A Brief Introduction to the Wonderful World of Classical Saxophone
Photograph of Charlie Parker in Gävle, Sweden, with the young future jazz musician Göran Schultz.
The saxophone. An iconic instrument, from pop culture’s epic sax guy and Lisa Simpson to jazz legends like John Coltrane and Charlie Parker. Beloved for the bright, vibrant tone of its alto and soprano variants, as much as the mellow warmth of the cool jazz tenor sound (not to forget the shear energy unleashed from a baritone saxophone in the right hands, like Ronnie Cuber’s unforgettable solo at the start of the Mingus Big Band’s recording of Moanin’, and basically anything by Leo P). As this introduction itself indicates, the instrument undeniably exerts the greatest cultural influence through its ubiquity in jazz and presence in other major genres of the 20th century, such as pop and rock’n’roll. However, a parallel history exists of the saxophone as a classical instrument, at home in the world of quartets, concerti, and the endless experimentations of the contemporary classical music scene. It’s a small, slightly niche corner of the genre, but one filled with incredible music and incredible musicians that (in the unbiased opinion of this classical saxophone player) deserves to be more widely celebrated.
The relationship between classical saxophone and the broader classical scene is a complicated one. An informative video by the composer David Bruce, linked below, explains why the instrument never quite became a full-time member of the symphony orchestra. Part of the problem is that the core orchestral repertoire centres around 18th- and 19th-century works that either predate the invention of the saxophone in the mid-19th century or composers’ familiarity with it. That said, the instrument does have its own “canonical” works from the late-19th century to the early/mid-20th century, well known to any conservatoire-level player. Pieces in this vein that I recommend checking out include Alexander Glazunov’s Concerto in Eb (1937) and Jacques Ibert’s Concertino da Camera (1935), as well as Paul Creston’s utterly fabulous Sonata for Alto Saxophone (1939). Despite a general absence, the saxophone also makes an appearance in the orchestral repertoire from time to time, such as in Prokofiev’s famous Dance of the Knights (from his ballet Romeo and Juliet) and the various different orchestrations of Gershwin’s jazzy Rhapsody in Blue.
Nonetheless, the instrument’s comparatively recent invention means there is a lack of depth to the historical repertoire, and whole careers cannot be forged playing a single composer or period style (as one might find with certain violinists or pianists, for instance). Rather, the classical saxophonist, both past and present, is forced to be a pioneer, an innovator. Careers are built not only on playing established classics and freelance orchestral work, but also on creating new repertoires, founding new ensembles, collaborating with composers, becoming composers.
A fine example of this is the illustrious career of English saxophonist, John Harle. Over the lockdown period, he released 20 volumes of archive recordings from across his career. The sheer breadth is outstanding, from his own compositions for film, to styles including jazz, pop, lounge, contemporary classical, chamber, and folk opera. I particularly recommend Volume 10, containing recordings from Harle’s Berliner Band projects which drip with Weimar glitz, and Volume 8, which features vibrant saxophone arrangements of medieval and renaissance music. We might also look to the serial-arranger Raaf Hekkema, who has arranged hundreds of pieces for his reed quintet chamber ensemble and also released wonderful recordings of his own adaptations of solo violin repertoire by Bach and Paganini for the saxophone. Elsewhere, the collaboration between influential Japanese saxophonist Nobuya Sugawa and the composer Takashi Yoshimatu has produced two modern saxophone classics, the composer’s Fuzzy Bird Sonata and Cyber Bird Concerto. These are just some personal favourites. What is so exciting is that every classical saxophonist finds their own pathways through music, new and old, often with a refreshing disregard for established genre distinctions and musical forces. The limitation of classical saxophone’s historical repertoire is perhaps also the instrument’s greatest strength, in demanding experimentation and exploration of the new as well as mastery of the old.
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Some recommendations to get you started!
Nobuya Sogawa performs Yoshimatsu’s Cyber Bird Concerto (a better-quality recording of Sogawa performing this piece can be found on Spotify)
Raaf Hekkema’s soprano saxophone rendition of the Allemande from Bach’s 1st partita for solo violin.
One of the best tone qualities in classical music: American saxophonist Otis Murphy.
David Bruce’s video essay on the Saxophone and the orchestra