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JEAN-MARIE LONDEIX / Debussy y la "Rapsodia" para Saxofón

Jean-Marie Londeix



Jean-Marie Londeix
William Street Saxophone

JEAN-MARIE LONDEIX is "considered one of the world's greatest saxophonists and professors of saxophone, his influence has been felt in the international musical community" (Gerald Danovitch); "one of the greatest musicians of our time" (Edison Denisov); "the most revered of French saxophonists, he made the Bordeaux Conservatory the world's center of saxophone studies (Washington Post); "perhaps after Adolphe Sax and his teacher Marcel Mule, the most important 'inventor' of the modern saxophone" (Francesco Salime).

Londeix has become known and appreciated as a concert artist, teacher, lecturer and author of numerous pedagogical and historical works. He performed more than 600 times as a soloist appearing around the world, frequently inaugurating the first saxophone concerts and recitals in many of the world's finest concert halls. In the early 1950's he was one of the first wind instrumentalists to perform full recitals. He has been frequently recorded and has 13 LPs, 10 compact discs and a number of DVDs to his credit. Well over one hundred important works for saxophone were written for and dedicated to him and more than 150 foreign students traveled from around the globe to study with him at the Bordeaux Conservatory of Music. Among these former students, now concert artists and musical ambassadors in their own right, many teach at major schools of music and perform internationally.

Londeix is frequently invited to teach in the conservatories and universities of Europe, Asia, the US, Russia, Canada, Scandinavia, or to lecture in well known pedagogical centers. He was Honorary President of the Association of Saxophonists of France and President of the International Saxophone Committee of the World Saxophone Congress; he has also organized numerous international festivals: World Saxophone Congress, Conference on the General State of the Saxophone and several international competitions. He created the Ensemble Internationale de Saxophones and commissioned and premiered over 100 original works of quality with that group. Jean-Marie Londeix is also the author of over twenty important pedagogical works for saxophone.

He has written books on the history of the saxophone, most notably Le Saxophone: Cl. Lattes, Paris and Hello! Mr. Sax: A. Leduc, Paris. Jean-Marie is an "example of courage, hope and passion" (Keiji Munesada). "His extensive output is known far and wide, not only for the quality of his musical performances, but for his contribution to teaching and his profound insight and thought. He deserves the deepest admiration for the quality of his work, but even more importantly for his very 'modern' position concerning all that touches the saxophone, both near and far "(François Rossé).

Debussy and the 'Rhapsody for Saxophone'

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FRED SKIFF & KENNETH TSE / Una breve discursión sobre la aplicacion de la acustica del saxofón aplicandolo a un programa informático para para el anñalisis de la calidad del sonido

Fred Skiff & Kenneth Tse


from USA

Fred Skiff is a professor in the Department of Physics and Astronomy at the University of Iowa in Iowa City. In addition to teaching standard physics courses at all levels, he has been teaching courses on physical acoustics for the past 15 years. His major research area is experimental plasma physics and laser spectroscopy with a particular interest in acoustical and wave phenomena in ionized gasses.

Before moving to the University of Iowa, Professor Skiff was a professor at the University of Maryland College Park and a research scientist at the Swiss Federal Technical School in Lausanne. His training in physics began at Cornell University in the Department of Engineering and Applied Physics and he earned a Masters and Ph.D. in Physics from Princeton University. As an amateur musician he has always had an interest in physical acoustics having been introduced to the subject by his grandfather, John C Schelleng who, in his retirement, performed research on the physics of stringed instruments.

His current work on quantifying tone quality came out of a joint research grant with Dr Kenneth Tse, professor in the School of Music at the University of Iowa.

