| Summary |
The paper analyzes the role of the saxophone in available symphonic and operatic compositions, points out trends regarding utilization (1944 to 1969) and provides a tabulation of techniques for the saxophone symphonic repertoire. It may be used to benefit the professional saxophonist and by the teacher of advanced saxophone students. The tabulation consists of symphonic and operatic compositions employing the saxophone, listed alphabetically by composer, and includes: (1) composer; (2) title; (3) copyright date of composition; and (4) publisher. Data regarding the role of the saxophone, for each composition, are found in the appendices. Titles of symphonic and operatic compositions with saxophone parts were gathered from many sources, among them: (1) general music histories, histories of instruments, works on orchestration and instrumentation, biographies of composers and various types of encyclopedias; (2) periodicals; (3) dissertations on related topics; (4) interviews with musicians, music educators and composers; and (5) music publishers' catalogs. Scores from the titles were obtained from the Columbia Library, Hofstra Library, Juilliard Library, Lincoln Center Library, Manhattan School of Music Library, Teachers College Library and the Library of Congress, Washington, D.C. In every composition the use of the saxophone was analyzed in two main categories--as a member of the orchestra and as a solo instrument. The analysis of its use as a member of the orchestra included a summary of the frequency of the use of the saxophone with specific families, notated dynamic range and pitch compass and technical demands (intervals, articulation, tempo markings, and other special demands such as vibrato, glissando, tremolo and slap-tongue). Analysis of the saxophone when used as a solo voice included the aforementioned, the movements and measures where solos occurred and the instrumentation of the orchestral accompaniment. Two hundred and forty-six compositions were analyzed, and data for each composition are found in the appendices, arranged chronologically by publication dates. Evidence from the data points to a decrease in the use of the saxophone in symphonic and operatic compositions. For example, from 1930 to 1939 the instrument was used in sixty-five compositions, and from 1960 to 1969 in only twenty-three. Opinions of the author given for the decline in its utilization include the lack of current well-known composers to "champion" the instrument, changes in mouthpiece design and subsequent change in sound, excessive use of vibrato and a paucity of compositions with saxophone parts. Performance skills for the symphonic saxophonist, based upon data drawn from the compositions, are listed and include suggestions regarding choice of mouthpiece and control over vibrato. Specific task demands--concerning intervals, articulation, tempo markings, dynamic levels, pitch compass and other special technical demands--are outlined. |
