FOREWORD hi snls-camplete ices lew sears only. These are Saxopone These new voiees giver othe arches, possess most Fare and precious qualities. Soft snd penetrating i he higher part. fll and eh in the lower part, theit medium has something profoundly expressive. It «im short, a quality of tone su generis, presenting ‘gue analogies with the sound of the violoncello, of the elainct ‘and corno ingese, and invested witha brazen tage which impartsa {quite peculiar accent Agile ted forthe execution of passagesafa feriain rapidity. almost as much as for cantlena passages, saxophones may figure with great advantage in all Kinds of music Clever composers will heresfier derive wondrous elfees (rom oiph Sows princi met, however abe cession fa The above i taken from Hector Berlion’s 4 Treetise ypon Modern Insirumentation and Orchesiresion. It swat written in 1858, cwelve years after Adolphe Sax sceured a paten for his new family of inst Berlios’s prophetic insight inte hE PeABAal Of the saxophone was wicSin- The saxophone fas now been incorporated into neatly every type of music composed since its creation, OF thes, the orchestral situation is fone ofthe last 10 be recognized a8 2 rexidenee for ihe saxophone. ZA. recent survey of ASCAP, BMI and various publisher catalogs has show that composers of owe 25001 \ipiks fave included one or more saxophones in their orehediations, “This ever growing repertoire has promptes a vast major of srmphony orchesras ei saxophonist or to designate 2 member of the elaine section as the one 10 assume this duty. In either ease. the ‘txophonist isexpectes toexhibit the same high profesional standards expected of allsymmphonic performers. THE ORCHESTRAL SAXOPHONIST has been written to provide the musician witha comprehensive preview of those works which he will heealled upon to perform. This in invaluable not only tothe accomplish saxophonist but also tothe clarinetist. These excerpts are especialy helpful to tho orchestra elarin positions where the abil 10 play saxophone is another ase ‘The telesion of pieces included here was determined by surveying the repertoire of major symphony orchestras inthe United States sn recordings by orchestras worldwide, The erteria involved in selecting these 1s was the degree ofraisticand technical demand impored upon the performe:, Whese applicab orchestrationisindieated (ve. clarines). Inaddivion, instructive cornments on doubling and syle follow the pis where relevant, With works that call for a elainetst 10 double on saxophone, only the saxophone paris have been excerpted, The instrumentation foreach pice is given in the heading before the excerpt, The Word “and” indicates that ihe two insiruments are doubled by one plaver. Page 68 contains additional ilormation regarding the research that went int This projet along witha list of other orchestral pieces tha use saxophone Ins the iment of the authors to be a part ofthe growth process and witness the increasing proficiency today'ssaxophonist. Recognizing ths develo be cncouraged take ulladvantuge ol the ns eansbilties in their fature warks—as both section and sla voie, Then, inthe words af Heston Bcion, the symphonic seting will ruly be rewarded with the “rage and precious qualities and wortdrous tfiees" unique tothe yenophore. If THE ORCHESTRAL SAXOPHONIST serves in any small measure 10 the image ofthe sesaphone in the orchestral medium, the effort expended will hve heem werthwhile BR RE ACKNOWLEDGEMENTS Adoiphe san # ahixe componcts who ute the sasopbne thei arches # br ram richer for his wivdom and direction ¢ kevin bawtate® michal crum Honda hisehan® jae twnkiy mirang nese fi Inco mesh mass mre wre hes # cust! Eat | uropean american music distributors corparatin al he publishers whine ante ae tide this work pussible® th Fischer calee hostow tre patie heary ti philsgelphia te publi hears |Abstraction of Gold Wallet Suite, The Aosander Nevsky An American in Paris Uselesienne (Fist Suite) LCorlesienne (Second Suite) Awakening and Dance of Ayshe from the Gayne Ballet Baroque Variations Belshaesar's Feast, Bolero Concerto for Piano and Orchestra ‘De Natura Sonoris Facade (Second Suite) Fifth Symphony Green Bushes Hity Janos Suite Hocizone TGot Rhythm Variations Imprestions dale Job, A Masque for Dancing Latin’American Symphoneite Teatenant Kije Lions (A Dream) Mouvement Symphonique No. 3 [ight in the Tropics Oar Hunting Fathers Pictures at an Exhibition Porgy and Bess Rhapsody in Blac Romeo and Juliet Suite No. 1 Romeo and Juliet Suite No. 2 Sabre Danes from the Gayne Ballet Sinfonia Da Requiem Symphonia Domestica Symphonie Dances Symphony No. 4 Symphony in E Minor (No. 6) Symphony No. 9 in. Minor Tablenux d'une Exposition Uirapuri Violinkonsert Gunther Schuller Druitei Shostakovieh Sergei Prokofiev George Goorses Bizet Georges Bizet Aram Khachaturian Lukas Foss Willen Walton