La entrada [TÉSIS DOCTORAL] MARCEL MIHALOVICI: Una evaluación crítica de sus trabajos solistas y de cámara para clarinete, un recital de conferencias a cargo de Garry Windel Evans se publicó primero en Adolphesax.

SUMARIO

– ¡¡Desperta, Ferro!! Manuel Miján.
– XXIV Curso y X Concurso Internacional de Clarinete Julián Menéndez.
– Introducción a la práctica de la creatividad musical en las especialidades de viento madera y viento metal (I). Rafael López Marchal.
– Felicitaciones al maestro Pedro Iturralde en su 90 aniversario. Israel Mira.
– El clarinetista Pablo Barragán y los oboistas Cristina Gómez Godoy y Lucas Macías, ejemplos de la proyección internacional del talento andaluz. Antonio Suárez Delgado.
– Vida y obra de Michael Blavet. Antonio Arias 40 El pasado y presente del saxofón en la ciudad de Alcoy (II). Eladio Sellés Navarro.
– La extraordinaria historia de Bach 50 aniversario de Miyazawa Entrevista a Cristo Barrios Andorra Sax Fest.
– Congreso Trombón en La Coruña.
– Curso Oboe J.C. Baguena en Punto Rep.
– CD’s recomendados.

La entrada REVISTA VIENTO Nº22 se publicó primero en Adolphesax.

Title: A Performance Analysis of Saxophone Trios By William Albright and Daniel Schnyder

Author: William Ross Gillespie
Thesis Chair: Dr. Keith R. Young
Thesis Committee Members: Dr. Jason Worzbyt

Dr. Matthew Baumer

While there is a plethora of music for solo saxophone, saxophone with piano, and saxophone quartet, the repertory for saxophone in a mixed chamber ensemble is still very limited. This document provides a formal analysis and brief harmonic analysis for two important pieces for mixed chamber ensemble: Worlds Beyond by Daniel Schnyder and Pit Band by William Albright. It also includes performance techniques for the saxophone player, as well as rehearsal techniques for the full ensemble.

This document includes an interview with the composer Daniel Schnyder as well as biographical information on William Albright. Both composers have written numerous works for the saxophone, and they view the saxophone from opposite ends of the compositional spectrum.

The purpose of this project is to gain insight and experience in the performance of modern chamber ensemble music. It also provides important performance information to others who wish to perform these pieces.

La entrada A Performance Analysis of Saxophone Trios By William Albright and Daniel Schnyder by William Ross Gilespie se publicó primero en Adolphesax.

ABSTRACT
Title of Dissertation: SAXOPHONE SONATAS 1980-2010

Timothy J. Powell, Doctor of Musical Arts, 2012

Dissertation directed by: Dr. Michael Votta School of Music

The purpose of this dissertation project identifies contemporary solo saxophone literature, specifically sonatas between the years 1980 and 2010. The overwhelming majority of repertoire written during these thirty years consisted primarily of either multi-movement or through-composed character pieces. By limiting the selected repertoire to sonatas one can still investigate the breadth of the literature that has helped validate the saxophone in the realm of classical music in a format that has seemingly fallen out of favor with composers.

The saxophone had developed a unique voice by the middle of the twentieth century in both Europe and in the United States. European composers such as Claude Debussy, Florent Schmidt, Jacques Ibert, Darius Milhaud, Alexander Glazounov, Erwin Schulhoff and Bernard Heiden recognized the potential and beauty of the instrument, while the saxophone had found quite a different niche in vaudeville, jazz, and military bands in the United States. If not for the dynamic performances by concert saxophonist such as Marcel Mule, Sigurd Rascher, Jean-Marie Londeix,

Daniel Deffayet, Cecil Lesson, Larry Teal, Eugene Rousseau, Fredrick Hemke and Donald Sinta, the timbral possibilities and technical virtuosity of the saxophone would not have been discovered. The awe inspiring performances by these soloists led to the commissioning of a multitude of works by composers looking to expand the sonic possibilities of this relatively new instrument. Through the 1970’s American composers such as Leslie Bassett, Paul Creston, Henry Brant, Robert Muczynski, and Karel Husa were writing significant works for the saxophone, while European composers such as Ingolf Dahl, Edison Denisov, Alfred Desenclos, Henri Tomasi and Marius Constant were each making their own contributions, all leading to a significant quantity of repertoire that met the quality demands set by the performers.

The compositions chosen for this dissertation project were selected after numerous performance, pragmatic, programming and pedagogical considerations were taken into account. The three recitals occurred on: March 7, 2010, December 10, 2010 and May 1, 2011 in either the Gildenhorn Recital Hall or Lecture Hall 2100.

La entrada SAXOPHONE SONATAS 1980-2010 by Timothy J. Powell se publicó primero en Adolphesax.

