Requirements: 800-1100 wds (around 330 wds each piece)

- Style
- Tempo
- Dynamics
- Ornaments
- Special problem

1
Concerto for alto saxophone (1934)
by Alexander Konstantinovich Glazunov (1865-1936)
Nationality: Russian
Mainly as a Russian late romantic period composer, music teacher and conductor
- Historical Background:
- Composed the saxophone concerto after toured Europe and United Sates, and settled
in Paris by 1929
- One of the five concertos he had composed

http://programnotes.wikia.com/wiki/Glazunov_-
_Concerto_in_Eb_for_Alto_Saxophone_and_Orchestra

Alexander Glazunov was born in St. Petersburg on August 10, 1865. Alexander studied
composition under the direction of Nikolai Rimsky-Korsakov. During his career, Glazunov
became one of the major Russian composers of the nineteenth century. In 1934, he
composed a major work titled Concerto in Eb for Alto Saxophone, for classical saxophonist
Sigurd Rascher. The first performance of this piece took place in Sweden with Rascher as the
solo saxophonist.
Style background: The Concerto is a single movement work with many tempo changes.
Its layout is that of a rhapsody with elements of folk music. In this twentieth century work,
Glazunov strictly avoided contemporary atonal forms such as serialism, minimalism, and
other Non-Western idioms. Instead Glazunov used harmonies and ornamentations that are
adapted to Western Classical Romantic Music and modulated to closely related keys and
remote keys, creating new tonal centers. Chromaticism, dynamics, variations of articulations,
and variations in tempo take place throughout this composition.
As one of the earliest piece written for saxophone, the concerto by Glazunov is very
melodious and contains a wealth of rapid fingering exercises. It also contains cadenza
which is a solo passage of an improvisational nature, allowing the soloist to show off. At
about the nine-minute mark, there is an attractive fugal passage, and the rhythm evolves
into a cantering pattern.
Despite the fact that Glazunov was eighty when he wrote this piece (the last year of his
life), it has a jaunty flavor of youth about it. However, the Concerto in Eb was Glazunov’s
last major work before he passed away on March 21, 1936 in Paris.

http://www.manchestersymphonyorchestra.com/concerts/071/071-
1.html

2
 - earliest piece written for saxophone

The work is one movement. It is very melodious and contains a

wealth of rapid fingering exercises. It also contains cadenza
which is a solo passage of an improvisational nature, allowing the
soloist to show off. At about the nine-minute mark, there is an
attractive fugal passage, and the rhythm evolves into a cantering
pattern. Despite the fact that Glazunov was eighty when he wrote
this piece (the last year of his life), it has a jaunty flavor of youth
about it.

Mainly as a Russian late romantic period composer, music teacher

and conductor
- Historical Background:
- Composed the saxophone concerto after toured Europe and United
Sates, and settled in Paris by 1929
- One of the five concertos he had composed

Final text for Glazunov concerto:

Alexander Glazunov was born in St. Petersburg on August 10, 1865. Alexander studied
composition under the direction of Nikolai Rimsky-Korsakov. During his career, Glazunov
became one of the major Russian late romantic period composers of the nineteenth century.
In 1934, he composed a major work titled Concerto in Eb for Alto Saxophone for classical
saxophonist Sigurd Rascher after toured Europe and United Sates, and settled in Paris by
1929, which affected this style of composing a lot. This concerto for saxophone is actually
One of the five concertos he had composed. The first performance of this piece took place
in Sweden with Rascher as the solo saxophonist.
The Concerto is a single movement work with many tempo changes. Its layout is that of
a rhapsody with elements of folk music. In this twentieth century work, Glazunov strictly
avoided contemporary atonal forms such as serialism, minimalism, and other Non-Western
idioms. Instead Glazunov used harmonies and ornamentations that are adapted to Western
Classical Romantic Music and modulated to closely related keys and remote keys, creating a
new tonal center. Chromaticism, dynamics, variations of articulations, and variations in
tempo take place throughout this composition.
As one of the earliest piece written for saxophone, the concerto by Glazunov is very
melodious and contains a wealth of rapid fingering exercises. It also contains cadenza
which is a solo passage of an improvisational nature, allowing the soloist to show off. At
about the nine-minute mark, there is an attractive fugal passage, and the rhythm evolves
into a cantering pattern.
3
 Despite the fact that Glazunov was eighty when he wrote this piece (the last year of his
life), it has a jaunty flavour of youth about it. However, the Concerto in Eb was Glazunov’s
last major work before he passed away on March 21, 1936 in Paris.
(300wds)

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Integrated text:
Background:

- Alexander Glazunov was born in St. Petersburg on August 10, 1865. Alexander
studied composition under the direction of Nikolai Rimsky-Korsakov. During his
career, Glazunov became one of the major Russian composers of the nineteenth
century. In 1934, he composed a major work titled Concerto in Eb for Alto Saxophone
which was Glazunov’s last major work before he passed away on March 21, 1936 in
Paris. This early piece written for saxophone was commissioned for classical
saxophonist Sigurd Rascher. The first performance of this piece took place in Sweden
with Rascher as the solo saxophonist.