Mautice Ravel ‘Aaron Copland Kraysztof Penderceki William Walton Roy Harris Perey Aldridge Grainger Zoltin Kodsly ‘Arthur Shepherd George Gershwin Gustave Charpentier Ralph Vaughan Wiliams ‘Merton Gould Sergei Prokofiev Ned Rorem Asthur Honegger Louis Moreats Gottschalle Benjamin Britten ‘Moussorgsky-Ravel George Gershwin George Gershwin Sergei Prokofiev Sergei Prokofiev ‘Aram Khachaturian Benjamin Britten Richard Strauss Sergei Rachmaninoff Charles Ives Ralph Vaughan Williams Ralph Vaughan Wiliams Moussorgsky-Ravel Heiter Villa-Lobos Alban Beegi t I I i i | Berg, Alban. Binet, Georges Britten, Benjamin Charpentier, Gustave Copland, Aaron Foss, Lukas Gershwin, George Gottschalk, Louis Moreau Gould, Morton x, Perey Aldridge Harris, Roy Honegges, Arthur Ives, Charles Khachaturian, Aram — Kodaly, Zottén Moussorgsky-Ravel Penderecki, Kreysztof Prokofiev, Sergei Rachmaninoff, Sergei Ravel, Maurie Rorem, Ned Schuller, Gunther Shepherd, Arthur Shostakovieh, Dmitri Strauss, Richard Vaughan Wiliams, Ralph Villa-Lobos, Heiter Walton, Within conTENTS Violinkonzert Liarlesienne (First Suite) Liarlesionne (Second Suite) Our Hunting Fathers, Sinfonia Da Requiem Impressions d'Italie Concerto for Piano and Orchestra Baroque Variations ‘An American in Paris 1 Got Rhythm Variations Porgy and Bess Rhapsody in Blue Night in the Tropies Latin-American Symphonette Green Bushes Fifth Symphony Mouvement Symphonique No. 3 Symphony No. 4 Awakening and Dance of Ayshe from the Gayne Ballet Sabre Danee from the Gayne Ballet Hary Janos Suite : ‘Tableaux d'une Exposition (Pictures at an Exhibition) De Natura Sonoris Alexander Nevsky — Lieutenant Kijé Romeo and Juliet Suite No. 1 Romeo and Juliet Suite No. 2 Symphonie Dances Bolero Lions (A Dream) Abstraction Horizons ‘The Age of Gold Ballet Suite Symphonia Domestica Job, A Masque for Dancing ‘Symphony in E Minor (No. 6) ‘Symphony No. 9 in E Minor Uirapuris Belshazzar's Feast cade (Second Suite) 12 13 18 15 31 32 42 ab 31 35 36 11 10 26 29 51 53 34 34 383 oO im z) Georges Bizet (1838-1875) EP Alto Saxophone arranged by Fritz Hoffman I. Ouverture Allegro deciso tempo di marcia J= 104 on baigitig Femsoe cab | ihgins @)Ardente molto J=so seein : Solo -Il. Menuetto 7 @Allesr one Jase Il. Adagietto (tacet) IV. Carillon all! Selo wie, (Andantino dessa Probearlésienne a Sevund Orchestral Suite EP AR EP Alto Saxophone ABtd Georges Bizet (1838-1875) and] arranged by Fritz Hoffman Il. Intermezzo oe! quasi alle: Solo ceConcerto 3 Jor Piano ane Orehestea BP Alto Saxophone Aaron Copland and B> Soprano Saxophone (1900- ) tithe Sop. = ae & eee poco px most aneore EE Pm one eee B liverenenteTableaux d'une exposition (Pictures ot an Exhibition) E> Alto Saxophone A04{S Modest Moussorgsky (1830-1881) orchestration by Maurice Ravel (1875-1937) IL. I] vecchio castello ‘This is the only movement which ealls for the saxophone. It may be played by one of the clarinetists,[lary Janos Suite fa EP Alto Saxophone Zaltin Kadals (1882-1907) wi IV. The Battle and Defeatol Napoleon [atta Marcia J 108 Vhs ie tlhe ely the elarinetistsImpressions dTtalie Site pour Orchestre Be Soprano Saxophone and Gustave Charpentier E> Alto Saxophone (1860-1956) No. 2 A La Fontaine j No. 3 A Mules Al Allegretto 1284 gn scent ade et use SPs ‘Similar. phases appear as a Pes = sole later inthe movernen No. 5 Napoli Allegro non troppo J=t10 ® == = Te saenee} Got Rhythm 13 fl variations Jor Piano and Orchestra E? Alto Land B? Soprano George Gershwin (1898-1937) 1 Alto and B? Soprano BP Tenor and B? Soprano EF? Baritone @ eae 100 =— aa are fon 2 Alto 1 Ges =e =e | es :(> Andantino d=69 Alto IlRhapsody in Blue . AVe4 ls E? Alto Saxophone George Gershwin (1898-1937) ‘Bnd B> Tenor Saxophone scored by 1d Eb Alto Saxophone i Ferde Grofé (1892-1972) Molto moderato J=s0 selhineTempo giusto slap tonge Og cte pe eeh Alto Hee : = 1st Ei, con moto J=70 pt Bae hhnchbem, aaa oD 4 2"¢ Tenor Set RubatoEb Alto Saxophone I E> Alto Saxophone I] \ Porg 5 As BP Tenor Saxophone Alto 1X = = Lento a® sae yand 6 honic Picture George Gershwin (1898-1937) orchestration by Robert Russell Bennett ID Tenor Alto IL 2 pea —— i cE piciete tee?fyAlto I Halto UX Go pen Pl.jee AD D. 3 -: An American in | A%e8 Z F> Alto and B? Soprano - B>Tenor and B? Soprano and E? Alto Sop! g_ E”Baritone and BP Soprano and E? Alto p E aris a George Gershwin (1898-1937) & Andante ma con ritmo deciso @ Soli “7p, Alto = Co SS reno GEAllegro tochgroundLop. I bop. p ap. Ul e = i riten = altol 3 —— = oe —<——$— oe al i Mio 1, © [5 P ito TIT BS This excerpt is from Ge revised edition hy F. Ci baritone. In this arran hanging instruanents, nent the soprano and alte deubli ns original edition of An Amerie ypbelt-Watson which ealls for three sax Paris. Phere is also a alto, tenor and waive heen rewritten ta avoid2a Violinkonzert E> Alto Saxophone Alban Berg (1885-1935, and