| The Orchestral BRUCE RONKIN ROBERT FRASCOTTI Volume TwoThe Orchestral Saxophonist Volume Two BRUCE RONKIN ROBERT FRASCOTTI wl 103.09 0143488 3 —_ 7, RONCORP, INC., Cherry Hill, New Jersey Uh publicationsFOREWORD Since its publication in 1978, The Orchestral Saxophonist has become a standard volume in the saxophonist’s study literature. Now distributed worldwide, it has been designated as a Tequired text for students at conservatories, colleges and universities on four continents. This acceptance is due in part to the artistic value and intrinsic appeal of the music itself. Ibis also due to the singularity of this publication as the only means for studying the saxophone literature of ‘the major twentieth century composers, all of whom wrote for saxophone almost exclusively in the orchestral medium. The widespread, enthusiastic response to the initial publication, the profusion of remaining orchestral works by major composers which include saxophone, and the many inguiries about subsequent volumes have all demonstrated a need for this second publication ‘This Volume, like the initial one, provides musicians with a comprehensive preview of those works which they will be called upon to perform. This is valuable not only to the saxophonist, but to the clarinetist whois asked to play the saxophone in these pieces, For students, it provides an invaluable introduction to music originally composed for their instrument by the preeminent composers of this century. The primary criterion used for selecting the included works was the frequency of their Performance by orchestras throughout the world. The consideration of providing a cross Section of the compositional styles and notational systems of twentieth century orchestral music utilizing the saxophone was also a prime concern. Individual excerpts were chosen on the basis of soloistic and technical demand imposed upon the performer. The instrumentation for each excerpt is listed in the headings. Stated in the heading, the word “and” indicates that the two instruments are doubled by one player. In works which call for one or more clarinetists to double on saxophone, only the saxophone parts have been excerpted. Where applicable, the orchestration is indicated (e.g. w/ violins, etc.). When no tempo is given, the tempoiis the same as that of the previous excerpt. Instructive comments follow the excerpts where appropriate, The saxophone has found its way into more musical genres than almost any other instrument. Curiously, orchestral music, considered by many to be the most prestigious of these genres, has also been the one most often ignored by saxophonists. Itis hoped that these volumes ‘will encourage saxophonists to become more involved in symphonic music. This will result in performances of higher caliber in this, the most prevalent of the concert media and will thus influence prominent composers of the present and future to include the saxophone not only in their orchestral scores but in all their compositions. RF/BR ACKNOWLEDGEMENTS Rhonda Bingham Frascotti for her selfless and knowledgable contribution * Joc! Ronkin © Dean Pugh Mr. and Mrs. S.M. Ronkin ® Mr. and Mrs. C.W. Frascotti # Earle Brown Thomas Liley # Mercer Ellington # The U.S. Library of Congress ¢ The New England Conservatory Music Library # The Philadelphia Free Public Library The Fleischer Collection * The Cherry Hill Free Public Library® European American Music Distributors Corporation All the publishers who made this work possible