French composer Robert Planel (1908-1994) was the son of composer and founder of the Music School of Montelimar Alphonse Planel. Robert Planel was an exceptionally accomplished musician reflected in his composition Prelude and Saltarelle for Alto Saxophone and Piano. It is hard to fathom why Prelude and Saltarello has somewhat disappeared from the repertoire. With a typical performance lasting about seven minutes Planel's pieces is made up of two movements. The Prelude begins calm and while tonality is exploited and significantly complex flourishes are heard therelationship between the Saxophone and Piano remains exquisite. The movement then climaxes into the 6/8 Saltarello. Planel's Prelude and Saltarello is an exciting addition to the modern repertoire of the Saxophone and cannot be missed by aspiring saxophonists.

First Repertoire For Alto Saxophone is a collection of twenty imaginative and sax-friendly arrangements and original pieces with Piano accompaniments all carefully selected and written for the Grade 1-3 player by talented duo Paul Harris and Beverley Calland. From Latin classic Desafinado to Handel's Water Music Massenet to Mussorgsky and including classic themes from the shows and television there is something here for every occasion!The solo Alto Saxophone part is also included on a separate insert. Pieces from this edition have been selected for the ABRSM Alto and Baritone Saxophone Examinations Grades 1 2 and3.

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

Instrumentation : Alto Saxophone and Piano Description : The edition is part of the Trinity syllabus (grades 1,2,4,5) Contenu : Lucky to be Me from On the Town - Maria from West Side Story - Oh, Happy We from Candide - One Hand, One Heart from West Side Story - Psalm 23 from Chichester Psalms - Simple Song from Mass - Somethings's Coming from West Side Story - Somewhere from West Side Story - There is a Garden from Trouble in Tahiti - Tonight from West Side Story Nombre de pages : 54 Format : New Edition portrait

Book 2-The Light Touch is a fabulous collection of graded pieces for Alto Saxophone and Piano. The two volumes have been edited by Gordon Lewin. This is the second book for intermediate to advanced players from grade 4 all the way to grade 8. There are five glorious examples of Light saxophone music in various styles all of which are characterised by the light touch!

Saxophone Repertoire-The music in this book is suitable for Saxophone players at stages 1 to 6 of The Boosey Woodwind Method Saxophone Book 2 but can be used by anyone who is starting to learn to play the Saxophone. The pieces are arranged progrssively; and in addtion to each piece there are suggestions to help play the music.