Russian Romantic Music for Saxophone and Piano by Cecilia Lo-Chien Kao (Piano); Paul Zaborac (Saxophone)Publication Date: 2019
Description: Before beginning my doctorate in collaborative piano, I had little experience collaborating with saxophonists. Since then, I have explored many virtuosic, modern and avant-garde saxophone and piano duo works. Unlike the rich repertoire for strings and piano duo written by Russian composers, much of the standard saxophone repertoire is linked to commissions or works arising from the saxophone pedagogy lineages of the Conservatoire National Supérieur de Musique et de Danse de Paris (Adolphe Sax and Marcel Mule) and American classical saxophone study (Larry Teal and Eugene Rousseau, plus many of their students). There is a disparity between compositions originating from the French and American schools and Russian advocates of the instrument. There are only two main pieces for saxophone written by Russian composers that collaborative pianists can encounter. One is the Concerto in E-flat major for Alto Saxophone and String Orchestra (1934) by Alexander Glazunov and another is the Sonata for Alto Saxophone and Piano (1970) by Edison Denisov. Furthermore, since the saxophone was patented in 1846, a majority of its repertoire comes from the 20th century and does not include works written by earlier major composers. This lack of repertoire inspired my idea to create a recording of standard string and piano sonatas by Russian composers transcribed for saxophone and piano duo. Two main factors were taken into consideration when selecting works for the project. One was that the selected Russian works differed with the modernity of most saxophone repertoire. The second was to create an album of transcriptions that covered a wide range of the saxophone instrument family. These transcriptions create a novel situation where these traditional Russian string works can be experienced on the relatively modern saxophone. Several unique challenges arose for both the process of transcribing the pieces and collaborating in performance because of the instrumental differences between strings and saxophone. For example, passages rewritten to accommodate these differences had to take into consideration the saxophone’s range, tone quality and technique. This included changing the octave of certain passages to make them more playable and to effectively match the tonal characteristics of specific tessituras of the saxophone with the character of the music. Slap tonguing on the saxophone was also used in place of pizzicato and double stops were either performed as quick arpeggios, possibly revoiced, or reduced to a single note. Also, this required rethinking collaborative decisions, such as dynamics, tempo pacing, articulation, pedal use, and sound color choice. These transcriptions also create a unique opportunity for both pianists and saxophonists. For saxophonists, these transcriptions allow them to encounter Romantic style works by major Russian composers, since most of the saxophone repertoire is modern and uses 20th-century harmonic language. For pianists, the transcriptions create options for innovative concert programming. Furthermore, playing these transcriptions is an opportunity for pianists to experience these standard string pieces with the completely different sonority and instrumental character of the saxophone, requiring them to rethink assumptions and be flexible in their approach to the music. This project represents my goal of a progressive fusion of traditional and modern influences in saxophone and piano duo repertoire.
Pianist: Cecilia Lo-Chien Kao, Assistant Professor of Professional Practice & Collaborative Piano Artist, Music