On 28 Jan 2010 at 17:45, Chuck Israels wrote: > These responses have missed whatever point I probably shouldn't have > bothered trying to make here, and that was that there is so little > significant repertoire for "classical" saxophone, despite the > existence of a number of fine players in that style, that favoring > that style in music departments over the jazz style is the equivalent > of hiring a jazz violinist over a classical one. There is a > disprportion of repertoire and interest. Anyone for a jazz oboe > teacher?
One of the members of my viol consort is a very fine classically- trained saxophonist (though his education included full training in jazz, etc., too), and he and I were puzzling a few weeks ago over the lack of interest of modern "classical" composers in writing for saxophone. It's a marvelously versatile instrument and comes with the built-in doubling on the different instruments for any reasonably advanced player. There are also lots of players who'd be really eager to play new music written specifically for the instrument. Perhaps it's too jazz-flavored in the minds of most "serious" composers? Because I happen to have a saxophonist available, I've actually written a piece for soprano sax, piano and viola da gamba. It's not finished, so I don't know if it sounds as good in reality as it does in my head, but I just don't see why more composers of "art" music don't use such a wonderful family of instruments. -- David W. Fenton http://dfenton.com David Fenton Associates http://dfenton.com/DFA/ _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
