On Branford Marsalis's Album of Romances for Saxophone
M. Zachary Johnson
September 09, 2005
One of the most beautiful and moving musical performances I've ever heard was the University of Michigan Pops Orchestra playing the Rachmaninoff "Vocalise" with the vocal line played by Don Sinta on alto saxophone. Of the many concerts I've attended, this one stands out in my memory because of this incredible piece and the exquisitely beautiful sound of the solo saxophone.
People think of the saxophone as a jazz instrument, and if frequency of use is the sole measure, then they are right. But the blare and the gritty "grunt and growl" of the jazz saxophone is not the only type of sound possible on the instrument. Its tone can also be more refined, velvety, sultry, somewhat veiled--partaking of the bright, penetrating peal characteristic of brass instruments, yet softened by the mellow, smooth quality characteristic of wind instruments.
The saxophone, with its hybrid character incorporating a single-reed mouthpiece (like that of a clarinet) with a brass body, was invented by Adolph Sax around 1846. Describing this new instrument, Hector Berlioz wrote in his mid-nineteenth century "Treatise on Instrumentation":
"These newly gained orchestral voices have rare and valuable qualities. In the high range they are soft yet penetrating; in the low range they are full and rich, and in the middle range they are very expressive. On the whole it is a timbre quite its own, vaguely similar to that of the violoncello, the clarinet, and the English horn with a half-metallic admixture which gives it an altogether peculiar expression.
"The body of the instrument is a parabolic cone of brass with a system of keys. Agile, suited just as well for rapid passages as for soft melodies and for religious and dreamy effects, saxophones can be used in any kind of music; but they are particularly suited to slow and tender compositions."
Since the saxophone arrived late in history, and since its "classical" capabilities have not been realized or taken advantage of much by serious composers, the saxophone does not have a very substantial "classical" repertoire. There are of course some important solo pieces and some blockbuster orchestral moments such as the as the famous alto saxophone solo in Ravel's orchestration of Mussorgsky's "Pictures at an Exhibition." But for the most part, classical saxophonists have to rely on arrangements of music for other instruments such as the voice or the oboe. (Vocal music works particularly well, since the saxophone has much in common with the voice; for one thing, the sound of a saxophone is very noticeably affected by and responsive to the actions of the player's throat, tongue, and lips.)
A fantastic showcase of the expressive capabilities of the saxophone is Branford Marsalis's album of "Romances for Saxophone" available from CBS Masterworks.
From the liner notes:
"In his first album for CBS Masterworks, the brilliant young saxophonist Branford Marsalis offers a melodious potpourri of classical favorites. The repertory, with a decidedly turn-of-the-century French and Russian accent, reveals a new facet of the multi-talented Branford. Like his famed brother, trumpeter Wynton, Branford Marsalis has a solid background in jazz, but with this album, he ventures into the classical world....
"Branford's vocal lyricism and musicality on the sax first induced CBS Masterworks to approach him about recording an album. Vocalises, originally for the soprano voice, were the first selections chosen, followed by compositions featuring reed instruments, such as the virtuosic 'Prelude' from 'Le Tombeau de Couperin' and Stravinsky's 'Pastorale.' Marsalis was particularly eager to record Colombier's 'Emmanuel,' the 'Serenta' from 'Pulcinella' and Faure's 'Sicilienne' from 'Pelleas et Melisande.' But all of the works highlight the particular mastery of tone and musicianship that are the hallmarks of Branford's individuality."
This album has completely won me over. I even found myself enjoying the music I did not expect to care for, such as two works of Debussy. And I can certainly see why Marsalis was "particularly eager" to record Colombier's Emmanuel -- because of its achingly beautiful melody and sumptuous orchestration, it deserves to be heard much more often.
And of course I'm delighted by the fourth track of the album, on which Marsalis plays that incredible Rachmaninoff "Vocalise."
To purchase "Romances for Saxophone" and to see other recommendations by M. Zachary Johnson, visit:
http://www.TIADaily.com/php-bin/news/showArticle.php?id=995
People think of the saxophone as a jazz instrument, and if frequency of use is the sole measure, then they are right. But the blare and the gritty "grunt and growl" of the jazz saxophone is not the only type of sound possible on the instrument. Its tone can also be more refined, velvety, sultry, somewhat veiled--partaking of the bright, penetrating peal characteristic of brass instruments, yet softened by the mellow, smooth quality characteristic of wind instruments.
The saxophone, with its hybrid character incorporating a single-reed mouthpiece (like that of a clarinet) with a brass body, was invented by Adolph Sax around 1846. Describing this new instrument, Hector Berlioz wrote in his mid-nineteenth century "Treatise on Instrumentation":
"These newly gained orchestral voices have rare and valuable qualities. In the high range they are soft yet penetrating; in the low range they are full and rich, and in the middle range they are very expressive. On the whole it is a timbre quite its own, vaguely similar to that of the violoncello, the clarinet, and the English horn with a half-metallic admixture which gives it an altogether peculiar expression.
"The body of the instrument is a parabolic cone of brass with a system of keys. Agile, suited just as well for rapid passages as for soft melodies and for religious and dreamy effects, saxophones can be used in any kind of music; but they are particularly suited to slow and tender compositions."
Since the saxophone arrived late in history, and since its "classical" capabilities have not been realized or taken advantage of much by serious composers, the saxophone does not have a very substantial "classical" repertoire. There are of course some important solo pieces and some blockbuster orchestral moments such as the as the famous alto saxophone solo in Ravel's orchestration of Mussorgsky's "Pictures at an Exhibition." But for the most part, classical saxophonists have to rely on arrangements of music for other instruments such as the voice or the oboe. (Vocal music works particularly well, since the saxophone has much in common with the voice; for one thing, the sound of a saxophone is very noticeably affected by and responsive to the actions of the player's throat, tongue, and lips.)
A fantastic showcase of the expressive capabilities of the saxophone is Branford Marsalis's album of "Romances for Saxophone" available from CBS Masterworks.
From the liner notes:
"In his first album for CBS Masterworks, the brilliant young saxophonist Branford Marsalis offers a melodious potpourri of classical favorites. The repertory, with a decidedly turn-of-the-century French and Russian accent, reveals a new facet of the multi-talented Branford. Like his famed brother, trumpeter Wynton, Branford Marsalis has a solid background in jazz, but with this album, he ventures into the classical world....
"Branford's vocal lyricism and musicality on the sax first induced CBS Masterworks to approach him about recording an album. Vocalises, originally for the soprano voice, were the first selections chosen, followed by compositions featuring reed instruments, such as the virtuosic 'Prelude' from 'Le Tombeau de Couperin' and Stravinsky's 'Pastorale.' Marsalis was particularly eager to record Colombier's 'Emmanuel,' the 'Serenta' from 'Pulcinella' and Faure's 'Sicilienne' from 'Pelleas et Melisande.' But all of the works highlight the particular mastery of tone and musicianship that are the hallmarks of Branford's individuality."
This album has completely won me over. I even found myself enjoying the music I did not expect to care for, such as two works of Debussy. And I can certainly see why Marsalis was "particularly eager" to record Colombier's Emmanuel -- because of its achingly beautiful melody and sumptuous orchestration, it deserves to be heard much more often.
And of course I'm delighted by the fourth track of the album, on which Marsalis plays that incredible Rachmaninoff "Vocalise."
To purchase "Romances for Saxophone" and to see other recommendations by M. Zachary Johnson, visit:
http://www.TIADaily.com/php-bin/news/showArticle.php?id=995
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