BP Clarinet II] Andante Jase i) Speoae G0) Paaats Suing SS Ss TP dove Liberamente ritornare al ¢ — SF (65) pp a = Ee estara (cucro arom event Shoe =e ae 7 ac) a iS EG: nh a tempo (scherzando) Poco expr hig ‘%a Mouvement Symphonique No3 E> Alto Saxophone Arthur Honegger (1892-1955) i § ae i ea SSS g 2 { Pp sostenute % & & Horizons ,B? Tenor Saxophone Arthur Shepherd (1880-1958) ay Il. The Lone PraireeThe tenor saxophone is used in the second movement only and may be played by the boss clarinetist. Horizons is Arthur Sheplers frst symphony. De Natura Sonoris E> Alto Saxophone I Krzysztof Penderecki E> Alto Saxophone II (1933) ©) [Std Alto I 4 PLions A Dream “ f E? Alto Saxophone Ned Rorem (1923- ) y ‘The alto sxophorie is part of a jxzz combo which also includes piano, double bass, and 1 drum set. Sinfonia Da Requiem E® Alto Saxophone Benjamin Britten ad libitum (1913-1976) 1. Laerymosa Andante ben misurato Claas sompre ped exprestvo bo nana ae = ® Soleo eres, Oe {note ‘malo eveOur Hunting Fathers Symphonic Cycle for High Voice dnd Orchestra E? Alto Saxophone : Benjamin Britten Op.88 (1913-1976) (B.) Messalina! Epilogue and Funeral March Very slow] = 44-s0Symphony No.4 a1 {Tenor Saxophone Charles E. Ives and £2 Alto Saxophone (1874-1951) and E? Baritone Saxophone ! GB)Alicws (con furore . p, Tenor " ts 4 | i | j i y | il Follow conductor in 4 (J= 126-138) while conductor 1 directs other players in 3 i 5 Throughout the entire symphony, the saxophone part consists of ensemble playing. E Night In The Tropics E> Baritone Saxophone Louis Moreau Gottschalk (1829-1869) & e reconstructed and arranged by Gaylen Hatton is quite] Latin-American Symphonette E Alto Saxophone I and Clarinet Morton Gould (1913) Eb Alto Saxophone II and Clarinet Bb Tenor Saxophone and Clarinet E> Baritone Saxophone and Clarinet 1. Rhumba Sale t ‘Tena 7 a Op tem 1 Alto ir i a2 Soli mF Tenor &IV. Conga vee she ff |* = yes | yeeo Uirapurt B? Soprano Saxophone Heitor Villa-Lobos (1887-1959) Cadenza__. a a SS Ft pie ——— Bois Tempo di Marcia we Symphonic Dances : ED Alto Saxophone Sergei Rachmaninoff (1873-1943) Op.45 Lento‘This part may be played by the bass clarinetist. If co, the player must move quickly to ‘make the bass clarinet entrance three measures after the saxophone solo. Awakening and Dance of Ayshe (from Gayne Ballet Suite 1-4) F> Alto Saxophone Aram Khachaturian (1903-1978) Allegro d.=88-e0 Ove 2 Sf epresive36 Sabre Dance (jrom Gayne Ballet Suite No.1) E> Alto Saxophone Aram Khachaturian (1903-1978) Presto Jetss Any of the clarinetists may play this excerpt, but in order to make the switeh he must ‘omit ensemble parts both before and after the solo. This is the only movement in the suite which calls for saxophone, The Sabre Dance also appears as the fifth movement of Gayne Ballet Suite No. 3Abstraction Alto Saxophone Gunther Schuller (1925-) © ww 7 di. grodhally Mdtraction, x chamber work by Gunther Schuller, ax been recanded by Ornette Colevnan,= Bolero xophone (A228 BP Soprano Maurice Ravel B? Tenor Saxophone Tempo di Bolero moderato assai ea ee oes Ste Ser ES Mp expresiv, vibrato Bolero, in its original version, called for two saxophonists, one playing soprani ‘other doubling on tenor and soprano. Today it is usually performed hy two musi fon tenor and the other on soprano covering both the soprano and the transposed sopranino parts. The solo excerpted above is played by the tenor at 6 and the soprano at 7.Symphonia Domestica ‘ (4208) Richard Strauss (1864-1949) Op.53 B? Soprano Saxophone Alto Saxophone > Baritone Saxophone | Baritone Saxophone IlOba tt ff secre, Same tempo ge Sop rg ‘Alto Fr Lif Bar 1 Bar. II Se as a aa Sop. op mato Alto = tale opea for the orchestral saxaphones invented by Adolph baritone in Fand hass in C. The to play the C suprano on Hb soprano, the F ane, The transposition forall of these is up a Wd. The C hase part can he played on an Eb baritone with a low A key. The srition: far this is down a suinor third. The above excerpt has leon tratcposed. The pieve consists of ensemble playing.«British Folk Music Settings Nr.12 Green Bushes B? Soprano Saxophone Percy Aldridge Grainger E> Baritone Saxophone (1882-1961) Fast J.2 00 same tempo throughout 9) 2 F mere.is worl,Fifth Symphony B> Tenor Saxophone Roy Harris (1898) optional I AL i te e272The Age of Gold “s Ballet Suite BP Soprano Saxophone Dmitri Shostakovich (1900-1975) Op.22 No.2 AdagioFacade E> Alto Saxophone Sir William Walton (1902. ) LL. Scotch Rhapsody G)Motto vivace solo pte aN i er ae Seme tempo pare rtett FE $F tif Of Dae as 4 eee uy oth sich Fe Na & eet asainit etter Se => —* = as V. Popular Song @®)Grazioso - . soto 4 a . Se SS ee = 3 ae ca 942 —F ees > ———— i =V1.Old Sir Faulk Tempo di Fox-trot Soom = = ACT; = | Belshazzar’s Feast For Mixed Chorus. Baritone Solo and Orchestra E? Alto Saxophone Sir William Walton48 