Abstract

Adolphe Sax developed in Paris in the early 1840s a family of brass instruments, the saxhorns, which gained an immediate popularity in France, Britain and other parts of the world. The originality of saxhorns was challenged at the time through long-lasting litigations, and is still questioned by many researchers. This thesis investigates the development of the saxhorn from an organological standpoint. Saxhorns are examined in comparison to instruments predating them by other makers, along with relevant archival material (patents, lawsuit minutes, daily press, publicity material etc.) so as to reveal whether the allegations against their originality were sound. It is noticed that idiosyncrasies of intellectual property law of the time facilitated a strong interaction between musical instrument makers particularly of France and Britain. Instruments examined are Adolphe Sax saxhorns, saxhorns by other contemporary makers, mainly French and British, but not exclusively, as well as a number of related instruments, made before and after the development of Sax’s saxhorns. The assertions of Sax’s rivals are not fully confirmed based on the analysis of instrument measurements. It is also argued that the saxotromba family, so far considered extinct, is in fact represented by two members in the saxhorn family, the alto and the baritone.

A number of related instruments emerged around the middle of the nineteenth century in various wraps and with different names. These are compared to saxhorns and classified according to bore-profile properties. Only certain groups were distinct, whereas most were essentially saxhorns in different forms. Sax’s brasswind production as a whole is reviewed not only as an enumeration of his developments, but also to provide an assessment of the genuine innovation in his work.

La entrada Adolphe Sax’s Brasswind Production with a Focus on Saxhorns and Related Instruments by Evgenia Mitroulia se publicó primero en Adolphesax.

PUBLIC ABSTRACT

Frank Martin’s Ballade for saxophone and orchestra (1938) is an important piece in the saxophone’s repertoire, but it has received little attention from music scholars. It represents one of the Swiss composer’s first works in which he settled into the compositional style of his maturity—a style grounded in balancing conservative and modern compositional practices. This document offers the first detailed analytical study of the saxophone Ballade.

Much has been written about the interplay of dodecaphonic (twelve-tone) and tonal elements in Martin’s mature music. Composers often use twelve-tone practices as a way to systematically organize their music and circumvent tonal references by honoring a series of rigid guidelines established by Arnold Schoenberg in the 1920s. Martin incorporated many dodecaphonic practices into his mature style but refused to do so at the expense of his deeply held convictions regarding tonal harmony in music. This analysis of the saxophone Ballade presents a refined assessment of Martin’s twelve-tone practices, especially as twelve-tone, tonally-functional, and non-functional harmonic features of his music interact. In this regard, Martin’s dodecaphonic aesthetic shares a stylistic kinship with the music of Schoenberg’s disciple, Alban Berg, that has not been closely examined in the literature. This connection is demonstrated through a comparison of dodecaphonic practices in the saxophone Ballade with those used in Berg’s Lyric Suite. Finally, an appendix details a few suggestions for possible adaptations to the saxophone part based on those made by Martin in his arrangements of the work for flute and basset horn.

La entrada DODECAPHONIC PRACTICES AND TONAL IDIOMS IN FRANK MARTIN’S BALLADE FOR SAXOPHONE AND ORCHESTRA by Ryan Joseph Smith se publicó primero en Adolphesax.

ABSTRACT

Saxophonists aspiring to perform significant classical repertoire will quickly discover the challenges of high register passages in the third and fourth registers. Many of the early saxophone concerti, namely those composed between 1930-1960, are the foundation of the saxophone’s solo repertoire, and have guided composers and performers alike to explore the capabilities of the instrument in this regard.1 All saxophonists face the great task of representing these works with the artistic integrity their composers intended and can therefore benefit from an anthology that contains selected high register passages in their correct context, unaltered by unorthodox performance practice, subjective reasoning, or publication error.

This treatise examines high register passages from the alto saxophone concerti of Lars-Erik Larsson, Jacques Ibert, Frank Martin, Henry Brant, Carl Anton Wirth, Ingolf Dahl, Erland von Koch, and Frank Erickson. Historical and analytical facts regarding each composer and work are given, and the included concerti are taken from the most current published editions available.

La entrada High Register Excerpts of Selected Alto Saxophone Concerti: A Critical Anthology by Adam D. Muller se publicó primero en Adolphesax.

La entrada Poe & Debussy and their Rapsodie by Dr. James R. Noyes se publicó primero en Adolphesax.