- Style
The Concerto is a single movement work with many tempo changes. Its layout is
that of a rhapsody with elements of folk music. In this twentieth century work,
Glazunov strictly avoided contemporary atonal forms such as serialism,
minimalism, and other Non-Western idioms. Instead Glazunov used harmonies and
ornamentations that are adapted to Western Classical Romantic Music and
modulated to closely related keys and remote keys, creating new tonal centers.
Chromaticism, dynamics, variations of articulations, and variations in tempo take
place throughout this composition.
It is very melodious and contains a wealth of rapid fingering exercises. It also
contains cadenza which is a solo passage of an improvisational nature, allowing the
soloist to show off. At about the nine-minute mark, there is an attractive fugal
passage, and the rhythm evolves into a cantering pattern.
Despite the fact that Glazunov was eighty when he wrote this piece (the last
year of his life), it has a jaunty flavor of youth about it.
- Tempo
- Dynamics

5
Divertimento pour saxophone alto et piano (1964)
by Roger Boutry (1932-)
I. Allegro Ma Non Troppo
II. Andante
III. Presto
Nationality: French
Pianists, conductor, composer
Roger Boutry (1932-) Divertimento
https://forum.saxontheweb.net/showthread.php?22496-Program-notes-of-Roger-Boutry-
s-Divertimento
- Roger Boutry, born in Paris in 1932, studied at the Paris Conservatoire winning eight
first prizes, notably in composition, piano and conducting, as well as the prix de
Rome in 1954. As an accomplished composer and unparralled pianist (Prizewinner
of the Tchaikovsky competition in Moscow), and a conductor with a vast and eclectic
repertoire, Roger Boutry successfully unites numerous and diverse musical styles in
his work. He is perhaps best known for his two stunning works for saxophone his
Sérénade (1957) and his Divertimento (1964).

His Divertimento is cast in three movements. The first movement is a tribute to jazz
music. It is highly rhythmic, syncopated and virtuosic. The second movement is a
moody blues ballad with a cadenza at the end which segues into a light presto finale.
Roger Boutry is still very much active today and is in great demand as a juror, pianist
and composer. He was named Music Personality of the Year in 1989 for his artistic
achievements, and has been decorated by the French Government.

- As a musical genre of the 18th century, it is unusual that a divertimento is

composed for the Alto Saxophone, an instrument which was not developed until
the mid-19th Century. Yet Roger Boutry (b. 1932) proves with his Divertimento for
Alto Saxophone that the combination of style and instrument make for a thrilling
performance.

- Boutry's Divertimento for Alto Saxophone and Piano accompaniment is an

essential and varied addition to the advanced saxophonist's repertoire.

- Roger Boutry, who studied with Nadia Boulanger and Marguerite Long, has penned
a delightful Divertimento that overflows with wit and general joy of life.

6
Integrated text:
Background:

Roger Boutry, born in Paris in 1932, studied at the Paris Conservatoire winning eight
first prizes, notably in composition, piano and conducting, as well as the prix de Rome in
1954. As an accomplished composer, unparralled pianist and a conductor with a vast and
eclectic repertoire, Roger Boutry successfully unites numerous and diverse musical styles
in his work. Boutry toured internationally as a pianist and began teaching harmony at the
Paris Conservatory in 1962. It was not long after he joined the faculty at the conservatory
and composed the Divertimento which is perhaps one of his best knowns in his two
stunning works for saxophone, Sérénade (1957) and Divertimento (1964). More than that,
Boutry, who studied with Nadia Boulanger and Marguerite Long, has penned the
delightful Divertimento to overflow with wit and general joy of life, where the piece has
become an essential and varied addition to the advanced saxophonist's repertoire.

As a musical genre of the 18th century, it is unusual that a divertimento is composed for
the Alto Saxophone, an instrument which was not developed until the mid-19th Century
and considered rather new. Yet Roger Boutry proves with his Divertimento for Alto
Saxophone that the combination of style and instrument make for a thrilling performance
which fully presents the ability of the saxophone in demonstrating different styles of music.