2) Ag stssies > Br Nee ee eesx Alexander Nevsky ro Cantata jor Chorus end Oi + B? Tenor Saxophone Sergei Prokofiev (1891-1953) II. Song of Alexander Nevsky Ill. The Crusaders in Pskov AeyAndence Jz 60V. The Battle on the Ice —~ Allegro moderato J=12 Stes Allegro J-08 VII. Alexanders Entry into PskovLieutenant Kijé : Sirite Svinphenique Bb Tenor Saxophone Sergei Prokofiev (1891-1953) Op.60 1. The Birth of Kijé @,' @ If dolce TL. Romance Andante Jace = Bae a “Ee F capress. Solo oy Andante, come primaIL Kijé’s Wedding 52 Allegro fastoso 4 solo Allegro con brio pies Elezeasis Pile rp ade F ——- Allegro V. The Burial of Kijé moderato 68) Sole & ee = = 7 < tof eapres, ‘There is a second version of this picee for baritone voice and orchestra. The instrumental version excerpted above is the one most often perforried,x Romeo and Juliet Suite Nod BP Tenor Saxophone Sergei Prokofiev (1891-1953) 1. Folk Dance Allegro giocoso 4 = 120 @,, == — @ EG:ce) 7 f nn ip x Romeo and Juliet Suite No.2 B> Tenor Saxophone Sergei Prokofiev (1891-1953) 1. The Montagues and the Capulets Qe Allegro pesante uy Solo IL. Juliet, the Little Girl Piu Tranquillo J= 84 (CD eaanes k fEbe ; i =a J Andante dolente Jet aRomeo and Juliet Before Parting A Masque for Dancing ‘Alto Saxophone Ralph Vaughan Williams (1872-1958) Scene IV. Job's Dream Allegro Je18056 Scene V. Tacet Scene VI. Dance of Jobs Comforters Andante doloroso J= 76 Dy: oo 2S SSS ff fer ‘Ancora ‘piu mosso @ ‘ 6 5 ~\Tempo I Be be (PE ence egies ee ———~, Pp)andante maestoso d= 04 Tacet to end In the composer’s preface he states that the alto saxophone “may be doubled by bass et player, the bass clarinet notes boing cued to the 2nd clarinet. When the saxophone is doubled by the bass clarinet player, the part should be omitted til Scene VI clé i Symphony in E Minor é oo | B> Tenor Saxophone Ralph Vaughan Williams 3 x. and B> Bass Clarinet (1872-1958) ' 1. Allegro Allegro Jz 100 2 Foose ees Fete pte traeIII. Scherzo Allegro vivace Jz 120-128 6 tutti ee60 Ce) ea be ‘ Sete == x = Sate ey i a 2 a be Las tieset Sebo eke aa ele, E see ee eee = O are ee a ERE othe pe —— Pe ee F nie Pe EI PeeSymphony No. 9 Alto Saxophone | Ralph Vaughan Williams E? Alto Saxophone II (1872-1958) Br Tenor Saxophone Melba Ber oe Brent™ Moderato maestoso J = 108 q@) ae = = = 162 Ml Allegro pesante zs ee Alto IL SS Ss Tenor 304 2 * ae Opa Alto 1 5 =e —Se Teno p64 Tenor J ~ Pe Ror ‘O Tenoree" ae po6s Tempo di principio ae 8% hit tp 6 = Se Sane I 10 and 11 should he tacet for these b only one saxophone is used, In movement the67 Baroque Variations ~ Bb Soprano Saxophone Lukas Foss (1922. ) I on a Handel Larghetto = selehimes, — An N frean a ling or following a crescendo or deen fo instructs the play akess Handel Larghett e ie one exposed voice of many which sh to nothing. Jn this movenen ler. The soprano savophio nique enzemible sonnd.68 After twelve months of intensive reseurch, over 2500 orchestral pieces with saxophone have been excerpted and cataloged. To list them all he itself. Below is a short excerpt from the full ist designed to give the reader an idea of which 7 are writing fur suxoplone inthe orchestral media. Many ed dive to their extreme numbers and an evident © would require an entice volume in composers have written composers have unfortunately been on lack of space. It ean generally he assumed that these composers have written more orchestral pieces with saxophone thin just those credited below. Follossing the titles are the instrumentation, Slashes indicate doublings. ass, Jean ech, Garter Ls felon! Se OC cat 4 i Tetpte Concerto eae," densama — Syephony ie. 3 bee o io'basc got Poem bey, Ernst Syephonfes ios 7, 11, 18 Taree Vilage Fodtrne, truno Concerto for Pinto etd Orch, (three sate. eee Ermer Horeine Franc” “Concarea fav 2 for Plane sed red. (T sane: | Narsince, ean pirate eee Premstncet 3) Fastenet, ules Nerovtace tote G]teseners shes ere Boris, Wuelona —Aietusah (A) Alletuieh 11 (Ast) tayuaunty T,'" Encenanale (Aare) rie, tuctonaConcerdo far"Ind Panos ana Orch, (Se Sotiz] Revlon A, Sypnony No. 5 ‘ay Sernstetne tf” Syohonte Gusces from tase stde Story) (A) Mithoay farius Le arnfval Ge Londres at Bernstelny C. Syatony her 3 Iaastsh) (A) tithave: darts La Grenelon & Honge at Ciete, cegees Catesteme suftes lane 61 Hina, Daas Syepony ho. 2 (Wel-) No. § an fotos Fast Fatsie Eocene or Te. an Orch Mouccorgeeys Ae leturee te'an Satbition a 7 Eoeejen ea ra ono, Lrlst’ "” Comortztone per Orenestra. (to ans Eouias, Pierre Patygnonia [for 18 saiotste) Serai.tie | etveetear nde besirecaanier saftsqvber Esvtry, Roger’ Reflets sur Rome Penaereekf, K. Eapriceio for Violin ant Bozsay'togene deur’ ae Plone Parte, Gcorae’ Sareneca No. 2 for Vielin sai Solo Lets. (4) Britten, Bit op, Bleed Gren pivrtgsnets Ser un thane rasta) j fur farting Piners Pocky farcel Syrohonte (129) Se Prinetof