This sub-forum recognizes three defined schools of classical saxophone playing as French, American and German. Each of these schools of playing has embraced various composers whose music they tend to champion. The idea of this thread is to open a conversation about how the concert/classical saxophonist of today goes about locating the musical aesthetics of the literature she/he performs, especially in regard to the music of composers who are alive, or have left substantial record of their compositional ideas and artistic imaginations.
Some questions this thread might deal with include:
-When a composer was working closely with a specific saxophonist for the creation of a new work, how might subsequent performances of the music take in to account that relationship and what effect it had on the composer's imagination and definition of "saxophonistic" or "characteristic saxophone" playing?
-What means might a player use to enter in to dialogue with living composers about subsequent, post-premier performances of their music?
-When is dialogue or study with a living composer important, and why? What questions might be important and how would answers inform musical interpretation?
-The same questions as above in regard to dialogue or study with the saxophone artist for whom a composition was written, if the composer was writing while working closely with that saxophonist?
-What other means can be or ought to be employed in studying the compositional language and style or aesthetics of composers living and past?
-If the music was written specifically for an saxophone artist who was foundational in a school of playing, whose own musical aesthetics highly informed the composer, what does that infer about the interpretation of that music?
-As schools of classical playing cross-pollinate and converge, how does that impact for the good or the bad the authenticity of musical interpretation for literature that came out of a specific school of play?
-whatever other questions or ideas that relate!