In response to locobotics - I've played both pieces you mentioned and there are aspects of the Debussy Rapsodie that were more challenging for me musically than either the Ibert or the Maurice. There is a piano reduction by Vincent David that has transcribed all the themes from the oboes & flutes (as well as some orchestral parts) and makes the saxophone take on a more central role in the piece. The subtle nuances and emphasis on tone color and timbre makes this one of my favorites.
Just because the word "concerto" isn't in the title doesn't discount it as being a concerto. A work for a selected soloist or group of soloists with an orchestra is the general parameter that defines a concerto.
@TheMaxi418 . Hello, I had the priviledge of seeing Seiji OZAWA in Boston , MA, in a small town. 30 years ago. I will always remember his body language while conducting. Lovely!
This is definitely not an example of tonal nor classical music. Hayd, Mozart, Beethoven, etc. is tonal, classical music. This work is a perfect example of a post-tonal, impressionistic concerto for saxophone. And by Debussy to boot! I could only dream of a Debussy trombone concerto...
É raro ver uma orquestra tendo o saxofone, geralmente músicos eruditos não gostam desse instrumento por pertencer a outros generos: jazz, choro, Blue, funk, etc...esses generos são considerados sonoridades sujas para os eruditos.
So beautiful! someone can place the theater, city and year of this recording please?? It seems like Italy (Rai 4 mediaset?). Thank you so much in advance!
Debussy, who cared little for the instrument and knew almost nothing of its technical capabilities, would not fulfill the commission for the Rhapsodie for several years; indeed, when he did submit his score, it was incomplete and unorchestrated. He wrote a rough draft of just three or four staves, with much of the score still missing. Jean Roger-Ducasse undertook the task of completing the work after the composer's death, in a manner which showed how well he understood Debussy's musical language.
To play ANYTHNG "beautifully" is never easy. Evoking a sense of ATMOSPHERE, MOOD, IMAGERY, MEANING is THE most difficult aspect of making music come alive. It requires the player or the cindutr to know how to "read between the notes" -- something it takes REAL talent to be able to do convincingly. Achieving ACCURACY is only the FIRST STEP in muscal 9nterpretation. In the final analysis this quality is EVERYTHING, because without we have NOTHING of any discernible value.
A pleasant surprise! It never occurred to me -- a trained professional musiia -- that the saxophone was capable of anything but crass, irremediable "Pop Style" vulgarity. Congratulations to Federico Mondelci -- and of course to M. Claude Debussy one very few authentic geniuses in the field of musical composition.
It had never occurred to me that any trained professional musician would be so shallow and ignorant as to implicitly dismiss Charlie Parker, John Coltrane, and a legion of other genius Jazz saxophonists as purveyors of "crass vulgarity".
Żałuję wielce niemożności spotkania Claude musiał być ............. och nie chodzi o walory fizyczne ale muzykę od lat mi towarzyszy w pełnym brzmieniu poza kwartetem III, który rozpacza swoim dźwiękiem więc go nie słucham. Dzisiejszy utwór zapraszam..............
while i like this composition very much, the saxophone part isn't difficult at all. especially when compared to pieces like Concertino de Camera and the final movement in the Tableux de Provence. it annoys me greatly..............oh well
Beautiful piece and masterful sax playing.... ...but try as I might I just cannot get an ear for this french school of sax or whatever it is...squeeky windscreen-wiper meets nervous tenor duck. I want to like it, I really do. All instruments are imperfect but the saxophone is a particularly wonky device and even when played like a master it suffers from noticeable ugly intonation. When you play in tune by an oscilloscope it still sounds wrong. Respect is due to players of this unweildy tube.
Overall, it's a nice piece. But I do think having the saxophone in front of the orchestra as a featured soloist is inappropriate for this arrangment. Not sure why they did that.
although Mr. Mondelci has a great sound, and I understand the producer's need to showcase such a star, I don't agree with the saxophonist being in front of the orchestra. The title of the piece is orchestre et saxophone, not saxophone et orchestra. It is meant to be a tableaux of sorts, not a concerto. As far as I can tell, the Vincent David and Rousseau versions are legal, and have been legal though it does upset the original composition.
More likely than not he has a better sound and better tone quality than you. Unless you happen to be the professor of a big name university or the Paris Conservatory, in which case "Sorry Mr. Delangle"
....beautiful makes me wanna go practice :) for those of you complaining about the arrangment - look at the history of the piece - who the composer was and who commissioned it - should be clear. yes there are other versions with more playing time, but not appropriate if you have an oboe to play the oboe line - etc, its all about COLOR! but yes beautiful playing
So beautiful, the dissonances accentuate the pretty parts.
Debussy outdoes himself again!
everytime i listen to debussy, i realize how many movie composers must have listen to him as well..
very, very nice piece.
Ah very nice performance beutiful sound and great technique,I wonder perhaps the vibrato could be a little less at some points.
great!
Soo utterly beautiful! I've never heard this piece before. Thanks for posting!
sin palabras!!! me encanta la sonoridad de los compositores franceses!!! es nebulosa y magica!!!
Beautiful. I loved it.
wonderful piece
Wow, very beautiful piece! what a performance!!! I love it =)
não conhecia esta obra! sempre o rebuscado Debussy!
In response to locobotics - I've played both pieces you mentioned and there are aspects of the Debussy Rapsodie that were more challenging for me musically than either the Ibert or the Maurice.
There is a piano reduction by Vincent David that has transcribed all the themes from the oboes & flutes (as well as some orchestral parts) and makes the saxophone take on a more central role in the piece. The subtle nuances and emphasis on tone color and timbre makes this one of my favorites.