Pages, Op. 57 Proteiens's. _ Atsteler Mei) Casita 0 an Heuer Frokafiev, 8. ~Enyetian Wigs suite anf : Prokofiev: 3. Litesanant Ete Sette Srenentgue © ft) 7 Ee of the Hardt Gras Protoflevt $0 Rowee'and ouliet Sultse To rand 3) 1 ec hiens tolarch uchaaninotf, 5, °Symphonte Dances a Freladey rongare an Pata Ravel, Rrerice olen Copan) or (9 Ektepesciery . Inpreasions ditt Rewniters s.) Eelnerartos 5} haves cries’ abeilee se for Fiver, dean’ Ouverture pour up fon Quichotte a faites, Erie” oer caneurie sotto Eaeland, haron-—-tancerts for Pino aad Orch Eselane, favor Sywonony Noo E fedger, lesare_ Slaughter br Tots Ave-ccailat” (four saxea). Rorets eg Conga brea om Rowse, Miblor The dongle ask Sulte eel ay sony fe 3 ‘Sere, rn’ feee et Sellaicent, "Geet H Uetrion SSGe Ae Eaetione wen tate oitsies, fo sya fay Sownush Son ae Sete 3 eae oS Saitten &.”—aerection a ] ele conere SSO SE ue rm) Eee S TS, a newer oe. (sat) Ewen tact ah Seton, a Sees io aaa} Eentiae Bene erations x3) Seer arte fates i SERUM boo Bee ee Gil Renee ter ong he ee er tee lon wvewstia'g) «Straten: 8 We Bids Eee Eerincas George foray and Beets A Sym Picture Ghat) Srostakovtens 0. The Golden Mountains: Sette any ESEIN ESR plore tie Gis} SEBiUS: & Beaune oka} Scie tren” MUP Soehece non nt toast) Sleatetrscr” indy Sot a Sig tee neha haat) Ee” Et we (oie seth Secret, Hane inte fol ) Hetimies co Ere teen rcestre yeh Siete bee we Sion esa oe a Grainger, Perey Kipling ‘dongle Hoek Cycle 3} Strats. Rcherd Saphats Donessica 8.88) tori Hist { Sitar rattles i} / ratte Sie vis pene Ai tte Se aim 4 | Nester tng teksti we"Arten vet} aby A Hasaue for Dang, a Mnscuat aa Ease vel Stores to. (ads et fetproote, Steir ctu ovtan wat SENT sells 2 ta Terenas ace Sem eet ache Soret ee 7, 8. | i IORI ASST Rete Schoen ho. 9 wy Wistar A Sete é ‘ Nereeticr Hoteancte mel aneto tase Wien Shahar s'Haee p Wer Slee Lerner rant G) AMEE RGU MSaa hee i eleoustes’ Sgt os 4 nl) HS Hato iene ny | davies GIREPES AS? & for ape, anton, (two n,} eres fen Enea i https Ses 0 £ A Whitt oe Zi) ERNE” IESE Ge oars natagoomy a} Winetzirge STP Rey et Set Hci: Ke fhebatfue'eh None Zoe eee Sere Ar cl tettate for Or Hemet as BE st ee wf achtorta, See I Mire Maton BY Sy ide Beeler” Mott Son Sits and stewtes ME) oaily, Joltin ary Jone tte tay Teloe'Elgene Merfetions an a Horry Tune weldce | ln lous The ' _ Orchestral Saxophonist RONKIN ROBERT FRASCOTT!FOREWORD Since its publication in 1978, The Orchestral Saxophonist has become a standard volume in the saxophonists study titerature. Now distributed worldwide, it has been designated as a required text for students at conservatories, colleges and universities on four continents. This accepince is due in part to the artistic value and intrinsic appeal of the music itself. It is also d to the singularity ofthis publication as the only means for studying the saxophone literature of the major twentieth century composers, allof whom wrote for saxophone almost exclusively in the orchestral medium. The widespread, enthusiastic response to the initial publication, the profusion of remaining orchestral works by major composers which include saxophone, and the many inquiries about subsequent volumes have all demonstrated a need for this second publication, This volume. lke the initial one, provides musicians with a comprehensive preview of those works which they will be called upon to perform. This is valuable not only to the saxophonist, Dut to the clarinetist who is asked to play the saxophone in these pieces. For students it provides an invaluable introduction to music originally composed for their instrument by the preeminent composers of this century. ‘The primary criterion used for selecting the included works was the frequency of their performance by orchestras throughout the world. The consideration of providing a cross section of the compositional styles and notational systems of twentieth century orchestral music utilizing the saxophone was also a prime concern. Individual excerpts were chosen on the basis, of soloistic and technical demand imposed upon the performer. The instrumentation for each excerpt is listed in the headings. Stated in the heading, the word “and” indicates that the two instruments are doubled by one player. In works which call for one or mors clarinetists to double on saxophone, only the saxophone parts have been excerpied.. Where applicable, the corchestration is indicated (e,g, w/ violins, e.). When no tempois given, the tempo isthe same as that of the previous excerpt. Instructive comments follow the excerpts where appropriate. ‘The saxophone has found its way into more musical genres than almost any other instrument. Curiously, orchestral music, considered by many tobe the most prestigious of these genres, has also been the one most often ignored by saxophonists. Itis hoped that these volumes ‘will