Widely recognized as one of the world’s leading classical saxophonists, Kenneth Tse is certainly one of the instrument’s outstanding proponents on any saxophone aficionado’s short list. He burst on the scene in 1996 as the winner of the prestigious New York Artists International Award, which resulted in an acclaimed debut recital at Carnegie Hall, after which he was hailed as “a young virtuoso” by the New York Times. The Alex Award from the National Alliance for Excellence led to another Carnegie Hall performance. These are but two of the multitude of awards that Tse has garnered in less than a decade and a half. Since then he has been a frequent soloist on five continents, including solo appearances with the Des Moines Symphony, United States Navy Band, Slovenia Army Band, La Armónica Band of Bunol, Spain, Thailand Philharmonic Orchestra and Hong Kong Sinfonietta among others. He is frequent featured artist at events such as the triennial World Saxophone Congress and North American Saxophone Alliance conferences. He has also been a guest clinician at conferences hosted by the California Band Directors’ Association, Iowa Bandmaster’s Association, and the Midwest International Band and Orchestra Clinics. Prestigious universities and conservatories worldwide, such as Moscow Conservatory and Paris Conservatory have invited him to give master classes.

A brief discussion of saxophone acoustics with application to a computer program for the analysis of tone quality.

The aesthetic of musical sound is often thought of being a subject of abstraction. Students learn the concept of good tone quality mostly from imitation. It is the primary objective of this lecture to delineate the acoustical properties of the saxophone and to present a newly-written computer program for real-time visual spectragram to aid a student's realisation and production of, what visually and aurally perceived is, a good sound. This approach has a potential of changing the way how instrumental teachers teach and how students learn through this interactive method and tool.

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FRANCISCO MARTINEZ / El saxofón en la música de Luis de Pablo: La importancia de la investigación en la interpretación (Video non authorized)

Francisco Martínez completed his formal music study in Alicante and Madrid and went on to study in France with Daniel Deffayet, Serge Bichon, and J.M. Londeix. He is a National Music Award Winner as aristic director of Sax-Ensemble and has performed solo in concerts in Europe, the United States, and Asia. Some solo highlights include work with the UCLA Contemporary Ensemble in Los Angeles, the Instrument Ensemble of the Royal Air Forces of Belgium, the Symphonic Orchestra of Córdoba, the International Orchestra Ensemble of Italy, the Gerhard Project, the Chamber Orchestra Villa de Madrid, the Portuguese Symphonic Orchestra, the Madrid Symphonic Orchestra, the Radio and Television Orchestra of Kishinev, Moldavia, the Minsk Philharmonic Orchestra, the Mediterranean Symphonic Orchestra and the Savitra Chamber Orchestra. With the last four orchestras he performed, respectively, the world premiere of the Concerto for Saxophone and Orchestra by Manuel Seco, the Spanish premiere of the Edison Denisov Concerto, the world premiere of the Concerto for Saxophone and Orchestra by Carlos Cruz de Castro, and the world premiere of the "Fuego Azul" (Blue Smoke), Concerto for Saxophone, Piano, and Chamber Orchestra by Claudio Prieto.

Mr Martínez has taught courses in Vigo, Madrid, Benidorm, the European University of the Saxophone in Gap, France, the European University of the Saxophone in San Juan, Ciudad Real, Almagro, el Escorial, and Madrid, Spain. He has also taught Master Classes in Utrera (Sevilla), Madrid, the University of California in Los Angeles and the University of Minnesota in the USA, the Art School of Kishinev, the Amsterdam, Enschede, and Tilburg Conservatories in the Netherlands, and in Bordeaux, France. He has participated on various occasions in international saxophone juries. He works at the Teresa Berganza Conservatory in Madrid, and in the Autonomous University of Madrid.



The saxophone in the work of Luis de Pablo: The Importance of research for the interpretation

The subject of this lecture is the presentation of the doctoral thesis on the works for saxophone by composer Luis de Pablo. De Pablo is one of the most important composers of the second half of the twentieth century, and at the moment has written 25 works with the participation of the saxophone, including chamber music, operas and a concerto for saxophone and orchestra.

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VIDEO NON AUTHORIZATED BY THE PERFORMER
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ERIC NESTLER/XIAO-BO NESTLER / El concierto de Henri Tomasi para saxofón alto y orquesta - Una nueva mirada a un viejo clásico (Video non authorized)


Eric Nestler Saxophone
Xiao-Bo Nestler Piano

Eric Nestler has been on the faculty of the University of North Texas College of Music since 1992. He is currently Professor of Music.