The divertimento is filled with passion and is cast in three movements. The first
movement is a tribute to jazz music. the start of the divertimento is highly rhythmic,
syncopated and virtuosic. The second movement then introduces a moody blues ballad with
a cadenza at the end which segues into a light presto third movement. The third movement
then continues its virtuosic demands while requiring a sensitivity that the lively, motivated
and energetic finale ends the whole divertimento.
(299 wds)

7
Sonata for alto saxophone (1939)
by Paul Creston (1906-1985)
Nationality: American (Sicilian immigrant to New York)
A self-taught composer
Relatively conservative in style of work and with strong rhythmic element
When Giuseppe Guttoveggio, who later changed his name to Paul Creston,
composed his Opus 19 Sonata for alto saxophone and piano in 1939, he could
not have imagined that it would become one of the most frequently-played
works for this instrumental combination. Dedicated to American saxophonist
Cecil Leeson (who Creston accompanied in the 1930s), this popular piece is
studied and performed by most serious saxophonists.

Style — This sonata is one of the most unique works ever written for
saxophone and piano. Creston combines an energy, variety, and musical
interest that draws from many styles. His music displays a remarkable
freshness and sparkle when compared with the other standard works for
saxophone written around the same period by Glazounov, Heiden, and Ibert.

The first clues to Creston’s stylistic intent come from the initial tempo
indications: I - With vigor, II - With tranquility, and III - With gaiety. Upon
hearing the work, there can be no doubt that each movement musically
represents its descriptive tempo marking. In the first movement, the exciting
first theme is contrasted by the more broad and free second theme. This
contrast heightens the energy of the movement and helps to impart the very
vigor Creston indicates. The performer must be aggressive in the opening and
other similar sections to properly establish this style. plenty of expressive
dynamics to direct the music vigorously onward.

Within the first few beats of movement two the listener hears the tranquility of
Creston’s writing. A simple scalar melody, accompanied by regular, triadic
harmonies, allows the listener to relax from the excitement of movement one.
This simplicity can be augmented by limiting the vibrato in the first saxophone
statement of the theme. Since the piano part becomes busier in bar 15, the
saxophonist should use a normal vibrato here to add greater intensity. Be sure
that there is no decrescendo in measure 31 or the pianist, who continues at a
fortissimo level, will be required to diminuendo too soon. The dramatic climax
of measures 27-33 is then countered by the return of the calm first theme,
which eventually fades to the end.

8
Movement three is full of fun and life. Creston’s choice of the word crisp to
describe the style is apt. There should be a snap or bite to the notes, although
the articulation must be light. (Remember, accents are produced by a sudden
air increase, not a heavier tongue!) The mordent-figured quarter notes contain
three accents (those of dynamics, duration, and ornamentation), so don’t
overdo them or they can become heavy. Observe the pp-mp dynamics used
through much of this movement (intended to convey a hidden intensity), but
contrast these sections with the explosive and sudden crescendos indicated.

Tempo — An essential aspect to consider throughout this composition is tempo.

When Creston visited Ithaca College in 1976, he heard a student of mine
perform this work in a master class. When I asked him about the tempo
markings he said, “The person who put the tempo markings on this piece was a
fool! Yes, I’m talking about myself. The first movement works well at the tempo
126, but the second and third are too fast. The second movement should be
played around 52-56 and the third around 144.” From that day on I have used
Creston’s amended tempos in performing and teaching this piece and suggest
other saxophonists do so as well.

The first movement has the greatest tempo fluctuation. While the exciting first
section is well suited to the 126 marking, the second (starting at measure 13)
works best around 108-112. This theme is much freer than the first, especially
due to the piano’s sixteenth- note figurations. Bars 10-12 should be played in a
calming and slowing manner to set up this new tempo, with the in time in
measure 13 interpreted merely as a return to a constant tempo after the
retard slightly of bar 12. This calmer and freer style remains through the piano
interlude, leading up to the climactic downbeat of bar 27. The saxophonist’s
entrance there marks the beginning of a quick accelerando to bring the
movement to its original tempo around bar 29. This tempo is maintained until
the retard slightly of measure 55, which returns the piece to the second theme
and its 108-112 tempo. This marking continues until the in time - a shade
slower of bar 72, where the tempo works well at 100-104. From measure 79-
84 the pace quickens to the original 126 and, after the one-bar retard, the
piece remains at this tempo to the end.

In contrast to the tempo complexities of the first movement, the second

retains its basic tempo throughout. Since this is the slowest of the three
movements, I prefer to play it at a tempo of 48-52. This allows all of the
sensuous harmonies in this gorgeous movement to be fully heard. Although I
9
suggest a rather constant beat, as determined by the quarter- note pulsations
in the piano, be sure to use expressive rubato within the beat. The use of
tenutos, vibrato emphases, and creative pushing can give much hidden energy
to an otherwise metric interpretation. Take care to add three important
tempo corrections to the saxophone part. Bar 24 should read increase and
accelerando, measure 26 is missing the word retard, and bar 27 should include
a little broad. These three omissions are crucial to the movement’s climax,
punctuated by the saxophone’s high F in measure 27. Without them the busy
piano rolls and arpeggios starting in bar 28 can be rushed. In the second
movement, always interpret the in time sections to mean a return to the
original tempo.