encourage saxophonists to become more involved in symphonic music. This will result in performances of higher caliber in this, the most prevalent of the concert media and will thus influence prominent composers of the present and future to include the saxophone not only in their orchestral scores but inal their compositions. RF/BR ACKNOWLEDGEMENTS Rhonda Bingham Frascotti for her selfless and knowledgable contribution * Joel Ronkin # Dean Pugh # Mr. and Mrs. S.M. Ronkin # Mr. and Mrs. C.W. Frascotti # Earle Brown * ‘Thomas Liley * Mercer Ellington * The U.S. Library of Congress * The New England Conservatory Music Library # The Philadelphia Free Public Library « The Fleischer Collection © The Cherry Hill Free Public Library® European American Music Distributors Corporation ® Ail the publishers who made this work possibleoboe E coxexts f Albenir, 1.) Arbd. EF. El Albaicin from the Suite Iberia 4 a Bartok. B, — Der Holzgeschnitze Prinz E (The Wooden Prince) s Berg. A Der Wein (The Wine) 10 | Berg. A Symphonie Suite from the Opera Lulu § ; Berio, L Alleluia 7 Bernstein, L Symphonie Dances from | "West Side Story” Ms Brown, E Cross Sections and Color Fields 16 | Copland. A. First Symphony a | Dallapiccola, L. Concerto per la notte di natate | ell'anao 1956 (Concerto for | Christmas Eve 1956) 6 | Ellingion, E. (Duke) Celebration 2 | Hindemith, P Neues vom Tage (News of the Day) 24 | Ives, C. The New River 21 q Ives, C. A Set of Pieces 19 4 Khachaturian, A. Spartacus: Fourth Suite from | the Balle | Martin, F. Concerto pour violoneelie et 4 : u Massenet, J ag 7 | Milhaud, D. (The Creation of the World) 28 Capriccio per violino ed orchestra 3 Rochoerg. Capriccio 3 | Schoenberg. A Von Heute aut Morgen (From Today to Tomorrow) 36 Stockhausen. K Carre (Quarter) 3 Stravinsky, Tango 20 Thomson. V ‘The Plow That Broke The Pins | Villa-Lobos. H Bachianas Brasilieras No. 2 Webern, A. Das Augenlicht (Light of the Eyes) 46 e | Webern. A. U1: Kantate (Cantata No, 2 a7 Glossary of Selected Terms Ps © Copyright 1984 Robert Frayeatti and Bruce Ronkin é 104de la Suite “Iberia” / -llinno El Albaicin £ Tenor Saxophone Isaac Albeniz (1860-1909) (optional) Transcription pour orchestre par Enrique Fernandez Arbos (1863-1939) 2) clique et lointin) Allegro (.= imel [Bp Sole (quasi guitare) w/bsnt PRP Sneed ato ae Taf —s w/el.bans we f : P wind ¥ Subito moderato = ee —? o> mato lesio E te IIL. Finale (tacet) Copland’s First Symphony for Lerge Orchestra iss reorchestration of his Sempphone No.1 for Organ and Orchestra (1924). The earlier work, which featured # solo organ. did not include saxophone,“. Symphonic Dances from “West Side Story” (1957) i Eb Alto Saxophone Leonard Bernstein (1918- 45 Allearo moderato (dn) With a Jazz feel Solo. 7 Wet Scherzando g mistyioge, FB mp wines She ee pda. —— SSS w/clybose cla. HO ri aaaMeno mosso (J=72) Stringendo un pew s ‘efor. bast el z gat a me 585 eS = wba aD wifitwvibt. 3-2 © deg tt vedfbovibrCross Sections and Color Fields for Orchestra (1975) Bb Soprano Saxophone Earle Brown (1926- ) a a m a a TH) QRH) 1) QRH), 420K) } 15". ee —— Pp mp comfortably, when necessary) (8 ‘The saxophonist plays on the two right-hand (R.H.) cues and on the final left-hand (L.H.) cue. ‘The numbered box indicates that the saxophonist participates in the second of four events: The ‘ order of the events is chosen by the conductor. He will indicate which event he wishes to next oceur and give a cue to initiate it. 2sigs 4 signs 2 Signs (Mens) > Each sign represents» musical occurrence. The number of signs in each measure is indicated above the staf. In this cate, the xophonist should follow the signs givem by the conductor until the teadona notation begins (3)t The truditional notation is governed, on a larger seale, by the signs given by the conductor. The order of events (of which this excerpt is number 2) is chosen by the conductor. ‘ \ Ae et atiay Pe 2 @ © 8 The arrows indicate the direction of the conductor's beats. 1 2 3 4 5 6 Lge a Oa a ma ne 0 = ir o ‘The order of events 1-3is determined by the conductor. Events 4-Gare played in numerical order.8 ; Concerto per la notte di natale dell’anno 1956 & (Concerto for Christmas Eve 1956) for Chamber Orchestra with Soprano (1956-1958) Eb Alto Saxophone Luigi Dallapiccola (1904-1975) a. Prologo Ree Une rane ee S| oe : SS ae -P oro continuando aboe 2, Dat c- 35 piu P= FP b. Primo Inno Animatissimo; giubilante(d-=a Pot ES f whobaclhn 2 25 ——, 2 30 i 2 d. Secondo Inno rt Impetuoso; violento (J =100) “ a be ene F saat HE wim 8 be ‘i (ee eSa ra Un poco piu scorrevoe (2 560) ee | 1) precise intonation, It is suggested thatthe entrances be learned visually by studying the seore ned 5 orally in early rehearsals, The saxophonist should ty to match the tonal qualities and phrasing ofthe = other instruments which preceed his entrances, particulary the vale