As an American saxophonist, I want to start by saying that you are a phenomenal virtuoso. Your level of skill and musicianship is truly extraordinary. Even if I practiced for 100 years at four hours a day, I might still not achieve your level of virtuosity. You were truly born to play this instrument. I wanted to bring to your attention something well-known here in the U.S. about the Sonata for Alto Saxophone and Piano by Paul Creston. It’s widely accepted that the published tempo markings for this work are incorrect. Paul Creston himself wrote about this, and there is a very rare recording of Creston accompanying a saxophonist on piano that confirms the intended tempos. Unfortunately, this recording is privately held and not widely shared. Creston intended for the tempos to be slightly slower. I’ve seen recommendations of 56, 58, and 60 beats per minute for the second movement, as opposed to the publisher’s marking, which I believe is 66. To add further context, here is a quote from James Umble’s book, which includes a letter Creston wrote to Jean-Marie Londeix (p. 212): > "When I was a jury member at the International Saxophone Competition in Gap (France) in 1978, Paul Creston publicly asked the many saxophonists who were there to change the tempos of his Sonata for Saxophone. He requested that the first movement be played at a maximum of 120 to the quarter note, the second movement at 60, and the third at 144. He reiterated this in a letter addressed to me on February 24, 1975: 'The tempo in the first and third movements is a little too fast. It's my fault, I wrote 126 for the first movement and 160 for the third. Forgive me!'" These tempo adjustments are musically judicious. They allow a more clearly defined chamber music character to emerge, and they create a better balance between the three movements, resulting in a more pleasing temporal relationship. Thank you for your exceptional performance. It’s inspiring to hear this piece played with such artistry!
Дима, я играю на саксофоне год, и играл уже венецианский карнавал, вальс мазанетта, ария бозза, концертгый этюд, почти научился делать вибрато, сделай видеоурок о пермонентном дыхании пожалуйста, мне очень надо, а у других не могу понять как 😢
As an American saxophonist, I want to start by saying that you are a phenomenal virtuoso. Your level of skill and musicianship is truly extraordinary. Even if I practiced for 100 years at four hours a day, I might still not achieve your level of virtuosity. You were truly born to play this instrument.
I wanted to bring to your attention something well-known here in the U.S. about the Sonata for Alto Saxophone and Piano by Paul Creston. It’s widely accepted that the published tempo markings for this work are incorrect. Paul Creston himself wrote about this, and there is a very rare recording of Creston accompanying a saxophonist on piano that confirms the intended tempos. Unfortunately, this recording is privately held and not widely shared.
Creston intended for the tempos to be slightly slower. I’ve seen recommendations of 56, 58, and 60 beats per minute for the second movement, as opposed to the publisher’s marking, which I believe is 66.
To add further context, here is a quote from James Umble’s book, which includes a letter Creston wrote to Jean-Marie Londeix (p. 212):
> "When I was a jury member at the International Saxophone Competition in Gap (France) in 1978, Paul Creston publicly asked the many saxophonists who were there to change the tempos of his Sonata for Saxophone. He requested that the first movement be played at a maximum of 120 to the quarter note, the second movement at 60, and the third at 144. He reiterated this in a letter addressed to me on February 24, 1975: 'The tempo in the first and third movements is a little too fast. It's my fault, I wrote 126 for the first movement and 160 for the third. Forgive me!'"
These tempo adjustments are musically judicious. They allow a more clearly defined chamber music character to emerge, and they create a better balance between the three movements, resulting in a more pleasing temporal relationship.
Thank you for your exceptional performance. It’s inspiring to hear this piece played with such artistry!
Волшебство!!
Felicitaciones!!!👏👏👏
Sounds incredible man🔝🔝🔝
Дима, я играю на саксофоне год, и играл уже венецианский карнавал, вальс мазанетта, ария бозза, концертгый этюд, почти научился делать вибрато, сделай видеоурок о пермонентном дыхании пожалуйста, мне очень надо, а у других не могу понять как 😢
Если ты играл эти произведения, то это не значит , что ты хорошо играешь. Можно произведения как попало играть
@@young_saxophonist это да, вопросов нет, но я играл эти произведения на конкурсах и под руководством преподавателя