CONTENIDO:

• – Adónde va Vicente. Manuel Miján

   -El flamenco en el saxofón actual. José Anto

  – XXIII Curso y III Concurso Internacional del Clarinete Bajo Julián Menéndez

  – La oxidación de las partes plateadas del clarinete por la cercanía de la boquilla

  – Lucha contra las falsificaciones. Vandoren

  – Compromiso con lo actual. José Antonio Antón Suay

  – 30 años de Claude Delangle en en Conserv. Sup. de Música y Danza de París

  – El pasado y presente del saxofón en la ciudad de Alcoy. Eladio Sellés Navarro

  – Selmer-París en la lucha contra las falsificaciones

  – La ‘elaboración y mantenimiento de las cañas’. Antonio Suárez Delgado

  – El medio ambiente y Vandoren

  – Ensemble Nacional MUSAK

  – Outras Direçoes – 7 Rotinas Diárias para Trombone. Ricardo Pereira

  – 50 aniversario de SANKYO

  – CD’s recomendados

La entrada REVISTA VIENTO Nº21 se publicó primero en Adolphesax.

CONTENIDO:

• La evolución de las boquillas para saxofón clásico. Antonio Fernández
• XXII Curso y IX Concurso Internacional de Clarinete Julián Menéndez 2017
  
• Manuel Fernández, el caballero feliz. Tomás Jerez Munera
  
• El Porqué. Manuel Miján
• Representar la música. Daniel Martínez Babiloni
• El repertorio decimonónico. Miguel Asensio
• Entrevista Robert Silla. Vicente Boscá
• Andorra Sax Fest 2017
• VII Congreso Nacional de Clarinete Pozuelo de Alarcón
• El grupo de clarinetes Victoria de los Ángeles celebra su X aniversario
• Evolución de las sonoridades y de los productos Vandoren. Jean Marie Paul
• Histórico de Vandoren
  
• ¿Se puede vivir de esto?
• MazikDuo Jewish Life, portraits of the past. Albert Torrens
• CD’s recomendados

La entrada REVISTA VIENTO Nº20 se publicó primero en Adolphesax.

CONTENIDO:

• El saxofón en España (II). Miguel Asensio
  
• Lançamento do livro “Joaquim da Costa Chicória”. Estudio preliminar J. Riveiro
• XXI Curso II Concurso Internacional de Clarinete bajo JULIÁN MENÉNDEZ 2016
• 2016, año de congresos
• ¿Un vintage es una opción? Antonio Fernández
• Mudanzas varias. Manuel Miján
• Entrevista Marc Home
• El requinto. Miguel Civera
• Vicente Olmos
• Miguel Arbelaiz
• Manifesto Doutrinário e Explorativo para O Estudio do Clarinete M. Carvalho
• The Singing Clarinet. Luis Fernández
  
• Barcelona Clarinet Players, música de cámara en expasión
• CD’s recomendados

La entrada REVISTA VIENTO Nº19 se publicó primero en Adolphesax.

La entrada La influencia de los compositores japoneses en el desarrollo del repertorio para saxofón y la verdadera importancia de FUZZY BIRD Sonata de Takahashi YOSHIMATSU. Autor: Chiaki Hanafusa (INGLÉS) se publicó primero en Adolphesax.

Orden de 3 de abril de 2018, por la que se efectúa convocatoria de procedimiento selectivo para el ingreso en el Cuerpo de Catedráticos de Música y Artes Escénicas.

“El plazo de presentación de las solicitudes y de la documentación a que se refieren los subapartados 3.2.1, 3.2.2 y 3.2.3 será de quince días hábiles, contados a partir del siguiente al de la publicación de la presente Orden en el Boletín Oficial de la Junta de Andalucía. (del 6 al 26 de abril ambos inclusive)”

Acceso a la plataforma de solicitud 
(ya está activa la cumplimentación online)

La entrada Publicada CONVOCATORIA de las Oposiciones al Cuerpo de Catedráticos de Música y Artes Escénicas se publicó primero en Adolphesax.

CASTELLÓ MUSICAL

Calle Maestro Ripollés, 38
C.P. 12003 Castellón
Castellón (España – Spain)
(+34) 964 27 04 15
Whatsapp (+34) 616 802 712
administrador@castellomusical.com
Web: http://castellomusical.com/es/taller

La entrada CASTELLON – Taller de Viento Castelló Musical se publicó primero en Adolphesax.

Muy buenas a tod@s,soy Juan Francisco Jiménez Sacristán,clarinetista,saxofonista  y luthier especializado en clarinetes,tambien retoco,modifico adapto y reparo boquillas de clarinete y saxofón,mi experiencía cuenta con más de 30 años,(F.P 2º rama del metal,maestría industrial de 5 años) y 20 años trabajando en taller de joyería,aunque sea ahora mi determinación en esta web por seguir continuando en mi labor.

Web: http://www.villarclarinet7.net/

C/Sierra s/n Carabaña 28560 MADRID
Teléfono:699405452 / 918723277
ESCRÍBENOS
jjimenezsacristan@yahoo.es
fjjimenezsacristan@gmail.com juan.jimenez@villarclarinet7.net

La entrada MADRID – VillarClarinet7 se publicó primero en Adolphesax.