The Concertino da camera for alto saxophone and eleven instruments was written by Jacques Ibert in The work is in two movements; the first, Allegro con moto , is lively and technically challenging and the second begins with a lyrical Larghetto, featuring soaring lines in the saxophone's upper register. A short cadenza links to the movement's concluding Animato molto. The concerto is distinctive for its large range requiring the use of the saxophone's top-tones. The accompanying ensemble consists of flute, oboe, clarinet, bassoon, horn, trumpet, two violins, viola, cello, and double bass.
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Composer Jacques Ibert. On Wednesday, April 18, , at 8 p. I spoke to Nicki to learn a bit more about this exciting opportunity. I am currently in my second year as a doctoral candidate studying under Chien-Kwan Lin. This piece is quite a standard in our repertoire, so it is a work that never quite leaves our fingers. When I heard about this opportunity, I decided to go for it. It is a piece that constantly challenges the saxophonist in a variety of different realms at any level.
It has been quite interesting re-visiting it many years later! Saxophonist Nicki Roman. This work was written for a saxophonist by the name of Sigurd Rascher, who was known as someone who pioneered the high range of the saxophone. This was something that was not as common before the early s, because no one had quite mastered it! The piece was also originally scored for eleven instruments and meant to emulate a small-scale chamber orchestra. It is common performance practice to double the string parts in order to fill out the orchestral sound while the winds and soloist are playing.
In this performance, we are doubling string parts for this reason. What sort of unique challenges are presented by the work, especially when performing it with an orchestra? Saxophonists really only get the opportunity to perform with an orchestra in select orchestral pieces or concerti. With this being said, this pushes us to develop different tone colors and articulations on our instrument.
There are instances where a melody is presented in the strings and the soloist must respond in a similar style. I find myself thinking a lot about bow directions i. In Ibert, there is really never a moment for the soloist to take a break. The saxophone part is highly active throughout. Even during sections where the orchestra takes over, the saxophone part is still noodling in the background in a very playful manner.
There is an obvious influence of the jazz genre and the piece is very technically demanding on the performer in order to capture the virtuosity and new capabilities of the instrument being explored during that time.
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Concertino da camera (Ibert, Jacques)
Concertino da camera (Ibert)