ng fi 1 A Set of Pieces | ‘ for Theater or Chamber Orchestra 4 a (1906-1911) i Eb Baritone Saxophone Charles E. Ives (1874-1954) | Ve or Bassoon I. In the. Cage (tacet) gsf sf iF of of f Meng allegro ee Tony 2 ge Presto Presto ei a AAI TAPAS ~~ tf Sf A tempo A w/pno. LHcelli ~ a he wipro, LH. cellt IL. In the Night (tacet) ‘The baritone saxophone plays only in the second movement. The part may be played on bassoon.The New River i for Chorus and Orchestra (1912) Eb Baritone Saxophone Charles E. Ives (1874-1954) Allegro ( J= about 2-18 or fasten vw/pmo, LH, cell v ae Slightly slower (J = around , === aes aE wt, core F (pari of overall exes pts zee - wheellin Alles Celebration t ‘ for Orchestra (1972) Eb Alto Saxophone Edward K. (Duke) Ellington (1899-1974) AL 19 Sol w/w eee wlsiring background ar Tempo ag eet wlstring Backgroundwisiring a rte eS 1f the player is not familiar with the jazz style, he or she might benefit from listening to such alta saxophonists as Johnny Hodges, Cannonball Adderley, Charlie Parker, Phil Woods, ete' % Neues vom Tage Three-act Comic Opera (1928-1929 second version 1953) E> Alto Saxophone Paul Hindemith (1895-1963) Einleitung (Introduction) miissig langsam, grazids (f-13 fess Erster Teil missig schnell (J=se-100) Erstes Bild Duett ae a aR oe becca ‘ re : o ot + = w/Es el = ie oy Sehr vibraso Im Zeitmas vorhang Ses NORNER $aViertes Bild Duet! Zweiter Teil Soli und Chor Dritter Teil Zehntes Bild - Duett und Chor 9 o~ a eg ace P Solo = if I 1 soaTstte Ne vn Fagen a ean beds anpratcunce ie Teese hyt | Spartacus Fourth Suite from the Ballet (1966) Eb Alto Saxophone Aram Khachaturian (1903-1978) 4. Saturnalia Lc ns /=36) jostenuto. Allegro vivace (Jase) 5 soto SORE in ae (behind car. solo) =S= Maestoso w/cellieng. hn. oan = ass, Saturnaliais the ancient Roman festival of Saturn, the god of agriculture. Iis observed as a time of general feasting and unrestrained merrymaking. ‘The saxophone is used only in the fourth movement.& Werther drame lyrique en 3 actes et 4 tableaux (1892) b Alto Saxophone Jules Massenet (1842-1912 Act Avec entrain (sans presser)Jese res eythane Se i = F tui to9 nee ani Sea pS eS“i velba Scene II Moderé (sans lenteur) (J = 122) fe Lent U=sa (pas trop cependant) Soiotanswenn shane) FP ES ate T > Veresee fies es x, La création du monde (The Creation of the World) (1923) _ Eb Alto Saxophone Darius Milhaud (1892-1974) Moder (d=s4) chantego——~, 2 Mouvt =v ares rail. 6-9) ye 2D mp Etta = eSat — Animes un pew5 wud used saxophone in this work in place of viola. The saxophonist sitsto theright of the cellist. itten for singie string paris, the string section is occasionally augmented. Capriccio ‘for. Orchestra (1949 revised 1957) Eb Alto Saxophone George Rochberg (1918- ) Bf Bb Tenor Saxophone Molto cantando, parlando, a la Jazz 285 —————— oe =Poco andante quasi parlando Silo 5 350_2 jae Alto’ Sostenuto aes | f—— tim < 380, Pi dante_375, a f joco andante 375 . 380___Capriccio per violino ed orchestra (1967) F Bb Soprano Saxophone Krzysztof Penderecki (1933- ) and Clarinet I in Bb b Alto Saxophone I and Clarinet IJ in Bb and E® Clarinet f Eb Alto Saxophone II and Clarinet II] in Bb I“Sato Tain goto Alto IT frull,__aliss¥ ato { sho f i ised by 4 tone, & = frultato est note of instrument (no definite pitch), owest nate of instrument (no definite pitch).at % Von Heute auf Morgen Oper in einem Ake von Max Blonda (1929) Bb Soprano Saxophone Arnold Schoenberg (1874-1951) = and Eb Alto Saxophone C Bass Saxophone and Bb Tenor Saxophone méssig wwieL.bsns. (alone) Bass p= immer cher etwas bret (nicht érngen) a Too i bere be. ats ti = SSS Ww S wits, bass clar, twas langsamer als voher Ee ser =o oo = eS Lebhaft 7 I ae Gasy HE ee ex. Sope. saxhfe "E a Alto — eps. iF H. == Bass a ——— molto rit bas ear be a Sehr lebhaft (d =) a tempo (aber weveatlich euhiger) Bass po= Tf wTobeng. hs PP dokce ve [bans Taione), missig poor --- (Jee) Oeeeney . paver, 33, Pr P= eae = Suter Puassert lst. Poe pee —| f 5. Drought (J =05) fuer. >—y Pp. Sauer Ip ee oe im Busser, a —sf fuer. P—y Suter. Fier —=-+~—Ss,. — figs otra Siang. S09ee 6. Devastation 49 (der) ee ty Tenors = = E J < tt ‘This music was originally composed for 4 United States Government Film written and directed by Pare Lorentz. Thompson wrote a low A for the tenor saxophone in the sixth movement (6 measures after no. 50 — not shown here) which will require octave transposition. : ‘~ Bachianas Brasileiras NO: 2) (a Heitor Villa-Lobos “: [Bb Tenor Saxophone (1887-1959) and Eb Baritone Saxophone i Preludio - O Canto do Capadocio : Adagio og 40 sete = <== appansionaio} vat byt af oP > 2 t= A scien ap > Tenor: eel nf —= f string all, poco a poo ome pos se Be a : Eee eee aes o 7 3 ; - + —PArio - O Canto da Nossa Terra i i Tempo di Marcia (Moderato) | 5 | Dansa - Lembranca do Sertao a on Andantino moderato 1 2 2. siempos