Just because the word "concerto" isn't in the title doesn't discount it as being a concerto. A work for a selected soloist or group of soloists with an orchestra is the general parameter that defines a concerto.
@TheMaxi418 .
Hello, I had the priviledge of seeing Seiji OZAWA in Boston , MA, in a small town. 30 years ago. I will always remember his body language while conducting.
Lovely!
very nice... muy buena ;)
I want this. So I too can play it :D
enchanting is a good description--
Because the saxophone was relatively new, and no music had been written, composers of the day were unsure of the saxophones limitations and such.
This is definitely not an example of tonal nor classical music. Hayd, Mozart, Beethoven, etc. is tonal, classical music. This work is a perfect example of a post-tonal, impressionistic concerto for saxophone. And by Debussy to boot! I could only dream of a Debussy trombone concerto...
Finesse, Finesse, Finesse - Much more impressive to me than moving fingers really fast, going all over the instrument.
É raro ver uma orquestra tendo o saxofone, geralmente músicos eruditos não gostam desse instrumento por pertencer a outros generos: jazz, choro, Blue, funk, etc...esses generos são considerados sonoridades sujas para os eruditos.
So beautiful! someone can place the theater, city and year of this recording please?? It seems like Italy (Rai 4 mediaset?). Thank you so much in advance!
Didn't know Bruce Willis was a champion of the Saxophone.
musically it is so abstract though....which is ten times more difficult than technical difficulties....
Debussy, who cared little for the instrument and knew almost nothing of its technical capabilities, would not fulfill the commission for the Rhapsodie for several years; indeed, when he did submit his score, it was incomplete and unorchestrated.
He wrote a rough draft of just three or four staves, with much of the score still missing. Jean Roger-Ducasse undertook the task of completing the work after the composer's death, in a manner which showed how well he understood Debussy's musical language.
I see where you got this information off the internet, but I am not able to find proper citations anywhere.
Does it need to be technically difficult to be beautiful?
To play ANYTHNG "beautifully" is never easy. Evoking a sense of ATMOSPHERE, MOOD, IMAGERY, MEANING is THE most difficult aspect of making music come alive. It requires the player or the cindutr to know how to "read between the notes" -- something it takes REAL talent to be able to do convincingly. Achieving ACCURACY is only the FIRST STEP in muscal 9nterpretation. In the final analysis this quality is EVERYTHING, because without we have NOTHING of any discernible value.
niggas really out here replying to 9 year comments
Is that Seiji Ozawa? Plz give the conductor credit.
I agree.
A pleasant surprise! It never occurred to me -- a trained professional musiia -- that the saxophone was capable of anything but crass, irremediable "Pop Style" vulgarity. Congratulations to Federico Mondelci -- and of course to M. Claude Debussy one very few authentic geniuses in the field of musical composition.
It had never occurred to me that any trained professional musician would be so shallow and ignorant as to implicitly dismiss Charlie Parker, John Coltrane, and a legion of other genius Jazz saxophonists as purveyors of "crass vulgarity".
Żałuję wielce niemożności spotkania Claude musiał być ............. och nie chodzi o walory fizyczne ale muzykę od lat mi towarzyszy w pełnym brzmieniu poza kwartetem III, który rozpacza swoim dźwiękiem więc go nie słucham. Dzisiejszy utwór zapraszam..............
We are the world
We are the family
We are his arms of love
Який оркестр ми чуємо? Хто диригент?
@srbaritono no es un concierto, es una rapsodia para saxo y orquesta y no lo digo yo, lo dice Debussy...
You know, I never knew that Debussy wrote for the saxophone. Figures some of the only two composers to write for the instrument are French.
what type of ligature is he using?
Un vídeo penjat per un coi de friki diu... si ets tu! xD
M'agrada :)
To be honest, I think the vibrato was a bit to much in the saxophone part. It almost sounded as if he was nervous, to the point his lip was shaking.
sultlry exotic - ecstatic - in other words - Debussy
while i like this composition very much, the saxophone part isn't difficult at all. especially when compared to pieces like Concertino de Camera and the final movement in the Tableux de Provence. it annoys me greatly..............oh well
@BrianDurocher95 Sax Hard
That didn't come out right; exclude "two" from the second sentence.
Beautiful piece and masterful sax playing....
...but try as I might I just cannot get an ear for this french school of sax or whatever it is...squeeky windscreen-wiper meets nervous tenor duck. I want to like it, I really do. All instruments are imperfect but the saxophone is a particularly wonky device and even when played like a master it suffers from noticeable ugly intonation. When you play in tune by an oscilloscope it still sounds wrong.
Respect is due to players of this unweildy tube.
Overall, it's a nice piece. But I do think having the saxophone in front of the orchestra as a featured soloist is inappropriate for this arrangment. Not sure why they did that.
although Mr. Mondelci has a great sound, and I understand the producer's need to showcase such a star, I don't agree with the saxophonist being in front of the orchestra. The title of the piece is orchestre et saxophone, not saxophone et orchestra. It is meant to be a tableaux of sorts, not a concerto. As far as I can tell, the Vincent David and Rousseau versions are legal, and have been legal though it does upset the original composition.
More likely than not he has a better sound and better tone quality than you.
Unless you happen to be the professor of a big name university or the Paris Conservatory, in which case "Sorry Mr. Delangle"
hey nobody cares... oh well
This interpretation, for me, has a big lack of passion...!
....beautiful
makes me wanna go practice :)
for those of you complaining about the arrangment - look at the history of the piece - who the composer was and who commissioned it - should be clear. yes there are other versions with more playing time, but not appropriate if you have an oboe to play the oboe line - etc, its all about COLOR!
but yes beautiful playing
that's the true!!!