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Chant Du Saxophone Tenor - Bijl Niels / Hans-Erik von Dijkstra

Chant Du Saxophone Tenor - Bijl Niels / Hans-Erik von Dijkstra -New Music-Chamber Music
ID: ACDHN014-2 (EAN: 8717775550044)  | 1 SACD | DSD
Released in: 2008
Chamber Music
New Music
GLAZUNOV, Alexander Konstantinovich | HARTLEY, Walter S. | MARTIN, Frank | SCHMITT, Florent | SCHUMANN, Robert | SMIRNOV, Dmitri | WARD, Robert
DIJKSTRA, Hans-Erik von (piano) | NIELS, Bijl (tenor saxophone)
Other info:

SACD Hybrid Disc (SACDH) = CD Digital Audio + Super Audio CD
GLAZUNOV, Alexander Konstantinovich (1865-1936) 
1. Chant du Ménestrel Op. 71 (1912)4:03 
SCHUMANN, Robert (1810-1856) 
Andante und Allegro Op. 70 (1848) 
2. Langsam, mit innigem Ausdruck3:23 
3. Rasch und fuerig5:09 
HARTLEY, Walter S. b. 1927 
4. Poem (1967)3:35 
SMIRNOV, Dmitri b. 1948 
5. Evening Song Op.56 (1990)5:53 
MARTIN, Frank (1890-1974) 
Ballade (1940) 
6. Largamente, Andante, Tranquillo3:08 
7. Allegro giusto, Vivace Assai5:30 
SCHMITT, Florent (1870-1958) 
8. Songe de Coppélius Op.30 nr 11 (1906)3:25 
WARD, Robert b. 1917 
Concerto (1983) 
9. Lento4:49 
10. Allegro10:34 


Halfway through the 19th century instrument-builder Adolphe Sax surprised the music world with the invention of the saxophone. The instrument was an immediate success. In the years that followed many composers (e.g. Berlioz, Bizet) saw the endless possibilities of this instrument and employed it in orchestral works and chamber music. In no time the saxophone became very popular, becoming immortal through its frequent use in the rise of Jazz in the 1920s. Schumann was a very active proponent for the development of the instrument, as was Adolphe Sax who was responsible for the last alterations to the French Horn. Sadly Schumann never recognised the qualities of the saxophone and did not provide any works specifically for this equally new instrument. In contrast to this is the Russian composer Alexander Gazounov, who in the autumn of his life (1928), left his homeland to live in Paris. Here he came in contact with the performances of saxophone pioneers Marcel Mule and Sigurd Raschèr for whom he wrote his Quatuor and Concerto Opus 109. Chant du Ménestrel was actually written many years earlier, in 1912, originally for cello and piano and dedicated? To his good friend the master cellist, Alexander Wierzbilowicz. Although the saxophone was not accepted in Russia as a fully fledged instrument (“bourgeois”) Chat du Ménestrel is still the most obvious prologue for an ode to this instrument: Chant du Saxophone Ténor.


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