Mr Nestler presented his New York debut recital at Weill Recital Hall at Carnegie Hall in May 2003. Internationally, Nestler has performed solo recitals in Cape Town and Stellenbosch, South Africa and has traveled to Europe where he performed several solo recitals including performances at the Franz Liszt Academy in Budapest, Hungary, the Prague Conservatory, the Janacek Academy in Brno, the Czech Republic, and Castlefranco, Veneto, Italy. He has also performed extensively in Asia including Beijing, Nestlergdu, Guangzhou, Hong Kong, Shanghai, and Tianjin, China. In November 2004, Nestler was a featured artist at the Asian Saxophone Conference in Bangkok, Thailand.

Mr Nestler earned a Bachelor of Music degree in Music Education, Summa Cum Laude, from Susquehanna University where he was a student of Donald Beckie. Mr Nestler has since received both the Master of Music degree in Woodwind Instruments, with High Distinction, and the Doctor of Music Literature and Performance degree in Saxophone, Clarinet, and Bassoon, with High Distinction, from the Indiana University School of Music (Bloomington, IN). He studied with Eugene Rousseau (saxophone).



Henri Tomasi’s Concerto for alto saxophone and orchestra - Taking a New Look at an Old Standard

Henri Tomasi wrote the first movement of the Concerto for alto saxophone and orchestra in 1949. He did so in a hurry in order that it could be used as a competition piece later that year for the students in Marcel Mule’s saxophone class at the Paris Conservatory. In July of 1949, Tomasi completed the concerto with the composition of the second movement. Given that the piece was written very quickly, there are several mistakes in the score, the reduction, and the saxophone part. Some of the mistakes in the part and score were changed by the composer by 1953 when the entire piece was published. In 1998, Jean-Marie Londeix supplied the publisher, Alphonse Leduc, with a list of some other changes to the saxophone part. This resulted in a new publication in 2001. Yet, there are still many questions regarding potential note changes in the saxophone part, the piano reduction, and the full score. Further, some changes made in 1998 are clearly incorrect. The content of this lecture will seek to answer the questions regarding potential note changes based upon a theoretical study of the style found within Tomasi’s Concerto combined with a comparison of the manuscript, the 1949 version, and the 2001 version. The lecture will consist of a brief discussion of his compositional style leading to the main part of the lecture, a detailed examination of the score and saxophone part focusing on specific spots in the music where there are potentially wrong notes. Finally, the content of the lecture will seek to offer alternate possibilities regarding these note changes and the reasons why they are significant.

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VIDEO NON AUTHORIZATED BY THE PERFORMER
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DAVID NABB / Nuevos desarrollos en el saxofón para personas discapacitadas (Video non authorized)


David Nabb is Professor of Music at the University of Nebraska at Kearney. Since surviving a stroke in 2000, David has worked with Jeff Stelling to develop a saxophone that can be played with the right hand only. Nabb has demonstrated his toggle-key saxophone at the World Saxophone Congresses in Minneapolis, Slovenia and Thailand, and at other important meetings such as the International Saxophone Symposium, the annual American Music Therapy Association Conference, and Conferences of the North American Saxophone Alliance. In 2011, Nabb and Jeff Stelling received awards for their work with musical instrument adaptations at the Kennedy Center in Washington, DC.

Nabb has written articles about music for people with disabilities for a number of national publications, including "Medical Problems of Performing Artists", "The Flutist Quarterly", "The Journal of the American Occupational Therapy Association", and "The Journal of Research in Music Education".

David Nabb is a Yamaha Performing Artist, and plays exclusively on Eugene Rousseau saxophone mouthpieces.

New Developments in Saxophones for Disabled Persons

Although the most widely recognized one-handed saxophone mechanism is the Conn from shortly after WWI, the past ten years has seen a flurry of innovative developments in addressing this challenging problem of musical/engineering innovation. A number of individuals are currently working to enable permanently disabled musicians to play the saxophone, including Martin Foag (Germany), Marten Visser (Holland), Jeff Stelling (USA) and Brian Russell (USA).

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