ll) ieape Paar a SapaDas Augenlicht for Chorus and Orchestra 4 (1935) : {E> Alto Saxophone Anton Webern, op.26 fq (1883-1945) I Langsam (J=c0.s2) ee od 20 P Au ger = tempo an tz gn Eye Pp oma —F —— 4 slack, xylo Egg fete 3B 5 o Compe) wie : rit molto pate ‘The player must be acutely aware ofthesaxophone'sroleasa component of a larger melodic and rhythmieschieme, Cues have been included for this reason, Itisstrongly suggested thatthe player study the score (Universal No. 11473).I]. Kantate fiir Sopran und Bass-Solo, gemischten Cl (1941-1943) Eb Alto Saxophone Anton Webern,op.31 (1883-1945) nd Orchester I. Sehr bewest ¢) Ipceestsor. rel molto f — dringend Sehr ruhig veleng.hn./ ‘Eng. Hn @ simorendo = aS ke ca Schr fliessend (Jee) The player must he acutely aware af the saxophone’ role asa component of larger melodic and "hythnmic scheme. Cues have been included for this reason. It is strongly suggested that the player study the scare (Universal No. 12461),48 GLOSSARY OF SELECTED TERMS Below is a listing of selected terms and phrases which appear in The Orchestral Saxophonist Volume Two. In most cases, these terms and phrases have single translations and definitions. In other instances it is essential to consider the context when determining their meanings. These terms and phrases are translated and defined according to the context in which they appear. aber (Ger) - but allargando (I.)-slowing down. esally approaching climax anfangstempo (Ger) - in the Beginning tempo asimando (It) = becoming more lively and spirited ‘animato (I) = ively and spines ‘animes (Fr) - ively ana spirited ausiakt (Ger) pelcup fave entrain (Fr) ~ with high apirit, briskly Bachianas Braseieas ~ one ofa series of pieces, composed by Heitor Villa-Lobos, ia. which Bach's contrapuntal techniques are applied to Brazilian folksongs beaucoup (Fr) - mach bret (Ger) = broad Sind (i) -pdny diminishing. becoming ste ad calmando (It) - quieting down, subsiding ancabile (I) - singing, vical, melodious, Rowing fancando (It) - singing, lial, melodiovr, owing © Canto da Nossa Terta (Port) - Song OF Our Country © Canto do Capadocio (Port) - Song of the Countryman ‘fee (Fr) slow down and Become softer chanté (Fe) - in a singing melodious syle comme cadence (Fr) -cadenza-like ‘commode (It) - ata convenient rate of motion con moto (It) - with motion Aolce (It) ~ sweet, Aringen (Ger) - hurying drier (Ger) = third Elnleitung (Gee) - introduction Einsamen (Ger) - soliude, loneliness fen pressant (Fr) - hurrying cree Bild (Ger) ~ first seene : twas (Ger) - somewhat ex. (eventuell) (Ger) ~ possibly, pechape flessend (Ger) ~ owing, smooch fonsetznd (Ger, - continuing, suring frei (Gee) - fee ful, (Eallat) (Ie) = buzzing, Aatery fagato (It) ~fogucke, imitative section fibcend (Ger) - leading sgemischten (Ger) mixed Gesang (Ger) - voice agracis (Ger) - graceful Hauptzctmass (Ger) - principal tempo heros (Ger) - bring out Ten Zeiumass vorhang (Get) - tempo atthe curtains ising immer (Ger) - always, constantly Lorsimo (it) = mournful langsamien) (Ger, - slow(er) Iebhatt (Ger, = lively LLemranca do Serao (Port, Fontane (It) - distant rmaestoso (It) - majestically rmaggiote (It) - major reno mosso (It) ess motion rmorendo (It) - dying away och (Ger) = sll perdendosi (It) » dying away esate (It) ~ heavy, weighty id mosso (It) - mare motion plus large (Fr) = more broadly poco (Iu) a le, rather Premce (Fr) hurrying ‘quasi (It) ~ almost, nearly fhythme (Fe) «rhythmic rite, (ritenato) (It) ~ immediately slower tub, (rubato) (t)~ elastally expressive rhythmic style ruhig (Ger) ~ tranquil, peaceful sans (Fr, without fehleppen (Ger) - arsgging schaell (Ger) - quick sehr (Ger) - very slvaggio ed aspro (I) - savagely boisterous and harsh sempre (It) CLARINET by Peter Hadcock Compilad by Boston Symphony clarinetist Peter Hadcock. This collection of Emclarinet orchestral excerpts, Including works by Berlioz, Mahler, Prokofiev, Ravel, Shosiakovich, Strauss and Stravinsky, Is an absolute necessity forall aspiring orchestral clarinetists SYMPHONIC REPERTOIRE FOR THE BASS CLARINET by Michael Drapkin ‘An invaluable collottion -of principal bass clarinet excerpts. 68 pages Including works by Berg, Dukas, Franck, Gershwin, Grote, Hindemith, Mahler, Prokofiev, Ravel, Shostakovich, Tehaikowsky, and many others. A rmust for the serious ciarinetist ‘THE ORCHESTRAL SAXOPHONIST by Bruce Ronkin and Robert Frascotti Sino its release lt 1978, Tho Orchestral Saxophonist has become a required text at universities and conservatories throughout the world, This collection of orchestral excerpts for the symphonic performer, ‘educator and student includes works by Bizet, Copland, Gershwin, Ives, Khachaturian, Kodaly, Prokotiev, Ravel, Shostakovich, Vaughan Williams, and many others RONCORP, INC. Prana ay P.O. Box 724 SPECTRACOLOR-REYNOLOS "choy, Nd Cherry Hill, NJ 08003