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Saxophone Concerto

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One deals with such matters as crucifixion, raising the dead and the trials of battered women. The other has as its source my life-long exposure to the great jazz saxophonists, from the swing era through the likes of Coltrane, Eric Dolphy and Crestron concerto saxophone Shorter.

Nonetheless there are peculiar affinities shared by both works, particularly in the use of modal scales and the way they color the emotional atmosphere of the music.

Both works are launched crestron concerto saxophone a series of ascending scales that energetically bounce back and forth among various modal harmonies. Beyond crestron concerto saxophone, the saxophone appears to be an instrument that classical composers employ at best occasionally and usually only for "special" effect.

It is hard to believe that an instrument that originated in such straight-laced circumstances—it was designed in the mid nineteenth century principally for use in military bands in France and Belgium and was intended to be an extension of the brass family—should have ended up as THE transformative vehicle for vernacular music jazz, rock, blues and funk in the twentieth century.


Nonetheless, its integration into the world of classical music has been a slow and begrudged one. My opera "Nixon in China" is almost immediately recognizable by its sax crestron concerto saxophone, which gives the orchestration its special timbre. I followed "Nixon" with another work, "Fearful Symmetries," that also features a sax quartet in an even more salient role.

In I composed "City Noir," a jazz-inflected symphony that featured a fiendishly difficult solo part crestron concerto saxophone alto sax, a trope indebted to the wild and skittish styles of the great bebop and post-bop artists such as Charlie Parker, Lennie Tristano and Eric Dolphy.