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SEALED TIMOTHY ROBERTS ZYNODOA CONCERT SAXOPHONE SOLO CD - 第 1/1 張圖片
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SEALED TIMOTHY ROBERTS ZYNODOA CONCERT SAXOPHONE SOLO CD

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所在地：Winchester, Virginia, 美國
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CD Grading
Mint (M)
Type
Album
Era
2010s
Case Type
Cardboard Sleeve
Instrument
Saxophone
Style
Chamber Music, Concerto
Case Condition
Mint (M)
Features
Sealed
Country/Region of Manufacture
United States
Inlay Condition
Mint (M)
UPC
0884501974769
Artist
Timothy Roberts
Format
CD
Release Year
2013
Record Label
CD Baby, Cdb
Release Title
Zynodoa
Genre
Classical Composers

關於產品

Product Identifiers

Record Label
CD Baby, Cdb
UPC
0884501974769
eBay Product ID (ePID)
10046073770

Product Key Features

Format
CD
Release Year
2013
Genre
Classical Composers
Artist
Timothy Roberts
Release Title
Zynodoa

Dimensions

Item Height
0.30 in
Item Weight
0.16 lb
Item Length
5.88 in
Item Width
4.87 in

Additional Product Features

Number of Tracks
10
Number of Discs
1
Tracks
1.1 Concerto for Soprano Saxophone and Wind Ensemble, MVMT I - John MacKey 1.2 Concerto for Soprano Saxophone and Wind Ensemble, MVMT II - John MacKey 1.3 Concerto for Soprano Saxophone and Wind Ensemble, MVMT III - John MacKey 1.4 Concerto for Soprano Saxophone and Wind Ensemble, MVMT IV - John MacKey 1.5 Concerto for Soprano Saxophone and Wind Ensemble, MVMT V - John MacKey 1.6 Techno Parade - Guillaume Connesson 1.7 Fantaisie Sur Un Theme Original - Jules Demerssema 1.8 Glint - Roshanne Etezady 1.9 Romance for Violin and Piano - Amy Beach (Arr Roberts) 1.10 Crazy Logic - Matthew Orlovich
Notes
Concerto for Soprano Saxophone and Wind Ensemble - John Mackey For many concert saxophone enthusiasts, John Mackey's Concerto for Soprano Saxophone represents the greatest American concerto written since Barber's Violin Concerto of 1939. Just as violin pedagogue Albert Meiff stated before the premier of the Barber Concerto, 'the technical embellishments (of the piece) are very far from the requirements of a modern violinist', it is Mackey's hope that over time his own Concerto proves to be one of the most technically difficult pieces ever written for the saxophone. Following are some of his thoughts on the piece: To me, the saxophone is a kind of hybrid instrument; it's essentially a brass instrument with a woodwind reed on it. Instead of valves like a brass instrument has, the sax has keys like a woodwind.... So, I had an instrument made of three materials: felt (the pads of the keys), metal (the body), and wood (the reed). This realization gave me the central idea for the piece: a multi-movement work with the inner movements called Felt, Metal, and Wood, and with instrumentation chosen to essentially match those materials for each movement. The outer movements would be scored for the entire ensemble. The piece starts with 'Prelude,' a very brief overture to the concerto, with material that foreshadows each of the movements to come. If you hear something you like in the 'Prelude,' you'll probably hear it more developed in the following movements. (Conversely, if you hear absolutely nothing you like in the 'Prelude,' you may be in for a long night.) Movement two is 'Felt.' This movement is a study of the keys of the instrument, so it includes lots of runs (requiring quick fingers), lots of pitch bending (to show what different pitches the sax can produce with minimal movement of the fingers), and a bit of alternate fingering. On the saxophone, the player can play the same pitch by using different combinations of keys, and each fingering combination results in a slightly different color. In this movement, you'll hear repeated notes that are accomplished with changing fingerings, so the color will shift from note to note, even as the pitch stays the same. The other question - besides 'what is a sax made of' - that I wanted to consider when writing the concerto was, 'what does a sax do?' Movement 2, 'Felt,' answers that question with, 'well, the sax can play some weird sounds.' With that pitch bending and crazy fingering, it's a peculiar five minutes. Movement three, 'Metal,' answers that same question with, 'the sax can play high and pretty.' This movement, scored primarily for metal percussion and brass, is a calm, lyrical contrast to the weirdness that preceded it. It seemed silly to write a sax concerto and not deal with the fact that the sax is often heard simply playing a song in an intimate setting - say, at a jazz club. Movement four, 'Wood,' is really just that: a simple song. The scoring here is, as you'd expect, woodwinds (including flutes, which aren't technically made of wood anymore), double bass, harp, piano, marimba, and - as in every movement - the sax section. The piece of mine that led to the commission of the sax concerto was a piece called 'Redline Tango,' and specifically, the soprano sax solo that anchors that work. To acknowledge that, this movement, yes, is a tango. Finally we reach the 'Finale.' First, just a little background. My teacher in college was a composer named John Corigliano. Before I ever studied with him, one of my favorite pieces was his Clarinet Concerto. It's not just a spectacular piece, but it's easily (to me, at least) one of the greatest wind concertos ever written. When I got this commission, Corigliano's concerto cast a pretty intense shadow over me. How could I possibly write a concerto anywhere near the quality of that work? Well, I couldn't - so I stole his. 'Finale' starts with a nearly direct quote of John Corigliano's Clarinet Concerto. In order to make it as meta as

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