501. 9x12 inches.
“The night of Dinant by Ryo Noda, a Japanese composer, is a contemporary piece of work for solo Alto Saxophone. Very challenging, this piece lasts approximately nine minutes and features many technical aspects which require strong knowledge of the instrument and its practice. The piece includes many repetitions, harmonies, accidentals, bisbigliandos, Aeolians sounds, slaps and growls among other technical difficulties. Ryo Noda is a Japanese saxophonist who is used to all genres: classical, romantic, and baroque among others. He is also known for his work of improvisations.&rdquo.
SKU: HL.50601598
8.0x11.75 inches.
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 thecomposer. 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,recapitulatio n 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 soniceffects. 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).
