Cheap Extravaganza for Saxophone and Orchestra (Music) (Richard Strauss, David Ott, Alexander Konstantinovich Glazunov, Sergey Rachmaninov, Kirk Trevor, Debra Richtmeyer) Price

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Customer Reviews of Extravaganza for Saxophone and Orchestra

Classical Sax Done Right
I suppose there aren't many people who, like me, prefer classical saxophone music to that of jazz and popular music. It's ironic in that the sax was introduced originally as a classical, or at least as a serious, instrument. Early on it was used in military band and symphonic music, but for whatever reason it never became one of the usual orchestral instruments. Some composers have written for it as a classical solo instrument--Debussy, Glazunov, Ravel [in his orchestration of Musorgsky's 'Pictures at an Exhibition']--but not very many. Consequently serious saxophonists have to make use of transcriptions if they want a repertoire of pieces with orchestra. And that's what Debra Richtmeyer, professor of saxophone at the University of Illinois and sometime saxophonist with the St. Louis Symphony, has done here. Of the four pieces here, two are transcriptions.

Richard Strauss's oboe concerto, the only certifiable masterpiece here and a product of that amazing late flowering of Strauss's genius, was written in 1945 at the request of an American soldier, John de Lancie, who had been principal oboist of the Pittsburgh Symphony before the war and who then became the long-time principal of the Philadelphia Orchestra afterward. Richtmeyer has made a transcription for soprano sax; I was not able to detect any appreciable changes in the solo part. She plays it with great skill and musicality. The only thing missing, to my ears, is the invigorating 'bite' of oboe tone.

Glazunov's Concerto for Alto Saxophone and Orchestra was written in 1934 after a long hiatus from composing. It was written for Sigurd Rascher, surely the most important classical saxophone virtuoso ever to put lip to reed; apparently Rascher kept 'attacking' Glazunov with requests until he gave in and wrote it. It is in one 14 minute movement and is typical Romantic Glazunov. One could say that Glazunov's music is rather faceless, and indeed it often is, but this piece is charming, especially in the fugato in tarantella rhythm, and has caught on amongst saxophonists. It is actually programmed fairly often, as these things go, and I can recall hearing it three times in concert. Rascher himself recorded it more than once, but I do not believe any of those recordings are easily available. There are other recordings but I have to admit I haven't heard them. I will say that Richtmeyer does a fine job here.

Rachmaninov's 'Vocalise', originally for wordless voice and piano, has been transcribed for every melody instrument there is, with both piano and orchestral accompaniment; I even heard it played once by tuba! Richtmeyer's edition of Tristan Willems's transcription is played smoothly and hauntingly by her. One must mention that all the orchestral accompaniments on this disc are by the Slovak Radio Orchestra under the direction of British/American conductor Kirk Trevor (currently conductor of the Knoxville Symphony and the Indianapolis Chamber Orchestra). Trevor has made a fair number of recordings with orchestras in eastern Europe, including this fine Slovakian group.

The new piece on this disc is the Concerto for Alto Saxophone and Orchestra by David Ott. Ott, a Michigander whose music is being played more and more, wrote the piece for Richtmeyer and the Knoxville Chamber Orchestra, under Trevor, and it was premièred in 1987. Richtmeyer has since performed it with a number of groups around the world. Ott's music can be characterized as chromatic but tonal, easily accessible, with interesting rhythmic and metric complexities, creative use of tuned and other percussion. He writes long-limbed melodies that are often melismatic; that characteristic is particularly suited to the melodic capabilities of the alto saxophone, and occasionally there is a Asian quality to the sound, but never for long because quintessentially American rhythmic gestures abound. The concerto is in three movements--Allegro; Andante cantabile; and Allegro deciso. The middle movement is particularly lovely, with a gently haunting saxophone song above quiet and restless harmonies in the orchestra. The final movement is a spirited piece with virtuosic thrusts from the soloist supported by Latin American rhythms, leading to increasingly exciting tail-chasing by the soloist and sudden emphatic closing chords.

For lovers of classical saxophone music, and you know who you are, this is one to get. For those who aren't so sure about the saxophone as a classical instrument, you might give this one a try--you might be convinced.

TT=66:05

Scott Morrison