1
0
Movement three keeps its tempo constant. Only the words hold back slightly in
measure 285 of the piano part interrupt an otherwise metronomic performance.
Dynamics, articulations, accents, and mordents serve to shape this movement,
rather than tempo variations.

Dynamics — Few pieces exploit the dynamic potentials of the saxophone as

much as Creston’s Sonata. The extremes are presented in the pp-ff dynamics of
each movement and one of the keys to performing this piece effectively is to
observe all the specified dynamics.

Along with the standard letter indications, Creston uses some plain English to
convey his dynamic instructions. Such phrases as “increase”, “increase
slightly”, “less loud”, “increase gradually”, “dim. gradually”, “dim. quickly”,
“hold back”, and “hold back slightly” appear to be unique in the repertoire.
Though some people may be confused about the meaning of “increase”, it is
understood to mean “crescendo” in this piece.
Another important dynamic aspect is the use of accents. Creston loved to
change meters without notating meter changes. He often did so through his
use of accents to displace the metric pulse. One example occurs in movement
one, from bar 44-51. Creston uses accents to help shift the meter from 4 beats
per measure, to 2, 3, and even 5. To ignore or underplay these accents means
that these metric shifts are less obvious and Creston’s intent may be missed.

Ornaments — During that visit, I also questioned Creston about the mordents
found in movements one and three. I had heard almost every saxophonist
perform them as two grace notes before the beat rather than playing them on
the beat as in Baroque music.
Creston was rather upset about this and indicated that he did intend for the
mordents to be played on the beat and couldn’t figure out why saxophonists
kept misplaying them.
Accurate performance of the mordents in both the first and third movements
is essential to convey Creston’s intentions.

Special Problems — There are a few spots in this piece that need special
attention. In movement one the saxophonist has to negotiate not only tricky
technical passages, but also the performance of an altissimo G. For those
students just starting to play in the altissimo, this may present quite a problem.
Not breathing or resetting the embouchure during the preceding rest can
stabilize the voicing of the G. Also, by making the high F long and by slurring
into the G, many students have greater success. Even adding a grace note F#
1
1
before the G can add security. Try these suggestions to add confidence and
gradually work toward the original notation for the performance.
In movement two the player must be sure to play only as softly as he/she can
support a lovely tone. Watch out that the triplets in bars 39 and 40 don’t
become an eighth-and- two-sixteenth figure. The intonation in the last
measure is particularly difficult, since the dynamic is so soft. Bring the pitch of
the G double sharp down by adding the middle finger of the right hand. Finger
the A# with the bis plus the right hand middle finger and partially lower the
second finger of the left hand as needed to keep the note in tune.
Without a doubt, the most difficult technical passage of the entire piece begins
in bar 194 of movement three. Although this is only a descending B-flat scale in
thirds, almost

1
2
everyone has problems here. Using bis for the B-flats and bis plus side C for
the Cs may help clean up the figure. Probably the greatest help will come
from thoughtful practice of the B-flat scale in thirds at 144 as part of the
daily warm-up routine.

Creston’s Sonata is challenging, demanding, and musically satisfying. It is

a work that all saxophonists should know. Try these suggestions to help
make this piece more approachable and accurate.

1
3
Integrated text:
Paul Creston is an American self-taught composer who originated from Sicily and
later immigrated to New York.
This sonata is one of the most unique works ever written for saxophone and piano.
Creston combines an energy, variety, and musical interest that draws from many
styles. His music displays a remarkable freshness and sparkle when compared with the
other standard works for saxophone written around the same period.
Creston gave the three movements in the sonata their descriptive tempo
indications which are, I - With vigor, II - With tranquility, and III - With gaiety,
showing his stylistic intent. In the first movement, the exciting first theme is
contrasted by the more broad and free second theme. This contrast heightens the
energy of the movement and helps to impart the very vigor Creston indicates.
Followed by movement two, the listener hears the tranquility of Creston’s
composition. A simple scalar melody, accompanied by regular, triadic harmonies,
allows the listener to relax from the excitement of movement one. The dramatic
climax in this movement is then countered by the return of the calm first theme,
which eventually fades to the end. Movement three is full of fun and life. This crisp
movement brought out accents in light articulation in mordent-figured quarter notes
containing three accents. The whole Sonata ends following the contrasting sections
with the explosive and sudden crescendos in the third movement

1
4