Jack Brymer premièred this work originally called 'Sopsonare' in 1973 at the American School at St. John's Wood playing on Michael Krein's Selmer soprano saxophone. This Sonata the first composition for saxophone by Colin Cowles was inspired by the acquisition of a soprano saxophone whilst teaching in Hemel Hempstead in the early 1970s. Although having played on a simple system soprano as a boy (an instrument borrowed from and taught him by his father) this re-introduction to the instrument was to kindle a life-long love of the complete saxophone family and the composition of an almost endless 'library' of works for it at all levels. It was also at a time whenthe composers had made recent acquaintance with the eminent saxophonist Peter Ripper and had been introduced to the saxophone quartet by the recently formed London Saxophone Quartet whose leader Paul Harvey was to play this Sonata and the Elegy for Soprano Saxophone and String Orchestra. He in fact premiered the latter work which Jack Brymer then played in public on a number of occasions. It was recorded by Peter Ripper with the composer at the piano at the BBC Maida Vale Studios. It is a totally non-esoteric work but like so much of the composer's music it is fun and approachable bearing repetition without becoming tedious. The composer has always favoured the Bb saxophones (soprano and tenor) which is reflected by his output. Of particular note are: • Concerto for Tenor Saxophone and Orchestra• In Memoriam for Tenor Saxophone and String Orchestra• Sonata for Tenor Saxophone and Piano • Three Bala Sketches for Tenor Saxophone and Piano. This Sonata for Soprano Saxophone and Piano and the Elegy for Soprano Saxophone and Strings are particular favourites of the composer.

Written in 1934 by Alexandre Glazounov (1865-1936) this Eb Concerto for Alto-Saxophone is a fourteen-minute piece dedicated to Sigmud M. Rasher a famous Saxophonist and soloist. Initially composed for Saxophone and Strings there was no mention of a second composer even though the 1936 publication adapted for Saxophone and Piano mentioned the name by André Petiot (1886-1976). The concerto starts with an Allegro moderato in 4/4 followed by an Andante transition mainly in C flat major at 3/4 and ending on a Fugato in 12/8. The first performance of this concerto in public occurred after the death ofits author in Paris. Alexandre Glazounov (1865-1936) is a famous Russian romantic composer. Considered as a prodigy and mentored by Belyayev he composed ballets concertos symphonies and later became director of the Saint Petersburg Conservatory. He had a strong influence on Stravinsky's and Shostakovich's careers and died near Paris in 1936. This concerto is a classical piece of the Saxophone romantic repertoire.

Piano Reduction including solo part. Par DENISOV EDISON. The catalogue of Edison Denisov's works includes 16 concertos. It was a genre to which he returned time and again throughout his life, from the Concerto for Cello and Orchestra of 1972 to the Double Concerto for Flute, Clarinet and Orchestra of 1996. In Denisov's music the role of the soloist, or rather the protagonist, is extraordinarily important, not so much for its virtuosity as for its confessional character. The solo part is a monologue distinguished by poetic diction and a very personal message from the composer. The dramaturgical conception of the Concerto for Saxophone and Orchestra, a reworking of the Viola Concerto of 1986, draws on traditional sonata form, thereby reaffirming the ubiquitous classicism in Denisov's thought. In this late work, we find all the typical features of his style: sinuous melodic lines layered into dense contrapuntal textures, and an interplay of orchestral colours, with pure sonorities contrasting with complex mixtures of sounds. It is a perfect dramaturgy that governs the evolution of the music to the very end. The first movement assumes the role of a sonata-allegro, with the standard formal sections of exposition, development, recapitulation and coda. The second movement is an Adagio for strings. The third takes the form of a little contrasting intermezzo that introduces both new thematic material and a new range of colours. Here tunefulness gives way to pointillism enriched with sonic effects. The only movement with a virtuosic solo part, its nervousness and inner tension set it worlds apart from the second and fourth movements that surround it. The fourth movement assumes the traditional form of a final set of variations. It is the dramaturgical and semantic heart of the concerto. The theme of the variations is Franz Schubert's Impromptu in B-flat major, op. 142, which in this case is 'born' from the celesta as the product of a dodecaphonic string cluster. This finale represents Denisov's homage to his great mentor, Schubert's music being for him a symbol of eternal and universal beauty. 'The attentive listener', Denisov stressed, 'will recognise that the Impromptu theme is already suggested very slowly in the course of the three preceding movements, not only thematically, but also psychologically. That's what makes the appearance of the Schubert theme sound so natural.' The variations relate to the variation genre less in their form than in their spiritual and conceptual metamorphoses. It is, one might say, 'music round about Schubert'. (Ekaterina Kouprovskaia-Denisova)/ Répertoire / Saxophone Alto et Piano

For soprano saxophone (or clarinet) and piano (originally for oboe strings and harpsichord).

For everyone who wants to play brass! Team Brass presents a flexible course which can be tailored to suit each student; is ideal for individual group or class tuition; contains plenty of carefully graded music in a wide variety of styles; encourages ensemble playing with varied repertoire for both Orchestral Brass and Brass Band instruments and integrates with ensemble music in Team Strings Team Woodwind Team Recorder and Team Percussion; develops instrument-related aural skills improvisation and composition; provides imaginative piano accompaniments to make every student feel like a star performer; offers helpful notes for the teacher together with clearensemble scores; includes scales and arpeggios as set by major Examination Boards.

Team Woodwind is firmly established as a leading series of woodwind tutors. It presents a flexible course which can be tailored to suit each student ideal for individual group and class tuition. The books in the series contain plenty of carefully graded music in a wide range of styles from Baroque and Classical eras to film folk jazz and Latin American. The series encourages ensemble playing with varied repertoire and develops instrument-related aural skills improvisation and composition. Included are scales and arpeggios and a CD comprising of over 70 backing tracks to make every student feel like a star performer. Team Woodwind is available for Flute Oboe Clarinet Bassoon Alto Saxophone and Tenor Saxophone all of which are compatible. There is also a separate book of Piano Accompaniments/Score. All of the books in the series are fully integrated allowing students using Team Woodwind to play in ensembles with students using Team Brass and Team Strings.

Team Woodwind is designed for everyone who wants to learn to play woodwind. This method:presents a flexible course which can be tailored to suit each student is ideal for individual group or class tuition contains plenty of carefully graded music in a wide variety of styles encourages ensemble playing with varied repertoire for mixed wind group and integrates with ensemble music in Team Strings Team Brass Team Recorder and Team Percussion offers more than 40 pieces which can be played in unison between flute and clarinet contains over 50 well-known titles selected from the worlds of pop jazz and theshows as well as traditional and folk material provides imaginative piano accompaniments for selected pieces and chord symbols where appropriate develops instrument-related aural skills improvisation and composition offers helpful notes for the teacher together with clear ensemble scores.